OpenLLM-France/wikimedia huggingface dataset:
# The Spirit of French Music/Advert

UNIFORM WITH THIS VOLUME
LIBRARY OF MUSIC AND MUSICIANS
Crown 8vo. Illustrated. Edited by A. EAGLEFIELD HULL, Mus. Doc. (Oxon.)
Handel. By Romain Rolland. With 17 musical illustrations and plates.
Scriabin. By the Editor. With 165 musical illustrations and 4 plates.
Beethoven. By Romain Rolland. With musical illustrations and 4 plates.
French Music of To-day. By G. Jean-Aubry.
Earlier French Musicians. By Mary Hargrave.
Musorgsky. By M. P. Calvocorgessi. Translated by the Editor. With musical illustrations and a portrait.
The Orchestra and How to Listen to It. By M. Montagu Nathan.
Cyril Scott: Poet, Musician and Philosopher. By A. Eaglefield Hull.
Short Studies in the Nature of Music. By Herbert Antcliffe.
Music of Spain. By C. Van Vechten.
Josef Holbrooke and his Work. By George Lowe.
Music and the Romantic Movement in France. By Arthur Ware Locke.
Handbook of Orchestration. By F. G. Fidler.
How to Enjoy Music. By Herbert Antcliffe.
Other volumes in preparation.
# The Spirit of French Music

Edited by
A. EAGLEFIELD HULL. Mus. Doc. (Oxon.)
THE SPIRIT OF FRENCH MUSIC
THE SPIRIT OF FRENCH MUSIC
BY
PIERRE LASSERRE
TRANSLATED BY
DENIS TURNER, B.A.
Sometime Scholar of Pembroke College, Cambridge
London KEGAN PAUL, TRENCH, TRUBNER & Co., Ltd. New York: E. P. BUTTON & Co.
1921
CONTENTS
| CHAP. | PAGE |
Layout 2
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Veil and other poems/The Moth

THE MOTH
ISLED in the midnight air,
Musked with the dark's faint bloom,
Out into glooming and secret haunts
The flame cries, 'Come!'
Lovely in dye and fan,
A-tremble in shimmering grace,
A moth from her winter swoon
Uplifts her face:
Stares from her glamorous eyes;
Wafts her on plumes like mist;
In ecstasy swirls and sways
To her strange tryst.
# The Veil and other poems/The Owl

THE OWL
What if to edge of dream,
When the spirit is come,
Shriek the hunting owl,
And summon it home—
To the fear-stirred heart
And the ancient dread
Of man, when cold root or stone
Pillowed roofless head?   Clangs not at last the hour
When roof shelters not;
And the ears are deaf,
And all fears forgot:
Since the spirit too far has fared
For summoning scream
Of any strange fowl on earth
To shatter its dream?
# The Veil and other poems/The Spectre

THE SPECTRE
IN cloudy quiet of the day,
While thrush and robin perched mute on spray,
A spectre by the window sat,
Brooding thereat.
He marked the greenness of the Spring,
Daffodil blowing, bird a-wing—
Yet dark the house the years had made
Within that Shade.
Blinded the rooms wherein no foot falls.
Faded the portraits on the walls.
Reverberating, shakes the air
A river there.
Coursing in flood, its infinite roars;
From pit to pit its water pours;
And he, with countenance unmoved.
Hears cry:—'Beloved,
'Oh, ere the day be utterly spent,
Return, return, from banishment.
The night thick-gathers. Weep a prayer
For the true and fair.'
# The Veil and other poems/The Monologue

THE MONOLOGUE
ALAS, O Lovely One,
Imprisoned here,
I tap; thou answerest not,
I doubt, and fear.
Yet transparent as glass these walls,
If thou lean near.
Last dusk, at those high bars
There came, scarce-heard,
Claws, fluttering feathers.
Of deluded bird—
With one shrill, scared, faint note
The silence stirred.
Rests in that corner.
In puff of dust, a straw—
Vision of harvest-fields
I never saw,
Of strange green streams and hills,
Forbidden by law.
These things I whisper.
For I see—in mind—
Thy caged cheek whiten
At the wail of wind,
That thin breast wasting; unto
Woe resigned.
Take comfort, listen!
Once we twain were free;
There was a Country—
Lost the memory . . .
Lay thy cold brow on hand,
And dream with me.
Awaits me torture,
I have smelt their rack;
From spectral groaning wheel
Have turned me back;
Thumbscrew and boot, and then—
The yawning sack.
Lean closer, then;
Lay palm on stony wall.
Let but thy ghost beneath
Thine eyelids call:
'Courage, my brother,' Nought
Can then appal.
Yet coward, coward am I,
And drink I must
When clanks the pannikin
With the longed-for crust;
Though heart within is sour
With disgust.   Long hours there are,
When mutely tapping—well,
Is it to Vacancy
I these tidings tell?
Knock these numb fingers against
An empty cell?
Nay, answer not.
Let still mere longing make
Thy presence sure to me.
While in doubt I shake:
Be but my Faith in thee,
For sanity's sake.
# The Veil and other poems/The Quiet Enemy

THE QUIET ENEMY
HEARKEN—now the hermit bee
Drones a quiet threnody;
Greening on the stagnant pool
The criss-cross light slants silken-cool;
In the venomed yew tree wings
Preen and flit. The linnet sings.   Gradually the brave sun
Drops to a day's journey done;
In the marshy flats abide
Mists to muffle midnight-tide.
Puffed within the belfry tower
Hungry owls drowse out their hour. . . .   Walk in beauty. Vaunt thy rose.
Flaunt thy transient loveliness.
Pace for pace with thee there goes
A shape that hath not come to bless.
I thine enemy? . . . Nay, nay.
I can only watch and wait
Patient treacherous time away.
Hold ajar the wicket gate.
# The Veil and other poems/The Unfinished Dream

THE UNFINISHED DREAM
RARE-SWEET the air in that unimagined country—
My spirit had wandered far
From its weary body close-enwrapt in slumber
Where its home and earth-friends are;
A milk-like air—and of light all abundance;
And there a river clear
Painting the scene like a picture on its bosom,
Green foliage drifting near.
No sign of life I saw, as I pressed onward,
Fish, nor beast, nor bird,
Till I came to a hill clothed in flowers to its summit,
Then shrill small voices I heard.
And I saw from concealment a company of elf-folk
With faces strangely fair,
Talking their unearthly scattered talk together,
A bind of green-grasses in their hair.
Marvellously gentle, feater far than children,
In gesture, mien and speech,
Hastening onward in translucent shafts of sunshine,
And gossiping each with each.
Straw-light their locks, on neck and shoulder falling,
Faint of almond the silks they wore,
Spun not of worm, but as if inwoven of moonbeams
And foam on rock-bound shore;
Like lank-legged grasshoppers in June-tide meadows,
Amalillios of the day.
Hungrily gazed upon by me—a stranger,
In unknown regions astray.   Yet, happy beyond words, I marked their sunlit faces,
Stealing soft enchantment from their eyes,
Tears in my own confusing their small image,
Harkening their bead-like cries.
They passed me, unseeing, a waft of flocking linners;
Sadly I fared on my way;
And came in my dream to a dreamlike habitation,
Close-shut, festooned and grey.
Pausing, I gazed at the porch dust-still, vine-wreathed,
Worn the stone steps thereto,
Mute hung its bell, whence a stony head looked downward,
Grey 'gainst the sky's pale-blue-—
Strange to me: strange. . . .
# The Veil and other poems/The Son of Melancholy

THE SON OF MELANCHOLY
UNTO blest Melancholy's house one happy day
I took my way:
Into a chamber was shown, whence could be seen
Her flowerless garden, dyed with sunlit green
Of myrtle, box, and bay.
Cool were its walls, shade-mottled, green and gold
In heavy fold
Hung antique tapestries, from whose fruit and flower
Light had the bright hues stolen, hour by hour,
And time worn thin and old.
Silence, as of a virginal laid aside.
Did there abide.
But not for voice or music was I fain,
Only to see a long-loved face again—
For her sole company sighed.   And while I waited, giving memory praise,
My musing gaze
Lit on the one sole picture in the room,
Which hung, as if in hiding, in the gloom
From evening's stealing rays.
Framed in fast-fading gilt, a child gazed there,
Lovely and fair;
A face whose happiness was like sunlight spent
On some poor desolate soul in banishment,
Mutely his grief to share.
Long, long I stood in trance of that glad face,
Striving to trace
The semblance that, disquieting, it bore
To one whom memory could not restore,
Nor fix in time and space.
Sunk deep in brooding thus, a voice I heard
Whisper its word:
I turned—and, stooping in the threshold, stood
She—the dark mistress of my solitude,
Who smiled, nor stirred.
Her ghost gazed darkly from her pondering eyes
Charged with surmise;
Challenging mine, between mockery and fear,
She breathed her greeting, 'Thou, my only dear!
Wherefore such heavy sighs?'
'But this?' One instant lids her scrutiny veiled;
Her wan cheek paled.
'This child?' I asked. 'Its picture brings to mind
Remembrance faint and far, past thought to find,
And yet by time unstaled.'
Smiling, aloof, she turned her narrow head,
'Make thou my face thy glass,' she cried and said.
'What would'st thou see therein—thine own, or mine?
O foolish one, what wonder thou did'st pine?
Long thou hast loved me; yet hast absent been.
See now: Dark night hath pressed an entrance in.
Jealous! thou dear? Nay, come; by taper's beam
Share thou this pictured Joy with me, though
nought but a dream.'
# The Veil and other poems/The Spirit of Air

THE SPIRIT OF AIR
CORAL and clear emerald,
And amber from the sea,
Lilac-coloured amethyst,
Chalcedony;
The lovely Spirit of Air
Floats on a cloud and doth ride,
Clad in the beauties of earth
Like a bride.
So doth she haunt me; and words
Tell but a tithe of the tale.
Sings all the sweetness of Spring
Even in the nightingale?
Nay, but with echoes she cries
Of the valley of love;
Dews on the thorns at her feet,
And darkness above.
# The Town That Was Poisoned

* related portals: United States House of Representatives.
* sister projects: Wikipedia article, Commons category, Wikidata item.
Congressional Record (Procedures & Debates), 99th Congress, 1st Session, V. 131, 3-4, February 28, 1985, Pages 4185-4189 (PDF version online)
* Congressman Weaver
* Centers for Disease Control
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 Tower of the Elephant

* Chapter I
* Chapter II
* Chapter III
This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement) before 1964, and copyright was not renewed.
* For Class A renewal records (books only) published between 1923 and 1963, check the Stanford University Copyright Renewal Database.
* For other renewal records of publications between 1922–1950, see the University of Pennsylvania copyright records.
* For all records since 1978, search the U.S. Copyright Office records.
Works published in 1933 could have had their copyright renewed in 1960 or 1961, i.e. between January 1st of the 27th year after publication or registration and December 31st of the 28th year. As this work's copyright was not renewed, it entered the public domain on January 1st, 1962.
The longest-living author of this work died in 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 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.
It is imperative that contributors ascertain that there is no evidence of a copyright renewal before using this license. Failure to do so will result in the deletion of the work as a copyright violation.
Public domainPublic domainfalsefalse
# The Town Mouse and the Country Mouse

Perry index 352
* "Of the two Rats", translated by William Caxton, edited by Joseph Jacobs, in The fables of Aesop, as first printed by William Caxton in 1484 (1484)
* "A City Mouse and a Country Mouse", in Fables of Æsop and Other Eminent Mythologists (1692)
* "The Town Mouse and the Country Mouse", translated by George Fyler Townsend, illustrated by Harrison Weir, in Three Hundred Æsop's Fables (1867)
* "The Town Mouse and the Country Mouse", translated by Joseph Jacobs, edited by Joseph Jacobs, illustrated by Richard Heighway, in The Fables of Æsop (1894)
* "The Town Mouse and the Country Mouse", translated by Vernon Stanley Jones, illustrated by Arthur Rackham, in Æsop's fables: A New Translation (1912)

## See also

* The Tale of Johnny Town-Mouse, retelling by Beatrix Potter (1922).
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 Voyage of Italy

page
THE
VOYAGE
OF
ITALY,
OR
A Compleat Journey through
ITALY.
In Two Parts.
AS
Also of the Interest, Government, Riches, Force, &c. of all the Princes.
With Instructions concerning Travel.
Never before Extant.
page
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 Voyage of Governor Phillip to Botany Bay/fleet

Captain ARTHUR PHILLIP of the Navy, Governor and Commander in Chief of the territory of New South Wales, and of his Majesty's ships and vessels employed on that coast.
Major Robert Ross, Lieutenant Governor. Richard Johnson, Chaplain. Andrew Miller, Commissary. David Collins, Judge Advocate. John Long, Adjutant. James Furzer, Quarter-Master.
John White, Surgeon. Thomas Arndell, Assistant Ditto. William Balmain, Ditto Ditto.
[* This Gentleman did not go]
His Majesty's ship Sirius, Captain Arthur Phillip. Captain John Hunter.
His Majesty's armed tender Supply, Lieutenant H. L. Ball.
Six transports carrying the convicts. Alexander 210 men convicts. women convicts. Scarborough 210 men convicts. Friendship 80 men convicts. 24 Charlotte 100 men convicts. 24 Prince of Wales -- -- 100 Lady Penrhyn -- -- 102
Each transport had a detachment of marines on board.
Three store ships:
The Golden Grove, Fishburn, and Borrowdale; With provisions, implements for husbandry, cloathing, etc. for the convicts.
Lieutenant John Shortland, agent for the transports.
The garrison is formed from the marines.
# The Voyage of Italy/Chapter 3

My first Voyage into Italy.
My first voyage was through Flanders and Germany, and so to Trent. The way is, from England, to Dunkirck; from thence to Furne, Newport, Ostend, Bruges, Gant, Brussels, Lovain, Liege, Colen, Mayence, Francford, and so crossing to Munichen, the Court of the Duke of Bavaria, and from thence to Ausburg, and Inspruck, you come soon to Trent, which stands upon the Confines of Germany, and lets you into Italy, by Treviso belonging to the Venetians. To describe all these foresaid places would take me too much time from my design of describing Italy, and therefore I ​content my self onely to have named them.
Layout 2
# The Voyage of Italy/Chapter 2

The several wayes by which a man may go into Italy.
The ordinary wayes which an Englishman may take in going into Italy, are five: to wit, 1.either through Flanders and Germany; and so to fall in at Trent, or Treviso, and so to Venice. 2.Or else by France, and so to Marseilles, and thence to Genoa by Sea. 3.Or else by land from Lyons through Swisserland, the Grisons Country, and the Valtoline, and so pop up at Brescia. 4.Or else from Lyons again through the Valesians Country, over Mount Sampion, the Lake Major, and so to Milan. 5.Or else in fine, fram Lyons till, over Mount Cenis, and so to Turin, the ​nearest Post-way. I have gone, or come, all these wayes, in my five voyages into Italy, and though I preferre the last for speed and conveniency; yet I will describe the others too, that my young Traveller may know how to steer his course, either in time of Plague or warre,
Layout 2
# The Vaughan and Telegraph/Dissent Chase

* Court Documents
* Case Syllabus
* Opinion of the Court
* Dissenting Opinion Chase
United States Supreme Court
81 U.S. 258
The Vaughan and Telegraph
The CHIEF JUSTICE, dissenting.
I dissent, and am authorized to say that my brothers CLIFFORD and FIELD also dissent, from so much of the opinion just read as relates to the measure of indemnity for the loss of the barley.
We agree that the loss was through the fault of both boats, and that the libellants were entitled to indemnity; and we agree further that the measure of this indemnity was the value of the barley at the time and place of shipment; and that this value was $2436 in gold. The decree of the District Court, rendered on the 21st day of February, 1868, was for this sum, with interest, making the whole amount of the decree $2924.20.
On appeal, the Circuit Court held that in order to give full indemnity to the libellants, the value in gold must be converted into its equivalent in legal tender notes on the day of shipment. At that time this currency was so much depreciated that $100 in gold were worth $201 in notes. The $2436 in gold, were, therefore, converted into their equivalent in note dollars, making the sum of $4896.36. The decree of the District Court was accordingly reversed, and a decree was entered, on the 26th of March, 1870, for the last-named sum and interest, in all $6515, with costs.
This was much more than indemnity at the date of the decree, and the injustice is still more apparent at this time, when the value of the notes has so much appreciated that the affirmance of the decree of the Circuit Court gives the libellants almost double indemnity.
This case strikingly illustrates the evil consequences of rendering judgments payable in legal tender currency. Hardly anything fluctuates in value more than such judgments. Every day witnesses a change. The judgment debtor gains by depreciation and loses by appreciation.
Doubtless, if the legal tender clauses of the Currency Acts are constitutional, such judgments may be rendered; but there is nothing in those acts which requires that judgments for damages estimated in coin shall be entered otherwise than for coin. On the contrary, we have decided in several cases that judgments for coin debts may be rendered payable in coin. In the present case the amount of indemnity was ascertained in gold, and, in our judgment, the decree should have been for that amount payable in coin. This would have done exact justice between the parties and would have been in harmony with the principles of the cases referred to. It would have given indemnity, and not double indemnity.

## Notes

* ↑ Cheang-kee v. United States, 3 Wallace, 320; Bronson v. Rodes, 7 Id. 245; Butler v. Horwitz, Ib. 259; Trebilcock v. Wilson, 12 Id. 687.
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 Veda of the Black Yajus School

The second of The Vedas. English translation by Arthur Berriedale Keith, 1914. Volumes eighteen and nineteen of the Harvard Oriental Series. (external scans (multiple parts): 1, 2)
* Introduction
* Translation
** Kanda I
** Kanda II
** Kanda III
** Kanda IV
** Kanda V
** Kanda VI
** Kanda VII
* General Index
* Index of Sanskrit Words

## See also

* यजुर्वेदः, original in Sanskrit
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 1944, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 79 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
Kanda 1.2
# The Vaudois Teacher

* "The Vaudois Teacher", in The Writings of John Greenleaf Whittier, vol. I (1892)
* "The Vaudois Teacher", in The Complete Poetical Works of John Greenleaf Whittier (1895)
# The Vaudois Wife

* The Vaudois Wife, in Blackwood's Edinburgh Magazine Volume 24, 1828.
* The Vaudois' Wife, in Songs of the Affections, with Other Poems (Songs of the Affections), 1830.
# The Warlord of Mars

The Warlord of Mars is a 1919 Edgar Rice Burroughs science fiction novel, the third of his famous Barsoom series. It was first published in All Story Magazine as a four-part serial in the issues for December, 1913–March, 1914. Warning: template has been deprecated.
The Warlord of Mars
"Let a world's most beautiful woman share the honor of her husband"
[Page 296]
The Warlord of Mars
BY EDGAR RICE BURROUGHS Author of The "Tarzan" Series and The "Martian" Stories
FRONTISPIECE BY J. ALLEN ST. JOHN
CHICAGO A. C. McCLURG & CO. 1919
CONTENTS
| CHAPTER | PAGE |
Copyright Edgar Rice Burroughs 1919
Published September, 1919
Copyrighted in Great Britain
W. F. HALL PRINTING COMPANY, CHICAGO
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 1950, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 73 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 Wayfarers (Essex)

Still the white stars burn overhead,  The green earth swings upon her way Where are the voices of the dead,  The hearts of Yesterday?
Drawn by what strange, mysterious power,  From what dream-world and magic sky Came they to laugh on earth an hour,  To weep, to toil, to die.
And whither gone? On what wild flight  By planet pale and sceptred star? What realms of sorrow or delight  Now wander they afar?
Pale Wayfarers, whose noiseless tread  Is near me as I seem to see The mighty generations dead,  And all that yet shall be!
Are Past and Future, then, a breath  That one vast Present makes its own? The Angel, Birth, the Shadow, Death;  Each guard a world unknown.
Wayfarers all, we know not whence  We came, nor whitherwards we go. Deep In our hearts a haunting sense  That somewhere we shall know.
Still the white stars burn overhead,  The green earth swings upon her way; Where are the voices of the dead,  The hearts of yesterday?
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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
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