OpenLLM-France/wikimedia huggingface dataset:
# An Anthology of Australian Verse/No Message

She heard the story of the end,  Each message, too, she heard; And there was one for every friend;  For her alone — no word.
And shall she bear a heavier heart,  And deem his love was fled; Because his soul from earth could part  Leaving her name unsaid?
No — No! — Though neither sign nor sound  A parting thought expressed — Not heedless passed the Homeward-Bound  Of her he loved the best.
Of voyage-perils, bravely borne,  He would not tell the tale; Of shattered planks and canvas torn,  And war with wind and gale.
He waited till the light-house star  Should rise against the sky; And from the mainland, looming far,  The forest scents blow by.
He hoped to tell — assurance sweet! —  That pain and grief were o'er — What blessings haste the soul to meet,  Ere yet within the door.
Then one farewell he thought to speak  When all the rest were past — As in the parting-hour we seek  The dearest hand the last.
And while for this delaying but  To see Heaven's opening Gate — Lo, it received him — and was shut —  Ere he could say "I wait."
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
# An Anthology of Australian Verse/My Queen of Dreams

In the warm flushed heart of the rose-red west,  When the great sun quivered and died to-day, You pulsed, O star, by yon pine-clad crest —  And throbbed till the bright eve ashened grey —  Then I saw you swim  By the shadowy rim Where the grey gum dips to the western plain,  And you rayed delight  As you winged your flight To the mystic spheres where your kinsmen reign.
O star, did you see her? My queen of dreams!  Was it you that glimmered the night we strayed A month ago by these scented streams?  Half-checked by the litter the musk-buds made?  Did you sleep or wake?  Ah, for Love's sweet sake (Though the world should fail and the soft stars wane!)  I shall dream delight  Till our souls take flight To the mystic spheres where your kinsmen reign!
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
# An Anthology of Australian Verse/Love

She loves me! From her own bliss-breathing lips  The live confession came, like rich perfume  From crimson petals bursting into bloom! And still my heart at the remembrance skips Like a young lion, and my tongue, too, trips  As drunk with joy! while every object seen  In life's diurnal round wears in its mien A clear assurance that no doubts eclipse. And if the common things of nature now  Are like old faces flushed with new delight, Much more the consciousness of that rich vow  Deepens the beauteous, and refines the bright,  While throned I seem on love's divinest height 'Mid all the glories glowing round its brow.
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
# An Anthology of Australian Verse/Love in a Cottage

A cottage small be mine, with porch  Enwreathed with ivy green, And brightsome flowers with dew-filled bells,  'Mid brown old wattles seen.
And one to wait at shut of eve,  With eyes as fountain clear, And braided hair, and simple dress,  My homeward step to hear.
On summer eves to sing old songs,  And talk o'er early vows, While stars look down like angels' eyes  Amid the leafy boughs.
When Spring flowers peep from flossy cells,  And bright-winged parrots call, In forest paths be ours to rove  Till purple evenings fall.
The curtains closed, by taper clear  To read some page divine, On winter nights, the hearth beside,  Her soft, warm hand in mine.
And so to glide through busy life,  Like some small brook alone, That winds its way 'mid grassy knolls,  Its music all its own.
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
# An Anthology of Australian Verse/Happy Days

A fringe of rushes — one green line  Upon a faded plain; A silver streak of water-shine —  Above, tree-watchers twain. It was our resting-place awhile,  And still, with backward gaze, We say: "'Tis many a weary mile —  But there were happy days."
And shall no ripple break the sand  Upon our farther way? Or reedy ranks all knee-deep stand?  Or leafy tree-tops sway? The gold of dawn is surely met  In sunset's lavish blaze; And — in horizons hidden yet —  There shall be happy days.
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
# An Anthology of Modern Bohemian Poetry/From the World Beyond

FROM THE WORLD BEYOND
From the world beyond, the faith I cherish, My heart sings an eternal strain; Nevermore my love shall perish, Nevermore my fire shall wane.
Heaven and earth I touch a-wing, The storm throbs round in savage strife; Belovèd maiden, to me cling, Let us fly to the depths of life.
(1905).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/I go, nor know whither

​Karel Babánek (b. 1872).
I GO, NOR KNOW WHITHER
I go, nor know whither, and o’er the world stray, And I know not the place where my footsteps I stay.
I go like a leaf, from its resting-place torn, That afar on the tempest of autumn is borne.
I go, nor know whither, no comrade have I, But I ask not the way, without heaving a sigh.
I, vagabond, king, o’er the world wander free, In the train of my yearning I ever shall flee.
In the train of my yearning, each day as it goes, Till slumber eternal shall bring me repose.
"Songs of a Vagabond" (1902).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/Melancholy Serenade V

MELANCHOLY SERENADE V.
Grief! that in my soul com'st stealing, From violets that at night-time bloom, And that like a glow-worm gleamest, Soft in the summer's evening gloom. Kindle within my heart a winsome lay, Full of longing and of bliss, And then within her kiss Fade away!
"Music in the Soul" (1886).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/From "New Gypsy Melodies"

​Adolf Heyduk (b. 1835).
FROM "NEW GYPSY MELODIES" (1897)
Hostess, a cup of wine, I pray, From Debreczin I took my way; By distant foot-paths I did fare,— Lo, these fetters that I bear!
Our masters gave to me these bands, They fettered last my feet and hands; That, when gleamed the star of morn, I to the gallows might be borne.
Weakly were the fetters wrought, By my strength asunder brought; Why should such fetters be my plight, For scanty bread and scanty right?
The gypsy from these bonds shall raise A sharp defence; there come the days, That we ourselves with spurs shall clank, Like the man of lofty rank.
I struggled, by a savage love laid low, Burn me, destroy me with thine eyes' bright glow, Let on me prey a swarm of sighs like fire, And pierce my bosom with its own desire.
Thy breath is wafted like a breeze in spring, Thy breath is fragrant, and doth rapture bring; My love, which thy laments would fain allay, Like to young wine doth surge in pearly spray.
Like to a goblet filled with foamy longing, Within my bosom gleaming waves are thronging; Twine round me thy pale tresses in a flood, Thou still'st the fervour of my flaming blood.
A bounding desert-steed, my passion, cries: O that thy breath would like the samum rise; O that thine arms might bring me to my end, E'en as the hurricanes the oak-trees rend.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/I (iii.)

I (iii.)
I am the first who arose of the people of Teschen, The first Beskydian bard who uttered his strains; They follow the stranger's plough, the slaves fare downwards, Naught but milk and water flows in their veins.
Each of them has a God in the heaven above them, A second, a greater one, here on the earth holds sway; To the one above they pay in the church their tribute, And unto the second with tribute and blood they pay.
He, He Who is up on high gives bread that we die not, To the fish He gave streams, for the butterfly blossoms has shed; Thou, thou who wert bred and born on the Beskyd mountains, On thee He bestowed the world that 'neath Lyssa is spread. He gave thee the mountains, and gave unto thee the forests, The scents, that out of the meadows already sweep; With one swoop the second has taken everything from you-— Hasten to Him Who is there in the church, and weep.
My son from the Beskyds, reverence God and thy masters, Fair is the fruit that then shall be reckoned as thine; Out of thy forests the guardian angels have cast thee, Unto them thou so meekly thyself dost incline.
"Thou thief from Krásná! Is this the wood thou possessest? Cast thyself down, and the earth In humility kiss, Out of the woods of thy lords and away to Friedek!" Thou Who art up on high, what say'st Thou to this?
Thine evil speaking offends thy masters, Thy guardian angels it doth offend; Cast it off, for this will better avail thee, On thy son will the penalty first descend.
Thus 'twas done. The Lord wills it. Night sank o’er my people, Our doom was sealed when the night had passed; In that night I prayed to the Demon of Vengeance, The first Beskydian bard and the last.
"Songs of Silesia" (1911).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/In Spring

* related portals: Czech literature.
* sister projects: Wikidata item.
​Julius Zeyer (1841—1901).
IN SPRING
In the grove sings the throstle, O golden strain, Full of longing and tenderness, Full of sweet pain!
How the meadow is smiling, And the green-covered leas; What secrets they capture From the whispering breeze!
And the lark in the tempest Its song is flinging, As o'er a dark forest A star were singing.
Lo the sun and the spring-tide, Lo verdant May; Once again 'tis returning, With its dreamy lay.
O spring-tide, O May-tide, O the sounds that take flight; How the earth has grown youthful, And the air full of might!
On all sides what brightness, And around me what gladness; But grief in my bosom, And sorrow and sadness.
My love that is loveless, Is bleeding in anguish; Ne'er returneth my May-tide, In the grave it doth languish.
"New Songs" (1907).
THE END
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/Kyjov

KYJOV
Ho, ye slender youths in your top-boots clad, Ho, maidens in crimson array— In Kyjov a joyful life ye have had, In Kyjov 'twill ever be gay.
E'en as from fragrant vines it flows, E'en as ye, O my verses, are streaming, The fiery blood of the Slovaks glows, Lips burn and eyes are gleaming.
Who will smite us, or who will afflict us with ill? For unto no master we bend; And as blithe as we live and we drink our fill, As blithe we will go to our end.
"Songs of Silesia" (1911).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/Eclogue

ECLOGUE
The air is steeped in scent of berries, and 'tis crystal-clear around, How the moss is palpitating underneath thy tread! And from the rushes strains like unto melodies of flutes resound, A gleaming rain of blossoms from the hawthorn bush is shed. Thou askest—joylul tears within thine eye, "Why is this, O why?" On high The bird speaks, at thy foot the blossom of the field, "Only thus can all Spring's wonders be revealed."
Thy breath is sweet with scent of berries, crystal-clear thine eye is gleaming, How thy bosom 'neath the pressure of my hand doth thrill!
From my heart the fervour-laden strains of melody come streaming, Even as from a craggy rock there pours a pearly rill. Thou askest—tender tears within thine eye, "Why is this—O why?" On high The bird speaks, at thy foot the blossom of the field, "Only thus can all Love's wonders be revealed."
"Eclogues and Songs" (1880).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/Fragment

​Jan z Wojkowicz (b. 1880).
FRAGMENT
And what of all remained to me, When back from Eden I returned?
Dreams of princesses in satin array, For princes that tenderly are gleaming; For princes that dreamy litheness display, And like to love with passion are teeming.
Dreams of princesses in satin array, In a bower where scents of roses flow, And they crave to wander away, ah, away, Golden-clad on a horse to go.
"Poems" (1900).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Anthology of Modern Bohemian Poetry/June

JUNE
The earth has blossomed, and for and near A languid mood o'er the land has spread; On the heath, a radiance golden-clear Mingled with rain of heaven is shed.
The blossoming fields in the distance are gleaming, A waggon has passed. The acacia scent From somewhere is waited. A bird pipes a-dreaming. The air is athrob, with the sun's heat blent.
The chirping of crickets is home along; A hut on the hill-side. The buzzing bees throng Into the clover and white camomile.
And thou art happy—thou seemest to see How a woman is held in embrace by thee, And thou lovest and lovest and lovest the while.
"Chants of Dreams and the Fragrance of Spring" (1905).
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Etymological Dictionary of the German Language/Annotated/zuwider

| This annotated version expands the abbreviations in the original entry zuwider. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zuwider, adjective (originally adverb), ‘importunate,’ Modern High German only; implying Middle High German *ze wider, formed in a similar way to Modern High German zugegen (Middle High German zegęgene), literally ‘against’; see wider.
# An Etymological Dictionary of the German Language/Annotated/zuweilen

| This annotated version expands the abbreviations in the original entry zuweilen. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zuweilen, adverb, ‘at times, sometimes,’ Modern High German only; in Middle High German under wîlen or wîlen, wîlent, ‘once, formerly.’ Similarly, Modern High German bisweilen, alleweil, weiland; compare weil.
# An Etymological Dictionary of the German Language/Annotated/zurück

| This annotated version expands the abbreviations in the original entry zurück. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zurück, adverb, ‘back, backwards,’ from Middle High German zerücke (Middle German zurücke), Old High German zi rucke, ‘backwards, behind one's back’; compare Low German terügge. Allied to Rücken; compare English back.
# An Etymological Dictionary of the German Language/Annotated/zusammen

| This annotated version expands the abbreviations in the original entry zusammen. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zusammen, adverb, ‘together,’ from Middle High German zesamene, zesamt, Old High German zisamane, ‘together, jointly’; compare sammeln, samt.
# An Etymological Dictionary of the German Language/Annotated/zuwege

| This annotated version expands the abbreviations in the original entry zuwege. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zuwege, adverb in zuwege bringen, ‘to bring out, accomplish,’ from Middle High German ze wëge, Old High German zi wëge, ‘on the (right) way.’ Compare wegen, adverb, and Weg.
# An Etymological Dictionary of the German Language/Annotated/zuvor

| This annotated version expands the abbreviations in the original entry zuvor. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zuvor, adverb, ‘before, beforehand, formerly,’ from late Middle High German zuovor, zuovorn (Middle German zûvor), ‘formerly, beforehand.’ Allied, like bevor, to vor.
# An Etymological Dictionary of the German Language/Annotated/zwacken

| This annotated version expands the abbreviations in the original entry zwacken. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zwacken, verb, ‘to pinch, tease, cheat,’ from Middle High German zwacken, ‘to pluck, tug’; a graded form of zwicken.
# An Etymological Dictionary of the German Language/Annotated/zwagen

| This annotated version expands the abbreviations in the original entry zwagen. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ zwagen, verb, ‘to wash,’ see Zwehle.