OpenLLM-France/wikimedia huggingface dataset:
# A Short Biographical Dictionary of English Literature/Owen, John (epigrammatist)

Owen, John (1560-1622). -- Epigrammatist, b. at Plas Dhu, Carnarvonshire, ed. at Winchester and Oxf., and became head master of King Henry VIII. School at Warwick. His Latin epigrams, which have both sense and wit in a high degree, gained him much applause, and were translated into English, French, German, and Spanish.
# A Short Biographical Dictionary of English Literature/Owen, Robert

Owen, Robert (1771-1858). -- Socialist and philanthropist, b. at Newton, Montgomeryshire, had for his object the regeneration of the world on the principles of socialism. His sincerity was shown by the fact that he spent most of the fortune, which page 293his great capacity for business enabled him to make, in endeavours to put his theories into practice at various places both in Britain and America. He was sincerely philanthropic, and incidentally did good on a considerable scale in the course of his more or less impracticable schemes. He propounded his ideas in New Views of Society, or Essays on the Formation of the Human Character (1816).
# A Short Biographical Dictionary of English Literature/Oxford, Edward De Vere, Earl of

Oxford, Edward De Vere, Earl of (1550-1604). -- Was a courtier of Queen Elizabeth, who lost his friends by his insolence and pride, and his fortune by his extravagance. He m. a dau. of Lord Burghley, who had to support his family after his death. He had some reputation as a writer of short pieces, many of which are in the Paradise of Dainty Devices.
# A Short Biographical Dictionary of English Literature/Paine, Thomas

Paine, Thomas (1737-1809). -- Political and deist writer, s. of a stay-maker and small farmer of Quaker principles at Thetford, became with large classes perhaps the most unpopular man in England. After trying various occupations, including those of schoolmaster and exciseman, and having separated from his wife, he went in 1774 to America where, in 1776, he pub. his famous pamphlet, Common Sense, in favour of American independence. He served in the American army, and also held some political posts, including that of sec. to a mission to France in 1781. Returning to England in 1787 he pub. his Rights of Man (1790-92), in reply to Burke's Reflections on the French Revolution. It had an enormous circulation, 1,500,000 copies having been sold in England alone; but it made it necessary for him to escape to France to avoid prosecution. Arrived in that country he was elected to the National Convention. He opposed the execution of Louis XVI., and was, in 1794, imprisoned by Robespierre, whose fall saved his life. He had then just completed the first part of his Age of Reason, of which the other two appeared respectively in 1795 and 1807. It is directed alike against organized religion and atheism, and supports Deism. Becoming disgusted with the course of French politics, he returned to America in 1802, but found himself largely ostracised by society there, became embroiled in various controversies, and is said to have become intemperate. He d. at New York in 1809. Though apparently sincere in his views, and courageous in the expression of them, P. was vain and prejudiced. The extraordinary lucidity and force of his style did much to gain currency for his writings.
# A Short Biographical Dictionary of English Literature/Painter, William

Painter, William (1540?-1594).—Translator, etc., ed. at Camb., was then successively schoolmaster at Sevenoaks, and Clerk of the Ordnance, in which position his intromissions appear to have been of more advantage to himself than to the public service. He was the author of The Palace of Pleasure (1566), largely consisting of translations from Boccaccio, Bandello, and other Italian writers, and also from the classics. It formed a quarry in which many dramatists, including Shakespeare, found the plots for their plays.
# A Short Biographical Dictionary of English Literature/Owen, John (puritan)

Owen, John (1616-1683). -- Puritan divine, b. at Stadhampton, Oxfordshire, and ed. at Oxf., from which he was driven by Laud's statutes. Originally a Presbyterian, he passed over to Independency. In 1649 he accompanied Cromwell to Ireland, and in 1650 to Edinburgh. He was Dean of Christ Church, Oxf. (1651-60), and one of the "triers" of ministers appointed by Cromwell. After the Restoration he was ejected from his deanery, but was favoured by Clarendon, who endeavoured to induce him to conform to the Anglican Church by offers of high preferment. Strange to say Charles II. also held him in regard, and gave him money for the Nonconformists; and he was allowed to preach to a congregation of Independents in London. His great learning and ability rendered him a formidable controversialist, specially against Arminianism and Romanism. His works fill 28 vols; among the best known being The Divine Original, etc., of the Scriptures, Indwelling Sin, Christologia, or ... The Person of Christ, and a commentary on Hebrews.
# A Short Biographical Dictionary of English Literature/Paley, William

Paley, William (1743-1805). -- Theologian, s. of a minor canon of Peterborough, where he was b., went at 15 as a sizar to Christ's Coll., Camb., where he was Senior Wrangler, and page 294became a Fellow and Tutor of his coll. Taking orders in 1767 he held many benefices, and rose to be Archdeacon of Carlisle, and Sub-Dean of Lincoln. P., who holds one of the highest places among English theologians, was the author of four important works -- Principles of Moral and Political Philosophy (1785), Horæ Paulinæ, his most original, but least popular, book (1790), View of the Evidences of Christianity (1794), and Natural Theology (1802). Though now to a large extent superseded, these works had an immense popularity and influence in their day, and are characterised by singular clearness of expression and power of apt illustration. The system of morals inculcated by P. is Utilitarian, modified by theological ideas. His view of the "divine right of Kings" as on a level with "the divine right of constables" was unpleasing to George III., notwithstanding which his ecclesiastical career was eminently successful. His manners were plain and kindly.
# A Short Biographical Dictionary of English Literature/Palgrave, Sir Francis

Palgrave, Sir Francis (1788-1861). -- Historian, s. of Meyer Cohen, a Jewish stockbroker, but at his marriage in 1823, having previously become a Christian, assumed his mother-in-law's name of Palgrave. He studied law, and was called to the Bar in 1827. From 1838 until his death in 1861 he was Deputy Keeper of the Records, and in that capacity arranged a vast mass of hitherto inaccessible documents, and ed. many of them for the Record Commission. His historical works include a History of England in Anglo-Saxon Times (1831), Rise and Progress of the English Commonwealth (1832), and History of Normandy and England (4 vols., 1851-64), pub. posthumously. He was knighted in 1832. His works are of great value in throwing light upon the history and condition of mediæval England.
# A Short Biographical Dictionary of English Literature/Paltock, Robert

Paltock, Robert (1697-1767). -- Novelist, was an attorney, and wrote The Life and Adventures of Peter Wilkins, a Cornish Man (1751), admired by Scott, Coleridge, and Lamb. It is somewhat on the same plan as Robinson Crusoe, the special feature being the gawry, or flying woman, whom the hero discovered on his island, and married. The description of Nosmnbdsgrutt, the country of the flying people, is a dull imitation of Swift, and much else in the book is tedious.
# A Treasury of Folk Songs/Jennie Jenkins

Will you wear white, oh my dear, oh my dear? Oh will you wear white, Jennie Jenkins? I won't wear white, For the color's too bright. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear blue, oh my dear, oh my dear? Oh, will you wear blue, Jennie Jenkins? I won't wear blue, The color's too true. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear red, oh my dear, oh my dear? Oh will you wear red, Jennie Jenkins? I won't wear red, It's the color of my head. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear black, oh my dear, oh my dear? Oh will you wear black, Jennie Jenkins? I won't wear black, It's the color of my back. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear purple, oh my dear, oh my dear? Oh will you wear purple, Jennie Jenkins? I won't wear purple, It's the color of a turkle. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear green, oh my dear, oh my dear? Oh will you wear green, Jennie Jenkins? I won't wear green, For it's a shame to be seen. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear yellow, oh my dear, oh my dear? Oh will you wear yellow, Jennie Jenkins? I won't wear yellow, For the color's too shallow. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
Will you wear gold, oh my dear, oh my dear? Oh will you wear gold, Jennie Jenkins? I won't wear gold, I'm not that old! I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
What will you wear, oh my dear, oh my dear? What will you wear, Jennie Jenkins? I've nothing to wear, So I'll just go bare. I'll buy me a fol-de-roldy-tildy-toddy seek-a-double, use-a-cause-a-roll-the-find-me Roll, Jennie Jenkins, roll.
# A Treasury of South African Poetry and Verse/Amy Sutherland

THE DIGGER'S SONG.
Oh, mates, the veldt is brown and bare,
And drought is on the land;
But beneath lie the glittering veins of gold,
Like the cords in this broad brown hand.
Then dig for the glittering gold!
Dig for the wealth untold!
Dig with a fire that can never tire,
Down, down to the glittering gold.
Oh, mates, we left some living friends
Away across the sea;
But my sweetheart here, in the brown earth's breast,
Is dearer far to me.
Then hurrah for the glittering gold!
Hurrah for the wealth untold!
We'll win it, we'll spend it, we'll drink it, we'll lend it,
We'll live for the glittering gold.
My sweetheart's hair is yellow, bright
As the sun in yonder sky;
But shy my sweetheart is, and dark
The place where she does lie.
Then drink to the glittering gold!
Drink to the wealth untold!
Drink deep and long, with laughter and song,
Drink, drink to the glittering gold!
My sweetheart's bright as the rising sun,
And cold as the waning moon;
And hard as the stones in the water-course
'Neath the dust and glare of noon.
Then a health to the glittering gold!
A health to the wealth untold!
A health, my lads, to the fairest of maids,
A health to the glittering gold!
Amy Sutherland.
# A Treasury of South African Poetry and Verse/A. C. Fairlie

A HOME BY THE SHORE.
O for a home on the sandy shore,
Where the green waves sing—for evermore;
For the breezes free,
On the rolling sea,
Are like Æolian harps to me.
O for to list while the wild winds rave,
As they sweep along o'er the curling wave,
Where the sea-mews roam
O'er the snowy foam,
And swiftly skim to their briny home.
O for a sail with the sloping mast,
And to merrily fly before the blast,
When skimming along
The billows among,
That curling foam to the wild waves' song.
A. C. Fairlie.
SWEET FALLS THE EVE.
Sweet falls the eve in Chumie's Vale,
And blithe awakes the morn,
The flow'rets scent the early gale,
That rustles through the corn.
The moonbeam glances on the hills,
And silvers o'er the lawn;
While tuneful dance the gushing rills
To hail the golden dawn.
There Nature with her fairest dress
The lofty hills adorn;
The morning breeze the flowers caress,
And Plenty fills her horn.
No fairer maids in Afric's land
Than where the streamlets glide
Among the Chumie Mountains grand
To lone Kieskamma's tide.
A. C. Fairlie.
CHUMIE FAIR.
Oh! Chumie fair, my childhood's home,
While far from thee I now do roam,
Yet oft in fancy, oft in dreams
I wander by thy crystal streams.
Thy woodlands green, thy mountains grand
Rise as by touch of magic wand,— Methinks I see thy waterfalls,
And hear thy wild dove's am'rous calls.
With fond remembrance do I cling
To where the sweet mimosas fling
Their rich perfume o'er hill and dale,
And scent the winds of summer gale.
Though other lands are fair to view,
And other skies are quite as blue,
Yet back to thee my soul doth roam,
O Chumie fair, my childhood's home.
A. C. Fairlie.
BUFFALO BANKS.
Buffalo banks are fair to view
In summer-time of year,
When flowers are wet with pearly dew
And birds sing loud and clear.
Buffalo banks, your mazy groves
Are filled with wild birds' song,
And oh! how pleasant 'tis to rove
Your waving woods among.
Meandering walks your depths adorn,
Through forest and through glade,
Where Cupid reigns and rules supreme,
And lovers' vows are paid.
Secluded in your winding groves—
Those groves by Nature made,
How sweet the golden hours would pass,
With Tylden's bonnie maid.
In leafy shade or flowery dell,
By Buffalo's flowing tide,
With thee for aye I fain would dwell,
Sweet lass of Tylden side.
A. C. Fairlie.
# A Treatise on Painting/Chapter 141

Chap. CXLI.—How you may learn to compose Groups for History Painting.
When you are well instructed in perspective, and know perfectly how to draw the anatomy and forms of different bodies or objects, it should be your delight to observe and consider in your walks the different actions of men, when they are talking, or quarrelling; when they laugh, and when they fight. Attend to their positions, and to those of the spectators; whether they are attempting to separate those who fight, or merely lookers-on. Be quick in sketching these with slight strokes in your pocket-book, which should always be about you, and made of stained paper, as you ought not to rub out. When it is full, take another, for these are not things to be rubbed out, but kept with the greatest care; because forms and motions of bodies are so infinitely various, that the memory is not able to retain them; therefore preserve these sketches as your assistants and masters.
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# A Treatise on Painting/Chapter 143

Chap. CXLIII.—Of Dresses, and of Draperies and Folds.
The draperies with which you dress figures ought to have their folds so accommodated as to surround the parts they are intended to cover; that in the mass of light there be not any dark fold, and in the mass of shadows none receiving too great a light. They must go gently over, describing the parts; but not with lines across, cutting the members with hard notches, deeper than the part can possibly be; at the same time, it must fit the body, and not appear like an empty bundle of cloth; a fault of many painters, who, enamoured of the quantity and variety of folds, have encumbered their figures, forgetting the intention of clothes, which is to dress and surround the parts gracefully wherever they touch; and not to be filled with wind, like bladders, puffed up where the parts project. I do not deny that we ought not to neglect introducing some handsome folds among these draperies, but it must be done with great judgment, and suited to the parts, where, by the actions of the limbs and position of the whole body, they gather together. Above all, be careful to vary the quality and quantity of your folds in compositions of many figures; so that, if some have large folds, produced by thick woollen cloth; others, being dressed in thinner stuff, may have them narrower; some sharp and straight, others soft and undulating.
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# A Treatise on Painting/Chapter 142

Chap. CXLII.—How to study the Motions of the human Body.
The first requisite towards a perfect acquaintance with the various motions of the human body, is the knowledge of all the parts, particularly the joints, in all the attitudes in which it may be placed. Then make slight sketches in your pocket-book, as opportunities occur, of the actions of men, as they happen to meet your eye, without being perceived by them; because, if they were to observe you, they would be disturbed from that freedom of action, which is prompted by inward feeling; as when two men are quarrelling and angry, each of them seeming to be in the right, and with great vehemence move their eyebrows, arms, and all the other members, using motions appropriated to their words and feelings. This they could not do, if you wanted them to imitate anger, or any other accidental emotion; such as laughter, weeping, pain, admiration, fear, and the like. For that reason, take care never to be without a little book, for the purpose of sketching those various motions, and also groups of people standing by. This will teach you how to compose history. Two things demand the principal attention of a good painter. One is the exact outline and shape of the figure; the other, the true expression of what passes in the mind of that figure, which he must feel, and that is very important.
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# A Treatise on Painting/Chapter 144

Chap. CXLIV.—Of the Nature of Folds in Draperies.
Many painters prefer making the folds of their draperies with acute angles, deep and precise; others with angles hardly perceptible; and some with none at all; but instead of them, certain curved lines.
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# A Treatise on Painting/Chapter 145

Chap. CXLV.—How the Folds of Draperies ought to be represented, Plate XVIII.
That part of the drapery, which is the farthest from the place where it is gathered, will appear more approaching its natural state. Every thing naturally inclines to preserve its primitive form. Therefore a stuff or cloth, which is of equal thickness on both sides, will always incline to remain flat. For that reason, when it is constrained by some fold to relinquish its flat situation, it is observed that, at the part of its greatest restraint, it is continually making efforts to return to its natural shape; and the parts most distant from it reassume more of their primitive state by ample and distended folds. For example, let A B C be the drapery mentioned above; A B the place where it is folded or restrained. I have said that the part, which is farthest from the place of its restraint, would return more towards its primitive shape. Therefore C being the farthest, will be broader and more extended than any other part.
London. Published by J. Taylor High Holborn.
London. Published by J. Taylor High Holborn.
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# A Treatise on Painting/Chapter 147

Chap. CXLVII.—Fore-shortening of Folds, Plate XIX.
Where the figure is fore-shortened, there ought to appear a greater number of folds, than on the other parts, all surrounding it in a circular manner. Let E be the situation of the eye. M N will have the middle of every circular fold successively removed farther from its outline, in proportion as it is more distant from the eye. In M O of the other figure the outlines of these circular folds will appear almost straight, because it is situated opposite the eye; but in P and Q quite the contrary, as in N and M.
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# A Treatise on Painting/Chapter 148

Chap. CXLVIII.—Of Folds.
The folds of draperies, whatever be the motion of the figure, ought always to shew, by the form ​of their outlines, the attitude of such figure; so as to leave, in the mind of the beholder, no doubt or confusion in regard to the true position of the body; and let there be no fold, which, by its shadow, breaks through any of the members; that is to say, appearing to go in deeper than the surface of the part it covers. And if you represent the figure clothed with several garments, one over the other, let it not appear as if the upper one covered only a mere skeleton; but let it express that it is also well furnished with flesh, and a thickness of folds, suitable to the number of its under garments.
The folds surrounding the members ought to diminish in thickness near the extremities of the part they surround.
The length of the folds, which are close to the members, ought to produce other folds on that side where the member is diminished by fore-shortening, and be more extended on the opposite side.
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# A Treatise on Painting/Chapter 14

Chap. XIV.—The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts.
If the painter has clumsy hands, he will be apt to introduce them into his works, and so of any other part of his person, which may not happen to be so beautiful as it ought to be. He must, therefore, guard particularly against that self-love, or too good opinion of his own person, and study by every means to acquire the knowledge of what is most beautiful, and of his own defects, that he may adopt the one and avoid the other.
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# A Treatise on Painting/Chapter 146

Chap. CXLVI.—How the Folds in Draperies ought to be made.
Draperies are not to be encumbered with many folds: on the contrary, there ought to be some only where they are held up with the hands or arms of the figures, and the rest left to fall with natural simplicity. They ought to be studied from Nature; that is to say, if a woollen cloth be intended, the folds ought to be drawn after such cloth; if it be of silk, or thin stuff, or else very thick for labourers, let it be distinguished by the nature of the folds. But never copy them, as some do, after models dressed in paper, or thin leather, for it greatly misleads.
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# A Treatise on Painting/Chapter 140

Chap. CXL.—A Fault in Painters.
It is a very great fault in a painter to repeat the same motions in figures, and the same folds in draperies in the same composition, as also to make all the faces alike.
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# A Naval Biographical Dictionary/Mackenzie, John Francis Campbell

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​MACKENZIE. (Lieutenant, 1846.)
John Francis Campbell Mackenzie passed his examination 30 Aug. 1841; was employed for a few months in 1843 on particular service in the Thunderer 84, Capt. Daniel Pring; then became attached for a period of two years to the Excellent gunnery-ship at Portsmouth, Capts. Sir Thos. Hastings and Henry Ducie Chads; and after having further served for a short time in the Queen 110, bearing the flag of Sir John West at Devonport, was awarded a commission dated 26 June, 1846. He has been borne as Additional-Lieutenant, since 9 April, 1847, on the books of the Vindictive 50, flag-ship in North America and the West Indies of Sir Fras. Wm. Austen.
# A Naval Biographical Dictionary/Macdonald, Reginald John James George

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​MACDONALD. (Lieutenant, 1842.)
Reginald John James George Macdonald is eldest son of Reginald Geo. Macdonald, Captain and Chief of Clanranald, a Deputy-Lieutenant for Inverness, by Lady Caroline Anne Edgcumbe, second daughter of Richard, second Earl of Mount Edgcumbe. One of his sisters is married to Hon. Chas. Cust, second son of the Earl of Brownlow; and another to the Hon. and Rev. Alfred Wodehouse, youngest son of Lord Wodehouse.
This officer entered the Navy 11 May, 1833; passed his examination 8 May, 1839; and, after having served in the Mediterranean, as Mate of the Howe 120, Capts. Sir Watkin Owen Pell and Robt. Smart, flag-ship latterly of Sir Fras. Mason, was promoted to the rank of Lieutenant 14 Dec. 1842. His appointments have since been – 15 Feb.
1843, again to the Howe, commanded at the time by Capt. Thos. Forrest – 3 Nov. 1843, to the Albion 90, Capt. Nicholas Lockyer, off Lisbon – and, 30 May, 1844, to the Collingwood 80, Capt. R. Smart, bearing the flag in the Pacific of Sir Geo. Fras. Seymour, to whom he became Signal-Lieutenant 20 Jan. 1847. Agents – Messrs. Stilwell.