OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Sforza, Christierna, Duchess of Milan

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SFORZA, CHRISTIERNA, DUCHESS OF MILAN,
Was the daughter of Christian the Second, King of Denmark, a prince who was expelled by his subjects, and died in exile. Her mother was Isabella, sister of Charles the Fifth. Left an orphan in infancy, she was tenderly educated by her aunt, the dowager Queen of Hungary, and, by her beauty and pleasing manners, having gained the favour of Charles the Fifth, was adopted by that sovereign, who carried her with him to the court of Madrid. In 1530, she espoused Francesco Sforza, Duke of Milan. His death, which took place three years afterwards, left her a young and beautiful widow, richly endowed with the gifts of fortune. Among many suitors, she selected Francesco the First, Duke of Lorena; refusing the proposals of Henry the Eighth, who had demanded her hand of Charles the Fifth. At the end of four years of domestic happiness, death deprived her of Francesco, and after that she refused to enter into any new matrimonial connexion, but devoted herself to the care of her children, and of the Lorenese states, of which' she had been left regent. Here it is that she merits other praise than that of a good mistress of a family: for she evinced so much sagacity, so much good feeling and activity, that, by judicious management, she rendered Lorena the most flourishing and prosperous duchy in that province. But no wisdom, no courage, could defend this little state from the rapacity of a mighty monarch, who had cast upon it a covetous eye, Henry the Second, King of France, partly by craft, and partly by force, found means to seize upon the government. The heir was taken to Paris and the regent banished. Ambition was not her master passion, and she willingly retired into private life, when an opportunity occurred for revealing great force of character, joined with tact, intelligence, and many other admirable qualities, and in a way peculiarly congenial to a woman. She perceived that France and Spain, wearied of the long turbulence and continual war in which they had been engaged, were both inclined to peace, and needed only some mediator to bring about that blessing. Inspired by a generous with to benefit her fellow-creatures, she undertook this affair; active, industrious, eloquent, persuasive, she made repeated journeys between Paris and Madrid, and rested not till she had obtained from the two monarchs a promise that they would meet in a congress. In 1556, Charles and Henry had an interview at Chateau Cambresis; and then the lady overpowered every body by her ready wit, her seducing eloquence, and her profound views of policy. Peace was the result of her efforts.
​Christierna passed the rest of her life in a modest seclusion, where she exhibited all the virtues of private life. She died of paralysis, in the city of Tortona, in the year 1690.
# A Cyclopaedia of Female Biography/Sharpe, Louisa

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SHARPE, LOUISA,
Is an Englishwoman by birth, and celebrated for her talents as an artist. She can create as well as imitate, and in her original paintings there is a high tone of moral as well as poetical feeling. Her works are exquisitely graceful and feminine, and she evinces real genius. Her sister, Eliza Sharpe, shows an almost equal talent as an artist, and her paintings are much in the same style. There is also another sister who has given evidences of genius in the same art. One of the sisters has married a German gentleman—Mr. Seyfarth, of Dresden.
# A Course in Miracles/Workbook for Students/Review of Lessons 16 - 20

LESSON 54
Today's review includes the following:
I have no neutral thoughts.
Neutral thoughts are impossible because all thoughts have power. They will either make a false world or lead me to the real one. But thoughts cannot be without effects. As the world I see arises from my thinking errors, so will the real world rise before my eyes as I let my errors be corrected. My thoughts cannot be neither true nor false. They must be one or the other. What I see shows me which they are.
I see no neutral things.
What I see witnesses to what I think. If I did not think I would not exist, because life is thought. Let me look on the world I see as the representation of my own state of mind. I know that my state of mind can change. And so I also know the world I see can change as well.
I am not alone in experiencing the effects of my seeing..
If I have no private thoughts, I cannot see a private world. Even the mad idea of separation had to be shared before it could form the basis of the world I see. Yet that sharing was a sharing of nothing. I can also call upon my real thoughts, which share everything with everyone. As my thoughts of separation call to the separation thoughts of others, so my real thoughts awaken the real thoughts in them. And the world my real thoughts show me will dawn on their sight as well as mine.
I am not alone in experiencing the effects of my thoughts..
I am alone in nothing. Everything I think or say or do teaches all the universe. A Son of God cannot think or speak or act in vain. He cannot be alone in anything. It is therefore in my power to change every mind along with mine, for mine is the power of God.
I am determined to see..
Recognizing the shared nature of my thoughts, I am determined to see. I would look upon the witnesses that show me the thinking of the world has been changed. I would behold the proof that what has been done through me has enabled love to replace fear, laughter to replace tears, and abundance to replace loss. I would look upon the real world, and let it teach me that my will and the Will of God are one.
# A Course in Miracles/Workbook for Students/Review of Lessons 153 - 154

LESSON 172
God is but Love, and therefore so am I.
(153) In my defenselessness my safety lies.
God is but Love, and therefore so am I.
(154) I am among the ministers of God.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 155 - 156

LESSON 173
God is but Love, and therefore so am I.
(155) I will step back and let Him lead the way.
God is but Love, and therefore so am I.
(156) I walk with God in perfect holiness.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 161 - 162

LESSON 176
God is but Love, and therefore so am I.
(161) Give me your blessing, holy Son of God.
God is but Love, and therefore so am I.
(162) I am as God Created me.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 163 - 164

LESSON 177
God is but Love, and therefore so am I.
(163) There is no death. The Son of God is free.
God is but Love, and therefore so am I.
(164) Now we are one with Him Who is our Source.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 167 - 168

LESSON 179
God is but Love, and therefore so am I.
(167) There is one life, and that I share with God.
God is but Love, and therefore so am I.
(168) Your grace is given me. I claim it now.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 169 - 170

LESSON 180
God is but Love, and therefore so am I.
(169) By grace I live. By grace I am released.
God is but Love, and therefore so am I.
(170) There is no cruelty in God and none in me.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 157 - 158

LESSON 174
God is but Love, and therefore so am I.
(157) Into His Presence would I enter now.
God is but Love, and therefore so am I.
(158) Today I learn to give as I receive.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 159 - 160

LESSON 175
God is but Love, and therefore so am I.
(159) I give the miracles I have received.
God is but Love, and therefore so am I.
(160) I am at home. Fear is the stranger here.
God is but Love, and therefore so am I.
# A Course in Miracles/Workbook for Students/Review of Lessons 165 - 166

LESSON 178
God is but Love, and therefore so am I.
(165) Let not my mind deny the Thought of God.
God is but Love, and therefore so am I.
(166) I am entrusted with the gifts of God.
God is but Love, and therefore so am I.
# A First Series of Hymns and Songs/Descriptive Songs/The Contented Blind Boy

39. The Contented Blind Boy.
Oh say, what is that thing call'd light,
Which I must ne'er enjoy?
What are the blessings of the sight?
Oh, tell a poor blind boy.
You talk of wondrous things you see.
You say the sun shines bright;
I feel him warm, but how can he
Or make it day or night?
My day or night myself I make,
Whene'er I sleep or play;
And could I always keep awake,
With me 'twere always day.
Then let not what I cannot have
My cheer of mind destroy;
While thus I sing I am a king,
Although a poor blind boy.
# A First Series of Hymns and Songs/Descriptive Songs/The Convent-Bell

42. The Convent-Bell.
Far, far o'er hill and dale,
On the winds stealing,
List to the convent-bell,
Sweetly pealing.
Hark! hark! it seems to say,
As melt those sounds away,
So life's short joys decay
While now they're fleeting.
Now through the charmed air,
Slowly ascending,
List to the chanted prayer,
Solemnly blending.
Hark, hark! it seems to say,
Turn from vain joys away,
To those which ne'er decay;
For life is ending.
# A First Series of Hymns and Songs/Descriptive Songs/The Cuckoo (I.)

23. The Cuckoo.
The bee is humming in the sun,
The yellow cowslip springs;
And, hark! from yonder woodland's side
Again the Cuckoo sings;
No other note but Cuckoo still
She sings from day to day;
Yet I, though but a little child,
Can read, and sing, and pray.
# A First Series of Hymns and Songs/Descriptive Songs/The Dove sent from the Ark

38. The Dove sent from the Ark.
Go, beautiful and gentle dove,
And greet the morning ray;
For lo, the sun shines bright above,
The floods are past away.
No longer drooping here confin'd,
In this cold prison dwell;
Go free to sunshine and to wind,
Go forth, and fare thee well.
Go, beautiful and gentle dove,
Thy welcome sad will be.
When thou shalt hear no voice of love
In murmurs from the tree.
Yet freedom, freedom shalt thou find
From this cold prison cell;
Go, then, to sunshine and to wind,
Go forth, and fare thee well.
# A First Series of Hymns and Songs/Descriptive Songs/The Daisy

3. The Daisy.
There is a flow'r, a little flow'r,
With silver crest and golden eye,
That welcomes ev'ry passing hour,
And weathers ev'ry changeful sky.
The prouder beauties of the field
In gay but quick succession shine;
Race after race their honours yield,
They bloom their day, and then decline.
The purple heath, and golden broom,
On moory mountains catch the gale;
O'er lawns the lily sheds perfume,
The humble violet in the vale;
But this bold floweret climbs the hill,
Hides in the forest, haunts the glen,
Plays on the margin of the rill,
And peeps around the fox's den.
​Within the garden's cultured round,
It shares the sweet carnation's bed;
And blooms on consecrated ground,
In honour of the silent dead.
The lambkin crops its crimson gem,
The wild bee murmurs on its breast,
The blue fly bends its pensile stem
Light o'er the skylark's hidden nest.
In every clime, in every place,
In every season, fresh and fair,
It opens with perennial grace,
And sweetly blossoms every where.
On waste and woodland, rock and plain,
Its humble buds unheeded rise;
The Rose has but a summer reign,
The modest Daisy never dies.
Montgomery.
# A First Series of Hymns and Songs/Descriptive Songs/The Fly about the Candle

18. The Fly about the Candle.
The fly about the candle gay
Will dance with thoughtless hum;
But short, alas I her giddy play— Her pleasure proves her doom.
The child in like simplicity
About the bee-hive clings,
And with one drop of honey she
Receives a thousand stings.
# A First Series of Hymns and Songs/Descriptive Songs/The Cork Leg

57. The Cork Leg.
You all, no doubt, have heard or read
Of the great Dutch merchant, Mynheer Van Gled,
Who grew so wondrous rich, 'tis said,
His wealth could scarce be credited,
Ri-too-ral-loo-ral-loo-ral-loo, loo-ral-loo-loo-ral, ri-too-loo-lala.
​A poor relation came to crave
His bounty,—what d'ye think he gave?
He gave him a kick for daring to beg,
And kick'd him so hard that he broke—his own leg.
Ri-too-ral-loo-ral, &c.
He very much wished to preserve his limb,
But the doctor, on seeing it, said to him,
This leg must come off—but don't look glum,
It still may be preserv'd—in rum.
Ri-too-ral-loo-ral, &c.
Now Mynheer was proud, and could not decide
'Twixt a mortified leg and a mortified pride
But consented at last, not liking it half
For he felt quite cow'd for the loss of his calf.
Ri-too-ral-loo-ral, &c.
A cork leg he determin'd to have complete
An artist engaged to do the feat,
With springs and screws, and clock-work within,
That the loss of his leg did not matter a pin.
Ri-too-ral-loo-ral, &c.
He put on his leg to take a walk.
His new leg stepp'd as light as cork;
He put out his hand when an old friend met him,
And wanted to stop, but his leg would not let him.
Ri-too-ral-loo-ral, &c.
​Through streets and squares, wherever he pass'd,
Folks wonder'd at seeing him walk so fast;
He clung to a lamp-post in his alarms.
But his leg proved stronger than both his arms.
Ri-too-ral-loo-ral, &c.
On—on he went,—he knew not where,
Till night brought on a dark despair;
A robber, meeting him in a wood,
Cried Stop!—said he, I wish I could!
Ri-too-ral-loo-ral, &c.
For home and friends he began to pine.
He thought of his dinner and bottle of wine,
But instead of drawing the cork, 'twould seem,
The cork was bent on drawing of him.
Ri-too-ral-loo-ral, &c.
He had nought to drink but of misery's cup,
And from not lying down he was soon knock'd up;
His strength it decay'd, he grew faint and ill,
He died—but his leg kept walking on still.
Ri-too-ral-loo-ral, &c.
He left no will! 'tis very well known
His leg never left him a will of his own;
Yet no man e'er died by land or by sea
Who left behind such a leg as he.
Ri-too-ral-loo-ral, &c.
​'Tis a fact likewise, the man who made
This wonderful leg has never been paid;
Ready money was promised him for the amount,
But the leg, to this day, is a running account.
Ri-too-ral-loo-ral, &c.
The passages marked in italics are intended to help the young singer to the humour of the piece.
# A First Series of Hymns and Songs/Descriptive Songs/The Cricket

2. The Cricket.
Little guest with merry throat,
Chirping by the taper light,
Come, prolong thy blithesome note,
Welcome songster of the night.
Here enjoy a calm retreat,
In my chimney safely dwell;
No rude hand thy haunt shall beat,
Or chase thee from thy lonely cell.
Come, recount me all thy woes,
While around us sighs the gale;
Or, rejoiced to find repose,
Charm me with a merry tale.
# A First Series of Hymns and Songs/Descriptive Songs/The Cuckoo (II.)

Probably by John Logan, possibly by Michael Bruce, but not by John Langhorne as cited.
45. The Cuckoo.
Hail, beauteous stranger of the grove,
Attendant on the spring!
Now heav'n repairs thy vernal seat,
And woods thy welcome sing;
Soon as the daisy decks the green,
Thy certain voice we hear.
Hast thou a star to guide thy path,
Or mark the rolling year?
Delightful visitant! with thee
I hail the time of flow'rs,
When heaven is fill'd with music sweet
Of birds among the bow'rs.
The schoolboy, wand'ring in the wood
To pull the flowers so gay,
Starts—thy curious voice to hear,
And imitates thy lay.
Soon as the pea puts on the bloom,
Thou fliest the vocal vale;
An annual guest in other lands,
Another spring to hail.
Sweet bird, thy bow'r is ever green,
Thy sky is ever clear;
Thou hast no sorrow in thy song,
No winter in thy year.
# A First Series of Hymns and Songs/Descriptive Songs/The Cuckoo (III.)

48. The Cuckoo.
Now the sun is in the west,
Sinking slow behind the trees,
And the cuckoo, welcome guest,
Gently woos the ev'ning breeze.
Cuckoo! Cuckoo! Cuckoo! Cuckoo!
Gently woos the ev'ning breeze.
Sportive now the swallows play,
Lightly skimming o'er the brook;
Darting swift they wing their way.
Homeward to their peaceful nook;
Whilst the cuckoo, bird of spring,
Still amidst the trees doth sing,
Cuckoo! Cuckoo! Cuckoo! Cuckoo!
Still amidst the trees doth sing.
Cheerful see yon shepherd-boy,
Climbing up the craggy rocks;
As he views the dappled sky,
Pleas'd the cuckoo's note he mocks.
Cuckoo! Cuckoo! Cuckoo! Cuckoo!
Pleas'd the cuckoo's note he mocks.
​Now advancing o'er the plain,
Ev'ning's dusky shades appear,
And the cuckoo's voice again
Gently steals upon mine ear;
While retiring from the view,
Thus she bids the day adieu:
Cuckoo! Cuckoo! Cuckoo! Cuckoo!
Thus she bids the day adieu.
# A Gentleman Friend

English-language translations of Знакомый мужчина include:
* A Gentleman Friend, translated by Constance Garnett in The Chorus Girl and Other Stories (1920).
* A Gentleman Friend, translated by John Middleton Murry in The Bet and Other Stories (1915).
# A Gentleman's Gentleman/Chapter 21
### CHAPTER XXI I GO TO AMERICA

It was exactly one month after I had left the body of Count Fédor Uspensky in the hands of the local authorities at Malo that I received a letter from Sir Nicolas Steele—the last I ever had from him. I was then in Paris, whither I had gone direct, as he had told me; and I learned there, for the first time, that he was about to marry the daughter of Field-marshal Pouzatòv, and to settle down for good. At the same time he enclosed me a draft for a thousand pounds, and hinted that henceforth we would do well, perhaps, to take different roads through life.
"You have been a good man to me," said he in that letter, "and it goes to my heart to think that this is the end of it all. Whatever comes, I shall never forget the years in which you have been my servant and my friend. But I know your whims, and that such a life as I now propose to lead would not be the life for you. Accept the enclosed draft as a small token of a great gratitude, and be assured that wherever you are, or whatever you may do, my help will be there for you as you need it."
A fortnight after I received this letter, I was on ​board a ship bound for America. It was not until many months later that I heard the name of the man who struck down Fédor Uspensky. That name I don't intend to disclose; but this I may say, that the boy I saw skylarking outside the station at Malo was a subaltern in General Strolitzoff's regiment. And how did he know that the count would be at Malo, you ask? Why, Sir Nicolas Steele sent a messenger to tell him, of course.
THE END
# A Dictionary of Music and Musicians/Gouvy, Theodore

From volume 1 of the work.
​GOUVY, Theodore, prolific composer, born of French parents, July 2, 1819, at Goffontaine, Saarbruck, where his father was a large ironfounder. He took his degree at the college at Metz, and then proceeded to Paris to study the law. Hitherto, though possessing an unmistakeable talent for music, he had had no instruction in it, and had probably not heard a single classical piece. But being at the Conservatoire he happened to hear Beethoven's 7th Symphony. This at once fired his mind, and he wrote home to announce his determination to be a musician. His parents' consent obtained, he placed himself under Elwart for 3 years, then resided at Berlin, where he published his 'Opus 1,' and thence went for more than a year to Italy. In 1846 he returned to Paris, which since then has been his ​home, with visits to Cologne and Leipsic, where his music has been frequently played with success.
[ G. ]
# A Dictionary of Music and Musicians/Gow, Neil

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Grabu, Lewis

[ W. H. H. ]
# A Dictionary of Music and Musicians/Grace Notes

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Gran Cassa

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Gradual

From volume 1 of the work.
​GRADUAL (Lat. Graduale; from gradus, a step). A short anthem sung at High Mass, between the Epistle and Gospel for the day.
In the early ages of the Church, the Gradual was chaunted, by the Deacon, from the steps of a primitive species of reading-desk, called the Ambo, or Ἀμβον; from which steps this portion of the Service derives its peculiarly characteristic name. It is now sung by the Choir: the first clause, by two Cantors only; the remainder, in full chorus. On Sundays, and Festivals, it is usually supplemented by the Alleluia and Versus. During the Seasons of Septuagesima, and Lent, and on some few other occasions, these are omitted, and the Gradual, properly so called, is sung alone. On the Sundays after Easter, the Gradual itself is omitted, and the Alleluia, and Versus, are sung alone. Special forms of both are appointed, for daily use throughout the ecclesiastical year. The words are taken, with very few exceptions, from the Book of Psalms: and the Plain Chaunt melodies to which they are invariably sung form part of the volume called the Graduale Romanum, to which the reader must be referred for their general style. Before the 9th century, the Gradual proper was repeated, in full, after the Alleluia, and Versus.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Gradus ad Parnassum

From volume 1 of the work.
​GRADUS AD PARNASSUM. The title of two eminent progressive works on music. 1. Fux's treatise on composition and counterpoint—'Gradus ad Parnassum, sive manuductio ad compositionem musicæ regularem, methoda nova ac certa, nondum ante tam exacto ordine in lucem edita: elaborata a Joanne Josepho Fux' (Vienna 1725; 1 vol. folio). It was translated into German by Mizler (Leipsic 1742), into Italian by Manfredi (Carpi 1761), and into English, 'Practical rules for learning Composition translated from a work entitled Gradus ad Parnassum, written originally in Latin by John Joseph Feux, late chief composer to the Roman Emperor Charles VI.—Welcker, 10 Hay Market' (a thin folio with no date). This contains, in addition to the exercises in the text, a Kyrie and Amen from the Missa Vicissitudinis.
2. Clementi's well-known work 'Gradus ad Parnassum, ou l'art de jouer le Pianoforte demontré par des Exercises dans le style sévère et dans le style élégant. Composé et dedié à Madame la Princesse Wolkonsky, née Wolkonsky, par Muzio Clementi, membre de l'Academie Royale de Stockholm.' (Milan, Ricordi.)
[ G. ]
# A Dictionary of Music and Musicians/Graham, George

From volume 1 of the work.
[ W. H. H. ]
# A Cyclopaedia of Female Biography/Arundel, Mary

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ARUNDEL, MARY,
Was the daughter of Sir Thomas Arundel, knight. She was married, first to Robert Ratcliff, who died without issue, 1666; secondly, to Henry Howard, earl of Arundel.
She translated from English into Latin "The Wise Sayings and Eminent Deeds of the Emperor Alexander Severus." This translation is dedicated to her father; the manuscript is in the royal library at Westminster. She translated also from Greek into Latin, select "Sentences of the seven wise Grecian Philosophers." In the same library are preserved, of her writing, "Similies collected from the books of Plato, Aristotle, Seneca, and other philosophers," which she also dedicated to her father.
# A Cyclopaedia of Female Biography/Ascham, Margaret

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ASCHAM, MARGARET,
Was married in 1554 to Roger Ascham, the celebrated preceptor of queen Elizabeth, Margaret brought a considerable fortune to her husband, and what was of more worth, a heart and mind willing and qualified to aid him. To her care the world is indebted for Mr. Ascham's book, entitled "The Schoolmaster;" to which she prefixed an epistle dedicatory, to the honourable Sir William Cecill, knight This work was published in quarto, 1570, London, and reprinted in 1589. Mrs. Ascham is supposed to lie interred with her husband, in the church of St. Sepulchre, London.