OpenLLM-France/wikimedia huggingface dataset:
# The Princess and the Goblin/Chapter 32

Chapter 32. The Last Chapter
All the rest went up the mountain, and separated in groups to the homes of the miners. Curdie and his father and mother took Lootie with them. And the whole way a light, of which all but Lootie understood the origin, shone upon their path. But when they looked round they could see nothing of the silvery globe.
For days and days the water continued to rush from the doors and windows of the king's house, and a few goblin bodies were swept out into the road.
Curdie saw that something must be done. He spoke to his father and the rest of the miners, and they at once proceeded to make another outlet for the waters. By setting all hands to the work, tunnelling here and building there, they soon succeeded; and having also made a little tunnel to drain the water away from under the king's house, they were soon able to get into the wine cellar, where they found a multitude of dead goblins—among the rest the queen, with the skin-shoe gone, and the stone one fast to her ankle—for the water had swept away the barricade, which prevented the men-at-arms from following the goblins, and had greatly widened the passage. They built it securely up, and then went back to their labours in the mine.
A good many of the goblins with their creatures escaped from the inundation out upon the mountain. But most of them soon left that part of the country, and most of those who remained grew milder in character, and indeed became very much like the Scotch brownies. Their skulls became softer as well as their hearts, and their feet grew harder, and by degrees they became friendly with the inhabitants of the mountain and even with the miners. But the latter were merciless to any of the cobs' creatures that came in their way, until at length they all but disappeared.
The rest of the history of The Princess and Curdie must be kept for another volume.
# The Rainy Day

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 day is cold, and dark, and dreary; It rains, and the wind is never weary; The vine still clings to the mouldering wall, But at every gust the dead leaves fall, And the day is dark and dreary.
My life is cold, and dark, and dreary; It rains, and the wind is never weary; My thoughts still cling to the mouldering Past, But the hopes of youth fall thick in the blast, And the days are dark and dreary.
Be still, sad heart! and cease repining; Behind the clouds is the sun still shining; Thy fate is the common fate of all, Into each life some rain must fall, Some days must be dark and dreary.
# The Ram, the Bull, the Heavenly Twins

* "Z" in The Alphabet of Old Friends (1874)
* Quoted in chapter 1 of A Short History of Astronomy (1898)
# The Ram (fairy tale)

* "The Ram" in Fairy Tales by the Countess d'Aulnoy, 1856.
* "The Wonderful Sheep" in The Blue Fairy Book, 1889.
# The Prose Edda (Brodeur 1916)

Layout 2
​This series of Scandinavian Classics is published by The American Scandinavian Foundation in the belief that greater familiarity with the chief literary monuments of the North will help Americans to a better understanding of Scandinavians, and thus serve to stimulate their sympathetic cooperation to good ends
SCANDINAVIAN CLASSICS VOLUME V THE PROSE EDDA
ESTABLISHED BY NIELS POULSON
THE PROSE EDDA BY SNORRI STURLUSON
TRANSLATED FROM THE ICELANDIC WITH AN INTRODUCTION BY ARTHUR GILCHRIST BRODEUR, Ph.D.
Instructor in English Philology in the University of California
NEW YORK
THE AMERICAN-SCANDINAVIAN FOUNDATION LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS 1916
Copyright, 1916, by The American-Scandinavian Foundation
D. B. Updike · The Merrymount Press · Boston · U. S. A.
TO WILLIAM HENRY SCHOFIELD WHO MADE THE WORK POSSIBLE THE TRANSLATOR RENDERS THE TRIBUTE OF THIS BOOK
CONTENTS
page :
| INTRODUCTION | INTRODUCTION | ix |
| PROLOGUE | PROLOGUE | 1 |
| GYLFAGINNING | GYLFAGINNING | 11 |
| SKÁLDSKAPARMÁL | SKÁLDSKAPARMÁL | 87 |
| INDEX | INDEX | 243 |
ABBREVIATIONS
Cl.-Vig. = the Cleasby-Vigfússon Icelandic-English Dictionary, Oxford, 1874.
Cod. Reg. = Codex Regius, one of the manuscripts in which Snorri's Edda is preserved.
Cod. Worm. = Codex Wormianus, another of the manuscripts.
Cod. Upsal. = Codex Upsaliensis, a third manuscript (U).
Yngl. S. = Ynglinga Saga.
Gylfag. = Gylfaginning.
Skálds. = Skáldskaparmál.
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 1971, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 52 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 Prose Tales of Alexander Poushkin

POUSHKIN'S PROSE TALES.
G. BELL AND SONS, LTD. LONDON: PORTUGAL ST., KINGSWAY CAMBRIDGE: DEIGHTON, BELL AND CO.
NEW YORK: THE MACMILLAN COMPANY
BOMBAY: A. H. WHEELER AND CO.
THE PROSE TALES
OF
ALEXANDER POUSHKIN
TRANSLATED FROM THE RUSSIAN
BY
T. KEANE
LONDON
G. BELL AND SONS, LTD.
1916
First published, April 1894
Reprinted in Bohn's Standard Library, 1896, 1911, 1916
CONTENTS
PAGE
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Prose Romances of Edgar A. Poe

* "The Murders in the Rue Morgue"
* "The Man That Was Used Up"
# The Rock-cut Temples of India/The Caves of Ajunta/Lower Part of Façade of Chaitya No. 19—Ajunta

LOWER PART OF FAÇADE OF CHAITYA No. 19.—AJUNTA.
THIS view represents the sculpture on the right-hand side of the lower part of the façade of Chaitya Cave No. 19. The principal figure on the right hand of the entrance represents Buddha giving alms. In the next compartment he is standing in front of a daghopa, richly ornamented and surmounted by the triple umbrella, standing on the tee, which is so universal an emblem in these times, and is, in fact, merely a repetition of what is seen inside the Cave itself. Above, on the upper right-hand corner of the picture, he is represented, in the most usual standing attitude, as preaching, his right hand hanging down, his left raised; but the style of the sculpture is so far inferior as to lead to the suspicion of a later date. Below this he is represented seated cross-legged, but this also is in an inferior style of art.
# The Rock-cut Temples of India/The Caves of Ajunta/Southern End of the Series of Caves—Ajunta

SOUTHERN END OF THE SERIES OF CAVES.—AJUNTA.
THIS view is taken from the verandah of Cave No. 16, looking southward, and represents the opposite end of the series from that of the last illustration. The Chaitya Cave seen in the extreme left is No. 26. Those next it on its right are the unfinished Viharas Nos. 23 and 24; and in the centre of the view is that known as No. 21.
As will be observed, the Caves here are very much higher above the bottom of the ravine than those towards the other end, especially those in the centre. This arose apparently from their architects following the vein of rock, the texture of which seemed most suitable for their purpose.
# The Rock-cut Temples of India/The Caves of Ajunta/Interior of Verandah No. 14—Ajunta

INTERIOR OF VERANDAH No. 14.—AJUNTA.
THE form of the pillars of the verandah are square, divided by three flat bands forming compartments which are fluted exactly as is seen at the old Louvre or Tuileries, and other examples of Renaissance, but above this they slope inwards in a manner peculiar to Indian architecture. This form was adopted by the Hindoos in order that the abacus of the capital should not extend beyond the diameter of the shaft. In other words it was a device by which they obtained a pillar with a well marked capital out of a straight lined block of stone, with the least waste of material. As will be seen in the view, the two pillars at the end of the verandah are prepared to be so adorned.
The inner wall is arranged in a similar manner to that of all the Viharas here, but is more than usually plain, though this may arise from its being unfinished, or from its having been covered with chunam, and painted, but these adornments have perished, as is the case in almost all the verandahs at Ajunta.
# The Rock-cut Temples of India/The Caves of Ajunta/Porch of Chaitya No. 19—Ajunta

PORCH OF CHAITYA No. 19.—AJUNTA.
There is nothing to fix with certainty the age of this Cave. It is certainly later than the Viharas last described, and cotemporary with some of those which follow, while there are analogies and other circumstances which cannot be detailed here, which render it probable that it was excavated about the eighth century of our era.
# The Rock-cut Temples of India/The Caves of Ajunta/Roof of Chaitya No. 19—Ajunta

ROOF OF CHAITYA, No. 19.—AJUNTA.
VIEW taken from the upper gallery, showing the construction of the roof, which still retains the wooden forms of ribs with a ridge piece, though being cut in the rock they are probably stouter and thicker than they were when really executed in timber. The upper part of the daghopa is also seen, with its three umbrellas, but these have departed still further from their wooden prototypes, and are fast approaching those forms which gave rise to the three, six, and nine-storied towers of the Jains, and which are still built at the present day in China. The connexion between the porcelain tower at Nankin, and a hemispherical dome surmounted by a wooden umbrella, is certainly not at first sight apparent; but there are few things more clear than that the one is the direct lineal descendant of the other, and every step of the change can be pointed out.
# The Rock-cut Temples of India/The Caves of Ajunta/Interior of Verandah, Cave No. 4—Ajunta

INTERIOR OF VERANDAH, CAVE No. 4.—AJUNTA.
THE verandah of this Cave is supported apparently by eight pillars in front; simple octagons with bracket capitals, but without bases, or any intermediate member to break the abruptness of the change between the capital and the shaft, but the whole is massive and plain, and consequently appropriate to Cave architecture; more so indeed than many of the more elaborate designs which are found in this as well in all the other groups of Caves, more especially among those so modern as this one evidently is.
# The Rock-cut Temples of India/The Caves of Ajunta/Lower Part of Façade at Chaitya No. 26—Ajunta

LOWER PART OF FAÇADE AT CHAITYA No. 26.—AJUNTA.
THOUGH there are some insignificant Caves beyond, the great Chaitya No. 26 terminates the series as worthily at this end as the Vihara No. 1, does at the other.
In general plan it is very similar to No. 19, but its dimensions exceed the former very considerably, the whole width being 36 ft. 3 ins., that of the nave 17 ft. 7 ins., and the total length is 66 ft. 1 in. Its sculptures, too, are far more numerous and more elaborate; indeed, more so than in any other Cave of the series; but they are very inferior both in design and in execution, so much so, that if other proof were wanting, this alone would be sufficient to stamp this at once as one of the latest, if not actually the last executed Cave of Ajunta.
# The Rock-cut Temples of India/The Caves of Ajunta/The First Seven Caves at Ajunta

THE FIRST SEVEN CAVES AT AJUNTA
THE lower or northern group of Caves, extending from the two older Chaitya caves seen in the last view to the commencement of the series. The first Cave on the left of the picture is that known as No. 7. Next to it is the two-storied cave numbered as 6. No. 4 is seen on the same level as its lower storey, and on the level of its upper storey are seen the three magnificent Viharas known as Nos. 1, 2, and 3.
# The Rock-cut Temples of India/The Caves of Ajunta/Lower Part of Façade of Chaitya No. 19—Ajunta 2

LOWER PART OF FAÇADE OF CHAITYA No. 19.—AJUNTA.
ON the left of the entrance, as you look towards it, Buddha is represented standing in the usual attitude of exposition. In the next compartment he is seated cross-legged over a shrine, in the front of which is another figure of himself standing under a very rich canopy. Beyond these are repetitions of the same two figures as bounded the composition in the last view, but in this position they are apparently in the same style of art as the central compartments, and range much better with the architectural composition than they do on the other side. Beyond, on the extreme left, is seen the commencement of the Hindoo shrine described further on as No. 33.
The two pillars which support the porch, and the pilasters which separate these various sculptured groups, are all covered with the most elaborate ornamentation, as delicate in execution as any found at Ajunta, and generally in better preservation than such sculptures usually are in positions equally exposed.
# The Rock-cut Temples of India/The Caves of Ajunta/Sculpture in Verandah of Cave No. 4—Ajunta

SCULPTURE IN VERANDAH OF CAVE No. 4.—AJUNTA.
THE wall at the back of the verandah is sculptured instead of being painted, which is unusual at Ajunta, and an evidence for the modern date of the excavation. The style of the sculpture, too, has more of the character we are accustomed to associate with Jaina than with Buddhist art. Its presence, however, gives a richness of effect to this verandah which is wanting in the others, where the paintings have been washed off, from the exposed nature of the situation.
# The Ramayana/Book I/Canto XLVI: Diti's Hope

But Diti, when her sons were slain, Wild with a childless mother's pain. To Kas'yap spake, Marícha's son, Her husband: 'O thou glorious one!
Dead are the children, mine no more, The mighty sons to thee I bore. Long fervour's meed, I crave a boy Whose arm may Indra's life destroy. The toil and pain my care shall be: To bless my hope depends on thee. Give me a mighty son to slay Fierce Indra, gracious lord, I pray.'
Then glorious Kas'yap thus replied To Diti, as she wept and sighed: 'Thy prayer is heard, dear saint! Remain Pure from all spot, and thou shalt gain A son whose arm shall take the life Of Indra in the battle strife. For full a thousand years endure Free from all stain, supremely pure; Then shall thy son and mine appear, Whom the three worlds shall serve with fear.' These words the glorious Kas'yap said, Then gently stroked his consort's head, Blessed her, and bade a kind adieu, And turned him to his rites anew. Soon as her lord had left her side, Her bosom swelled with joy and pride. She sought the shade of holy boughs, And there began her awful vows. While yet she wrought her rites austere, Indra, unbidden, hastened near, With sweet observance tending her, A reverential minister. Wood, water, fire, and grass he brought, Sweet roots and woodland fruit he sought, And all her wants, the Thousand-eyed, With never-failing care, supplied, With tender love and soft caress Removing pain and weariness.
When, of the thousand years ordained, Ten only unfulfilled remained, Thus to her son, the Thousand-eyed, The Goddess in her triumph cried: 'Best of the mighty! there remain But ten short years of toil and pain; These years of penance soon will flee, And a new brother thou shalt see. Him for thy sake I'll nobly breed, And lust of war his soul shall feed; Then free from care and sorrow thou Shalt see the worlds before him bow.'
# The Saturday Evening Post/Dead Birds

* information about this edition.
* sister projects: Commons category, Wikidata item.
As serialized in The Saturday Evening Post, 1925 March 28 to April 18.
He Picked Up the Dead Birds, Remarking, a Little to His Surprise, How Quickly They Had Commenced to Stiffen
DEAD BIRDS
BY HENRY C. ROWLAND
ILLUSTRATED BY GRANT REYNARD
* Part 1
* Part 2
* Part 3
* Part 4
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 1933, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 90 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 Spirit of the Nation/The Voice of Tara

THE VOICE OF TARA.
DATE UNKNOWN.
I.
O! that my voice could waken the hearts that slumber cold!— The chiefs that time hath taken, the warrior kings of old— ​Oh! for Fingal, the pride of all the gallant Finian crew, To wave his brand—the fight demand—and blow the Baraboo!
II.
O! for the Clana-Morni, the Clana-Deaġaḋ tall, Dal-Reada's Knights of glory, who seal'd the Roman Wall! O! for the darts that smote the hearts of Freedom's foreign foe, When bloodier grew the fierce Croḃ-Ruaḋ o'er bleak Helvetia's snow!
III.
O! for the battle-axes that smote the pirate Dane! O! for the firm Dalcassians that fought on Ossory's plain! And O! for those who wrathful rose the Saxon to withstand, Till traitor arts and recreant hearts betray'd the patriot band!
IV.
Alas! our chiefs of glory will list no minstrel's call— But, o'er their deathless story, can tyrants fling a pall? Ye'll ne'er disgrace your ancient race, ye sons of fathers brave, Arise and burst your bonds accurst—the tomb contains no slave!
V.
Arise ye, now or never—from heaven the martyr'd brave— Command you to deliver the land they fought to save; Then swear to die ere despots tie your limbs in bondage chain, And let the shout ring boldly out o'er listening earth and main.
VI.
The fishers of Kilkerran, the men of Greenore bay— The dwellers by Lough Dergert, and by the broad Lough Neagh— Leave boat and oar, and leap ashore, to join the fiery ranks That come in pride from Galtee's side, and from Blackwater's banks.
VII.
Where "stubborn Newre" is streaming—where Lee's green valley smiles— Where kingly Shannon circles his hundred sainted isles, They list the call—and woe befall the hapless, doomed array Who'll rouse their wrath in war's red path to strike in freedom's fray.
VIII.
I see the brave rejoicing—I hear their shouts ascend— See martyr'd men approving from thrones of brightness bend. Ye ache my sight, ye visions bright of all our glory won; The "Battle's Eye" hath found reply—my tuneful task is done.
* ↑ The original Irish of this song has been preserved in the extensive mountain tract that stretches far into the adjacent counties of Limerick, Cork, and Kerry, between the towns of Newcastle, Abbeyfeale, and Castleisland. I have vainly endeavoured to learn the author's name, but the original bears strong marks of its being the production of a Munster bard of the seventeenth century. I took it down, viva voce, from a Baccach, who moved a very respectable repertory of wool, butter, and antiquarian lore, among the simple dwellers of the glens. He sung it to that very warlike air, vulgarly named "The Poacher," in a kind of recitative, with his eyes closed, as if to shut out exterior objects from his inspired vision, and leaning on the top of his staff, as he swayed his body to and fro to the martial sounds. I have rendered the words as literally as possible, hopeless of preserving the abrupt and striking spirit of the Gælic.
* ↑ "The bloody hand," the ensign of the Knights of the Red Branch.
* ↑ The literal English of Rosg-Caṫa, or the "Incentive to Battle"—the war-song of the bard.
# The Spirit of the Nation/The Voice of the Nation

THE VOICE OF THE NATION.
I.
How bright will the day be—how radiant and blest The dawning of Freedom and Peace in the west, When the chain that foul treason around us had cast Will be shattered and flung to the spoiler at last.
II.
When that trumpet-toned voice will go forth, as before, Till its echo resounds on earth's uttermost shore— "No laws under Heaven will the Irishman own, But the home hallowed laws of his country alone."
III.
Then our national emblems aloft shall be seen, The shamrock and harp on a banner of green; And when free to the breezes that banner shall fly, The wide world to enslave it again we defy!
IV.
The shameful distinction of class and of creed Will be trampled to dust like a poisonous weed; And the sweet flower of concord shall rise in its room, Breathing Union and peace over bigotry's tomb.
V.
The peasant no more shall be driven from the soil, Nor robbed like a slave of the fruit of his toil; But the right to his cot and his acres shall be, As the lord's to his manor-hall, sacred and free!
VI.
The loom and the workshop, now silent so long, Will echo again with glad industry's song; And comfort and smiling contentment be there, Where our artisans languish in want and despair.
VII.
Let us pray for that day—let us manfully strive, Nor cease while one true Irish heart is alive; And shame on the sceptic who dreams we can fail, Or the dastard whose heart for a moment could quail.
VIII.
We have God on our side, who hath blessed the green isle, And made it with beauty and verdure to smile— Who preserved us in bondage still faithful and true, And gave us the spirit no chains could subdue.
IX.
We have him still to lead us—our guide from the first, Who despaired not when prospects were darkest and worst— Whose fervour the cold hand of time cannot chill— Our true-hearted, high-minded Patriot still!
X.
In that God we will trust—by that leader we'll stand, United—unshrinking—bold heart, and brave hand, And the Saxon shall quail at the voice of our zeal, "O'Connell—the land of our love—and Repeal!"
# The Spirit of the Nation/Tyrol and Ireland

TYROL AND IRELAND.
"Ye gather three ears of corn, and they take two out of the three. Are ye contented?—are ye happy? But there is a Providence above, and there are angels; and, when we seek to right ourselves, they will assist us."—Speech of Hofer to the Tyrolese: 1809.
I.
And Hofer roused Tyrol for this, Made Winschgan red with blood, Thai Botzen's peasants, ranged in arms, And Inspruck's fire withstood. For this! for this! that but a third The hind his own could call, When Passyer gathered in her sheaves; Why, ye are robbed of all.
II.
Up rose the hardy mountaineers, And crushed Bavaria's horse, I' th' name of Father and of Son, For this without remorse. Great Heaven, for this! that Passyer's swains Of half their store were reft; Why, clods of senseless clay, to you Not ev'n an ear is left!
III.
'Midst plenty gushing round, ye starve— 'Midst blessings, crawl accursed, And hoard for your land cormorants all, Deep gorging till they burst! Still—still they spurn you with contempt, Deride your pangs with scorn; Still bid you bite the dust for churls, And villains basely born!
IV.
Oh, idiots! feel ye not the lash— The fangs that clutch at gold? From rogues so insolent what hope Of mercy do ye hold? The pallid millions kneel for food; The lordling locks his store. Hath earth, alas! but one Tyrol, And not a Hofer more?