OpenLLM-France/wikimedia huggingface dataset:
# Shakespeare - First Folio facsimile (1910)/The Lamentable Tragedy of Titus Andronicus/Act 2

Actus Secunda.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The First Part of King Henry the Sixth/Act 5 Scene 2

Scæna Tertia.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The First Part of King Henry the Sixth/Act 5 Scene 5

Actus Quintus.
FINIS.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The Lamentable Tragedy of Titus Andronicus

The Act and Scene demarcations in this play are inconsistent, but they have been followed as printed. Hence Act 1 begins 'Act 1 Scene 1' and has no further scene breaks. The other four Acts all begin Act n, and have no scene breaks.
* Act I: Scene I
* Act II.
* Act III.
* Act IV.
* Act V.
# Shakespeare - First Folio facsimile (1910)/The Lamentable Tragedy of Titus Andronicus/Act 3

Actus Tertius.
Actus Quartus.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The Lamentable Tragedy of Titus Andronicus/Act 4

Actus Quartus.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The First Part of King Henry the Sixth/Act 5 Scene 1

Scena secunda.
Layout 2
# Shakespeare - First Folio facsimile (1910)/The First Part of King Henry the Sixth/Act 5 Scene 3

Layout 2
# Smithsonian Miscellaneous Collections

Published by the Smithsonian Institution. Biodiversity Heritage Library
Volumes
This work is in the public domain in the United States because it was published before January 1, 1929.
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 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) between 1929 and 1977 (inclusive) without a copyright notice.
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 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 could have had their copyright renewed 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 of the 29th year.
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
# Smithsonian Institution statement on Bill Cosby controversy

* related authors: Bill Cosby.
* sister projects: Wikipedia article, Commons gallery, quotes, news, course, Wikidata item.
Smithsonian Institution. National Museum of African Art Statement. Conversations: African and African American Artworks in Dialogue. November 24, 2014. Statement at link. Link also archived at Internet Archive on 27 November 2014.
Smithsonian Institution statement on Bill Cosby controversy
National Museum of African Art Statement
Conversations: African and African American Artworks in Dialogue
November 24, 2014
The National Museum of African Art’s mission is to inspire conversations about the beauty, power and diversity of African arts and cultures. We began planning for the Conversations exhibition two years ago to help showcase the history of American art created by persons of African descent. It brings the public’s attention to artists whose works have long been omitted from the study of American art history. We are aware of the controversy surrounding Bill Cosby, who, along with his wife Camille, owns many of the works in the Conversations exhibition. Exhibiting this important collection does not imply any position on the serious allegations that have been made against Mr. Cosby. The exhibition is centrally about the artworks and the artists who created them.
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
# Smithsonian Miscellaneous Collections/Volume 60
## Number 16

This work is in the public domain in the United States because it was published before January 1, 1929.
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
# Sandoval v. Randolph

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
222 U.S. 161
Sandoval v. Randolph
Argued: October 26, 1911. --- Decided: December 4, 1911
Messrs. Frank P. Flint, Henry S. Van Dyke, and G. Bullard for appellants.
Mr. Eugene S. Ives for appellee.
Memorandum opinion by direction of the court. By Mr. Justice Lurton:

## 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
# Sandoval v. Utah

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
388 U.S. 463
Sandoval v. Utah
Jimi Mitsunaga, for petitioner.
Phil L. Hansen, Atty. Gen. of Utah, for respondent.
On Petition for Writ of Certiorari to the Supreme Court of Utah.
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
# Sandoval v. Rattikin

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
385 U.S. 901
Sandoval v. Rattikin
See 385 U.S. 964, 87 S.Ct. 389.
Roger Butler, Luther E. Jones, Jr., and John D. Cofer, for petitioners.
Petition for writ of certiorari to the Court of Civil Appeals of Texas, Thirteenth Supreme Judicial District.

## 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
# Sands v. Edmunds

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
116 U.S. 585
Sands v. Edmunds
Argued: February 1, 1886. ---
[Statement of Case from pages 585-587 intentionally omitted]
The prayer for the writ was denied by the circuit court of Fauquier county, and on application to the supreme court of appeals of Virginia that judgment was affirmed by a refusal to allow an appeal. To reverse that judgment this writ of error is prosecuted.
Wm. L. Royall and D. H. Chamberlain, for plaintiff in error.
F. S. Blair, R. A. Ayers and W. R. Staples, for defendant in error.
MATTHEWS, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Sandoval v. Utah/Opinion of the Court

* Court Documents
* Case Syllabus
* Per Curiam Opinion of the Court
United States Supreme Court
388 U.S. 463
Sandoval v. Utah
The motion for leave to proceed in forma pauperis and the petition for a writ of certiorari are granted. The judgment is vacated and the case is remanded to the Supreme Court of Utah in light of the representations of the Attorney General that the petitioner was entitled to the transcription of the mechanical recording of the juvenile court hearing at the expense of the Salt Lake County or other governmental entity having jurisdiction.

## 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
# Sandra Fluke responds to Nationwide Campaign Against Contraceptives

Sandra Fluke responds to Nationwide Campaign Against Contraceptives. February 23, 2012. United States House of Representatives, House Democratic Steering and Policy Committee. Sandra Fluke answering a question from Congressman Elijah Cummings as part of her Congressional testimony, as given at C-SPAN.
Sandra Fluke responds to Nationwide Campaign Against Contraceptives
Sandra Fluke
United States House of Representatives House Democratic Steering and Policy Committee
February 23, 2012
Congressman Elijah Cummings:
As I had noted in my opening, there is currently a nationwide campaign at both the state and federal levels not only to restrict insurance coverage, but in some instances to outlaw many forms of commonly used contraceptives.
If those efforts are successful and prohibit commonly used contraceptives like IUDs and some forms of the pill, it would roll back the clock for women across the country.
Can you describe what the impact would be on you and your classmates?
Sandra Fluke:
Well I think for millions of women it would be an increase in the number of people who have the medical complications I've been talking about today.
One woman came to me recently, since this happened, and described that she needs contraception to prevent seizures. So she has several seizures a month if she doesn't have contraception to balance her hormones. And that's just an incredible intrusion on her life, her ability to manage her daily affairs if she doesn't have access to that medical prescription. So that's one of the huge impacts.
I think another impact that it's really important that we all think about, is that contraception when it first became available was a revolution in this country. It allowed women to enter employment and educational opportunities that had previously not been accessible because they were unable to control their reproduction in the same way. And I just can't imagine rolling back the clock on that progress.
____________________
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
# Songs and Lyrics (Lehrer)/Wernher von Braun

WERNHER VON BRAUN
words & music by Tom Lehrer
Gather 'round while I sing you of Wernher von Braun A man whose allegiance Is ruled by expedience Call him a Nazi, he won't even frown "Nazi, Schmazi!" says Wernher von Braun.
Don't say that he's hypocritical Say rather that he's apolitical "Once the rockets are up, who cares where they come down? That's not my department!" says Wernher von Braun.
Some have harsh words for this man of renown But some think our attitude Should be one of gratitude Like the widows and cripples in old London town Who owe their large pensions to Wernher von Braun.
You too may be a big hero Once you've learned to count backwards to zero "In German, oder Englisch, I know how to count down Und I'm learning Chinese!" says Wernher von Braun.
# Songs and Lyrics (Lehrer)/Whatever Became of Hubert?

WHATEVER BECAME OF HUBERT?
words and music by Tom Lehrer
Whatever became of Hubert? Has anyone heard a thing? Once he shone, On his own, Now he sits home alone, And waits for the phone To ring.
Once a fiery liberal spirit, Ah, but now when he speaks he must clear it. Second fiddle's a hard part, I know, When they don't even give you a bow.
"We must protest this treatment, Hubert," Says each newspaper reader. As someone one remarked to Schubert, "Take us to your Lieder!"
Whatever became of you, Hubert? We miss you, so tell us, please, Are you said, are you cross, Are you gathering moss, While you wait for the boss To sneeze?
Does Lyndon, recalling when he was V.P., Say, "I'll do unto you like they did unto me!"? Do you dream about staging a coup? Hubert, what happened to you?
LOOK WHAT’S BECOME OF HUBERT
(written for and performed during the 1968 McCarthy campaign)
words and music by Tom Lehrer (tune: “Whatever Became of Hubert?”)
| Just look what’s become of Hubert | We know what became of Hubert |
| All sunshine and smiles, here he comes | Since he became our VP |
| Angry men he deplores | He was our pride and joy |
| And he simply adores | But he’s now Lyndon’s boy |
| Happy riots, happy wars, | Only he calls it loy -- |
| Happy slums. | Alty. |
| For three lonely years he’s been pinned in | You lost us the day that you sold out |
| And spent them out-Lydoning Lyndon | And now you’ll find, baby, it’s cold out |
So pardon us please if we gawk At a parrot who’s also a hawk
And please don’t think that we’re naive ‘Cause we’re backing Eugene McCarthy Things come true if you believe As the Wizard once said to Dor’thy
Whatever became of you, Hubert? You just haven’t been the same Oh you once were so nice But you paid a big price So that you could put Vice Before your name.
And what of the rumor that we overheard That LBJ now calls you “Hubert Bird” Well, Hubie, chacun à son goût But Hubert, what happened to you?
# Songs and Sonnets (Coleman)

Songs and Sonnets Helena Coleman
Published under the Auspices of the Tennyson Club of Toronto
TORONTO WILLIAM BRIGGS 1906
Entered according to Act of the Parliament of Canada, in the year one thousand nine hundred and six, by William Briggs, at the Department of Agriculture.
To A. S. R.
Within my garden, on the southern side, Where warm and strong the sun's battalions fall, The lilies grow superbly white and tall, The mignonette and phlox spread far and wide; The roses there are my perpetual pride, The ivy riots laughing up the wall, And all my flower-loves, both great and small, A daily feast of loveliness provide.
And deep within the garden of my heart, Upon that side where thou art wont to shine— And something of thy sweetness to impart— There sprang these little wandering songs of mine; I know not if they show thee what thou art, But any worthiness they have is thine.
CONTENTS
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 1953, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 70 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
# Songs and Lyrics (Lehrer)/We Will All Go Together When We Go

WE WILL ALL GO TOGETHER WHEN WE GO
words and music by Tom Lehrer
When you attend a funeral, It is sad to think that sooner o' Later those you love will do the same for you. And you may have thought it tragic, Not to mention other adjec- Tives, to think of all the weeping they will do. But don't you worry. No more ashes, no more sackcloth, And an armband made of black cloth Will some day never more adorn a sleeve. For if the bomb that drops on you Gets your friends and neighbors too, There'll be nobody left behind to grieve.
And we will all go together when we go. What a comforting fact that is to know. Universal bereavement, An inspiring achievement, Yes, we all will go together when we go.
We will all go together when we go. All suffused with an incandescent glow. No one will have the endurance To collect on his insurance, Lloyd's of London will be loaded when they go.
Oh, we will all fry together when we fry. We'll be french fried potatoes by and by. There will be no more misery When the world is our rotizerie, Yes, we all will fry together when we fry.
Down by the old maelstrom, There'll be a storm before the calm.
And we will all bake together when we bake. There'll be nobody present at the wake. With complete participation In that grand incineration, Nearly three billion hunks of well-done steak.
Oh, we will all char together when we char. And let there be no moaning of the bar. Just sing out a Te Deum When you see that I.C.B.M., And the party will be "come as you are".
Oh, we will all burn together when we burn. There'll be no need to stand and wait your turn. When it's time for the fallout And Saint Peter calls us all out, We'll just drop our agendas and adjourn.
You will all go directly to your respective Valhallas. Go directly, do not pass Go, Do not collect two hundred dolla's.
And we will all go together when we go. Ev'ry Hottenhot and ev'ry Eskimo. When the air becomes uranious, We will all go simultaneous. Yes, we all will go together When we all go together, Yes. we all will go together when we go.
# Songs and Lyrics (Lehrer)/Why Not Fight?

WHY NOT FIGHT?
(as performed on The Electric Company)
words and music by Tom Lehrer
| ALL: | Rah, rah! Sis-boom-bah! Hip-hoo-ray and cha-cha-cha! |
| GROUP 1: | GROUP 2: |
| Fight! |
| | F-I-G-H-T |
| We may not win but then again we might! |
| | M-I-G-H-T |
| And even if we don't it's still all right, |
| | R-I-G-H-T |
| So why not |
| Fight? |
| | F-I-G-H-T Don't step on the referee |
| Fight |
| | F-I-G-H-T |
| Our quarterback is really not too bright |
| | B-R-I-G-H-T |
| The way it looks we might be here all night |
| | N-I-G-H-T |
| So why not fight? Our team is out-a-sight, So let's not get uptight, And why not Fight! |
| | Give a cheer, give a yell, Show them we know how to spell F-I-G-H-T |
ALL: (shouted) Fight!
Repeat above, except: change "Don't step on the referee" to "Watch out for the referee" and omit the intro ("Rah, rah, etc.") and the last three lines ("Give a cheer, etc.")
# Songs and Lyrics (Lehrer)/Without an S

WITHOUT AN S
(performed by Rita Moreno and Bill Cosby on The Electric Company)
words by Tom Lehrer
music: "Without a Song" by Vincent Youmans
Without an S -- A nest would be a net. Without an S -- The west would just be wet. What happiness! That pest could be a pet, Without an S.
Without an S -- A spin would be a pin. Without an S -- Your skin would be your kin. And I confess That sin is really in, Without an S.
A spine would then be a pine, And swine would turn to wine, A stick would be a tick. When you were sick, You wouldn't feel sick, You'd only feel ick!
Without an S -- A slap would be a lap. Without an S -- A strap would be a trap. Your hands can't clasp, No, they can only clap, Without an S.
A scar would then be a car, A star would turn to tar, A mast would be a mat. Try running fast, You couldn't be fast, You'd only be fat!
Without an S -- A ship would be a hip. Without an S -- A slip would be a lip. When you undress, A strip would be a trip, Without an S.
# Songs and Lyrics (Lehrer)/When You Are Old and Gray

WHEN YOU ARE OLD AND GRAY
words and music by Tom Lehrer
# Songs and Lyrics (Lehrer)/Who's Next?

WHO'S NEXT?
words and music by Tom Lehrer
# Songs and Lyrics (Lehrer)/s = ½ gt²

* related portals: The Physical Revue.
* sister projects: Wikidata item.
A recording of this song is available here.
s = ½ gt$^2$
words and music by Tom Lehrer (tune: "Te Amo")
| PROFESSOR: | s is one half g t squared |
| | p v equals n r t |
| | K E is one half m v squared |
| | And T is 2 π times the square root of L over g. |
| STUDENT: | I try my level best, |
| | And I cram for ev'ry test, |
| | And I do all my work without delaying. |
| | I'm certainly not lazy, |
| | But I think I'll soon go crazy, |
| | 'Cause I don't understand a word he's saying. |
| | I hope they overlook this course, |
| | For why I ever took this course |
| | Will always be a mystery to me. |
| | But still I wish I knew |
| | Just what the dean will do |
| | If I don't get a C. |
| PROFESSOR: | STUDENT: |
| The force is mass | I think he said the force, |
| Times acceleration. | I know that word, of course, |
| Yes, the force is the mass | It's all becoming clear, |
| Times the acceleration, or more precisely, the time derivative of the linear momentum. | But it's too late, I fear. |
| | There he goes again! |
| s is one half g t squared | I try my level best, and I cram for ev'ry test, |
| p v equals n r t | I'm certainly not lazy, but I think I'll soon go crazy, |
| | 'Cause I don't understand a word he 's saying. |
| K E is one half m v squared | I hope they overlook this course, |
| | For why I ever took this course |
| | Will always be a mystery to me. |
| And T is 2 π times the square root of L over g. | But still I wish I knew just what the dean will do |
| | If I don't get a C. |
| Over g |
| | a C |
| Over g |
| | a C |
| Square root of L by g. | If I don't get a C. |
# Songs and Sonnets (Blind)/The Sleeping Beauty

The Sleeping Beauty
There was intoxication in the air; The wind, keen blowing from across the seas, O'er leagues of new-ploughed land and heathery leas, Smelt of wild gorse whose gold flamed everywhere. And undertone of song pulsed far and near, The soaring larks filled heaven with ecstasies, And, like a living clock among the trees, The shouting cuckoo struck the time of year.
For now the Sun had found the earth once more, And woke the Sleeping Beauty with a kiss; Who thrilled with light of love in every pore, Opened her flower-blue eyes, and looked in his. Then all things felt life fluttering at their core— The world shook mystical in lambent bliss.
# Some of These Days
## Lyrics

Two sweethearts in a country town, the neighbors say, Lived happily the whole day long, Until one day he told her he must go away; She wondered then what could be wrong.
He said "You know it's true I love you best of all, And yet it's best that we should part." Just as he went away they heard his sweetheart say, Though it 'most broke her heart:
Some of these days You'll miss me, honey, Some of these days You'll feel so lonely; You'll miss my hugging, You'll miss my kissing, You'll miss me, honey, When you're away.
I feel so lonely Just for you only, For you know, honey, You've had your way, And when you leave me, You know 't will grieve me; I'll miss my little dad-dad-daddy, Yes some of these days.
He went away, and from that day the world's been sad, He realizes his mistake, He listened to the gossips, and that's always bad, For they don't care whose heart they break.
As time went on he longed to see his girl again, And so by chance one day they met. As they met face to face, there was a fond embrace, Though these words haunt him yet:
Some of these days You'll miss me, honey, Some of these days You'll feel so lonely; You'll miss my hugging, You'll miss my kissing, You'll miss me, honey, When you're away.
I feel so lonely Just for you only, For you know, honey, You've had your way, And when you leave me, You know 't will grieve me; I'll miss my little dad-dad-daddy, Yes some of these days.
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 1975, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 48 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