OpenLLM-France/wikimedia huggingface dataset:
# The Catholic Encyclopedia and its makers/Smith, Reverend Sydney Fenn

​Smith, Reverend Sydney Fenn, S.J., b. at Margate, Kent, England, 1843, son of Reverend Sydney Smith, Anglican Vicar of Worth. Education: private school. Sandwich, and Jesuit scholasticate. Stonyhurst, Blackburn, England; St. Beuno's College, St. Asaph, Wales. Received into the Church by Father Albany Christie, S.J., 1864; entered the Society of Jesus 1866; professor of rhetoric, Stonyhurst College, Blackburn, 1871-1874; ordained 1877; professor: of ethics, Stonyhurst College, 1878-1879, of rhetoric, Beaumont College, Old Windsor, England, 1879-1882, of theology and Holy Scripture, St. Beuno's College, St. Asaph, Wales, 1883-1889; member of the Jesuit staff of writers. Farm Street, ​London, 1889- ; editor of "The Month" 1897-1901; at present on the staff of "The Month". Member of the Committee, Catholic Truth Society. Author of tracts for Catholic Truth Society; joint author and editor of "Scripture Manuals for Catholic Schools".
ARTICLES: Anglican Orders; Baker, Charles, Venerable; Barrow, William, Venerable; Bellarmine, Robert Francis Romulus, Venerable; Bentney, William; Clement XIII, Pope; Co-consecrators; Gallwey, Peter; Low Church; Mortification; Nonconformists; Non-Jurors; Union of Christendom; Zeal.
# The Black Terror/11

The Black Terror #11 was published in August, 1945.

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## References

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 1945 could have had their copyright renewed in 1972 or 1973, 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, 1974.
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 Black Terror/12

The Black Terror #12 was published in November 1945.

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## References

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 1945 could have had their copyright renewed in 1972 or 1973, 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, 1974.
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 Black Terror/16

The Black Terror #16 was published in October, 1946.

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## References

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 1946 could have had their copyright renewed in 1973 or 1974, 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, 1975.
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 Black Terror/24

The Black Terror #24 was published in November 1947.

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## References

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 1947 could have had their copyright renewed in 1974 or 1975, 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, 1976.
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 Black Terror

a Golden Age comics series that ran for 27 issues from 1942 through June, 1949. The series was published by Nedor Comics. Nedor Comics was the comic book line of publisher Ned Pines, who also published pulp magazines under a variety of company names (primarily Standard, Better and Thrilling) that he also used for the comics. In business from 1939 to 1956, Nedor was a prolific publisher during the Golden Age of comic books. Its best-known character is The Black Terror. In June of 1949, all comics were moved to the "Standard Comics" line, with a "Standard Comics" flag-like cover logo (all titles previously had no publisher logo, which was the norm at the time). In 1956, Standard ended and only two were continued by Pines Comics. What connection this new company had with Ned Pines and his company is unclear.
These comics are in the public domain and various publishers and creators have used them since. The Black terror has been revived by Eclipse Comics and AC Comics, as well as more recent incarnations in Alan Moore's Terror Obscura and Alex Ross's Superpowers.

## Cover Gallery

* 1 1942
* 2 June, 1943
* 3 August, 1943
* 4 November, 1943
* 5 February, 1944
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* 9 February, 1945
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* 20 October, 1947
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* 23 June, 1948
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* 25 December, 1948
* 26 April, 1949
* 27 June, 1949
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
# The Black Terror/25

The Black Terror #25 was published in December, 1948.

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## References

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 1948 could have had their copyright renewed in 1975 or 1976, 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, 1977.
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 Black Tulip/Advertisements

Routledge’s Cheap Literature (continued). Price 28. each. (Postage 4d.
ROUTLEDGE’S SIXPENNY NOVELS.
BEADLE’S LIBRARY.
ROUTLEDGE’S CHEAP COOKERY BOOKS.
London: George Routledge and Sons.
ROUTLEDGE’S BOOKS FOR THE COUNTRY. Price One Shilling per Volume, unless specified. (Postage 2d.) In limp cloth Covers or Ornamental Boards, with Illustrations.
*Fine Editions printed on superior paper, in a large type, with the Plates printed in Colours, fcap. 8vo., gilt.Price 2s. 6d. each. (Postage 4d.)
ROUTLEDGE’S SIXPENNY HANDBOOKS. With Illustrations, and illustrated boarded covers (Postage 1d.)
ROUTLEDGE’S HOUSEHOLD MANUALS. Price 6d, each. (Postage 1d.)
London: George Routledge and Sons.
ROUTLEDGE’S SONG BOOKS. Price One Shilling. edited and compiled by j. e. carpenter. Fcap. 24mo., boards, with fancy covers. (Postage 2d.)
ROUTLEDGE’S SIXPENNY SONG BOOKS. edited by j. e. carpenter. Each. 144pp. 24mo. fancy covers. (Postage 1d.)
ROUTLEDGE’S USEFUL LIBRARY. INCLUDING THE SHILLING LAW BOOKS. In fcap. 8vo., cloth limp, or cloth boards. Price One Shilling per Volume unless specified. (Postage 2d.)
London: George Routledge and Sons.
Layout 2
# The Black Tulip

Layout 2
[Advertisements]
The Black Tulip.
ALEXANDRE DUMAS.
Price One Shilling each Volume.
GEORGE ROUTLEDGE AND SONS, THE BROADWAY, LUDGATH.
THE
BLACK TULIP.
by
ALEXANDRE DUMAS,
AUTHOR OF “The Count of Monte Cristo,” “Memoirs of a Physician,” ETC. ETC.
A New Edition.
London:
George Routledge And Sons,
THE BROADWAY, LUDGATE; New York; 416, BROOME STREET.
* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
* Chapter XI
* Chapter XII
* Chapter XIII
* Chapter XIV
* Chapter XV
* Chapter XVI
* Chapter XVII
* Chapter XVIII
* Chapter XIX
* Chapter XX
* Chapter XXI
* Chapter XXII
* Chapter XXIII
* Chapter XXIV
* Chapter XXV
* Chapter XXVI
* Chapter XXVII
* Chapter XXVIII
* Chapter XXIX
* Chapter XXX
* Chapter XXXI
* Chapter XXXII
* Chapter XXXIII
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 Black Thief and Knight of the Glen

Hibernian folk tale
# The Beauties of Burn's Poems/The Author's Earnest Cry

THE AUTHOR's
EARNEST CRY AND PRAYERS
To the Scottish Representatives in the House of Commons.
* ↑ This was wrote before the Act anent the Scotch Distilleries, of Session 1786, for which Scotland and the Author return their most grateful thanks.
* ↑ A worthy old Hostess of the Author's in Mauchlin, where he sometimes studied Politics over a glass of gude auld Scotch Drink.
# The Beauties of Burn's Poems/The Calf

THE CALF.
To the Rev. Mr.———,
On his Text, Malachi, ch. iv. ver. 2,
And they shall go forth, and grow up like Calves of the stall.
———$\scriptstyle {\overbrace {\quad \quad \quad \quad } }$———
# The Beauties of Burn's Poems/The Holy Fair

THE HOLY FAIR.
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* ↑ Holy Fair is a common phrase in the West of Scotland for a Sacramental Occasion.
* ↑ A Street so called, which faces the Tent in ———
* ↑ Shakespeare's Hamlet.
# The Beauties of Burn's Poems/The Inventory

THE INVENTORY,
In answer to a Mandate by a Suryor of the Taxes.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
——— $\scriptstyle {\overbrace {\quad \quad \quad } }$ ———
* ↑ The fore-horse on the left-hand in the plough.
* ↑ The hindmost on the left-hand in the plough.
* ↑ Kilmarnock.
* ↑ The hindmost horse on the right-hand in the plough.
# The Beauties of Burn's Poems/The Auld Farmer's New-Year Morning Salutation to his Auld Mare Maggie

THE AULD FARMER's
New-Year Morning Salutation
TO
His Auld Mare, MAGGIE,
On giving her the accustomed Ripp of Corn, to Hansel in the New Year.
# The Beauties of Burn's Poems/Tam o' Shanter

TAM O'SHANTER.
A TALE.
# The Beauties of Burn's Poems/The Brigs of Ayr

The Brigs of Ayr.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
* ↑ A noted Tavern at the Auld Brig-end
* ↑ The two Steeples.
* ↑ The Goss-hawk, or Falcon,
* ↑ A noted ford, just above the Auld Brig.
* ↑ The banks of Garpel-Water is one of the few places in the Wst of Scotland, where those fancy-scarings, known by the name of Ghaists, still continue pertinaciously to inhabit.
* ↑ The source of the river of Ayr.
* ↑ A small landing place above the large quay.
* ↑ A well-known Professor of Scottish Music.
# The Beauties of Burn's Poems/The Death and Dying Words of Poor Mailie

The Death and Dying Words of Poor Mailie,
THE AUTHOR'S ONLY PET YOWE.
An unco mournfu' Tale.
# The Beauties of Burn's Poems/The First Psalm

The First Psalm.
# The Beauties of Burn's Poems/The First Six Verses of the Ninetieth Psalm

The First Six Verses
Of the Nintieth Psalm.
# The Children of the Night (1921)/Three Quatrains

THREE QUATRAINS
I
As long as Fame's imperious music rings Will poets mock it with crowned words august; And haggard men will clamber to be kings As long as Glory weighs itself in dust.
II
Drink to the splendor of the unfulfilled, Nor shudder for the revels that are done: The wines that flushed Lucullus are all spilled, The strings that Nero fingered are all gone.
III
We cannot crown ourselves with everything, Nor can we coax the Fates for us to quarrel: No matter what we are, or what we sing, Time finds a withered leaf in every laurel.
# The Children of the Night (1921)/Two Men

TWO MEN
There be two men of all mankind That I should like to know about; But search and question where I will, I cannot ever find them out.
Melchizedek he praised the Lord, And gave some wine to Abraham; But who can tell what else he did Must be more learned than I am.
Ucalegon he lost his house When Agamemnon came to Troy; But who can tell me who he was— I'll pray the gods to give him joy.
There be two men of all mankind That I'm forever thinking on: They chase me everywhere I go,— Melchizedek, Ucalegon.
# The Children of the Night (1921)/Villanelle of Change

VILLANELLE OF CHANGE
Since Persia fell at Marathon, The yellow years have gathered fast: Long centuries have come and gone.
And yet (they say) the place will don A phantom fury of the past, Since Persia fell at Marathon;
And as of old, when Helicon Trembled and swayed with rapture vast (Long centuries have come and gone),
This ancient plain, when night comes on, Shakes to a ghostly battle-blast, Since Persia fell at Marathon.
But into soundless Acheron The glory of Greek shame was cast: Long centuries have come and gone,
The suns of Hellas have all shone, The first has fallen to the last:— Since Persia fell at Marathon, Long centuries have come and gone.
# The Children of the Night (1921)/Zola

ZOLA
Because he puts the compromising chart Of hell before your eyes, you are afraid; Because he counts the price that you have paid For innocence, and counts it from the start, You loathe him. But he sees the human heart Of God meanwhile, and in God’s hand has weighed Your squeamish and emasculate crusade Against the grim dominion of his art.
Never until we conquer the uncouth Connivings of our shamed indifference (We call it Christian faith!) are we to scan The racked and shrieking hideousness of Truth To find, in hate's polluted self-defence Throbbing, the pulse, the divine heart of man.
# The Children of the Night (1921)/Two Sonnets

TWO SONNETS
I
Just as I wonder at the twofold screen Of twisted innocence that you would plait For eyes that uncourageously await The coming of a kingdom that has been, So do I wonder what God's love can mean To you that all so strangely estimate The purpose and the consequent estate Of one short shuddering step to the Unseen.
No, I have not your backward faith to shrink Lone-faring from the doorway of God's home To find Him in the names of buried men; Nor your ingenious recreance to think We cherish, in the life that is to come, The scattered features of dead friends again.
II
Never until our souls are strong enough To plunge into the crater of the Scheme— Triumphant in the flash there to redeem Love’s handsel and forevermore to slough, Like cerements at a played-out masque, the rough And reptile skins of us whereon we set The stigma of scared years—are we to get Where atoms and the ages are one stuff.
Nor ever shall we know the cursed waste Of life in the beneficence divine Of starlight and of sunlight and soul-shine That we have squandered in sin's frail distress, Till we have drunk, and trembled at the taste, The mead of Thought’s prophetic endlessness.
# The Chilterns

* "The Chilterns" from 1914 and other poems (1915)
* "The Chilterns" from The Collected Poems of Rupert Brooke (1915)
# The Children of the Night (1921)/Two Octaves

TWO OCTAVES
I
Not by the grief that stuns and overwhelms All outward recognition of revealed And righteous omnipresence are the days Of most of us affrighted and diseased, But rather by the common snarls of life That come to test us and to strengthen us In this the prentice-age of discontent, Rebelliousness, faint-heartedness, and shame.
II
When through hot fog the fulgid sun looks down Upon a stagnant earth where listless men Laboriously dawdle, curse, and sweat, Disqualified, unsatisfied, inert,— It seems to me somehow that God himself Scans with a close reproach what I have done, Counts with an unphrased patience my arrears, And fathoms my unprofitable thoughts.
# The Children of the Night (1921)/Two Quatrains

TWO QUATRAINS
I
UNITY
As eons of incalculable strife Are in the vision of one moment caught, So are the common, concrete things of life Divinely shadowed on the walls of Thought.
II
PARAPHRASE
We shriek to live, but no man ever lives Till he has rid the ghost of human breath; We dream to die, but no man ever dies Till he has quit the road that runs to death.
# The Children of the Night (1921)/Verlaine

VERLAINE
Why do you dig like long-clawed scavengers To touch the covered corpse of him that fled The uplands for the fens, and rioted Like a sick satyr with doom's worshippers? Come! let the grass grow there; and leave his verse To tell the story of the life he led. Let the man go: let the dead flesh be dead, And let the worms be its biographers.
Song sloughs away the sin to find redress In art's complete remembrance: nothing clings For long but laurel to the stricken brow That felt the Muse's finger; nothing less Than hell's fulfilment of the end of things Can blot the star that shines on Paris now