OpenLLM-France/wikimedia huggingface dataset:
# The Kural or the Maxims of Tiruvalluvar/Chapter 128

CHAPTER 128
READING THE SECRET THOUGHT
HE
1271. Thou mayest try to conceal, my love, but thy eye refuseth to be restrained, and telleth me that there is some strange thought in thy breast.
SHE IS SILENT AND HE ADDRESSES THE MAID
1272. Ah ! More than a woman's reserve hath my artless one, whose beauty filleth my eyes and whose arms are even as bamboo stems.
1273. Even as the thread that is seen through the crystal bead, there is a thought that is now passing in her bosom, but which is yet plainly visible.
1274. Even as the fragrance in the bud that is not yet blown, there is a secret meaning in the half-smile of this artless one.
SHE ADDRESSES THE MAID WHEN ALONE
1276. He is overkind and sweet to me: I fear there is something in his heart which he is hardly able to conceal: and it forebodeth to me a second departure.
1277. My bracelet hath read the coolness in the heart of my gracious lord even sooner than my own self.
1278. My beloved parted only yesterday : but it is seven days since my form hath lost its freshness!
THE MAID ADDRESSES HIM ALONE
1279. She looked at her bracelet and her tender arm and then she looked at her feet: these are the signs that she made to me.
HE SPEAKS TO THE MAID
1280. She telleth me of the pangs of separation and prayeth for permission to accompany me if I go : how she surpasseth womanhood's self in delicacy to tell this only with her eyes !
* ↑ The fear that the husband is going again to part : the pair are now to be supposed to have met again after their separation.
* ↑ So intense is my grief even at anticipated separation.
* ↑ See next verse.
# The Kural or the Maxims of Tiruvalluvar/Chapter 131

CHAPTER 131
BOUDERIE
THE MAID TO THE MISTRESS
1301. Embrace him not, my dear, but feign to be angry: let us just see a fun how he is nettled over it.
1302. Bouderie is the salt of love: to lengthen it unduly, however, is like adding too much of salt to food.
THE WIFE IS IN A FIT OF JEALOUSY AND ADDRESSES THE HUSBAND
1303. It is like wounding one anew who is already wounded, it thou come away without embracing her whom thou hast left in a pet.
1304. To come away without conciliating her who is frowning in a pet is like cutting off the roots from under the starving plant.
THE HUSBAND WITHIN HIMSELF
1305. The bouderie of the beloved hath an attraction even for men who are spotlessly pure.
​1306. If there were no frowns or pets on the part of the beloved, love would miss its fruits and its half-growns.
1307. There is a pain that belongeth unto bouderie : for one asketh oneself whether reconciliation is near or yet a far way off.
THE HUSBAND TO HIMSELF BUT IN THE HEARING OF THE WIFE
1308. Of what avail is my grieving when there is no loving one nigh to see how much I suffer ?
1309. Water is pleasant only in shady groves : and pettishness hath a charm only in one who loveth ardently.
1310. If my heart still yearneth for her who sootheth me not, it is due to nothing but a foolish longing.
# The Kural or the Maxims of Tiruvalluvar/Chapter 123

CHAPTER 123
SIGHING AT THE APPROACH OF EVENING
SHE
1221. Evening ! Bless thee, but who calleth thee Evening ? Thou art really the hour that devoureth the lives of the wedded ones !
1222. Thou lookest melancholy and pale, O Eventide ! Pray, tell me, dear, is thy lover also cruel even as mine ?
1223. The dewy evening hour that once used to come trembling and sighing before me, now advanceth boldly, bringing nought but grief and despair unto my heart.
1224. When the beloved is away, evening approacheth even as the executioner advancing to the execution-ground.
1225. What is the kindness that I had done to the morning hour? and how have I injured eventide ?
​1226. Alack the day! I never knew the sting of the evening so long as my beloved was by my side.
1227. This sickness buddeth in the morning, goeth on opening its petals the livelong day, and standeth full-blown at eventide.
1228. They call it the pipe of the shepherd, but verily it is a murderous weapon to me : for it ushereth in the evening that burneth me so.
1229. If evening that hath already driven me mad should advance any further, the whole town will be shrouded in sorrow before long, for I shall simply die.
1230. The life which is yet clinging on to me will soon depart : for eventide recalleth to me the image of him who is mad after wealth.
# The Kural or the Maxims of Tiruvalluvar/Chapter 129

CHAPTER 129
THE IMPATIENCE OF THE PAIR TO FLY TO EACH OTHER'S ARMS
SHE
1281. Rapture at the very thought and delight at the mere seeing belong not to wine : they belong only unto love.
1282. When love exceedeth even the measure of a palmyra tree, the desire to sulk can never enter the heart even to the extent of a millet seed.
1283. Though he careth not for me and doth only as he pleaseth, my eyes will not rest unless they behold him.
1284. I wanted indeed to go away in a huff, my maid: but my heart forgot it and ran after union with the beloved.
1285. Even as the eye seeth not the blackness of the pencil when it is being painted, even so I see no blemish in my beloved when he is near.
​1286. When he is before me I can see no faults in him: but when I see him not, I can see nothing in him but faults.
1287. Who will jump into a stream knowing that it hath a treacherous undercurrent that will carry him away ? and how should I take to sulking who know that I cannot hold on to it when he is near ?
1288. Wine is never unwelcome to the drunkard though it maketh him hang down his head in shame: even so is thy bosom to me, O false one!
HE
1289. Even tenderer than a flower is love : and few there be who know its delicacy and deal with it gently.
1290. There were the sulks in her eye when she saw me : but when I approached, she flew to my arms even quicker than I myself to hers.
# The Kural or the Maxims of Tiruvalluvar/Chapter 13

CHAPTER 13
SELF-CONTROL
121. Self-control leadeth unto heaven, but uncontrolled passion is the royal road to endless darkness.
122. Guard thy self-control as a very treasure : life hath no richer wealth here below.
123. Behold the man who controlleth his passions consciously and by the right way: wisdom and every other blessing will come unto him.
124. Behold the man who hath triumphed over his passions and who swerveth not from duty: his form is more imposing than a mountain.
125. Humility is beautiful in all man: but alone on the rich doth it shine in all its splendour.
​126. Behold the man who can draw in into himself his five senses even as the tortoise doth its limbs : he hath laid up for himself a treasure for all his future births.
127. Whatever else thou rein not in, rein in thy tongue : for an unbridled tongue leadeth unto grief.
128. If even one word of thine causeth pain to another, all thy virtue is lost.
129. The burn caused by fire healeth in its time: but the wound burned in by the tongue remaineth green for ever.
130. Behold the man who hath learned wisdom and whose mind is tranquil and under perfect control: Righteousness pilgrimageth to his home in order to have a look at him.
# The Kural or the Maxims of Tiruvalluvar/Chapter 130

CHAPTER 130
CHIDING THE HEART
SHE
1291. Thou seest how his heart serveth his will : then, how is it that thou obeyest not me, O my Heart ?
1292. Thou seest, my Heart, how he neglecteth me: and yet thou consortest with him as if he were thy friend !
1293. Thou followest him at thy own sweet will and pleasure, my Heart : dost thou also teach me that those who are unfortunate have no friends?
1294.Thou refusest to indulge in a bouderie, my Heart, before showing thy delight in his company: who is going hereafter to take thee as a confidant in such like things?
1295. It feareth lest it should not get him, and when it hath got him, it feareth lest it should lose him: thus there is no end to the pangs that my Heart suffereth.
​1296. What is my Heart good for ? It is good for nothing else but to devour me when I am musing alone.
1297. Fallen into the company of this foolish Heart that knoweth not to preserve its self-respect by forgetting him, I have myself forgotten my dignity.
1298. My life of a Heart thinketh it a disgrace to our own selves if we humiliate the beloved : and so it is always partial to him.
HE
1299. Who will support a man in his grief, if the Heart of his beloved itself refuseth him help ?
1300. When my own heart is not on my side, is it a wonder that strangers care not at all for me ?
* ↑ i. e. by taking her part when she is in the sulks.
* ↑ i.e. his wife.
# The Kural or the Maxims of Tiruvalluvar/Chapter 126

CHAPTER 126
THE LOSING OF THE SENSE OF A DIGNIFIED RESERVE
SHE
1251. The door that is bolted with the bolt of modesty will yet yield to the axe of an overpowering love.
1252. Heartless is this thing called Love: for it oppresseth my heart even in the dead of night.
1253. I try indeed to shut my love up within my heart : but like a sneeze it breaketh out of itself without a warning.
1254. I was proud that I was correct and decorous in my behaviour: but alas ! love rendeth every veil and showeth itself in public.
1255. The stern self-respect that refuseth to seek the beloved though he hath cruelly deserted, is a thing unknown to the love-sick fair.
​1256. How thou lovest me, O Grief! Thou wantest me to follow after him who hath deserted me cruelly !
1257. If the beloved but favour us with his love, we at once forget all our reserve.
1258. It is the subdued speech of that false one skilled in many a wily art, that breaketh through all the defences of our womanly decorum.
1259. I wanted to go away in a huff: but I went and embraced him, for I saw that my heart had already joined him.
1260. Can they ever think of refusing to be reconciled, whose heart melteth even as fat in the fire ?
# The Kural or the Maxims of Tiruvalluvar/Chapter 124

CHAPTER 124
THE WASTING AWAY OF HER LOVELY FORM
SHE
1231. My eyes think on him who left me saying that it was but to increase my happiness that he went, and are ashamed to show their face before flowers.
1232. My lack-lustre eyes that are raining down tears look as if they would betray to others the unkindness of my beloved.
1233. The arms that swelled with joy on the nuptial day now look as if they would proclaim his parting to all the world.
1234. The arms that lost their wonted comeliness at the parting of the beloved, are now grown so thin that their very bracelets slip off from them of themselves.
1235. The arms which have lost their wonted comeliness together with the bracelets that they were wearing, proclaim loudly to the world the cruelty of that cruel one.
​1236. I chide my arms for growing lean and allowing the bracelets to fall off, as people now reproach him with cruelty.
1237. Wouldst thou obtain glory, O my Heart ? Then run to the cruel one and tell him of the bruit that hath arisen here from the wasting away of my arm.
HE
1238. As we were embracing each other one day, I but relaxed my arms a little, and the forehead of that artless one grew pale at once !
1239. But a single breath of wind cut its way between us during our embrace, and the blood fled at once from her large eyes that are full even as the rain-cloud.
1240. Did the eyes grow pale only ? They wept also at seeing the pallor of the fair forehead above.
# The New International Encyclopædia/Burmeister, Hermann

Edition of 1905. See also Hermann Burmeister on Wikipedia; and the disclaimer.
​ BURMEISTER, bo͞or′mī̇s-tẽr, Hermann (1807-92). A German naturalist, born in Stralsund. He studied medicine and natural history at Halle, and in 1837 became professor of zoölogy there. In 1848 he was a deputy to the German National Assembly, and afterwards was a representative in the Prussian First Chamber. In 1850 he traversed part of Brazil in the interest of science, and visited other parts of South America a few years later, becoming in 1861 director of the National Museum at Buenos Ayres, where he died. He published many elaborate works on zoölogy, among them Handbuch der Entomologie (1832-55); Systematische Uebersicht der Tiere Brasiliens (1854-56); and Physikalische Beschreibung der Argentinischen Republik (1875).
# The New International Encyclopædia/Burmese Ware

Edition of 1905. See also Lacquerware on Wikipedia; and the disclaimer.
​ BURMESE (bûr-mēz′ or -mēs′) WARE (first imported from Burma). Small cups and other vessels, made of strips of bamboo woven like fine basketwork, with the interstices filled with paste made of wood-oil and fine powders. When sufficiently hardened, the surface is smoothed with pumice-stone and water.
# The New International Encyclopædia/Burschenschaft

Edition of 1905. See also Burschenschaft on Wikipedia; and the disclaimer.
BURSCHENSCHAFT, bōōr'shen-shäft (Ger. Bursche, fellow, apprentice, student, from MHG. burse, purse; society, especially of students, with a common purse). An association of students in the German universities to promote patriotism, morality, and love of liberty. The earliest organization was at Jena in 1815, and its membership was chiefly made up of students who had fought in the War of Liberation. The idea spread to Tübingen, Heidelberg, Halle, and Giessen. In 1817, the occasion of the three hundredth anniversary of Luther's initiation of the Reformation, a general gathering took place at the Wartburg, and the following year a constitution was adopted by delegates from fourteen universities. Black, red, and gold, since taken as the national colors of the new German Empire, were adopted as the colors of the association. The murder of Kotzebue by Sand, a fanatical student, in 1819, injured the movement for freedom in Germany and led to repressive measures, such as the Karlsbad Decrees (q.v.), which required the suppression of the Burschenschaft, but secret meetings were still held, and there was a revival of the organization in 1827. The Burschenschaft participated in the Liberal demonstration known as the Hambach Festival in 1832. A revolutionary attempt took place at Frankfort-on-the-Main in 1833, in which nearly 2000 students were implicated, and in nearly all of the German universities students were arrested, imprisoned, and disfranchised. The ideals of the Burschenschaft were unattainable and vague; but they served well at a trying time to keep alive the spirit of German unity.
# The New International Encyclopædia/Busch, Moritz

Edition of 1905. See also Julius Hermann Moritz Busch on Wikipedia; and the disclaimer.
BUSCH, bụsh, Moritz (1821-99). A German publicist. He was born in Dresden, studied theology and philosophy in Leipzig, and began literary life as a translator of Dickens, Thackeray, and other English authors. In 1851 he visited the United States, and on his return published Wanderungen zwischen Hudson und Mississippi (1853) and Die Mormonen (1857). He then engaged in newspaper work, and attracted Bismarck's attention by his articles in the Grenzboten. On April 1, 1870, he received an appointment in the German Foreign Office, but his real function was that of a reporter for the press to Prince Bismarck. From that time and for many years he was the inseparable companion and confidant of the Chancellor, taking daily notes of his sayings and doings, and earning for himself the title of ‘Bismarck's Boswell.’ In 1878 he published a part of his diary, kept during the Franco-Prussian War, under the title of Graf Bismarck und seine Leute während des Kriegs mit Frankreich; this was published also
in English in 1879. In 1884 he published the life of his hero, which was soon issued in an English translation under the title Our Chancellor. Two months after the death of Bismarck Dr. Busch published a large work, which was immediately translated into English under the title Bismarck: Some Secret Pages of His History (1898).
# The New International Encyclopædia/Busch, Wilhelm (surgeon)

Edition of 1905. See also Wilhelm Busch (surgeon) on Wikipedia; and the disclaimer.
BUSCH, Wilhelm (1826-81). A German surgeon, born in Marburg. He studied at the University of Berlin; was in 1855 appointed professor of surgery at Bonn, and afterwards acted as consulting surgeon-general in the army in 1866 and during the Franco-Prussian War. His published works include the following: Chirurgische Beobachtungen, gesammelt in der Klinik zu Berlin (1854); Lehrbuch der Chirurgie (2 vols., 1857-69).
# The New International Encyclopædia/Burmann, Peter

Edition of 1905. See also Pieter Burman the Elder on Wikipedia; and the disclaimer.
​ BURMANN, bo͞or′mȧn, Peter (1668-1741). A Dutch philologist. He was born in Utrecht, and studied law at the universities of Utrecht and Leyden, taking his degree in 1688. After practicing as an advocate for some years, he was appointed professor of history and rhetoric, and later became professor of Greek in Utrecht. In 1715 he removed to the University of Leyden. His chief works are editions of the Latin classics—Petronius, Velleius Paterculus, Quintilian, Valerius Flaccus, Phædrus, Ovid, the Poëtæ Minores, Suetonius, Lucan, Horace, and Vergil. They are characterized less by critical acumen than by learning and fullness.
# The New International Encyclopædia/Burmeister, Richard

Edition of 1905. See also Richard Burmeister on Wikipedia; and the disclaimer.
​ BURMEISTER, Richard (1860—) . A German-American pianist and composer, born in Hamburg. He studied under Liszt in 1881-84, made concert tours through Europe in 1883-85, and from 1885 to 1897 was the head of the piano department of the Peabody Institute in Baltimore. From 1897 to 1899 he was director of the Scharwenka Conservatory in New York City. His compositions include a concerto in D minor for pianoforte and orchestra, a ballade for pianoforte, an arrangement for pianoforte and orchestra of Liszt's Concerto pathétique for two pianofortes, The Chase After Fortune (described as a ‘symphonic fantasy’) for orchestra, and a reorchestration of Chopin's F-minor concerto.
# The New International Encyclopædia/Burmester, Willy

Edition of 1905. See also Willy Burmester on Wikipedia; and the disclaimer.
​ BURMESTER, bo͞or′me-stẽr, Willy (1869—). A German violinist, born in Hamburg. He studied in 1882-85 under Joachim at the musical high school in Berlin, became known for the brilliancy of his technique, and in 1890-91 was an instructor in the conservatory of Sondershausen. In 1895, at the instance of Georg Henschel, he appeared in England.
# The New International Encyclopædia/Busch, Wilhelm (rhymester)

Edition of 1905. See also Wilhelm Busch on Wikipedia; and the disclaimer.
BUSCH, Wilhelm (1832—). A German humorous artist and rhymester, born at Wiedensahl, Hanover. He began to draw for the Fliegende Blätter in 1859. His earlier manner displayed satirical skill and much facility in characterization by slight outline strokes, but his later work lacks form and finish. He published a series of sketches, for which he himself composed suitable text, and which have become exceedingly popular throughout Germany. This includes Max und Moritz; Hans Huckebein, der Unglücksrabe; Der heilige Antonius von Padua; Die fromme Helene; and Pater Filucius.
# The Mourner

As rendered in Lippincott's Monthly Magazine (May 1914):
THE MOURNER
BY FLORENCE EARLE COATES
“ ’TIS over—all over!" the mourner said. "My love, in the grave of my love, lies dead:  Barren of bloom as yon wintry tree,  Lifeless and chill, is the heart of me!
"I shall smile no more: a tale that is told  Is the rapture of being. Now would I were old,  Who wearying years would no longer see  Stretching away unendingly!
"What value has Time? The last to-morrow  For me will hold but the one, one sorrow  Which, lone, I still shall endure, forlorn  As the bird that, above me, its mate doth mourn."  ······  Full wearily wasted the months; and still  Guarding his grief with a constant will,  It chanced that the mourner, one halcyon day,  Wandering sadly the self-same way,
 Beheld, half doubting, the wintry tree  A bower of blossom—a thing to see!—  And heard with emotion the sad bird sing:—  "O beauty! O love! O delight!—It is Spring!"
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 1927, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 96 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.
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# The Mourner for the Barmecides

* The Mourner for the Barmecides, in The New Monthly Magazine Volume 17, 1826.
* The Mourner for the Barmecides, in Records of Woman: with Other Poems (Miscellaneous Pieces), 1828.
# The Mourning Bride/Personæ Dramatis
### Men

* MANUEL, the King of Granada.
* GONSALEZ, his Favourite.
* GARCIA, Son to Gonsalez.
* PEREZ, Captain of the Guards.
* ALONZO, an Officer, Creature to Gonsalez.
* OSMYN, a Noble Prisoner.
* HELI, a Prisoner, his Friend.
* SELIM, an Eunuch -

### Women

* ALMERIA, the Princess of Granada.
* ZARA, a Captive Queen.
* LEONORA, chief Attendant on the Princess.
* Women, Eunuchs, and Mutes attending Zara. Guards, etc...
The Scene GRANADA.
# The Messenger (Lovecraft)

The thing, he said, would come in the night at three From the old churchyard on the hill below; But crouching by an oak fire's wholesome glow, I tried to tell myself it could not be.
Surely, I mused, it was pleasantry Devised by one who did not truly know The Elder Sign, bequeathed from long ago, That sets the fumbling forms of darkness free.
He had not meant it - no - but still I lit Another lamp as starry Leo climbed Out of the Seekonk, and a steeple chimed Three - and the firelight faded, bit by bit.
Then at the door that cautious rattling came - And the mad truth devoured me like a flame!
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.
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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.
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# The Messenger Bird

* The Messenger-Bird, in The New Monthly Magazine Volume 10, 1824.
* The Messenger-Bird, in The Forest Sanctuary, and Other Poems (Lays of Many Lands), 1825.
# The Metamorphosis of Plants (Goethe; essay)

English-language translations of Versuch die Metamorphose der Pflanzen zu erklären include:
# The Message to the Dead

* The Message to the Dead, in Blackwood's Edinburgh Magazine Volume 24, 1828.
* The Message to the Dead, in Songs of the Affections, with Other Poems (Songs of the Affections), 1830.
# The Metamorphosis of Plants

* Search for titles containing or beginning with: "The Metamorphosis of Plants."
* sister projects: Wikidata item.
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* The Metamorphosis of Plants, an essay by Johann Wolfgang von Goethe
* The Metamorphosis of Plants, a poem by Johann Wolfgang von Goethe