OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Cori

See also Cori, Lazio on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​CORI (anc. Cora), a town and episcopal see of the province of Rome, Italy, 36 m. S.E. by rail from the town of Rome, on the lower slopes of the Volscian mountains, 1300 ft. above sea-level. Pop. (1901) 6463. It occupies the site of the ancient Volscian town of Cora, the foundation of which is by classical authors variously ascribed to Trojan settlers, to the Volscians (with a later admixture of Latins), and to the Latins themselves. The last is more probable (though in that case it was the only town of the Prisci Latini in the Volscian hills), as it appears among the members of the Latin league. Coins of Cora exist, belonging at latest to 350–250 B.C. It was devastated by the partisans of Marius during the struggle between him and Sulla. Before the end of the Republic it had become a municipium. It lay just above the older road from Velitrae to Terracina, which followed the foot of the Volscian hills, but was 6 m. from the Via Appia, and it is therefore little mentioned by classical writers. It is comparatively often spoken of in the 4th century, but from that time to the 13th we hear hardly anything of it, as though it had almost ceased to exist. The remains of the city walls are considerable: three different enceintes, one within the other, enclose the upper and lower town and the acropolis. They are built in Cyclopean work, and different parts vary considerably in the roughness or fineness of the jointing and hewing of the blocks; but explorations at Norba (q.v.) have proved that inferences as to their relative antiquity based upon such considerations are not to be trusted. There is a fine single-arched bridge, now called the Ponte della Catena, just outside the town on the way to Norba, to which an excessively early date is often assigned.
At the summit of the town is a beautiful little Doric tetrastyle temple, belonging probably to the 1st century B.C., built of limestone with an inscription recording its erection by the duumviri. It is not known to what deity it was dedicated; and there is no foundation for the assertion that the porphyry statue of Minerva (or Roma) now in front of the Palazzo del Senatore, at Rome, was found here in the 16th century. Lower down are two columns of a Corinthian temple dedicated to Castor and Pollux, as the inscription records. The church of Santa Oliva stands upon the site of a Roman building. The cloister, constructed in 1466–1480, is in two storeys; the capitals of the columns are finely sculptured by a Lombard artist (G. Giovannoni in L’Arte, 1906, p. 108). There are remains of several other ancient buildings in the modern town, especially of a series of large cisterns probably belonging to the imperial period. Some interesting frescoes of the Roman school of the 15th century are to be found in the chapel of the Annunziata outside the town (F. Hermanin in L’Arte, 1906, p. 45).
See G. B. Piranesi, Antichità di Cora (Rome, n.d., c. 1770); A. Nibby, Analisi della Carta dei Dintorni di Roma (Rome, 1848), i. 487 seq. (T. As.)
# 1911 Encyclopædia Britannica/Corinna

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​CORINNA, surnamed “the Fly,” a Greek poetess, born at Tanagra in Boeotia, flourished about 500 B.C. She is chiefly known as the instructress and rival of Pindar, over whom she gained the victory in five poetical contests. According to Pausanias (ix. 22. 3), her success was chiefly due to her beauty and her use of the local Boeotian dialect. The extant fragments of her poems, dealing chiefly with mythological subjects, such as the expedition of the Seven against Thebes, will be found in Bergk’s Poëtae Lyrici Graeci.
Some considerable remains of two poems on a 2nd–century papyrus (Berliner Klassikertexte, v., 1907) have also been attributed to Corinna (W. H. D. Rouse’s Year’s Work in Classical Studies, 1907; J. M. Edmonds, New Frags. of ... and Corinna, 1910).
# 1911 Encyclopædia Britannica/Corinth, Isthmus of

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​CORINTH, ISTHMUS OF, an isthmus of Greece, dividing the Gulf of Corinth from the Saronic Gulf. Ships were sometimes dragged across it in ancient times at a place called the Diolcus (διέλκειν, to pull or cut through). Nero, in A.D. 67, began cutting a canal through it; but the project was abandoned. In 1893 a ship canal was opened, with its western entrance about 11/4 m. N.E. of the little town of New Corinth. It was begun in 1881 by a French company, which ceased operations in 1889, a Greek company completing the undertaking. The canal is about 70 ft. broad, nearly 4 m. long, and 26 ft. deep. It shortens the journey from the Adriatic to the Peiraeus by 202 m., but foreign steamships seldom use it, as the narrowness of the canal and the strength of the current at times render the passage dangerous. About 1 m. from its western end it is crossed by the iron bridge of the Athens and Corinth railway. Traces of the Isthmian wall may still be seen parallel to the canal; it was constructed, at an unknown date, for the fortification of the Isthmus. Just to the S. of it, and about 1/2 m. from the sea are the remains of the Isthmian precinct of Poseidon and its stadium, where the Isthmian games were celebrated. This precinct served also as a fortress. Within it have been found traces of the temple of Poseidon and other buildings. (E. Gr.)
# 1911 Encyclopædia Britannica/Corelli, Marie

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​CORELLI, MARIE (1864– ), English novelist, was the daughter of an Italian father and a Scottish mother, but in infancy was adopted by Charles Mackay (q.v.), the song-writer and journalist, whose son Eric, at his death, became her guardian. She was sent to be educated in a French convent with the object of training her for the musical profession, and while still a girl composed various pieces of music. But her journalistic connexion proved a stronger stimulus to expression, and editors who were friends of her adopted father printed some of her early poetry. Then she produced what was at least a clever, if not a remarkably well written, romantic story, on the theme of a self-revelation connecting the Christian Deity with a world force in the form of electricity, which was published in 1886 under the title of A Romance of Two Worlds. It had an immediate and large sale, which resulted, naturally, in her devoting her inventive faculty to satisfy the public demand for similar work. Thus she wrote in succession a series of melodramatic romantic novels, original in some aspects of their treatment, daring in others, but all combining a readable plot with enough au fond of what the majority demanded in ethical and religious ​correctness to suit a widespread contemporary taste; these were Vendetta (1886), Thelma (1887), Ardath (1889), The Soul of Lilith (1892), Barabbas (1893), The Sorrows of Satan (1895),—the very titles were catching,—The Mighty Atom (1896),—which appealed to all who knew enough of modern science to wish to think it wicked,—and others, down to The Master Christian (1900), again satisfying the socio-ethico-religious demand, and Temporal Power (1902), with its contemporary suggestion from the accession of Edward VII. Miss Corelli had the advantage of writing quite sincerely and with conviction, amid what superior critics sneered at as bad style and sensationalism, on themes which conventional readers nevertheless enjoyed, and round plots which were dramatic and vigorous. Her popular success was great and advertised itself. It was helped by a well-spread belief that Queen Victoria preferred her novels to any other. Reviewers wrote sarcastically, and justly, of her obvious literary lapses and failings; she retorted by pitying the poor reviewers and letting it be understood that no books of hers were sent to the Press for criticism. When she went to live at Stratford-on-Avon, her personality, and her importance in the literary world, became further allied with the historic associations of the place; and in the public life of women writers her utterances had the réclame which is emphasized by journalistic publicity. Such success is not to be gauged by purely literary standards; the popularity of Miss Corelli’s novels is a phenomenon not so much of literature as of literary energy—entirely creditable to the journalistic resource of the writer, and characteristic of contemporary pleasure in readable fiction.
# 1911 Encyclopædia Britannica/Corenzio, Belisario

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​CORENZIO, BELISARIO (c. 1558–1643), Italian painter, a Greek by birth, studied at Venice under Tintoretto, and then settled at Naples, where he became famous for unscrupulous conduct as a man and rapid execution as an artist. Though careless in composition and a mannerist in style, he possessed an acknowledged fertility of invention and readiness of hand; and these qualities, allied to a certain breadth of conception, seem in the eyes of his contemporaries to have atoned for many defects. When Guido Reni came in 1621 to Naples to paint in the chapel of St Januarius, Corenzio suborned an assassin to take his life. The hired bravo killed Guido’s assistant, and effectually frightened Reni, who prudently withdrew to Rome. Corenzio, however, only suffered temporary imprisonment, and lived long enough to supplant Ribera in the good graces of Don Pedro di Toledo, viceroy of Naples, who made him his court painter. Corenzio vainly endeavoured to fill Guido’s place in the chapel of St Januarius. His work was adjudged to have been under the mark, and yet the numerous frescoes which he left in Neapolitan churches and palaces, and the large wall paintings which still cover the cupola of the church of Monte Casino are evidence of uncommon facility, and show that Corenzio was not greatly inferior to the fa prestos of his time. His florid style, indeed, seems well in keeping with the overladen architecture and full-blown decorative ornament peculiar to the Jesuit builders of the 17th century. Corenzio died, it is said, at the age of eighty-five by a fall from a scaffolding.
# 'Twas on the morn of sweet May Day (1829)/'Twas on the morn of sweet May Day

'TWAS ON THE MORN OF SWEET MAY-DAY.
Tune—Jockie to the Fair.
'Twas on the morn of sweet May-day, When nature painted all things gay, Taught birds to sing, and lambs to play, And gild the meadows fair; Young Jockie, with the early dawn, Arose, and tript it o'er the lawn; His Sunday's coat the youth put on, For Jenny had vow'd away to run With Jockie to the fair; For Jenny had vow'd, &c.
The cheerful parish-bells had rung; With eager steps he trudg'd along; While flowery garlands round him hung, Which shepherds us'd to wear : He tap't the window, haste, my dear; Jenny, impatient, cried, Who's there? 'Tis I, my love, and no one near, Step gently down, you've nought to fear, With Jockie to the fair; Step gently down, &c.
My dad and mam are fast asleep, My brother's up, and with the sheep, And will you still your promise keep, Which I have heard you swear? And will you ever constant prove? will by all the powers above! ​And ne'er deceive my charming dove: Dispel those doubts, and haste, my love, With Jockie to the fair. Dispel those doubts, &c.
Behold the ring, the shepherd cried, Will Jenny be my charming bride? Let cupid be our happy guide, And Hymen meet us there. Then Jockie did his vows renew, He would be constant, would be true; His word was pledg'd away she flew, O'er cowslips tipt with balmy dew, With Jockie to the fair; O'er cowslips tipt. &c.
In raptures meet the joyful throng, Their gay companions blythe and young, Each joins the dance, each joins the song, To hail the happy pair; In turns there's none so fond as they, They bless the kind propitious day, The smilling morn of blooming May, When lovely Jenny ran away With Jockie to the fair; When lovely Jenny, &c.
# 'Twas on the morn of sweet May Day (1829)/Blythe, blythe an' merry are we

BLYTHE, BLYTHE, AN’ MERRY ARE WE.
Blythe, Blythe, an' merry are we, Blythe are we ane an' a'; Aften hae we cantie been, But sic a night we never saw.
The gloamin' saw us a' sit down, An' meikle mirth has been our fa'; But ca' the tither toast aroun', Till chanticleer begin to craw. Blythe, &c.
The auld kirk bell has chappit twal'; Wha cares tho' she had chappit twa! We'er light o' heart, an' winna part, Tho' time an' tide should rin awa'. Blythe, &c.
Tut! never spier how wears the morn, The moon's still blinkin' i' the sky! An' gif like her we fill our horn, I dinna doubt we'll drink it dry. Blythe, &c.
Then fill we up a social cup, And never mind the dapple dawn; Just sit a while, the sun may smile, An' light us a' across the lawn. Blythe, &c.
# 'Twas such a little—little boat

* "Unreturning" in Poems (1890)
* "'Twas such a little, little boat" in The Complete Poems of Emily Dickinson (1924)
# 'Twixt Land and Sea

'TWIXT LAND AND SEA TALES
'TWIXT LAND & SEA TALES
BY
JOSEPH CONRAD
A SMILE OF FORTUNE THE SECRET SHARER FREYA OF THE SEVEN ISLES
Life is a tragic folly Let us laugh and be jolly Away with melancholy Bring me a branch of holly Life is a tragic folly A. Symons.
LONDON: J. M. DENT & SONS LTD. ALDINE HOUSE, COVENT GARDEN • 1912
All rights reserved
To CAPTAIN C. M. MARRIS
LATE MASTER AND OWNER OF THE ARABY MAID: ARCHIPELAGO TRADER IN MEMORY OF THOSE OLD DAYS OF ADVENTURE
CONTENTS
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1924, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 99 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
# 'Twas on the morn of sweet May Day (1829)/Haluket Meg

HALUKET MEG.
Air—"The mucking o' Geordie's byre."
Meg, muckin' at Gordie's byre, Wrought as gin her judgment was wrang ; Ilk daud o' the scartle struck fire, While, loud as a lavrock, she sang! ​Her Geordie had promised to marry, An' Meg, a sworn fae to despair, Not dreamin' the job could miscarry, Already seemed mistress an' mair!
My neebours, she sang, aften jeer me, An' ca' me daft halucket Meg, An' say, they expect soon to hear, I' the kirk, for my fun, get a fleg! An' now, 'bout my marriage they clatter, 'An' Geordie, poor fallow! they ca' An' auld doitit hav'rel!—Nae matter, He'll keep me aye braukin an' braw!
I grant ye, his face is kenspeckle, That the white o' his e'e is turned out, That his black beard is rough as a heckle, That his mou' to his lug's rax'd about; But they needna let on that he's crazie, His pike-staff wull ne'er let him fa'; Nor that his hair's white as a daisie, For, fient a hair has he ava!
But a weel-plenish'd mailin has Geordie, An' routh o' gude good in his kist; An' if siller comes at my wordie, His beauty I never will miss't! Daft gouks, wha catch fire like tinder, Think love-raptures ever wull burn! But wi' poortith, hearts het as a cinder Wull cauld as an iceshogle turn!
​There'll just be ae bar to my pleasure, A bar that's aft filled me wi' fear, He's sic a hard, near-be-gawn miser, He likes his saul less than his gear! But though I now flatter his failin', An' swear nocht wi' goud can compare, Gude sooth! it sall soon get a scailin'! His bags sall be mouldie nae mair!
I dreamt that I rade in a chariot, A flunky ahint me in green; While Geordie cried out he was barriet, An' the saut tear was blindin’ his een; But though 'gainst my spendin' he swear aye, I'll hae frae him what sairs my turn; Let him slip awa whan he grows weary, Shame fa' me! gin lang I wad mourn!
But Geordie, while Meg was haranguin' Was cloutin' his breeks i' the bauks, An' whan a' his failins she brang in, His strang hazle pike-staff he taks, Designin' to rax her a lounder,— He chanced on the ladder to shift, An' down frae the bauks, flat's a flounder, Flew, like a shot-starn frae the lift!
But Meg, wi' the sight, was quite hastered, An' nae doubt, was bannin ill luck; While the face o' poor Geordie was plastered, An' his mou' was filled fu' o' the muck! ​Confound ye! cried Geordie, and spat out The glaur that adown his beard ran;- Preserve us! quo' Meg, as she gat out The door,—an' thus lost a gudeman!
# 'Twas on the morn of sweet May Day (1829)/Lovely Jean

LOVELY JEAN.
Tune—Miss Admiral Gordon's Strathspey.
Of a' the airts the wind can blaw, I dearly like the west, ​For there the bonnie lassie lives, The lass that I loo best; Tho' wild woods grow, and rivers row, Wi' monie a hill between, Baith day and night, my fancy's flight Is ever wi' my Jean.
I see her in the dewy flow'r, Sae lovely, sweet, and fair; I hear her voice in ilka bird, Wi' music charm the air; There's not a bonnie flow'r that springs, By fountain, shaw, or green, Nor yet a bonnie bird that sings, But minds me o' my Jean.
Upon the banks o' flowing Clyde The lasses busk them braw; But when their best they hae put on, My Jeanie dings them a'; In hamely weeds she far exceeds The fairest o' the town; Baith sage and gay confess it say, Tho' drest in russet gown.
The gamesome lamb, that sucks its dam, Mair harmless canna be; She has nae faut, (if sic ye ca't,) Except her love for me: The sparkling dew, o' clearest hue, Is like her shining een; ​In shape and air, wha can compare Wi' my sweet lovely Jean?
O blaw, ye westlin winds, blaw saft Among the leafy trees; Wi' gentle gale, frae muir and dale, Bring hame the laden bees, And bring the lassie back to me That's ay sae neat and clean; Ae blink o' her wad banish care, Sae lovely is my Jean.
What sighs and vows, amang the knowes Hae past atween us twa! How fain to meet, how wae to part That day she gaed awa ! The powers aboon can only ken, To whom the heart is seen, That nane can be sae dear to me, As my sweet lovely Jean.Burns.
# 1911 Encyclopædia Britannica/Callot, Jacques

See also Jacques Callot on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​CALLOT, JACQUES (1592–1635), French engraver, was born at Nancy in Lorraine, where his father, Jean Callot, was a herald-at-arms. He early discovered a very strong predilection for art, and at the age of twelve quitted home without his father’s consent, and set out for Rome where he intended to prosecute his studies. Being utterly destitute of funds he joined a troop of Bohemians, and arrived in their company at Florence. In this city he had the good fortune to attract the notice of a gentleman of the court, who supplied him with the means of study; but he removed in a short time to Rome, where, however, he was recognized by some relatives, who immediately compelled him to return home. Two years after this, and when only fourteen years old, he again left France contrary to the wishes of his friends, and reached Turin before he was overtaken by his elder brother, who had been despatched in quest of him. As his enthusiasm for art remained undiminished after these disappointments, he was at last allowed to accompany the duke of Lorraine’s envoy to the papal court. His first care was to study the art of design, of which in a short time he became a perfect master. Philip Thomasin instructed him in the use of the graver, which, however, he ultimately abandoned, substituting the point as better adapted for his purposes. From Rome he went to Florence, where he remained till the death of Cosimo II., the Maecenas of these times. On returning to his native country he was warmly received by the then duke of Lorraine, who admired and encouraged him. As his fame was now spread abroad in various countries of Europe, many distinguished persons gave him commissions to execute. By the Infanta Isabella, sovereign of the Low Countries, he was commissioned to engrave a design of the siege of Breda; and at the request of Louis XIII. he designed the siege of Rochelle and the attack on the Isle of Ré. When, however, in 1631 he was desired by that monarch to execute an engraving of the siege of Nancy, which he had just taken, Callot refused, saying, “I would rather cut off my thumb than do anything against the honour of my prince and of my country”; to which Louis replied that the duke of Lorraine was happy in possessing such subjects as Callot. Shortly after this he returned to his native place, from which the king failed to allure him with the offer of a handsome pension. He engraved in all about 1600 pieces, the best of which are those executed in aquafortis. No one ever possessed in a higher degree the talent for grouping a large number of figures in a small space, and of representing with two or three bold strokes the expression, action and peculiar features of each individual. Freedom, variety and naïveté characterize all his pieces. His Fairs, his Miseries of War, his Sieges, his Temptation of St Anthony and his Conversion of St Paul are the best-known of his plates.
See also Edouard Meaume, Recherches sur la vie de Jacques Callot (1860).
# 1911 Encyclopædia Britannica/Calmet, Antoine Augustin

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​CALMET, ANTOINE AUGUSTIN (1672–1757), French Benedictine, was born at Mesnil-la-Horgne on the 26th of February 1672. At the age of seventeen he joined the Benedictine order, and in 1698 was appointed to teach theology and philosophy at the abbey of Moyen-Moutier. He was successively prior at Lay, abbot at Nancy and of Sénones in Lorraine. He died in Paris on the 25th of October 1757. The erudition of Calmet’s exegetical writings won him a reputation that was not confined to the Roman Catholic Church, but they have failed to stand the test of modern scholarship. The most noteworthy are:—Commentaire de la Bible (Paris, 23 vols., 1707–1716), and Dictionnaire historique, géographique, critique, chronologique et littéral de la Bible (Paris, 2 vols., 1720). These and numerous other works and editions of the Bible are known only to students, but as a pioneer in a branch of Biblical study which received a wide development in the 19th century, Calmet is worthy of remembrance. As a historical writer he is best known by his Histoire ecclésiastique et civile de la Lorraine (Nancy, 1728), founded on original research and various useful works on Lorraine, of which a full list is given In Vigouroux’s Dictionnaire de la Bible.
See A. Digot, Notice biographique et littéraire sur Dom Augustin Calmet (Nancy, 1860).