OpenLLM-France/wikimedia huggingface dataset:
# A Legend of Camelot, Pictures and Poems, etc/Flirts in Hades

Verses and Sketches.
FLIRTS IN HADES.
YE maids, that practise wicked arts, And eke young widows with light hearts; Gay Guardsmen, and pet parsons dear, And all such heartbreakers, see here! I charge you all, and every one, To waste no love ye may have won, For fear of this grey limbo, where All you fine flirts that ever were Of either sex, shall bud and blow As grafts on rooted stems, and grow, For many a round of days and years, Self-watered with your own salt tears; And wipe your eyes on your own leaves, For lack of pocket-handkerchieves! And wet your lips at your own cost, To whistle for the loves you lost; That these may cast their eyes, and see Fit cause to kiss, and set you free; For if by dint of tears, or trace Of some old unforgotten grace, You chance to charm a stray kiss out Of lips you once were fain to flout, Then may you pluck yourselves, and use Your leaves for pinions, if you choose, To soar upon, and seek for peace; Thus, only thus, the spell shall cease. And trust me, you shall not, I trow, Be beautiful and bright, as now; Your features shall be modelled then By Mr. Punch's smart young men! And here your victims, great and small, Shall whisk about you, one and all; With banded wings like butterflies, And, oh! such beautiful big eyes! And eyelashes an inch at least, And all their wealth of locks increast! And faces brighter than of old, And beautified a billion-fold, And little else but face to show, For having buried long ago Their bodies, and the broken hearts That plagued them so, in foreign parts; In fact, such faces as you see In keepsakes gilded gorgeously! And they shall have sweet kisses too, But none to waste on such as you! No! they shall either cut you dead, Or take to teasing you instead, And point at you, and poke their fun, And try your tempers, one by one, And raise false hopes and lay them low, And pout their lips to kiss, and go! So shall they nip you in the bud, Or leave you sticking in the mud, That you may rue your fickle days Of dancing, and your jilting ways! Till haply you shall culminate In quite a vegetable state, And even run to waste, I wis, And all for want of one poor kiss!
# A Legend of Camelot, Pictures and Poems, etc/The Fools' Paradise

"Take up your chain together."
THE FOOLS' PARADISE.
I.
IN and about the Honeymoon, Young Love in his fever gloweth; He waxeth fast, he waneth soon, He cometh, and he goeth. Young Love hath wings that flout his legs, And soareth, Life unheeding; Young Love is the goose with the golden Eggs! And soon he lies a-bleeding!
II.
The road is red with roses sweet, That leads you to his Dwelling With shoes of swiftness on your feet, And Joy there is no telling! And each a cap about the brow, But ne'er the Cap of Knowledge: The Cap of many Bells I trow, Fits best in Young Love's College!
III.
He weaves his bandage round your eyes, He casts his blindness o'er you, That you may dream all Paradise Doth stretch away before you! And dreaming each the other blest With Love's own wings behind you, You dare the Parson do his best For aye and a day to bind you!
IV.
For all a month He bids you fain Go feed among the Posies; And hides the Padlock and the Chain For all a Month of Roses; And gives you nought to care about But Love, till Truth be minded That you should find each other out, And be no longer blinded!
V.
O Love! that all the best of you Be over with the wooing! O Wedlock! All the worst of you That there be no undoing! It's Hey! Ho! and Welladay For Youth and Love, and Honey! It's Heigho! and Workaday For Bread and Cheese, and Money!
VI.
Weep not, poor Fools, nor hold aloof! Take up your chain together, And earthwards pad the wandering hoof That brought you fooling hither! O Help each other, and share the load, For steep the pass and thorny, That leads you thorough from Love's Abode To Life, and rough the Journey!
VII.
"—O Dream of Dreams! O was it worth The pain of this our waking? O what is there of balm on earth Can heal us of our aching? O Love is he dead before the Prime, Love that was born so newly?" . . . —Poor Fools, go pin your faith on Time, And Time shall tell you duly.
VIII.
For Time that scorned Love's earlier ways, His mellower secrets holdeth; These, living out our length of Days, We learn as Truth unfoldeth. Who knows but in a year or two That Love may have the kindness To come without his wings to you, And holpen of his blindness?
# A Legend of Camelot, Pictures and Poems, etc/A Simple Story

A Simple Story.
I.
THERE lived a youth (he liveth yet), And Richard was he christened; And well he played the flageolet, And all the ladies listened; And some were even heard to say His brow was handsome (in its way).
II.
But Richard met Ben Ball, a man All chest, and cheek, and shoulder, And ever so much bigger than Himself, though little older; Whose biceps Richard felt and found It measured fifteen inches round!
III.
Now this demoralised him quite; And then he took to reading The naughty books that ladies write And found there, with exceeding Dismay, that ladies' heroes are Wild, wicked men, and muscular!
IV.
Then in high dudgeon did he use To feel himself all over; But little sinew, and no thews Could Richard's thumbs discover; And wickedness is rarely met In men that play the flageolet.
V.
But 'twas not yet too late to mend; He got dumb-bells, and shyly He took the counsel of a friend ("Experimentum vili") And tried them first on his left arm, And found they acted like a charm!
VI.
Much bigger waxed his biceps, but When this left arm was finished, The left lobe of his occiput Had sensibly diminished; So then he went it, right and all, To make his nut symmetrical!
VII.
His nut soon got so hardened that It hurt you when you hit it; Nor could his hatter find a hat (Already made) to fit it, So marvellously small it grew, As all may judge from this back view.
VIII.
At length a happy day came round (Which I was there, and drew it) When Richard lifted from the ground A paving-stone, and threw it Almost one foot three-quarters high! And that with ladies standing by!!
IX.
Not only that: he, on his head So dexterously caught it, That all the ladies present said They never should have thought it! And even I could not but own 'Twas hard lines for the paving-stone!
X.
Next day he caught a cold, alack! And all his muscles vanished, But none of his old brains came back Which his dumb-bells had banished; And not a rack was left behind Of what he chose to call his mind!
XI.
Poor Richard now (O have you met Him lately) has grown bitter; For when he plays the flageolet The ladies talk and titter; And no one ever thinks his brow In any way good-looking now!
XII.
O little men, who wish to please, Be wiser than poor Dick! shun Big friends with brawny bicipes, And female works of fiction: But stick to music all your might, Or be cut out. And serve you right!
# A Legend of Camelot, Pictures and Poems, etc/Poor Pussy's Nightmare

POOR PUSSY'S NIGHTMARE.
ALL on a bare and bleak hillside, One night this merry Christmas-tide, A shivering, hunted hare did hide— Poor Pussy!
Though we had hunted Puss all day, The wind had blown her scent away, And baulked the dogs—so there she lay, Did Pussy!
There to the earth she humbly crept— There, brooding o'er her lot, she wept— There, on her empty stomach, slept Poor Pussy!
And there, whilst fell the frozen dew, She dreamt an ugly dream or two, As starved wet folk are apt to do, Did Pussy.
Loud hungry hounds of subtle ken, And thundering steeds, and hard-eyed men, Are fast on Pussy's trail again— Poor Pussy!
Onward she strains—on, on they tear! Foremost amongst the foremost there Are ruthless women's faces fair! Poor Pussy!
One moment's check! To left—to right— In vain she spends her little might! Some yokel's eye has marked her flight— Poor Pussy!
What use her five small wits to rack? Closer and faster on her track Hurries the hydra-headed pack! Lost Pussy!
"For pity's sake, kind huntsman, stop! Call off the dogs, before I drop, And kill me with your heavy crop!" Shrieks Pussy!
With shuddering start and stifled scream, She wakes—she finds it all a dream! How kind the cold, cold earth doth seem To Pussy!
In harrying Puss we had great fun, And trust that ere this year be done She'll give us yet one other run, Will Pussy!
A softer wind, a cloudier sky, A nice damp turf for the scent to lie, Are all we ask! Till then, good-bye, Dear Pussy!
# A Legend of Camelot, Pictures and Poems, etc/L'Onglay à Parry

L'Onglay à Parry.
UNG mattang j'etty dong Paree, Ay trister je regardy Le purple kee se promenay Le long dew Bullyvardy.
Je fumy ay je ravy, may Partoo l'onwee se trouvy ; Avec une petty tube de pyle De tongs ong tong, je buvy.
Assee devong le caffy, donc, Je buvy ay je fumy, Ay j'admiray le joly mond, Les elegong costumy.
Tongtô c'etait ung deputay Lisong le Charryvarry; Tongtote une dam de kalitay Kee sortay song song marry.
Epwee day fam de tute espayce Ong tray grand varietty— Des actreece, ay day fam dew mond, Day bonn, ay day grisetty:
Kelks etty june, kelks etty viell, Ay kelks, nee l'ung nee l'oty; May tutes avvy l'air contong d'ellmaym— Ay le reste avvy tute lâ beautay.
Epwee Messiew les Etudiong, Tray sal, ay tray mal painyay, Ay kee sortay de n'amport oo, (Excepty de se bainyay).
Tongtote oon belle voiture, epwee Une villang viel fiark, ay Ung Mossoo, faisong sauty song Cheval, poor ayt remarkay.
Epwee, partoo des militairs! O tempora! O mory! . . . Kelks etty view, kelks etty june, May tutes etay decory.
Ongfang le Pranks Ampayrial, Song pair, ay tute sâ sweeter, Assee sewer une bong petty cheval Kee n'ally par trô veeter.
Kong sudang, s'offrit à may ziew Croisong de l'oter coty, Ung pair, une mair, une belle june feel, De may compatrioty.
Lâ mair avay day blongs chevew, Lâ pheel, day chevew dory; Le pair n'ong avvy pardertoo, Ay parissay se bory.
Le pair portay song pairaplwee, Lâ mair say jewpongs porty: Lâ pheel ne porty reangdertoo, Elle avait ung escorty.
Car, plang d'amoor, a côty d'elle Etait ung tray distangy . . . O, hang it! what's the French for "swell?" And what's the rhyme for "angy?"
Elle sombly bowkoo aymay lwee; Il parissay s'adory! O fortunatos nimium Si sua bona nôri(nt!)
Hay biang, cette coople amoroo, Ke tute le mond regardy, Etay plew bel ke tute le mond Sewer tute la Bullyvardy.
Ay cette viell mair, ay cet view pair Etay plew respectarble Ke presker tute les abitongs De cette grond veal dew diarble.
Alors, je pongsay a lâ pheel (Ay bowkoo je regretty) Ke j'avvy laissy dairyair mwaw (Portong le nong de Betty).
Au souvenir de mâ sheree, May pulsationg se hâty; L'amoor saccray de lâ patree Causay mong cure de batty.
Appelay veeter le garsong, Ay dear: "Combiang çâ couty?" Ay donny der soo poor lweemaym C'est l'affaire d'une minuty.
Payay lâ note exorbitong A l'homme oo je demuray— Pronder le Shmang-de-fair-dew-Nord— C'est l'affaire d'ung card'ury.
Aprays oon tray grossiay passarge Ay tute malard ke j'etty, Je coury met mong pover cure Aux pover piay de Betty.
"Oh vullyvoosayter mong chair fam? Oh vullyvoosayt? repondy!" . . . Ay sâ reponse affirmateeve, C'est l'affaire d'une secondy!
Car Betty, c'etty une see bonne pheel! Là meillewer pheel dew monder! Ay Betty, c'etty là plew belle pham De Bloomsbury, â Londer!
Ne soyydoncpar bowkoo sewerprees, See voo voyay parayter 2 jollypettygarsongs dew maim ârge Dongs 1 perambulator.
# A Legend of Camelot, Pictures and Poems, etc/The Contrast

THE CONTRAST.
At a Sale of Antique Furniture.
WHEN the mirror politely stood still for a space, And she viewed herself there in that reeking old place, While the tribes clustered, grinning, all round her sweet face, Such a picture was framed as one don't often see; On our Catalogue's margin we sketched her, pro tem., And just added those lively descendants of Shem For a background—the brighter and fairer the gem, The darker and plainer the setting should be!
# A Dictionary of Music and Musicians/Pirates of Penzance, The

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Pitchpipe

From volume 2 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Pisaroni, Benedetta

From volume 2 of the work.
​PISARONI, Benedetta Rosamunda, an excellent contralto singer, was born at Piacenza, Feb. 6, 1793. Her instructors were Pino, Moschini, and Marchesi. Her first public appearances were made at Bergamo in 1811, in the rôles of Griselda, Camilla, and others, popular at that period. Her voice was then a high soprano, and her accomplishments as a singer so great that, in spite of a singularly unprepossessing appearance, she excited great admiration, and her fame spread rapidly all over Italy. A serious illness which she had at Parma, in 1813, resulted in the loss of some of her upper notes, which forced her to abandon her old soprano parts. She then applied herself to cultivating the lower register of her voice, which gained considerably in extent and volume, while the artistic resources she displayed were so great that the career by which she is remembered began in fact at this time. Some few of her notes had always a guttural, unpleasant sound, but in spite of this she was universally admitted to be the first Italian contralto. She appeared at Paris, in 1827, as Arsace in 'Semiramide.' Fétis writes of this occasion: 'Nerer shall I forget the effect produced on the audience when, advancing up the stage with her back to the public, contemplating the interior of the temple, she enunciated in a formidable voice, admirably produced, the phrase 'Eccomi alfine in Babilonia!' A transport of applause responded to these vigorous accents, this broad style, so rare in our days; but when the singer turned round, displaying features horribly disfigured by small-pox, a sort of shudder of horror succeeded to the first enthusiasm, many among the spectators shutting their eyes so as to hear without being condemned to see. But before the end of the opera her performance had gained a complete victory. After a few months the public thought no more about Madame Pisaroni's face, dominated as all were by her wonderful talent.'
She herself was so sensible of her physical defects that she never accepted an engagement without first sending her portrait to the manager, that he might be prepared exactly for what he was undertaking.
[ F. A. M. ]
# A Dictionary of Music and Musicians/Pischek, Johann Baptist

From volume 3 of the work.
​PISCHEK, Johann Baptist, a fine baritone singer, born Oct. 14, 1814, at Melnick in Bohemia, made his début on the boards at the age of 21. In 1844 he was appointed Court-singer to the King of Wurtemberg at Stuttgart, an appointment which he retained until his retirement July 1, 1863. He entered on his duties May 1, 1844. At a later date he was also made 'Kammersänger.' Pischek travelled a great deal, and was known and liked in all the principal towns of North and South Germany, especially at Frankfort, where we find him singing, both on the stage in a variety of parts, and in concerts, year after year from 1840 to 1848. In England he was a very great favourite for several years. He made his first appearance here on May 1, 1845, at a concert of Madame Caradori Allan's; sang at the Philharmonic on the following Monday and thrice besides during the season there. He reappeared in this country in 1846, 47, and 49, and maintained his popularity in the concertroom, and in oratorio, singing in 49 the part of Elijah at the Birmingham festival with great energy, passion, and effect. On the stage of the German opera at Drury Lane during the same year his Don Juan was not so successful, his acting being thought exaggerated. He was heard again in 1853 at the New Philharmonic Concerts. He died at Stuttgart, Feb. 16, 1873.
[ A. C. ]
# A Dictionary of Music and Musicians/Piston

From volume 2 of the work.
​PISTON. A name given to one form of valve used in brass instruments for altering the course of the vibrating column of air, and thus producing alteration of pitch. The other form is termed a rotatory valve. The piston consists of a vertical tube inserted in the main air-way; usually, but not necessarily, at right angles to it. Four orifices communicate with it laterally; two belonging to the original bore; two connected with a bye-path or channel of greater length termed the 'valve slide.' In the vertical tube itself slides an air-tight cylinder or piston, pressed upwards by means of a spiral spring beneath it, and prolonged above into a circular button or finger-piece which can be depressed at pleasure. Across the cylinder are two oblique perforations occupying its central portion. In a state of rest, one of these is continuous on either side with the bore of the instrument, and the bye-path is obstructed. But when the fingerpiece is depressed in opposition to the action of the spiral spring, the former is closed, and communication is established by the other between the main bore and the valve slide or channel. The ordinary cornet à pistons, so named from this ingenious contrivance, usually possesses three of these pistons worked by the first three fingers of the right hand, the musical effect of which has been described under that title. [Cornet, vol. i. p. 403.] The Euphonium or bass saxhorn is generally furnished with a fourth valve for the left hand. The series may, however, be extended to six or more, though it is rare to see the above ​numbers exceeded. The French horn, from the closeness of its harmonic sounds, hardly needs more than two, respectively depressing the open note a tone and a semitone: these are usually attached to a removable slide, and can be replaced by a plain metal tube. [See the woodcut under Horn, vol. i. p. 747.] The early pistons were of complicated plan, causing several abrupt angles in the air-way, which to a certain extent interfered with the purity and freedom of the tone. Modern improvements have to a great degree removed this defect; though there still exists a prejudice against their use, especially among players of the French horn.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Pipe and Tabor

From volume 2 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Pirata, Il

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Pisari, Pasquale

From volume 2 of the work.
[ F. G. ]
# A Naval Biographical Dictionary/Barker, George (b)

Layout 4
​BARKER. (Lieut., 1814. f-p., 16; h-p., 26.)
George Barker was born 9 Sept. 1789. He had a brother who died a Midshipman in the service.
This officer entered the Navy, 26 July, 1805, as Fst.-cl. Vol., on board the Orion 74, Capt. Edw. Codrington. After participating in the battle of Trafalgar, he removed, as Midshipman, to the Tigre 80, Capt. Benj. Hallowell, and while under that officer, in 1807, witnessed the surrender of Alexandria, and was much employed on the Nile and the lakes of Lower Egypt. Rejoining Capt. Codrington, in Aug. 1809, on board the Blake 74, he accompanied the expedition to the Walcheren, and served on shore with the army during the operations against Flushing; subsequently to which we find him actively employed on the coast of Spain, where he assisted at the defence of Tarragona, and for his conduct in a breaching battery was awarded the rank of Acting-Lieutenant. He was ultimately, after serving for some months, in South America, on board the Isis 50, confirmed to a Lieutenancy, 23 July, 1814, in the Port Mahon 18, Capt. Fred. Wm. Burgoyne. From 10 June, 1815, until paid off, 9 Sept. 1818, Mr. Barker was next employed in the Cherub and Wasp sloops, Capts. Thos. Tudor Tucker and Wm. Wolrige, on the Home and Mediterranean stations. His next appointment was, on 4 Sept. 1822, to the Cherokee 10, Capt. Wm. Keats, off the coast of Scotland. He has not since 1826 been afloat.
# A Naval Biographical Dictionary/Barnard, Edward King

Layout 4
​BARNARD. (Lieut., 1841. f-p., 19; h-p., 0.)
Edward King Barnard, born 1 July, 1815, is son of Capt. Edw. Barnard, R.N.
This officer entered the Royal Naval College in Aug. 1828; and embarked, 17 Dec. 1829, as Midshipman, on board the Britomart 10, Capt. Johnson, on the Home station. During the four following years he served, in the Mediterranean, on board the Favorite 18, Capt. Joseph Harrison, Pelican 18, Capt. Joseph Gape, Britannia 120, flag-ship of Sir Pulteney Malcolm, and, we believe, the Scylla 16. He then, on joining the Ocean 80, commanded by his father as flag-ship at the Nore of Sir Rich. King, passed his examination, and for another period of four years was employed in the East Indies on board the Winchester 52, bearing the flag of Hon. Sir Thos. Bladen Capel. At length Mr. Barnard, after a further attachment to the Royal Adelaide 104, flag-ship at Plymouth of Lord Amelius Beauclerk, Gorgon steam-frigate, commanded during the Carlist warfare in Spain by Capt. Sidney Colpoys Dacres, and Wizard 10, Lieut.-Commander Thos. Fred. Birch, employed in suppressing the African slave-trade, obtained a commission, dated 23 Nov. 1841; since which period his appointments have been – 8 June, 1842, to the Excellent gunnery-ship at Portsmouth, Capt. Sir Thos. Hastings – and 27 May, 1843, to the Virago steam-sloop, Capts. George Graham Otway and John Lunn, now in the Mediterranean. Agents – Messrs. Stilwell.
# A Naval Biographical Dictionary/Barnard, Frederick Lamport

Layout 4
​BARNARD. (Lieut., 1840. f-p., 20; h-p., 0.)
Frederick Lamport Barnard, born 20 Feb. 1813, is son of Capt. Edw. Barnard, R.N.
This officer entered the Navy, 3 June, 1827, as Fst.-cl. Vol., on board the Revenge 76, Capt. Norborne Thompson, employed on the Home station. In the autumn of 1828, after a further attachment to the Challenger 28, Capt. Adolphus FitzClarence, and Windsor Castle 74, Capt. Hon. Duncombe Pleydell Bouverie, he became Midshipman of the Jaseur 18, Capt. John Lyons, and in that sloop, and the Badger 10, served for five years at the Cape of Good Hope. Passing his examination 26 June, 1833, he next, from May, 1834, until promoted to the rank of Lieutenant, 26 Oct. 1840, officiated as Mate in succession of the Hastings 74, flag-ship of Sir Wm. Hall Gage on the Lisbon station, Inconstant 36, Capt. Dan. Pring, employed in the conveyance of troops to North America and the West Indies, Winchester 50, flag-ship on the latter station of Sir Thos. Harvey, and Vestal 26, Capt. Thos. Wren Carter. His appointments have since been – 4 Nov. 1840, to the Excellent gunnery-ship at Portsmouth, Capt. Sir Thos. Hastings – 21 April, 1842, to the Cleopatra 26, Capt. Christ. Wyvill, at the Cape of Good Hope – 8 July, 1845, to the Thunderbolt steam-sloop, Capt. Geo. Nathaniel Broke, on the North America and West India station – and, 27 Feb. 1846, again to the Cleopatra, in which frigate he is still serving. Agents – Messrs. Stilwell.