OpenLLM-France/wikimedia huggingface dataset:
# In Bohemia/A Dead Man

A DEAD MAN
The Trapper died—our hero—and we grieved;
In every heart in camp the sorrow stirred.
"His soul was red!" the Indian cried, bereaved;
"A white man, he!" the grim old Yankee's word.
So, brief and strong, each mourner gave his best—
How kind he was, how brave, how keen to track;
And as we laid him by the pines to rest,
A negro spoke, with tears: "His heart was black!"
# In Bohemia/America

AMERICA.
Nor War nor Peace, forever, old and young,
But Strength my theme, whose song is yet unsung,
The People's Strength, the deep alluring dream
Of truths that seethe below the truths that seem.
The buried ruins of dead empires seek,
Of Indian, Syrian, Persian, Roman, Greek:
From shattered capital and frieze upraise
The stately structures of their golden days:
Their laws occult, their priests and prophets ask,
Their altars search, their oracles unmask,
Their parable from birth to burial see.
The acorn germ, the growth, the dense-leafed tree,
A world of riant life; the sudden day
When like a new strange glory, shone decay,
A golden glow amid the green; the change
From branch to branch at life's receding range.
Till nothing stands of towering strength and pride
Save naked trunk and arms whose veins are dried;
And these, too, crumble till no signs remain
To mark its place upon the wind-swept plain.
Why died the empires? Like the forest trees
Did Nature doom them? or did slow disease
Assail their roots and poison all their springs?
The old-time story answers; nobles, kings,
Have made and been the State, their names alone
Its history holds; its wealth, its wars, their own.
Their wanton will could raise, enrich, condemn;
The toiling millions lived and died for them.
Their fortunes rose in conquest fell, in guilt;
The people never owned them, never built.
Those olden times! how many words are spent
In weak regret and shallow argument
To prove them wiser, happier than our own!
The oldest moment that the world has known
Is passing now. Those vaunted times were young;
Their wisdom from unlettered peasants sprung;
Their laws from nobles arrogant and rude;
Their justice force, their whole achievement crude.
"With men the old are wise: why change the rule
When nations speak, and send the old to school?
Respect the past for all the good it knew:
Give noble lives and struggling truths their due;
But ask what freedom knew the common men
"Who served and bled and won the victories then?
The leaders are immortal, but the hordes
They led to death were simply human swords.
Unknowing what they fought for, why they fell.
What change has come? Imperial Europe tell!
Death's warders cry from twenty centuries' peaks:
Plataea's field the word to Plevna speaks;
The martial draft still wastes the peasants' farms—
A dozen kings,—five million men in arms;
The earth mapped out estate-like, hedged with steel;
In neighboring schools the children bred to feel
Unnatural hate, disjoined in speech and creed;
The forges roaring for the armies' need;
The cities builded by the people lined
With scowling forts and roadways undermined;
At every bastioned frontier, every State,
Suspicion, sworded, standing by the gate!
But turn our eyes from these oppressive lands:
Behold, one country all defenceless stands.
One nation-continent, from East to West,
With riches heaped upon her bounteous breast;
Her mines, her marts, her skill of hand and brain,
That bring Aladdin's dreams to light again!
Where sleep the conquerors? Here is chance for spoil:
Such unwatched fields, such endless, priceless toil!
# Journal of the Straits Branch of the Royal Asiatic Society/Volume 42/A New Species of Chalcis from Borneo
## A new species of Chalcis from Borneo.

By P. Cameron.
Chalcis borneanus, sp. nov.
Black; the under side of the scape, the apices of the femora, the base and apex of the tibiæ, the tarsi and the tegalæ whitish-yellow; the hinder femora red, their middle teeth longish and clearly separated; the apex of the scutellum ending in 2 stout, longer than broad, teeth; the wings hyaline, the nervures black. ♀
Length 4 1/2 mm.
Hab. Borneo.
Antennæ stout, as long as the thorax; the 3rd joint distinctly longer than the 4th and narrowed at the base. Head closely, but not deeply, punctured, except in the centre of the front; the centre of the face shining and less strongly and closely punctured; the top of the clypeus shining and bearing 6 large fovea. Mandibles rufous behind the teeth. Pro- and mesothorax rather strongly and closely punctured; the pronotum at the base on the sides with a distinct keel. Parapsidal furrows wide, curved. Scutellem more widely punctured than the mesonotum, its apex ending in 2 large, bluntly, rounded, longer than broad, finely rugose teeth. Metanotum irregularly reticulated; the central basal area is larger and longer, is obliquely narrowed at the base and becomes narrowed slightly towards the apex. Propleura rugose; the meso- smooth and shining and with some widly separated striæ at the base. Metapleuræ closely reticulated, abdomen shorter than the thorax, blunty pointed and covered with white pubescence at the apex.
# Journal of the Straits Branch of the Royal Asiatic Society/Volume 41

​[No. 41]
JOURNAL
of the
Straits Branch
of the
Royal Asiatic Society
JANUARY 1904
SINGAPORE:
Printed at the American Mission Press
1904
page
# Journal of the Straits Branch of the Royal Asiatic Society/Volume 42/Addendum to Mr. Hose's Paper on Methods of Reckoning Time

Addendum to this article.
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## Addendum to Mr. Hose's paper on Methods of Reckoning Time.

Since this paper was written a good deal more information about the Kenyah Sundial has come to hand, and it is evident that the methods employed by the different tribes in measuring the noon-day shadow and the omens attached to the respective lengths of the shadow vary considerably. This is but natural since the different tribes plant their crops at different times of the year. A figure of a measuring-stick (asu do) of the Aki Kenyahs, a down-river tribe who plant in July, is now given; the actual specimen is in the Sarawak Museum, and I am indebted to the curator, Mr. R. Shelford, for the drawing.
Explanation of the Figure.
Stick (asu do) used by the Kenyahs to measure the shadow cast by the Sundial (tukar do).
The stick is 72 centimetres in length and 1.7 centimetres broad; one border is notched. The end marked by an asterisk in the figure is held in the hand so that the stick lics along the extended arm, the notches corresponding to certain regions of the arm and hand. The relation of the length of the shadow cast at noon-day by the tukar do to the spaces between the notches determines the omen given by the dayong as described in the paper. The letters A to H refer to the spaces between the notches.
A. Known as Kujut Kata, the knuckles; this is a good time for planting, but there will be deaths in the house and the people of the house will always be crying and rubbing their eyes with their knuckles; in pounding out the padi, some padi will always remain mixed with the rice.
B. Corresponds to the position of the string often worn round the wrist to tie in the soul of the wearer, a bead or some ​charm being often threaded on the string. This marks a good time for planting.
C. Leku Sang, corresponds to the position of the wristlet made from fibres of the sang palm by men on the war paths to distinguish them from the enemy. A good time for planting.
D. Muga mipit, marks a bad time for planting because the sparrows (mipit) will destroy the crop.
E. Idan ok, i.e., the small part of the forearm, a bad time for planting.
F. Idan aiar, i.e., the thick part of the forearm, a bad time for planting.
G. Selong jangin, i.e., the brass armlet worn round the biceps; this marks a good time for planting.
H. Lingai Sapeh, i.e., the junction of the coat-sleeve with the coat; a good time for planting.
# Journal of the Straits Branch of the Royal Asiatic Society/Volume 42

​[No. 42]
JOURNAL
of the
Straits Branch
of the
Royal Asiatic Society
FEBRUARY 1905
SINGAPORE:
Printed at the American Mission Press
1905
page
# Instruments of the Modern Symphony Orchestra/BASSOON

BASSOON
Auguste Mesnard N.Y. Philharmonic Orchestra
The bassoon is the natural bass of the oboe family, it is a double-reed instrument of conical bore with a tube about nine feet long, doubled upon itself for convenience of handling. It has an extreme compass of three and a half octaves, of which, however, the four, of, five highest notes are seldom used.
The tones of the lowest octave are full and rich and of ample power to form a foundation for the entire wood-wind section. The medium register is not especially resonant but is characterized by an agreeable dryness which is absolutely unique. Possessing neither the incisive bite of the oboe nor the liquid beauty of the clarinet, and with limited capability for swelling and diminishing the tone, the bassoon rivals the flute itself in the rendition of staccato passages. Thus employed, its dry croaking tones are irresistibly comic and are of great service to the composer in depicting the humorous or the grotesque. When used in combination with clarinets or horns, the bassoon is extremely valuable for supplying a harmonic middle to the orchestral mass. The high notes from E flat up to B flat are of singularly appealing beauty and have been called "vox humana tones."
The bassoon is a non-transposing instrument. The bass, tenor, and treble clefs are used in its notation. Symphony orchestras usually require three players, the third of whom is also provided with a contra-bassoon to be used when required by the score.
# Instruments of the Modern Symphony Orchestra/BASSET-HORN

BASSET-HORN
Jan A. Williams Metropolitan Opera House Orchestra N.Y.
The name basset-horn, like english horn, is misleading. The instrument was invented in the year 1770 by a German clarinet maker by the name of Horn. He called his invention basset—"Horn," which means "Little bass (clarinet made by) Horn." the Italians and french, unaware of this circumstance, translated the name "horn" literally, hence the designations "corno di bassetto" and "cor de basset," both of which are misnomers.
The basset-horn is a tenor clarinet in F provided with additional keys which extend its downward range to C instead of E, as in ordinary clarinets. The bell joint is made of metal and is more flaring than that of other clarinets. Owing to the wide bore of the instrument, the tone of the basset-horn is particularly rich and agreeably reedy.
Among the great composers, Mozart stands foremost in his appreciation and use of this beautiful instrument, having employed it in several of his operas, in chamber music, and in his Requiem. Since his time it has gradually fallen into disuse, for what reason it is difficult to conjecture, but on account of its fine tone and facility of execution it is again attracting the attention of serious orchestral composers. It is written in the treble clef as a transposing instrument in F, its tones sounding a fifth lower than its notation.
# Instruments of the Modern Symphony Orchestra/BASS-CLARINET

BASS CLARINET
Jan A. Williams Metropolitan Opera House Orchestra N.Y.
This instrument is pitched an octave lower than the ordinary clarinet. Its peculiar form has been adopted for convenience in playing, and has no influence on its tonal quality, which (as in the case of the English horn when compared with the oboe) is similar to, though not identical with, that of the regular clarinet.
It has neither the liquid quality in the medium, nor the menacing quality in the low register that distinguish the ordinary clarinet, but its full, rich, organ-like tones form excellent basses for the wood-wind section, especially in sustained legato passages. In the execution of rapid staccato notes it cannot compete with the bassoon. It is one of the most eloquent of solo voices, standing pre-eminent in the rendition of motives expressive of dignity and nobility.
Although the bass clarinet is made in A as well as in B flat, it has been found that, owing to its slowness of speech, no passages are likely to be written which require execution too rapid for convenient performance on the B flat instrument. One B flat bass clarinet is therefore all that is required in the symphony orchestra. It is usually provided with a low E flat key. This gives the instrument the same downward range as the bass clarinet in A.
# Instruments of the Modern Symphony Orchestra/BASS DRUM

BASS DRUM
| Italian | German | French |
| Gran Cassa | Grosse Trommel | Grosse Caise |
| Cassa Grande |
| Or Simply Cassa |
This instrument gives a deep, booming sound of no definite pitch. It is played with a single, soft-headed drumstick with which tolerably close rolls are possible by the skillful performer. In loud passages its function is to augment the general volume of sound and especially to accentuate the rhythm. Struck softly it produces a dark, ominous effect which may be well employed in certain dramatic situations.
# Instruments of the Modern Symphony Orchestra/BASS

DOUBLE BASS (BASS)
Umberto Buldrini Principal Bass N.Y. Philharmonic Orchestra
To this instrument are assigned normally the deepest bass parts of the score. Basses are mounted with three, four, or five strings. The four-string variety is most widely used, having almost completely supplanted the three-string instruments. In modern symphony orchestras the five-string bass is making rapid headway, its special advantage being the downward extension of its compass to low (16 foot) C—one octave below the C string of the cello.
As tuning in fifths would be impracticable on this large instrument. A series of fourths is employed in order that scale and passage work may lie more conveniently under the hand. Usually there are two less basses than cellos in symphony and grand opera orchestras.
Parts for the double bass are written an octave above their actual sound in order to avoid the constant use of leger lines below the staff. The bass is thus one of the so-called "transposing instruments" whose pitch differs from its staff representation.
The two lowest strings are wire-spun. The bow is short and sufficiently sturdy to suit the requirements of the heavy strings. The pizzicato is very effective, and the use of the mute is by no means uncommon.
# Instruments of the Modern Symphony Orchestra/CASTANETS

CASTANETS
| Italian | German | French |
| Castagnette | Kastagnetten | Castagnettes |
A pair of castanets consists of two shell-like pieces of hardwood hinged together by a cord. The pair played by the left hand is usually the larger and is used to mark the main time. The smaller right hand pair executes embellishments on the main rhythm, some of which are extremely complicated in character. The castanet is of Spanish origin, and is used in the orchestra to impart local color in compositions of a Spanish character. It produces a characteristic, dry click, without definite pitch.
# Jensen v. Lorenz

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
302 U.S. 751
Jensen v. Lorenz
Mr. C. Russell Riordon, of Washington, D. C., for petitioners.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Jeremy and Hamlet

The author of "Jeremy" again discovers his childhood —Bookman, February 1924
Dog and little boy—and Walpole graceful as always.—Bookman, March 1924
Jeremy and Hamlet
By HUGH WALPOLE
NEW YORK
GEORGE H. DORAN COMPANY
COPYRIGHT, 1923, BY GEORGE H. DORAN COMPANY
COPYRIGHT, 1923, BY THE PICTORIAL REVIEW COMPANY
JEREMY AND HAMLET. II
PRINTED IN THE UNITED STATES OF AMERICA
TO MY FATHER AND MOTHER
FROM THEIR DEVOTED FRIEND, THEIR SON
It is not growing like a tree In bulk, doth make man better be; Or standing long an oak, three hundred year, To fall a log at last, dry, bald and sear; A lily of a day Is fairer far in May Although it fall and die that night— It was the plant and flower of light. In small proportions we just beauties see, And in short measures life may perfect be.
Ben Jonson

### CONTENTS

* chapterpage
* I “Come out of the Kitchen” 13
* II Conscience Money 36
* III The Dance 61
* IV Saladin and the Black Bishop 88
* V Poodle 110
* VI The Night Raiders 130
* VII Young Baltimore 155
* VIII The Ruffians 176
* IX The Picture-Book 207
* X Uncle Percy 233
* XI The Runaways 258
* XII A Fine Day 282
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 1941, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 82 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
# Jeremiah

* Search for titles containing or beginning with: "Jeremiah."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* A book of the Hebrew Bible; for versions, see Jeremiah (Bible).
* Biblical commentary and analysis
** "Jeremiah," in Easton's Bible Dictionary (1897)
** "Jeremiah, Book of," in Easton's Bible Dictionary (1897)
** "Jeremiah" in Matthew Henry's Commentary on the Whole Bible 4
** "Jeremiah" in Nicene and Post-Nicene Fathers: Series II VI
** "Jeremiah," in The New Student's Reference Work, Chicago: F.E. Compton and Co. (1914)
# Jeremiah (Bible)

Jeremiah is a book of the Hebrew Bible. It is universally accepted across all Jewish and Christian biblical canons, though the order of placement differs.
English-language translations of Yirmiyahu include:
* "Jeremiah" in the Wycliffe version of the Bible (1380s)
* "Jeremiah" in the Bishops' version (1568)
* "Jeremiah" in the Douay-Rheims version (1610)
* "Ieremiah" in the Authorized Version (1611)
* "Jeremiah" in the King James version (1769)
* "Jeremiah" in the American Standard version (1901)
* "Jeremiah" in the Jewish Publication Society version (1917)
* "Jeremiah" in the World English version (in progress since 1997)
* "Jeremiah" in the Wikisource edition (in progress since 2006)
* "Jeremiah" in the Literal Standard Version of the Bible (2020)
# Jenny of Aberdeen/Jenny of Aberdeen

JENNY OF ABERDEEN.
# Jensen v. Lorenz/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
302 U.S. 751
Jensen v. Lorenz
For opinion below, see 68 App.D.C. 39, 92 F.2d 992.
Petition for writ of certiorari to the United States Court of Appeals for the District of Columbia denied.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Jenny of Aberdeen/The Bonny House of Airley

The BONNY HOUSE of AIRLEY.
FINIS.
Falkirk—Printed by T. Johnston.
# Jenny of Aberdeen/The King and the Tanner

The KING and the TANNER.
# Kama Sutra/Part IV

(Improve this image)
13th Century V. From the Temple of Surya
At Konarak, Orissa
PART IV. About a Wife
# Kambalu

First published in 1864 in Atlantic Monthly with the title "The Kalif of Baldacca". The poem's source is Marco Polo's Il Milione.
* "Kambalu" in Tales of a Wayside Inn (1863).
* "Kambalu" in Flower-de-Luce (1867).
# Jersey Journal/1933/Birdwomen Elect Gretchen Hahnen

* related portals: Gretchen Frances Hahnen.
* sister projects: Wikidata item.
Gretchen Frances Hahnen (1902-1986) in The Jersey Journal on February 2, 1933.
Birdwomen Elect Gretchen Hahnen. Miss Gretchen Hahnen, 100 Duncan Avenue was elected New Jersey governor of the Woman's International Association of Aeronautics at a meeting of the organization last night at the home of Mrs. William D. Smyth, Jr., 229 West 101st Street, New York. Princess Der Ling, president of the organization was unable to preside, due to illness, and Miss Pearl Pelledon was in charge of the meeting. Viola Gentry, nationally known aviatrix was elected second vice-president. Miss Hahnen is adviser of the Junior Aeronautical Association of Jersey City, and is a student of Colonel Clarence Chamberlin.
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
# Jersey Journal/1937/Four Injured While Sledding

* related portals: Selma Louise Freudenberg.
* sister projects: quotes, Wikidata item.
Selma Louise Freudenberg (1921-2009) in the Jersey Journal on February 6, 1937.
Four Injured While Sledding. The first four accidents of the Winter season attributed to children coasting on their sleds occurred yesterday. Enjoying, his first sleigh-ride of the year, John Lavaggi, 13, of 454 Palisade Av., suffered a laceration of the right hip yesterday afternoon when he fell from his sled, while coasting on Ravine Avenue, near Palisade. He was treated at his home by Dr. Negele of the Medical Center. While sledding in front of his home a last night, Thomas Wilson, 8, of 290 Stewart Avenue, Kearny, was struck by an auto operated by J. Philip Frome, 120 Rutgers Street, Belleville. Removed to the West Hudson Hospital, the boy was treated by Dr. Robes for shock and went home. His mother refused to make a complaint against Frome. Selma Freudenberg, 15, of 11 Claremont Avenue, sustained a laceration of the right leg when she fell from her sled while coasting in front of her home last night. She was treated by a Medical Center intern and remained at home. Leo Sawyer, 13, of 274 Forest St. sustained a laceration of the scalp when the sled on which he was riding struck a tree on Orient Avenue. He was treated by a Medical Center intern at his home.
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