OpenLLM-France/wikimedia huggingface dataset:
# Much Ado About Nothing (1917) Yale/Appendix B

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APPENDIX B
The History of the Play
The definite history of Much Ado about Nothing goes back to the first year of the seventeenth century. On August 23, 1600, this play was licensed for publication, along with the second part of Henry IV, and it appeared in the same year in the only early quarto edition. This version was evidently followed by the publishers of the collected edition of Shakespeare's plays in the 1623 Folio, and the two texts exhibit only trivial differences. It is generally assumed that the comedy was written in 1599, and there is no reason for inferring an earlier date, except the bare possibility that Much Ado about Nothing is identical with a mysterious Love's Labor's Won, listed by Francis Meres as one of Shakespeare's comedies in 1598.
The title-page of the edition of 1600 records that the play 'hath been sundrie times publikely acted by the right honorable, the Lord Chamberlaine his seruants,' i.e. by Shakespeare's company, then acting at the newly built Globe Theatre. A memorandum in the Stationers' Register, dated August 4 (1600), less than three weeks before the official license for publication, notes that Much Ado about Nothing and three other plays performed by Shakespeare's company were 'to be staied,' i.e. withheld from publication. The purpose of this unsuccessful effort to prevent the printing of the comedy was doubtless the actors' fear that circulation of the printed text might detract from the success of their performances. The ​substitution in the early editions of the names of Jack Wilson, Kempe and Cowley instead of Balthazar, Dogberry and Verges (cf. notes on II. iii. 39, s. d. and IV. ii.) gives welcome information regarding the creators of those parts.
Much Ado about Nothing was acted at Court, probably twice, on the occasion of the marriage of James I's daughter, the Princess Elizabeth, to Frederic, Elector Palatine, in 1613. More specific evidence of the play's popularity with Stuart audiences occurs in a poem by Leonard Digges, affixed to the 1640 edition of Shakespeare's Poems:
Let but Beatrice And Benedicke be seene, loe, in a trice The Cockpit, Galleries, Boxes, all are full.
After the Restoration, Sir William Davenant (1606–1668) was responsible for an ill-advised effort to make capital out of Benedick and Beatrice by introducing them into the plot of Shakespeare's Measure for Measure, in a medley called The Law against Lovers (published, 1673). A further monstrosity appeared in 1736 in The Universal Passion, an attempt by one James Miller to combine Much Ado with Molière's Princess of Elis. In 1721, the genuine play was restored to the London stage, where it has since been an established favorite. David Garrick (1717–1779) was famous in the rôle of Benedick, as a great many of the chief English and American actors have been since. In general, however, the impersonators of Beatrice have found the greatest opportunity, and distinguished actresses like Helena Faucit (Lady Martin, 1817–1898), Ellen Terry (1848–—), and Ada Rehan (1860–1916) have owed much of their success to their interpretations of this part.
# Much Ado About Peter

* information about this edition.
* sister projects: Commons category, Wikidata item.
Many of the chapters were first published as individual short stories in McClure's Magazine.
" ... PLUNGED INTO A RECKLESS FLIRTATION WITH MARY, THE CHAMBERMAID"
MUCH ADO ABOUT PETER
BY
JEAN WEBSTER
AUTHOR OF
DADDY LONG-LEGS, DEAR ENEMY, Etc.
NEW YORK
GROSSET & DUNLAP
PUBLISHERS
Made in the United States of America
ALL RIGHTS RESERVED, INCLUDING THAT OF TRANSLATION
INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN
COPYRIGHT, 1905, BY THE S. S. McCLURE COMPANY
COPYRIGHT, 1907, BY THE CROWELL PUBLISHING COMPANY
COPYRIGHT, 1908, BY THE PHILLIPS PUBLISHING COMPANY
COPYRIGHT, 1909, BY HAMPTON'S BROADWAY MAGAZINE
COPYRIGHT, 1909, BY DOUBLEDAY, PAGE & COMPANY
PUBLISHED, MARCH, 1909
CONTENTS
* CHAPTERPAGE
* I.Gervie Zame, Gervie Door3
* II.The Ruffled Frock33
* III.Their Innocent Diversions57
* IV.Dignity and the Elephant81
* V.The Rise of Vittorio113
* VI.Held for Ransom139
* VII.George Washington's Understudy175
* VIII.A Usurped Perogative209
* IX.Mrs. Carter as Fate243
* X.A Parable for Husbands281
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
# Much Ado About Nothing (1917) Yale/Appendix D

Layout 2
APPENDIX D
The Text of the Present Edition
The text of the present volume is, by permission of the Oxford University Press, that of the Oxford Shakespeare, edited by the late W. J. Craig, except for the following deviations:
1. The stage directions are based on those in the two original editions of the play, a few obvious errors in the latter being corrected and words there missing added within square brackets.
2. About half a dozen words are differently spelled: e.g., antic (antick), lantern (lanthorn), villainy (villany), haggard (haggerd).
3. Five changes of punctuation or wording have been made, viz.:
I. i. 46. him: he
I. i. 153 Leonato.— for Leonato:
II. iii. 92 marry. Dost for marry; dost
II. iii. 123 sit you— for sit you;
III. i. 101 day— for day,
V. i. 94 Scambling for Scrambling
# Much Ado About Nothing (Shakespeare)

* related portals: Elizabethan drama.
* sister projects: Wikipedia article, Commons category, quotes, Wikidata item.
Much Ado About Nothing is a Shakespearean comedy written between 1598 and 1599.
* Much adoe about Nothing, from a facsimile copy of the First Folio (1623) (transcription project)
* Much Ado About Nothing, from The Plays of William Shakespeare, in eight volumes, vol. III, with notes by Samuel Johnson (1765) IA
* Much Ado About Nothing, edited by J. C. Smith, The Warwick Shakespeare (1901) Google Books
* Much Ado About Nothing, in The Complete Works of William Shakespeare, Vol. II, Oxford edition (1911)
* Much Ado About Nothing, edited by Tucker Brooke, The Yale Shakespeare (1917)
* Much Ado About Nothing, edited by Grace R. Trenery, The Works of Shakespeare, The Arden Shakespeare, 1st ser. (1924) (external scan)
* Much Ado About Nothing, The Works of Shakespeare. The New Shakespeare (1924)

### See also

* "Sigh No More, Ladies", song from Act 2, scene 3
* "Pardon, Goddess of the Night", song from Act 5, scene 3
# Modern Russian Poetry/A Northern Poem

A NORTHERN POEM
Sunset dreams on fir-tree cones,
Green—the hedge, and brown—the field;
Mossy rifts in weathered stones
Meekly vernal waters yield.
Oh, look up the wooded steep— God has touched it with his palm;
Piously wild berries weep,
Listening to the grassy psalm.
And I feel no fleshly tie;
And my heart's a springing mead.
Come, ye pilgrims white and shy,
Peck the early wheaten seed.
Tender evening twilight searches
Cottage windows, gabled byres,
And the leaves of slender birches
Glimmer soft as wedding fires.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/A Prayer

A PRAYER
Cast prostrate, in mourning,
Wingless, self-scorning,
Grief in a gust
Flings us, dust upon dust.
We desire not, we dare not,
We believe not, we care not,
No wisdom has worth.
God, do thou dower us,
Kindle, empower us,
Give of thy mirth.
From the languor that clings
Give us wings! Give us wings!
Wings of thy Spirit.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Afanasy Shenshin-Foeth

Afanasy Shenshin-Foeth
(1820-1892)
It is said that Foeth, like the nightingale, sang only at dawn and at sunset. Between 1840 and 1856 he published three volumes of poetry. The following two decades he devoted to the pleasures and profits of a gentleman farmer. He waxed fat and prosperous. His famous apple-cakes were sent to no less a friend than Alexander III. On the road to the ripe old age of three score and ten, the poet superseded the pomeshchik and paid court to the Muse with four volumes of verse.
Although an admirer and translator of Schopenhauer, Foeth enjoyed the distinction of being one of the few men who were actually happy in Russia. He had an Horatian serenity, and the æsthete's indifference to society's ills. These elements in his character alone are reflected in his poetry, which is written in major, yet has withal the ethereal, insubstantial quality of dream experience. His lyrics are invested with a rarefied sensuousness, a keen feeling for life's cosmic context, and a dominating interest in melody. Tchaikovsky, who set many of his poems to music, likened Foeth to Beethoven.
# Modern Russian Poetry/Alexey Koltzov

Alexey Koltzov
(1809-1842)
Koltzov might best be described as a tame Burns. The adjective applies to the poetry more than to the poet, though even here we find a soberer man. He was a cattle-dealer and the son of a cattle-dealer: a cross between a trader and a cow-puncher. He spent his life in the sordid surroundings of his native town, with the exception of a few visits to the two capitals. There he met the literati of the day, dinnered wi' lairds, and was stared at in fashionable salons. He returned with a swollen head, which caused him a great deal of misery at home. The effect of his intercourse with the intellectuals was seen to be equally lamentable in his attempts at philosophic poetry. His last years were embittered by poverty, neglect, and a tragic love which ended in a lurid disease.
His art maintained his umbilical connection with the people. He carries on the tradition of the Russian folk-song, whether the stuff of his lyrics is the works and days of the peasant, or themes of universal emotional appeal. He uses the free rhythms of the folk-song and, curiously enough, his favorite metre coincides with that of the Sophoclean choruses. Of his one hundred and twenty-four poems, three-fourths have been set to music by some one hundred Russian composers, among whom are Glinka and Rimsky-Korsakoff.
# Modern Russian Poetry/Alexander Pushkin

Alexander Pushkin
(1799-1837)
Alexander Pushkin was born the last year of the eighteenth century. He died at the age of Byron. Within these thirty-seven years he crowded the activity of a great and authentic initiator in literature.
His mother's grandfather was a Negro (or an Arab) who, the story goes, was bought for Peter the Great at Constantinople for a bottle of rum, and who married a German. His father was descended from an ancient Russian family. The poet, inheritor of these curious strains, was educated chiefly by ineffectual French tutors and an old Russian nurse. At eighteen he graduated from an aristocratic school at Tsarskoe Selo, an indifferent scholar, but a writer with a reputation for light and lewd verse. The next three years he spent at the northern capital, where "all the vices dance upon the knees of folly." He was nominally attached to the Foreign Office, but was chiefly sowing his wild oats. By his liberal velleities and merciless epigrams he stung the authorities to the Countercheck Quarrelsome, and the enfant terrible was shipped south and subsequently to his own estate. During his not too disagreeable southern exile he divided his time with persistent unfaithfulness between the maids and the Muse. Back in Petersburg, in 1826, he was lionized by the ladies and harassed by the censors. At thirty-two he married a girl nearly half his age, with the face of a madonna and the soul of a brainless coquette. To provide for her needs, the poet worked feverishly, and that she might be received at court, he secured a court appointment. Financial cares and domestic worries soon saddened and aged him. He was destroyed by the aristocratic philistines whose good graces he half-unwillingly sought. An intrigue, involving Pushkin's wife and her brother-in-law, Baron Dantes (D'Anthès), resulted in a duel in which the poet was mortally wounded, at the age of thirty-seven.
Pushkin's share of this volume is no indication of his relative significance in the advance of Russian poetry. He is an overshadowing figure, and his work is an essential part of Russia's ​literary endowment. Yet an anthology which is not primarily concerned with historic values, and which is addressed to a foreign audience, can present but a few of his facets to the reluctant light of a sophisticated intelligence.
# Modern Russian Poetry/A Russian Song

A RUSSIAN SONG
Lace and roses in the forest morning shine,
Shrewdly the small spider climbs his cobweb line.
Dews are diamonding and blooming faery-bright.
What a golden air! What beauty! Oh, what light!
It is good to wander through the dawn-shot rye,
Good to see a bird, a toad, a dragon-fly;
Hear the sleepy crowing of the noisy cock,
And to laugh at echo, and to hear her mock.
Ah, I love in vain my morning voice to hurl, Ah, off in the birches, but to glimpse a girl,
Glimpse, and leaning on the tangled fence, to chase
Dawn's unwilling shadows from her morning face.
Ah, to wake her from her half-surrendered sleep,
Tell her of my new-sprung dreams, that lift and leap,
Hug her trembling breasts that press against my hart,
Stir the morning in her, hear its pulses start.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/A Song

A SONG
I'm a plain girl, whose hands are stained with earth.
He is a fisherman he's gay and keen.
The far white sail is drowning in the firth.
Many the seas and rivers he has seen.
The women of the Bosphorus, they say,
Are good-looking . . . and I—I'm lean and black.
The white sail drowns far out beyond the bay.
It may be that he never will come back.
I shall wait on in good and evil weather.
If vainly, take my wage, go to the sea
And cast the ring and hope away together.
And my black braid will serve to strangle me.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Alexander Blok

Alexander Blok
(1880-1921)
Alexander Blok was educated at the University of St. Petersburg, of which his grandfather was the rector. He belongs to the second generation of symbolists, and his first volume, which appeared in 1905, savors strongly of Solovyov's spirituality. The upheaval which was shaking his country is ignored in this book, instinct with vague eschatological expectations and devoted to the Eternal Feminine. Yet here she wears the medieval aspect of the Lady Beautiful, and spirit in her is married to flesh. These songs, employing an easy symbolic cryptogram, mingle the prayers of the postulant with a rarefied sensuousness. This asserts itelf in the succeeding volumes. The white melody is muffled by the voices of earth. Blok flees monastic walls for the confusion of the thoroughfares. The skirts of the Lady Beautiful are defiled, and the poet is stretched upon the cross of passion, with the bitter conviction that he is "fated to love her in Heaven only to betray her on earth." Christ and Russia are the other hypostases of Blok's trinity, their Golgotha strangely at one with his own. Whether he is a maker of masques for monastic harlequins, or another Œdipus before the Russian sphinx, whether he writes children's verse, lyrical dramas of an elusive symbolism, or poems reminiscent of the earlier Yeats, he reveals a keen emotional intensity and an unfailing sensitiveness of technique.
It was given to this delicate and remote lyricist to produce the most significant poem of the proletarian revolution. This is his striking epic, called "The Twelve," which is known far beyond the confines of Russia, and is accessible in half a dozen languages.
# Modern Russian Poetry/Alexey K. Tolstoy

Alexey K. Tolstoy
(1817-1875)
Alexey Tolstoy was a playmate of Alexander II and sat on the knees of Goethe. Like Ruskin, he made a cult of beauty, humanitarianism and Italy. In this second fatherland of his, he began to travel early in life. This courtier-æsthete was a mystic, with a leaning toward the occult. He regarded the doctrine of equality as "the foolish invention of 1793," and was wholly out of sympathy with the materialistic iconoclasts of his time. Yet he was too much of an aristocrat not to despise despotism.
His literary activity began in his middle years. His romantic interest in the Russian past produced a novel and a dramatic trilogy. The past is also the playground of Tolstoy's poetry. This frequently degenerates into pastiche. Nevertheless he was a major poet among the minor poets, at his best achieving a neat and graceful lyricism. His technique is unusual in Russian poetry for its prosodic freedom.
# Modern Russian Poetry/An Izba Song

AN IZBA SONG
The stove is orphaned now; the old housewife has died,
The trivet tells the pot with tears; their talk is harried.
Behind the pane two trustful magpies, side by side,
Chirp: "May is near, today the finches will be married,
Smith Woodpecker with busy knocking has stripped his throat,
The mole—the sullen miner—creeps sunward, meekly leaving
His tunneled, dark estate to bugs without a groat.
The cranes are homing now, the sparrow, pert and thieving,
Has heard the jackdaw blurt the secret of her egg."
The tangled mop awaits the bucket, limp and tired.
She thinks the unwashed porch for spuming suds must beg.
How gay would be the splash of water, how desired
A windowful of sunray tow,—an endless fairy-tale. . . .
Behind the stove the house-sprite gabbles, quick and clever,
Of the new tenant's stillness within the churchyard's pale,
Of crosses listening to things nameless forever,
Of how the dark church-entrance lulls the linger dream.
The house-sprite gabbles on above the bleak hour's starkness.
The peasant-hut is scowling; pewter eye agleam,
The lonely window stares out at the thaw and darkness.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Moore v. Chesapeake & Ohio Railway Company (291 U.S. 205)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
291 U.S. 205
Moore v. Chesapeake & Ohio Railway Company
Argued: Dec. 10, 11, 1933. --- Decided: Feb 5, 1934
[Syllabus from 206 intentionally omitted]
Messrs. Edward Davidson, of La Fayette, Ind., and John P. Bramhall, of Washington, D.C., for petitioner.
Mr. Albert H. Cole, of Peru, Ind., for respondent.
Mr. Chief Justice HUGHES delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Moore v. Chesapeake & Ohio Railway Company (340 U.S. 573)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.

## Dissenting Opinion

    Black
United States Supreme Court
340 U.S. 573
Moore v. Chesapeake & Ohio Railway Company (340 U.S. 573)
Argued: Jan. 4, 1951. --- Decided: Jan 10, 1951
Mr. George E. Allen, Richmond, Va., for petitioner.
Messrs. Meade T. Spicer, Jr., and Strother Hynes, Richmond, Va., for respondent.
Mr. Justice MINTON delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Men-at-the-Bar/Phillips, Walter Ross

​Phillips, Walter Ross, LL.B., Trin. Hall, Camb., 1878 (law scholar and studentship in Roman law and jurisprudence), matric. London Univ. 1873, a student of the Inner Temple 23 April, 1874 (then aged 18), studentship Hilary, 1875, called to the bar 17 Nov. 1879 (only son of Thomas Phillips, of St Ives' Hunts, merchant); born , 1856.
    Market Place, St. Ives, Hunts.
# Men-at-the-Bar/Phillips, John Roland

​Phillips, John Roland, police magistrate West Ham since June, 1881, deputy associate on South Wales circuit 1877-80, J.P. Essex, author of History of Cilgerran, The Civil War in Wales and the Marches 1642-9, Castles and Abbeys of South Wales, A Concise History of Glamorgan, An Essay on Local Taxation, a student of Lincoln's Inn 2 Nov., 1867 (then aged 23), called to the bar 10 June, 1870 (only son of David Phillips, Esq., of Cilgerran, co. Pembroke); born 18 June, 1844; married , 1873, Mary Elizabeth, dau. of A. Hargreaves, Esq., of Lincoln, Nebraska, U.S.A.
    Wishanger, Headley, Hants; Great Eastern Road, Stratford, E.; New Court, Temple, E.C.; National Liberal Club.
# Men-at-the-Bar/Phillips, Francis Medland

​Phillips, Francis Medland, associate King's Coll., London, a student of the Inner Temple 11 June, 1870 (then aged 27), called to the bar 17 Nov., 1874 (only surviving son of William Phillips, late of Newton Abbot, Devon, gent.); born , 1843.
    2, Cannon Place, Squires Mount, Hampstead, N.W.
# Men-at-the-Bar/Phillips, Louis Henry

​Phillips, Louis Henry, a member of the Midland circuit, a student of the Inner Temple 21 April, 1866 (then aged 21), called to the bar 26 Jan., 1870 (only son of George Searle Phillips, of Chicago, Illinois, U.S.A., formerly of Leeds, Yorks); born , 1845.
    Chicago, Illinois, U.S.A.
# Men-at-the-Bar/Phillips, Sir Henry Lushington

​Phillips, Sir Henry Lushington, C.M.G. 1877, judicial commissioner High Court of Justice Cyprus in 1880, knighted 18 March, 1880, puisne judge Natal 1858-79, special commissioner Barbados 1876 and Straits Settlements 1877, a student of the Middle Temple 22 Oct., 1847, called to the bar 8 Nov., 1850 (eldest son of Aldcroft Phillips, of Manchester, gent.); born , 1825; married , , Agatha, dau. of C. Knowles, Esq., of Shrewsbury (see Foster's Baronetage).
    Smalls, Salcombe, Devon; Wanderers' Club, S.W.
# Men-at-the-Bar/Phillips, Thomas William

​Phillips, Thomas William, counsel before the supreme court of British Guiana, a student of the Middle Temple 9 Nov., 1878, called to the bar 11 May, 1881 (3rd 'son of Robert Phillips, of Lennoxville, Lower Canada, sugar planter); born , .
    British Guiana.
# Men-at-the-Bar/Phillips, John Lloyd

​Phillips, John Lloyd, a student of the Middle Temple 23 Jan., 1823, called to the bar 20 June, 1828 (eldest son of Levy Phillips, Esq., of Cheltenham, co. Glouc.); born , .
    Care of Abbey School, Beckenham.
# Men-at-the-Bar/Phillips, Thomas

​Phillips, Thomas, lt.-col. commanding 18th hussars 1877-81, J.P. Staff., a student of the Inner Temple 20 Jan., 1879 (then aged 41), called to the bar 6 June, 1883 (only son of Charles Phillips, of Basford Grange, co. Staff., dec.); born 28 March, 1837.
    Ashenhurst Hall, Leek, Staffordshire; Garrick and United Service Clubs.
# Men-at-the-Bar/Phillips, Thomas Arthur Jones Stradlyn Morgan

​Phillips, Thomas Arthur Jones Stradlyn Morgan, matric. London Univ. 1871 and Downing Coll., Camb., a student of the Middle Temple 28 April, 1877, called to the bar 6 June, 1883 (eldest son of Thomas Morgan Phillips, of Llantulleth, co. Mon.); born .
    Greenfields, Newbridge, Mon.
# Men-at-the-Bar/Phillips, Francis

​Phillips, Francis, of the exchequer and audit department 1852, a student of Gray's Inn 9 Nov., 1871, called to the bar 17 Nov., 1874 (only son of late Charles Phillips, of London, F.R.C.S., surgeon to H.M.'s household and surgeon extraordinary to William IV.); born 8 Sept., 1835; married 12 Aug., 1868, Mary, eldest dau. of late George Addison, Esq., of London, banker.
    5, Porchester Square, Hyde Park, W.
# Myths and Folk-Lore of Ireland

Boston: Little, Brown, and Company.
Page
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
# Men-at-the-Bar/Walker, Edward

​Walker, Edward, B.A., Exeter Coll., Oxon, 1867, a student of the Inner Temple 17 Nov., 1865 (then aged 22), called to the bar 17 Nov., 1868 (2nd son of John Walker, of York, gent.); born , 1843; married 1 Aug., 1872, Anne Robertson, dau. of W. Bell, Esq.
    Endlesham Road, Balham, S.W.; 33, Chancery Lane, W.C.