OpenLLM-France/wikimedia huggingface dataset:
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Arundel, (Blanche, Lady)

ARUNDEL, (BLANCHE, LADY) Daughter of Edward Somerset, Earl of Worcester, Died 1649, aged 66.
Wardour Castle being summoned, May 2, 1643, by the parliamentary forces under Sir Edward Hungerford, to surrender, the Lady Arundel, who commanded it in the absence of her husband, refused to deliver it up, alledging, that she had orders from her lord to keep it, and those orders she was determined to obey. On this reply, the cannon were drawn up, and the battery commenced, which continued from Wednesday till the following Monday. The castle contained but twenty-five fighting men. During the siege two mines were sprung, by the explosion of which, every room in the fortress was shaken and endangered. The besiegers offered, more than once, to give quarter to the women and children, on condition that the besieged should surrender their arms at discretion. But the ladies of the family disdained to sacrifice their brave friends and faithful servants to their own safety; and when the latter were almost worn out by watching, they, with their female servants, assisted in loading the ​musquets, and in administering refreshments to their intrepid defenders.
For nine days was the castle thus defended; but, finding there was no hope of holding out longer, a parley was demanded, and the castle surrendered on honourable terms. But when the besiegers had taken possession, one article alone, that of sparing the lives of the inhabitants was observed. They destroyed the fine paintings, took the ladies and children to Shaftesbury, whither five cart-loads of their richest furniture and hangings were carried in triumph. The castle, the park, every thing was destroyed; and the loss of the earl of Arundel, on this occasion, was computed at one hundred thousand pounds.
Conceiving their prisoners insecure at Shaftesbury, it was proposed to remove them to Bath, which, at that time was infected both with the plague and small-pox. Lady Arundel, alarmed for her children, remonstrated against this barbarous purpose, determined that force only should effect it; and, afraid of exciting the indignation of the people, her adversaries relinquished the design, though they cruelly separated her from her young children, who were carried captives to Dorchester.
Lady Arundel is buried with her husband, near the altar of an elegant chapel, at Wardour Castle. Under the inscription on their tomb is this verse from the Proverbs:
"Who shall find a valiant woman? The price of her is as things brought from afar off, and from the uttermost coast. The heart of her husband trusteth in her."
Seward's Anecdotes.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Arundel, (Mary)

ARUNDEL (MARY) Daughter of Sir Thomas Arundel, Wife, first of Robert Ratcliff, who died 1560, secondly of Henry Howard, Earl of Arundel,
Was a learned lady. She translated into English, from the Latin, the wise sayings and eminent deeds of the emperor Alexander Severus. This is dedicated to her father, and the manuscript is in the royal library at Westminster. She translated also from Greek into Latin, Select sentences of the Seven wise Grecian Philosophers. In the same library is preserved of her writing, Similies collected from the books of Plato, Aristotle, Seneca, and other philosophers.
Female Worthies, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Aspasia (2)

ASPASIA, or MILTO, Mistress of Cyrus. Born about 421 Years B. C. of free Parents, at Phocis, in Ionia,
Was brought up virtuously, though in poverty, and being very beautiful, with the singularity of fine light hair, naturally curling, attracted the notice of one of the satraps of Cyrus the younger, who forced her father to deliver her, against her consent, to him, for the seraglio of this prince. She was presented to Cyrus, with some others trained to please; but her modesty, dignity and grief, so affected him, that he applied himself seriously to gain her affections; equality was established between them; and their union, the fame of which was spread all over Greece, and even in Persia, was esteemed a marriage. In effect, the regularity of her manners and conduct, and the respect he paid to her understanding, by consulting her on the most important affairs (a confidence which he had never cause to repent) gave her all the consideration of a wife. Cyrus afterwards made her quit the name of Milto, which she had till then borne, and take that which Aspasia of Miletus by her wit and beauty had rendered so celebrated. A rich chain of gold being sent to him, of curious workmanship, he presented it to Aspasia, saying, ​'it was worthy the wife or daughter of a king;' but she refusing it, advised him to send it to Parisatis, whose favourite son he was, who was so well pleased with her moderation, that she returned her many grand presents, and a large sum of gold—all of which Aspasia delivered to Cyrus, after praising the generosity of his mother. "It may be of service to you," said she, "who are my riches and my ornament." She availed herself only of the change in her fortune to rescue her father from the state of poverty in which he had formerly lived.
Excited by his mother and his own ambition, Cyrus attempted to dethrone his elder brother Artaxerxes, but perished in the trial. In the year 401, B. C. Aspasia was taken by the army of the conqueror, and, on his commanding her to be sought, they brought her before him loaded with chains. At this Artaxerxes was very angry, put her conductors in prison, and ordered her to be clothed in magnificent apparel. The tears of Aspasia flowed more abundantly than before. She had tenderly loved Cyrus, and regretted him sincerely; but at length was forced to accept the dresses which the king had sent her, and was soon ranked the first among his women. His wife Statira was still living; and as he could not therefore marry her, he bestowed on her nearly the same honours as a queen. But it was long before his attentions and respect could efface the remembrance of Cyrus from her heart.
F.C.
# A Dictionary of Music and Musicians/Chapeau Chinois

From volume 1 of the work.
​CHAPEAU CHINOIS. [Chinese Pavilion.]
# A Dictionary of Music and Musicians/Chapelle

From volume 1 of the work.
​CHAPELLE, originally the musicians of a chapel, and now extended to mean the choir or the orchestra, or both, of a church or chapel or other musical establishment, sacred or secular. The maître de chapelle is the director of the music. In German the word Kapelle or Capelle is used more exclusively for the private orchestra ​of a prince or other great personage, and the Kapell-meister is the conductor or director. Cappella pontificale is the term for the whole body of singers in the Pope's service, the cantatori cappellani, the cantatori apostolici, and the cantatori pontificali.
[ G. ]
# A Dictionary of Music and Musicians/Chappell and Co.

From volume 1 of the work.
​CHAPPELL & CO. This musical firm commenced business in January 1812, at 124 New Bond Street, previously tenanted by Goulding, D'Almaine, & Co. The firm consisted of Samuel Chappell, John Baptist Cramer, and Francis Tatton Latour. At the expiration of seven years, J. B. Cramer retired, and Chappell & Co., requiring more space, removed to a nearly opposite house, 50 New Bond Street. Recent enlargements have increased the premises to three houses in Bond St., and the site of a former stableyard as well as of large back gardens of three houses in George Street. The first partnership is noticeable for the establishment of the Philharmonic Society, all the business arrangements for which were made at No. 124. Mr. Chappell further lent his house for the meetings of the Directors, and refreshed the weary ones. J. B. Cramer was then at the zenith of his fame, and the spirit would sometimes move him to play until one, two, or three in the morning, to the great delight of his auditors. When the society had become firmly established, a silver teapot was presented to the lady of the house. At the end of the second term of partnership (1826), Latour withdrew, and carried on a separate business until 1830, when he sold it to his former partner. Samuel Chappell died Dec. 1834, and the business was then carried on for the widow by her sons,—William, the eldest, being 25 years old. Desiring to propagate a knowledge of the music of the Madrigalian era, William (in 1840) projected the Musical Antiquarian Society, which held its meetings and rehearsals at No. 50. He edited Dowland's songs for the Society, and also edited and published (1838–40) a 'Collection of National English Airs,' giving their pedigrees and the anecdotes connected with them, with an essay on minstrelsy in England. This was afterwards expanded into his 'Popular Music of the Olden Time' (2 vols. 1855–59). The business was greatly extended by Thomas Chappell, under a family arrangement by which his elder brother left, and bought the half of the business carried on under the name of Cramer & Co., with the late T. F. Beale as his partner. It was under Thos. Chappel's management that the great extension of the buildings took place, and he was the projector of the Monday Popular Concerts, and the Saturday Popular Concerts which sprang out of them, both of which have owed their success in ​great measure to the management of S. Arthur Chappell, the younger brother. [Monday Popular Concerts.] A large concert-room had been much wanted at the west end of London, and St. James's Hall was projected and carried out mainly by the Chappells.
[ W.C. ]
# A Dictionary of Music and Musicians/Chanterelle

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Chaperons Blancs, Les

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Chanot, François

From volume 1 of the work.
​CHANOT, François, son of a violin-maker, was born in 1787 at Mirecourt in France. He entered the army as an engineer under the Empire, but quitted it after the Restoration. Returning to Mirecourt, he made special studies on the construction of the violin, and ultimately built one which deviated considerably in form from the accepted pattern. Believing that, in order to make every part of the instrument partake equally of the vibrations of the sound, the fibres of the wood should be preserved in their entire length, he considered the corners and curves of the outline as so many obstacles to the propagation of the waves of sound, and accordingly gave his violin a pear-shaped form, resembling that of the guitar. The belly he made quite flat, and left out the soundpost altogether, on the ground that it merely served to break the waves of sound, while in reality it transmits them from belly to back.
[ P. D. ]
# A Dictionary of Music and Musicians/Chapels Royal

From volume 1 of the work.
​CHAPELS ROYAL. Bodies of clergy and lay-clerks who minister at the courts of Christian monarchs; and also the places in which they worship. There are several in England—viz., at St. James's Palace, Whitehall, and St. George's, Windsor, etc. From the 'Liber Niger Domus Regis' (1461), the earliest known record on the subject, we learn that in Edward IV's reign there was a well-established Chapel Royal, consisting of a dean; a confessor to the household; 24 chaplains and clerks variously qualified—by skill in descant, eloquence in reading, and ability in organ-playing; 2 epistlers, ex-chorister-boys; 8 children; a master of the grammar school; and a master of the children, or master of song.
The term Chapel Royal is now usually applied to that at St. James's Palace. The chapel is between the Colour Court and the Ambassadors' Court. The establishment consists of the Dean, the Lord High Almoner; the Clerk of the Closet, and 2 deputies; the sub-dean; 48 chaplains; 8 priests in ordinary, a master of the children; one lay composer; one lay organist and chapel-master or choir-master; 8 lay gentlemen and 10 boys; 1 sergeant of the vestry; 1 groom of ditto; and other attendants.
The service is a full choral one, at 10 a.m., 12 noon, and 5.30 p.m. on Sundays, and at 11 a. m. on feast-days. The boys are educated at the cost of the chapel, and as a rule sing there only. The chief musical posts of the establishment are at present held as follows:—Master of the Children, Rev. Thos. Helmore, one of the priests in ordinary; Composer, Sir John Goss; Organist and Choir-master, Mr. C. S. Jekyll.
The Chapel Royal at Whitehall (Banqueting House) is under the same chief officers as St. James's—but is now attended only once a year by the choir of that establishment in the special service of Maundy Thursday, on the afternoon of Thursday in Holy Week, when gifts called 'Benevolences' are distributed by the Lord High Almoner to certain poor people, as many in number as the sovereign is years old. The ceremony is a relic of a service which included washing the feet of the poor, of the same nature with that performed by the Pope on the same day. That pan of it, however, as well as the distribution of fish and bread before the second lesson, has long been discontinued.
The following special anthems were formerly eung in the course of the service:—'Hide not thou thy face from us, O Lord' (Farrant), 'Prevent us, O Lord' (Byrd), 'Call to remembrance, O Lord' (Farrant), 'O praise the Lord all ye heathen' (Croft). They are now varied each year.
[ T. H. ]
# A Dictionary of Music and Musicians/Chappington, John

From volume 1 of the work.
[ V. de P. ]
# A Boy's Will/Love and a Question

From A Boy's Will, 1913.
LOVE AND A QUESTION
A stranger came to the door at eve,
 And he spoke the bridegroom fair.
 He bore a green-white stick in his hand,
 And, for all burden, care.
 He asked with the eyes more than the lips
 For a shelter for the night,
 And he turned and looked at the road afar
 Without a window light.
 The bridegroom came forth into the porch
 With 'Let us look at the sky,
 And question what of the night to be,
 Stranger, you and I.'
 The woodbine leaves littered the yard,
 The woodbine berries were blue,
 Autumn, yes, winter was in the wind;
 'Stranger, I wish I knew.'
 Within, the bride in the dusk alone
 Bent over the open fire,
Her face rose-red with the glowing coal  And the thought of the heart's desire.
The bridegroom looked at the weary road,  Yet saw but her within, And wished her heart in a case of gold  And pinned with a silver pin.
The bridegroom thought it little to give  A dole of bread, a purse, A heartfelt prayer for the poor of God,  Or for the rich a curse;
But whether or not a man was asked  To mar the love of two By harboring woe in the bridal house,  The bridegroom wished he knew.
# A Boy's Will/Mowing

From A Boy's Will, 1913.
MOWING
There was never a sound beside the wood but one,
And that was my long scythe whispering to the ground.
What was it it whispered? I knew not well myself;
Perhaps it was something about the heat of the sun,
Something, perhaps, about the lack of sound—
And that was why it whispered and did not speak.
It was no dream of the gift of idle hours,
Or easy gold at the hand of fay or elf:
Anything more than the truth would have seemed too weak
To the earnest love that laid the swale in rows,
Not without feeble-pointed spikes of flowers
(Pale orchises), and scared a bright green snake.
The fact is the sweetest dream that labor knows.
My long scythe whispered and left the hay to make.
# A Boy's Will/Revelation

From A Boy's Will, 1913.
REVELATION
We make ourselves a place apart
 Behind light words that tease and flout,
But oh, the agitated heart
 Till someone find us really out.
'Tis pity if the case require
 (Or so we say) that in the end
We speak the literal to inspire
 The understanding of a friend.
But so with all, from babes that play
 At hide-and-seek to God afar,
So all who hide too well away
 Must speak and tell us where they are.
# A Boy's Will/Rose Pogonias

From A Boy's Will, 1913.
ROSE POGONIAS
A saturated meadow,
 Sun-shaped and jewel-small,
A circle scarcely wider
 Than the trees around were tall;
Where winds were quite excluded,
 And the air was stifling sweet
With the breath of many flowers,—
 A temple of the heat.
There we bowed us in the burning,
 As the sun s right worship is,
To pick where none could miss them
 A thousand orchises;
For though the grass was scattered,
 Yet every second spear
Seemed tipped with wings of color,
 That tinged the atmosphere.
We raised a simple prayer
 Before we left the spot,
That in the general mowing
 That place might be forgot;
Or if not all so favoured,
 Obtain such grace of hours,
That none should mow the grass there
 While so confused with flowers.
# A Boy's Will/My November Guest

From A Boy's Will, 1913.
MY NOVEMBER GUEST
My sorrow, when she's here with me,
 Thinks these dark days of autumn rain
Are beautiful as days can be;
She loves the bare, the withered tree;
 She walks the sodden pasture lane.
Her pleasure will not let me stay.
 She talks and I am fain to list:
She's glad the birds are gone away,
She's glad her simple worsted grey
 Is silver now with clinging mist.
The desolate, deserted trees,
 The faded earth, the heavy sky,
The beauties she so truly sees,
She thinks I have no eye for these,
 And vexes me for reason why.
Not yesterday I learned to know  The love of bare November days
Before the coming of the snow,
But it were vain to tell her so,
 And they are better for her praise.
# A Boy's Will/Now Close the Windows

From A Boy's Will, 1913.
NOW CLOSE THE WINDOWS
Now close the windows and hush all the fields;
 If the trees must, let them silently toss;
No bird is singing now, and if there is,
 Be it my loss.
It will be long ere the marshes resume,
 It will be long ere the earliest bird:
So close the windows and not hear the wind,
 But see all wind-stirred.
# A Boy's Will/Pan with Us

From A Boy's Will, 1913.
PAN WITH US
* Pan came out of the woods one day,—
* His skin and his hair and his eyes were gray,
* The gray of the moss of walls were they,—
* And stood in the sun and looked his fill
* At wooded valley and wooded hill.
* He stood in the zephyr, pipes in hand,
* On a height of naked pasture land;
* In all the country he did command
* He saw no smoke and he saw no roof.
* That was well! and he stamped a hoof.
* His heart knew peace, for none came here
* To this lean feeding save once a year
* Someone to salt the half-wild steer,
* Or homespun children with clicking pails
* Who see so little they tell no tales.
* He tossed his pipes, too hard to teach
* A new-world song, far out of reach,
* For a sylvan sign that the blue jay's screech
* And the whimper of hawks beside the sun
* Were music enough for him, for one.
* Times were changed from what they were:
* Such pipes kept less of power to stir
* The fruited bough of the juniper
* And the fragile bluets clustered there
* Than the merest aimless breath of air.
* They were pipes of pagan mirth,
* And the world had found new terms of worth.
* He laid him down on the sun-burned earth
* And ravelled a flower and looked away—
* Play? Play?—What should he play?
# A Boy's Will/Reluctance

From A Boy's Will, 1913.
RELUCTANCE
* Out through the fields and the woods
* And over the walls I have wended;
* I have climbed the hills of view
* And looked at the world, and descended;
* I have come by the highway home,
* And lo, it is ended.
* The leaves are all dead on the ground,
* Save those that the oak is keeping
* To ravel them one by one
* And let them go scraping and creeping
* Out over the crusted snow,
* When others are sleeping.
* And the dead leaves lie huddled and still,
* No longer blown hither and thither;
* The last lone aster is gone;
* The flowers of the wich-hazel wither;
* The heart is still aching to seek,
* But the feet question 'Whither?'
* Ah, when to the heart of man
* Was it ever less than a treason
* To go with the drift of things,
* To yield with a grace to reason,
* And bow and accept the end
* Of a love or a season?
# A Boy's Will/My Butterfly

From A Boy's Will, 1913.
MY BUTTERFLY
* Thine emulous fond flowers are dead, too,
* And the daft sun-assaulter, he
* That frighted thee so oft, is fled or dead:
* Save only me
* (Nor is it sad to thee!)
* Save only me
* There is none left to mourn thee in the fields.
* The gray grass is not dappled with the snow;
* Its two banks have not shut upon the river;
* But it is long ago—
* It seems forever—
* Since first I saw thee glance,
* With all the dazzling other ones,
* In airy dalliance,
* Precipitate in love,
* Tossed, tangled, whirled and whirled above,
* Like a limp rose-wreath in a fairy dance.
* When that was, the soft mist
* Of my regret hung not on all the land,
* And I was glad for thee,
* And glad for me, I wist.
* Thou didst not know, who tottered, wandering on high,
* That fate had made thee for the pleasure of the wind,
* With those great careless wings,
* Nor yet did I.
* And there were other things:
* It seemed God let thee flutter from his gentle clasp:
* Then fearful he had let thee win
* Too far beyond him to be gathered in,
* Snatched thee, o'er eager, with ungentle grasp.
* Ah! I remember me
* How once conspiracy was rife
* Against my life—
* The languor of it and the dreaming fond;
* Surging, the grasses dizzied me of thought,
* The breeze three odors brought,
* And a gem-flower waved in a wand!
* Then when I was distraught
* And could not speak,
* Sidelong, full on my cheek,
* What should that reckless zephyr fling
* But the wild touch of thy dye-dusty wing!
* I found that wing broken to-day!
* For thou art dead, I said,
* And the strange birds say.
* I found it with the withered leaves
* Under the eaves.
# A Boy's Will/October

From A Boy's Will, 1913.
OCTOBER
O hushed October morning mild, Thy leaves have ripened to the fall; To-morrow's wind, if it be wild, Should waste them all. The crows above the forest call; To-morrow they may form and go. O hushed October morning mild, Begin the hours of this day slow, Make the day seem to us less brief. Hearts not averse to being beguiled, Beguile us in the way you know; Release one leaf at break of day; At noon release another leaf; One from our trees, one far away; Retard the sun with gentle mist; Enchant the land with amethyst. Slow, slow! For the grapes' sake, if they were all, Whose leaves already are burnt with frost, Whose clustered fruit must else be lost— For the grapes' sake along the wall.
# 2015 September 16 US Congressman Mike Honda on student Ahmed Mohamed

archive link, see also covered by NBC News, and archive link.
2015 September 16 US Congressman Mike Honda on student Ahmed Mohamed
United States House of Representatives
US Congressman Mike Honda
September 16, 2015
Mike Honda in San Jose, California
September 16 at 7:55am
14-year old 9th grade student Ahmed Mohamed - while wearing his NASA t-shirt - was handcuffed and escorted from school for bringing a homemade clock to school.
As a former science teacher and principal, Ahmed could have been one of my students. His arrest and suspension is deeply troubling. I believe no one should be unfairly treated because of skin color, heritage or unfounded suspicion.
It was unfounded suspicion that led to the internment of over 100,000 Americans of Japanese descent, including me and my family, after Pearl Harbor.
After 9/11, I took to the House floor to speak against the fear mongering and discrimination facing the Muslim American Community.
Ahmed's arrest is yet another troubling story of how a student's good work can be overshadowed by preexisting views outside his control.
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