OpenLLM-France/wikimedia huggingface dataset:
# The Shoemakers

Ho! workers of the old time styled The Gentle Craft of Leather Young brothers of the ancient guild, Stand forth once more together! Call out again your long array, In the olden merry manner Once more, on gay St. Crispin's day, Fling out your blazoned banner!
Rap, rap! upon the well-worn stone How falls the polished hammer Rap, rap I the measured sound has grown A quick and merry clamor. Now shape the sole! now deftly curl The glossy vamp around it, And bless the while the bright-eyed girl Whose gentle fingers bound it!
For you, along the Spanish main A hundred keels are ploughing; For you, the Indian on the plain His lasso-coil is throwing; For you, deep glens with hemlock dark The woodman's fire is lighting; For you, upon the oak's gray bark, The woodman's axe is smiting.
For you, from Carolina's pine The rosin-gum is stealing; For you, the dark-eyed Florentine Her silken skein is reeling; For you, the dizzy goatherd roams His rugged Alpine ledges; For you, round all her shepherd homes, Bloom England's thorny hedges.
The foremost still, by day or night, On moated mound or heather, Where'er the need of trampled right Brought toiling men together; Where the free burghers from the wall Defied the mail-clad master, Than yours, at Freedom's trumpet-call, No craftsmen rallied faster.
Let foplings sneer, let fools deride, Ye heed no idle scorner; Free hands and hearts are still your pride, And duty done, your honor. Ye dare to trust, for honest fame, The jury Time empanels, And leave to truth each noble name Which glorifies your annals.
Thy songs, Hans Sachs, are living yet, In strong and hearty German; And Bloomfield's lay, and Gifford's wit, And patriot fame of Sherman; Still from his book, a mystic seer, The soul of Behmen teaches, And England's priestcraft shakes to hear Of Fox's leathern breeches.
The foot is yours; where'er it falls, It treads your well-wrought leather, On earthen floor, in marble halls, On carpet, or on heather. Still there the sweetest charm is found Of matron grace or vestal's, As Hebe's foot bore nectar round Among the old celestials.
Rap, rap!--your stout and bluff brogan, With footsteps slow and weary, May wander where the sky's blue span Shuts down upon the prairie. On Beauty's foot your slippers glance, By Saratoga's fountains, Or twinkle down the summer dance Beneath the Crystal Mountains!
The red brick to the mason's hand, The brown earth to the tiller's, The shoe in yours shall wealth command, Like fairy Cinderella's! As they who shunned the household maid Beheld the crown upon her, So all shall see your toil repaid With hearth and home and honor.
Then let the toast be freely quaffed, In water cool and brimming,-- "All honor to the good old Craft, Its merry men and women!" Call out again your long array, In the old time's pleasant manner Once more, on gay St. Crispin's day, Fling out his blazoned banner!
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 Shore of Africa

* The Shore of Africa, in The Edinburgh Magazine and Literary Miscellany, June 1821
* The Shore of Africa, in The New Monthly Magazine Volume 40, 1834.
# The Shores of Botany Bay

A traditional Irish folk song about a bricklayer who emigrates to Australia. Other titles for this song include:
* Botany Bay
* The Good Ship Ragamuffin (The Sheringham Shantymen, 2014, Album "The Shantymen at Home")
I'm on my way down to the quay Where the big ship at anchor lays To command a gang of navvys I was told to engage I thought I'd drop in for a drink Before I went away For to take a trip on an emigrant ship To the shores of Botany Bay
Farewell to your bricks and mortar Farewell to your dirty lime Farewell to your gangway and your gang plank To hell with your overtime For the good ship Ragamuffin Is lying at the quay For to take old Pat with a shovel on his back
The boss came up this morning He says "Well, Pat you know If you didn't get your navvys out I'm afraid you'll have to go" So I asked him for my wages I demanded all my pay And I told him straight I was going to emigrate To the shores of Botany Bay
And when I reach Australia I'll go and I'll look for gold There's plenty there for digging up Or so I have been told Or else I'll go back to my trade Eight hundred bricks I'll lay And eight bob I'll lift for an eight-hour shift On the shores of Botany Bay
This work was published before January 1, 1929 and is anonymous or pseudonymous due to unknown authorship. It is in the public domain in the United States as well as countries and areas where the copyright terms of anonymous or pseudonymous works are 95 years or less since publication.
Public domainPublic domainfalsefalse
# The Sundhya, or, the Daily Prayers of the Brahmins/Plate 24

Tilaka
PLATE 24.
MARKS WORN BY THE BRAHMINS.
The high caste of Brahmins, who officiate as High Priests in the Temples of the Devtas, follow strictly and minutely every article enjoined by their Shastres and Poorans. The marks worn by them are only six, as illustrated in the annexed Plate. The ornaments, likewise, appertain to the Pooja of each particular Deity. The marks worn by the Brahmins being distinct and few, they evidently demonstrate what Divinity he has worshipped on that day; but the other castes, such as Chuttree, Byse, and Kaiyat, have marks so varied and numerous, each according to the whim or fancy of the wearer, that it is very difficult to trace what Divinity he has worshipped on that day, being a complication of signs appertaining to the worship of two or three different Gods, or Saints, at the same time. The Jogees, especially, are covered, all over the body, with various signs, drawn with white sandal, or simply with river-mud; sometimes with vermilion, or with black and yellow earth; all of which contribute not a little to their hideous, as well as grotesque appearance. The marks enjoined by their Shastres are four in number: these are put on immediately after ablution, by the four respective castes: viz. the Brahmin wears it thus , perpendicularly on the forehead, between the brows, marked with white sandal or earth; the Chutriyas thus , horizontally across the forehead, with the same; the Byse thus , erect in front of the forehead; the Soodra, a round white spot, as large as a shilling-piece, between the eyebrows. These are worn during the performance of the Sundhya, and are washed off, to be replaced by those appertaining to the Deity the votary intends worshipping that day.
PLATE 24 :
| SIGNS WORN BY BRAHMINS ||
| MAHA DEVA | VISHNOO |
| SOORYA | GUNESH |
| DEVEE | HUNOOMAN |
| | Day & Son, lith$^{rs}$. to the Queen. |
# The Sundhya, or, the Daily Prayers of the Brahmins/Plates 13 & 14

PLATES 13 & 14.
These vessels are indispensable in all their religious ceremonies, and are 16 in number, viz.
Shunkh.—The conch-shell.
Urgha.—A copper vessel used in the ablutions of the images.
Dhoopdan.—For burning incense before the image.
Abkhora.—A ewer for presenting drink-offerings to the Gods.
Nundee.—The humped bull on which Mahadeo rides.
Sumputnee.—A copper vessel used also in presenting offerings.
Kuttoree.—Also of copper, to give offerings of flowers.
Thalee.—A large brass round dish for offering fruits and sweetmeats.
Dhoopdanee.—A smaller brass vessel for offering incense.
Laghupatra.—A small brass cup to mix up sandal in.
Singhasan.—The chair or seat for the images or idols.
Brihut Achamani.—A large spoon, to offer water to the Deity.
Laghu Achamani.—To offer water to the Deity, to cleanse his mouth.
Shunkh (upon the stand "Tictee") is used to pour water upon the idols.
PLATE 13 :
| ARTEE PUNEH PURDEEP | GHUNTA |
| NUNDEE | SHUNKH TAIPUTREE |
| DHOOPDAN | UPKHORA |
| URGHA | SHUNKH |
| | Day & Son, lith$^{rs}$. to the Queen. |
PLATE 14 :
| DHOOPDAN | LUGHU PATREE |
| SAMPUTEE | KUTTORA |
| SINGHASUN | THALEE |
| LUGHU ACHMANEE ||
| ACHMANEE ||
| | Day & Son, lith$^{rs}$. to the Queen. |
# The Sunken City

I walked beside a quiet sea,  At starlight, while the west was gray  And clear, though faint and far away; Through the stilled water, forth me, Voices of bells came dreamily;  No breeze more manifest than they.
Some say a thousand years ago  There throve a city on an isle  Beyond the headland, mile on mile, Which, in a night of fear and woe, Sank in the glassy depth below—  Sank tower and dwelling, beam and tile.
And now, when twinkling skies are clear,  Withing the sunken city there,  The sad ghosts ring their past despair Out on the mermen’s atmosphere— Ring loudly all, that life may hear  Dead sadness stir the ample air.
To me this city is not strange;  I feel familiar with each gate,  Each tower and street unfortunate, And, wheresoe’er I dwell or range, Its mem’ry-picture does not change,  Limned by its stern destroyer, Fate.
Its labarums, on roof and mast,  Swam in the light with silken arms,  No wrathful wars, nor dread alarms, The streeted splendor overcast; But, on a throne of gems amassed,  Sat Pleasure with Circean charma.
Yet came the hour of loss and fear.  The city sank, tower, wall, and mart,  Its brittle site was rent apart, And all went down that once was dear; But oft, in loneliness, I hear  Its sunken bells ring in my heart.
I beat no note of vain regret.  My hope-wrought city of To-be.  Youth seen, upon the future’s sea, Has vanished, and its sun is set; But broader and diviner yet,  The city of Reality.
For, though its ways be paved with stone,  And hard and rough to toiling feet,  And though, in the accustomed street, No blazoned garniture is known, By Fate, God’s hand, His will is shown,  And love makes humble service sweet.
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 Sundhya, or, the Daily Prayers of the Brahmins/Plate 3

PLATE 3
KOORMA (TORTOISE) the figure here indicated by the fingers is meant to represent it.
Day & Son, lith$^{rs}$. to the Queen.
# The Sundhya, or, the Daily Prayers of the Brahmins/Plate 6

Pranayama: Kumbhaka, Rechaka, Puraka.
PLATE 6.
After having performed all the figures contained in Plates 4 and 5, the Brahmin proceeds to the Pranayama, taking an inward view of Vishnoo Bhagwan, and Mahadeo; the first, "Preserver of the Universe," the latter, "The Destroyer of all." This ceremony is performed in the following manner: 1st, he presses in the right nostril with the fourth finger of his left hand, repeating the name of each Deity; and counting them nine times over upon the joints of the fingers of his right hand with great rapidity, half closing his eyes the while, and drawing in his breath; then gently pressing in the left nostril with the thumb, as in fig. 2, he breathes out, repeating the same name as many times over. Then releasing the right nostril, and still pressing in the left with the thumb, as in fig. 3, he terminates the Pranayama. These names, &c., are not uttered aloud, but merely by the movement of the lips.
PLATE 6 :
| No. 2, KUMBUCK | No. 3, RAICHUCK |
| No. 1, POORUCK PRANAIYAM ||
| Day & Son, lith$^{rs}$. to the Queen. ||
# The Sundhya, or, the Daily Prayers of the Brahmins/Plate 7

Arghya or Tarpana
PLATE 7.
The Pranayama concluded, the Brahmin takes up water in the palm of his left hand; and, touching it with the tips of the fingers of his right hand, he sprinkles it over his head. Then, dropping his right hand, and taking up fresh water, he presents it to the right nostril, drawing in his breath; then pours out the water on the left side of the palm. He then takes up the Urgha (a long, shallow vessel of copper), filled with water, over which he strews yellow and red sandal, raw rice, and a few flowers (the Hindoos are not particular in the choice of the flowers in these prayers): then, rising from his seat, he holds the Urgha with both hands, passing one end of the Janeo (Brahminic thread) over the thumb and the Urgha, and repeating the following prayer to the sun:—
अथार्घ्यमंत्रः सूर्य्यस्य कथ्यते एहि सूर्यसहस्रांशो तेजोराशे जगत्पते अनुकंपयमां भक्त्या गृहाणार्घ्यं दिवाकर
Translation.
Oh, Sun of a thousand rays! most glorious Lord of the world! have mercy upon me! I am thy servant: accept my offering of water, oh, Lord of the day!
Here the Brahmin pours out the contents of the Urgha.
PLATE 7
URGHAI. OFFERING OF WATER, RICE, &c &c
Day & Son, lith$^{rs}$. to the Queen.
# The Sundhya, or, the Daily Prayers of the Brahmins/Plate 8

Surya Namaskara
PLATE 8.
He then makes the sign, as illustrated in this plate, with the hands and fingers, forming a hole between the middle fingers: holding them up to his left eye, he takes a survey of the sun. After this he resumes his seat, in the same attitude as before, the right leg crossed over the left, and then proceeds to the Gáyatri-Jup.
अथ नमस्कारमंत्रः सूर्य्यस्य आदित्यं ये नमस्कारं प्रकुर्वंति दिने दिने जन्मान्तरसहस्रेषु दारिद्र्यं नोपजायते।
Translation.
"Whatever mortals in this world offer thee thanksgiving day by day, will never experience poverty in a thousand births."
PLATE 8
SOORYA
Day & Son, lith$^{rs}$. to the Queen.
# The Sundhya, or, the Daily Prayers of the Brahmins/Plates 4 & 5

Mudras
PLATES 4 & 5.
No other meaning is attached to these figures, but that they are pleasing to the Deities. The Brahmin commences with the figure No. 1, Soon-mookum (the closed lotus); then gradually spreading his fingers, describes the full-blown flower. He then makes the sign of Ek-mookum, Do-mookum, Teen-mookum, Choutah-mookum, and then the rest of the figures illustrated in Plates 4, 5, 6, 7, and 8. These are called Moodras, of which there are twenty-four in the Sundhya.
PLATE 4 :
| SUCKTUM | JUMMAPAS |
| SOONMOOKA | KHURMOOKUM |
| ADMOOKUM | EK MOOKUM |
| BYAPUCKUM | UNJAILEE |
| PURLUMB ||
| Day & Son, lith$^{rs}$. to the Queen. ||
PLATE 5 :
| MOOSTIC | MUTSAI |
| BURAHAKA | SINGHA KRANTEE |
| MOODGUR | PULLA |
| BISTAR, THUNG ||
| | Day & Son, lith$^{rs}$. to the Queen. |
# The Sundhya, or, the Daily Prayers of the Brahmins/Plate 9

Gayatri Japa
PLATE 9.
This prayer is called the Gáyatri-Jup: it is secret, and cannot be divulged to any but a Brahmin; it must be whispered only in his ear. The figures performed with the right hand, while the left one hangs listlessly over his right foot, must be cautiously concealed from all prying eyes by a red cloth bag, drawn over the hand, and hanging down on all sides. This bag is called Gumookhi, and is generally made of red broad-cloth. The Hindoos, however, commonly content themselves with throwing a part of their wrapping-cloth over the hand, which serves the same purpose as the bag.
PLATE 9
GAYATRI JUP the secret prayer
Day & Son, lith$^{rs}$. to the Queen.
# The Sundhya, or, the Daily Prayers of the Brahmins/Plates 17, 18 & 19

PLATES 17, 18, & 19.
POOJA TO DEVEE (SHIO SHIVA).
From Devee the Hindoo prays for the fulfilment of all his wishes. In this Pooja a book, called the Markundeya Pooran, is placed before him upon a red cloth, which serves as a case for the book when put by. A few blades of the dhoop ghas (hay), some red flowers, and sandal, rice, betel-leaves, and cloves, are placed upon the book, which remains closed. The worshipper sits cross-legged, the two heels and soles of the feet turned upwards, as illustrated in this Plate (a painful and difficult position); and with joined hands, having made his petition to the Deity, he performs the figures of the six Moodras contained in Plate 18, called Kurunnyas in the Gayatri; and then the Hridayadi'nyas, as in Plate 19. This is the sign worn in the worship of Devee between the two eyebrows, of red sandal: the Sputikmala, or string of crystal beads, is worn round the neck.
Translation of the Version in the Devee Pooja.
from the markundeya pooran.
* ↑ Daughter of the hills.
* ↑ Virgin.
* ↑ Like the moon-bell.
* ↑ Pumpkin-faced.
* ↑ Mother of Scunda.
* ↑ Katyáyani.
* ↑ Midnight.
* ↑ Great Gauri, or fair complexioned.
* ↑ Granter of success.
* ↑ Difficult of access.
PLATE 17
POOJAH OF DEVEE_SHICO SHIVA pudmasheen
Day & Son, lith$^{rs}$. to the Queen.
PLATE 18 :
| KURANYASA in the gayatri devee pooja ||
| 1 UNGOOSHTABHYAM NAMA | 4 UNAMIKABHYAM NAMA |
| 2 TURJUNIBHYAM NAMA | 5 KUNISHTIKABHYAM NAMA |
| 3 MUDHYMABHYAM NAMA | 6 KURATALA-KURA-PRISHTA-BHYAM NAMA |
| | Day & Son, lith$^{rs}$. to the Queen. |
# The Unconquered Air, and Other Poems (1912)/The Band of the "Titanic"

THE BAND OF THE "TITANIC"
"These are the immortal,—the fearless."—Upanishads.
Up, lads! they say we've struck a berg, though there 's no danger yet,— Our noble liner was not built to wreck!— But women may have felt a shock they 're needing to forget, And when there 's trouble, men should be on deck.
Come!—now 's the time! They're wanting us to brighten them a bit; Play up, my lads—as lively as you can! Give them a merry English air! they want no counterfeit Like that down-hearted tune you just began! . . .
I think the Captain's worried, lads: maybe the thing's gone wrong; Well, we will show them all is right with us! Of Drake and the Armadas now we'll play them such a song Shall make them of the hero emulous.
When boats are being lowered, lads, your place and mine are here,— ​O we were never needed more than now! When others go, it is for us those left behind to cheer, And I am glad, my lads, that we know how!
If it is Death that 's calling us, we 'll make a rave response; Play up, play up!—ye may not play again; The prize that Nelson won at last, the chance that comes but once, Is ours, my lads!—the chance to die like men!
# The Unconquered Air, and Other Poems (1912)/The Man-Soul

THE MAN-SOUL
He made it pure— More pure than deep-sea water, or the dew Distilled in mountain hollows: made it true As heaven's o'er-arching blue, Or as that orb that doth the main secure,— The lonely mariner's guiding cynosure. He made it sweet As lover's lips that meet For the first time, with tremulous delight; Or as the tears that more than half requite Their pain after long parting: made it brave, Fearless of wind or wave; A tameless thing with aspiration filled, That dares where eagles may not nest, to build!
# The Unconquered Air, and Other Poems (1912)/The Love of Life

This poem was not included in Mrs. Coates' collected Poems (1916, in 2 vols.).
THE LOVE OF LIFE
"My son is dead!" the aged woman wailed, "My son, who was the only help I had! My good, good son is dead—my faithful lad Who ne'er in duty to his mother failed!"
Eager to comfort her distress, I spoke Words that have solaced many a soul bereaved Since kingly David uttered them when, grieved, First to its final loss his heart awoke.
"Though he, indeed, shall not to you return, Yet, sorrowing mother, you shall go to him. Lo, even now, your lamp of life burns dim, And you may find him soon for whom you yearn!"
Sudden the tears ceased on that face of woe As the poor creature turned my words to meet, And sighed, to my amaze:—"Still, life is sweet!" Then I perceived she had no wish to go.
# The Unconquered Air, and Other Poems (1912)/The Morning-Glory

THE MORNING GLORY
Was it worth while to paint so fair Thy every leaf—to vein with faultless art Each petal, taking the boon light and air Of summer so to heart?
To bring thy beauty unto perfect flower, Then, like a passing fragrance or a smile, Vanish away, beyond recovery's power— Was it, frail bloom, worth while?
Thy silence answers: "Life was mine! And I, who pass without regret or grief, Have cared the more to make my moment fine, Because it was so brief.
"In its first radiance I have seen The sun!—why tarry then till comes the night? I go my way, content that I have been Part of the morning light!"
# The Unconquered Air, and Other Poems (1912)/The "Unfinished" Symphony

THE "UNFINISHED" SYMPHONY
O music of divine imagining! Does he not hear you in his dreams to-night? Can you no wonder to his spirit bring— And no delight?
His love created you; his hopes, his fears, Are poignant in these tones, surmounting death— These melodies that dim the eyes with tears, And snatch the breath! . . .
And can he longer sleep, nor note this strain Whose magic enters now, with lovelier art That like a benediction thrills the brain And fills the heart?
Ah, not to one shall all earth's joys belong! So have the gods ordained, whom we obey, Lest mortal men should deem themselves as strong, As blest as they.
On Schubert, out of love, the ecstasy That wrote this godlike music they conferred: To us they gave to hear the symphony He never heard!
# The Unconquered Air, and Other Poems (1912)/The Hospital

THE HOSPITAL
I
IN THE MATERNITY WARD
Is this the place? So still!—as with the hush That follows storm. Each on her narrow bed, they quiet lie— They who, so young, have been so near to die— Seeming of life but effigy and form.
How fair these girlish faces with closed eyes! Passion and strife Seem far from them. Are these beyond their reach? Nay, see!—high-cradled at the foot of each, A tender, new-born miracle of life!
On slippered feet the nurses to and fro Move noiselessly. A feeble cry!—a sigh half breathed in sleep! But who is this that vigil here doth keep— What Presence of august benignity?
O strangely moving vision! I behold The Mighty Mother!— ​She who, wandering friendless and forlorn, Sought far and near the child herself had borne, Finding nor help nor comfort in another.
Over the weakness here so proven strength, She, heavenly, Bends down; and, lo! the room becomes a shrine And hallowed altar for a love divine,— Pure as her love for lost Persephone!
II
IN THE SURGICAL WARD
"He that loveth his life shall lose it."
Last night a shape of fear Came in the silence drear— Unlooked-for and unsought— With stealthy, ghost-like motion drawing near.
I could not see its face In the unlighted place; No sound of it I caught; But, shuddering, I felt its creeping pace
A thing too dread to bear. I knew that it was there, And, my warm blood grown cold, An icy breathing horror stirred my hair.
​With pain-shut eyes I lay, Wishing yet dreading day That with strange pangs untold Should come, my frame to rack in a new way,
And powerless to free Myself, despairingly, "From the body of this death," I moaned, "Who shall deliver me?"
Then, all my pulses stirred, Awed and amazed, I heard— Uttered with calming breath Distinct and clear, apart from me—a word,
In far Judaea taught, That instant freedom brought,— Winging my soul's escape Through the blest miracle of heavenly thought.
And in the dreaming dawn, Waiting, all fear withdrawn, I knew the coward Shape From out my life forevermore was gone.
# The Unconquered Air, and Other Poems (1912)/The Chosen

THE CHOSEN
Death pitying stood before one bent and old, And said:—"Forbear your griefs, and go with me: The tale of your misfortunes—all is told, And I am come at last to set you free."
But, lo! the man fell trembling to his knees, Affrighted, and entreating in sad plight:— "Though poverty and pain deny me ease, Yet spare me!—but a day—a single night!"
Then Death, disdaining misery so base, Turned, silently, and sought whom life held dear. He found you, my belovéd! in the place You glorified, and touched you with his spear;
And as one startled wakes from a fair dream He fain would dream again, if that might be, You looked on Death clothed in his might supreme, And gave yourself to him,—forgetting me.
All beauteous in the blossom-time of youth, Ere yet a cloud your radiance could dim,— You knew him for God's messenger, in truth, And like an angel, went away with him.
# The Unconquered Air, and Other Poems (1912)/The Orchestral Leader

This poem was not included in Mrs. Coates' collected Poems (1916, in 2 vols.).
THE ORCHESTRAL LEADER
All eyes upon him centred, motionless, Yet tensely watchful, vividly aware, He stands an instant waiting. In the air His mystic wand, uplifted, seems to bless The Silence, while it calls to readiness Forces that overwhelming Silence there, Shall in its stead give Sound so sweet and rare As must its every parting pang redress.
Magician and enchanter, he doth hold In his fine hand tones, accents, manifold, Interpreting the gods to mortal men: His are the nerves that vitalize the rest; The central heart of all beats in his breast; Through him the very dead revive and speak again.