OpenLLM-France/wikimedia huggingface dataset:
# The Czechoslovak Review/Volume 3/First visitor from Prague

FIRST VISITOR FROM PRAGUE.
Leaders of the American Czechs and Slovaks were pleasantly surprised at their meeting in Cleveland, when Consul Kopecký came in with an ​unexpected guest, Mr. Antonín Fencl, director of the Pragafilm Company, the principal Bohemian moving picture concern. Mr. Fencl came to the United States for a brief visit partly on business of his firm and partly on a mission for the Czechoslovak ministry of education to secure here data relating to America’s part in the movement for Czechoslovak independence. Mr. Fencl had barely time to visit Chicago, where he spoke of conditions in Bohemia to a tremendous crowd in the Pilsen Park Pavilion March 17th. The necessity of taking passage by the first ship available made it impossible to have him speak in Pittsburgh and New York as was intended.
Mr. Fencl is an able and interesting speaker, as well as an efficient business man. He took back with him a number of films showing Masaryk’s reception in various cities in this country, large numbers of photographs and documents, as well as films of the Cleveland meeting of the American Czechoslovak Board and of the Czechoslovak Legation and its staff in Washington.
Newspapers state that this first visitor will be followed some time in April by two missions from Prague, one of newspapermen and one of businessmen. They will be received with much enthusiasm by their countrymen in America, who are anxious to hear news from the old country at first hand.
This work was published before January 1, 1929 and is anonymous or pseudonymous due to unknown authorship. It is in the public domain in the United States as well as countries and areas where the copyright terms of anonymous or pseudonymous works are 95 years or less since publication.
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# The Czechoslovak Review/Volume 3/Delegates from 65 Protestant churches met in Chicago

​Delegates from 65 Protestant churches, using the Czechoslovak language, met in Chicago on June 25 and 26. Presbyterians, Baptists, Methodists, Congregational and Reformed churches were represented. An organization was formed under the name “Czechoslovak Evangelical Union of America” which will devote its energies at the present time especially to the support of war orphans ;it will also favor all efforts for deeper religious life among the liberated people. It was announced that the Presbyterians were sending Joseph Křenek of Silver Lake, Minn., as fraternal delegate to the Evangelical Church of the Brethren, and that the Baptists were sending as their delegate Václav Králíček of Chicago. Václav Vaněk of Chicago was elected first president of Evangelical Union.
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 1968, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 55 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 Czechoslovak Review/Volume 3/First American minister in Prague

​FIRST AMERICAN MINISTER IN PRAGUE.
The announcement made by the State Department on April 18. that Richard T. Crane, Jr. was appointed the first American minister to the Czechoslovak Republic was nowhere received with more approval than among American citizens of Czechoslovak ancestry. They know Mr. Crane to be a sincere friend to the new state to which he is accredited.
Richard Teller Crane, Jr.
Richard Crane was born in Champaign, Ill., 33 years ago, son of Charles R. and Mary Crane. His father is well known in America as former head of the Crane Company of Chicago, manufacturers of valves, fittings etc. , an establishment that employs many hundreds of Bohemian workingmen. Mr. Crane Sr. is still better known as philanthropist and student of Slavic and Eastern affairs. Richard Crane studied law at the University of Wisconsin and Nebraska, held important positions under the Crane Company, and for the last four years has served as Mr. Lansing’s secretary. As such he came into close relations with President Masaryk during his stay in Washington last summer. It may be stated confidently that Mr. Crane will be cordially welcomed in Prague, where he will find a number of personal friends. It is announced that he will sail on May 3rd.
The new minister will have with him as a member of his official family Captain Frank Jedlička who will serve as military attache of the Prague legation. Vladimir Geringer, American trade commissioner, with his secretary Louis Jalovec, and John Bouchal, viceconsul in Prague, are already at their posts. The United States Government will thus have several representatives in the Czechoslovak Republic able to speak the language of the country.
This work was published in 1919 and is anonymous or pseudonymous due to unknown authorship. It is in the public domain in the United States as well as countries and areas where the copyright terms of anonymous or pseudonymous works are 104 years or less since publication.
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# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/On a Faded Violet

Known also as On a Dead Violet
ON A FADED VIOLET
[Published by Hunt, Literary Pocket-Book, 1821. Reprinted by Mrs. Shelley, Posthumous Poems, 1824. Again reprinted, with several variants, P. W., 1839, 1st ed. Our text is that of the editio princeps, 1821. A transcript is extant in a letter from Shelley to Sophia Stacey, dated March 7, 1820.]
* ↑ On a Faded Violet—odour] colour 1839.
* ↑ kisses breathed] sweet eyes smiled 1839.
* ↑ colour] odour 1839.
* ↑ glowed] breathed 1839.
* ↑ shrivelled] withered 1839.
* ↑ cold and silent all edd.; its cold, silent Stacey MS.
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Otho

OTHO
[Published by Mrs. Shelley, P. W., 1839, 1st ed.]
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Orpheus

ORPHEUS
[Published by Dr. Garnett, Relics of Shelley, 1862; revised and enlarged by Rossetti, Complete P. W. of P. B. S., 1870.]
* ↑ 16, 17, 24 1870 only.
* ↑ 45-55 Ah, no! . . melody 1870 only.
* ↑ 66 1870 only.
* ↑ 112 trees 1870; too 1862.
* ↑ 113 huge 1870; long 1862.
* ↑ 116 starlike 1870; starry 1862. odour 1862; odours 1870.
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Passage of the Apennines

PASSAGE OF THE APENNINES
[Composed May 4, 1818. Published by Mrs. Shelley, Posthumous Poems, 1824. There is a copy amongst the Shelley MSS. at the Bodleian Library, which supplies the last word of the fragment.]
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/On Fanny Godwin

ON FANNY GODWIN
[Published by Mrs. Shelley, among the poems of 1817, in P. W., 1839, 1st ed.]
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/On the Medusa of Leonardo Da Vinci in the Florentine Gallery

ON THE MEDUSA OF LEONARDO DA VINCI IN THE FLORENTINE GALLERY
[Published by Mrs. Shelley, Posthumous Poems, 1824.]
* ↑ On the Medusa. — 5 seems 1839; seem 1824.
* ↑ 6 shine] shrine 1824, 1839.
* ↑ 26 those 1824; these 1839.
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Ozymandias

OZYMANDIAS
[Published by Hunt in The Examiner, January, 1818. Reprinted with Rosalind and Helen, 1819. There is a copy amongst the Shelley MSS. at the Bodleian Library. See Mr. C. D. Locock's Examination, &c., 1903, p. 46.]
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/On Death

ON DEATH
[For the date of composition see Editor's Note. Published with Alastor, 1816.]
There is no work, nor device, nor knowledge, nor wisdom, in the grave, whither thou goest.—Ecclesiastes.
# The Complete Poetical Works of Percy Bysshe Shelley (ed. Hutchinson, 1914)/Pater Omnipotens

FRAGMENT: PATER OMNIPOTENS
# The Case is Altered/Act IV Scene II

Enter Pacue, Finio.
Fin. Come on, my sweet finical Pacue, the very prime
Of pages, here's an excellent place for us to practise in;
Nobody sees us here; come, let's to it.
Enter Onion.
Pac. Contenta; reguarde vou le premier.
Oni. Sirrah, Finio.
Pac. Mort dieu le pesant.
Oni. Didst thou see Valentine?
Fin. Valentine! no,
Oni. No!
Fin. No. Sirrah, Onion, whither goest?
Oni. O I am vext; he that would trust
any of those lying travellers.
Fin. I prithee stay, good Onion.
Pac. Monsieur Onion, vene ca, come hidera, je vou pre.
By gar, me ha see two,
tree, four hundra tousand of your cousan
hang. Lend me your hand, shall pray for
know you bettra.
Oni. I thank you, good signior Parla
vou. O that I were in another world, in the
Ingies, or somewhere, that I might have
room to laugh.
Pac. A we fort boon; stand, you be deere now, me come,
Under the arm.
Bon jour, monsieur.
Fin. Good morrow, good signior.
Pac. By gar, be mush glad for see you.
Fin. I return you most kind thanks, sir.
Oni. How, how! 'sblood this is rare.
Pac. Nay, shall make you say rare, by
and by; reguard Monsieur Fidio,
The shoulder.
Fin. Signior Pacue.
Pac. Dieu vou gard, monsieur.
Fin. God save you, sweet signior.
Pac. Monsieur Onion, is not fort boon.
Oni. Beane, quoth he! would I were in
debt of a pottle of beans, I could do as much.
Fin. Welcome, signior; what's next?
Pac. O here; voy de grand admiration,
as should meet perchance monsieur Finio.
Fin. Monsieur Pacue.
Pac. Jesu! by ga, who think we shall meete here?
Fin. By this hand, I am not a little proud of it, sir.
Oni. This trick is only for the chamber,
it cannot be cleverly done abroad.
Pac. Well, what say you for dis den, monsieur?
Fin. Nay, pray, sir.
Pac. Par may foy vou bein encounters.
Fin. What do you mean, sir? let your
glove alone.
Pac. Comen se porte la sante?
Fin. Faith, exceeding well, sir.
Pac. Trot, be mush joy for hear heire.
Fin. And how is it with you, sweet signior Pacue?
Pac. Fat comme vou voyez.
Oni. Young gentlemen, spirits of blood,
if ever you'll taste of a sweet piece of mutton,
do Onion a good turn now.
Pac. Que que, parla monsieur, what ist?
Oni. Faith, teach me one of these tricks.
Pac. O me shall do presently; stand you
deere, you signior deer, myself is here; so,
fort bein: now I parle to monsieur Onion,
Onion pratla to you, you speaka to me, so,
and as you parle, change the bonet. Monsieur Onion.
Oni. Monsieur Pacue.
Pac. Pray be covera.
Oni. Nay, I beseech you, sir.
Fin. What do you mean?
Pac. Pardon moy, shall be so.
Oni. O god, sir.
Fin. Not I, in good faith, sir.
Pac. By gar, you must.
Oni. It shall be yours.
Fin. Nay, then you wrong me.
Oni. Well, and ever I come to be great —
Pac. You be big enough for de Onion already.
Oni. I mean a great man.
Fin. Then thou'dst be a monster.
Oni. Well, god knows not what fortune
may do, command me, use me from the
soul to the crown, and the crown to the
soul; meaning not only from the crown of
the head, and the sole of the foot, but also
the foot of the mind and the crowns of the
purse. I cannot stay now, young gentlemen,
but —— time was, time is, and time
shall be.
[Exeunt.]
# The Case is Altered/Act II Scene VI

Scene VI.
Count, Christophero.
Count. Well, go your ways, away. How now, Christophero,
What news with you?
Chr. I have an humble suit to your good lordship.
Count. A suit, Christophero! what suit, I prithee?
Chr. I would crave pardon at your lordship's hands,
If it seem vain or simple in your sight.
Count. I'll pardon all simplicity, Christophero;
What is thy suit?
Chr. Perhaps, being now so old a batchelor,
I shall seem half unwise, to bend myself
In strict affection to a poor young maid.
Count. What! is it touching love, Christophero?
Art thou dispos'd to marry? why 'tis well.
Chr. I, but your lordship may imagine now,
That I, being steward of your honour's house,
If I be married once, will more regard
The maintenance of my wife, and of my charge,
Than the due discharge of my place and office.
Count. No, no, Christophero, I know thee honest.
Chr. Good faith, my lord, your honour may suspect it;
But ————
Count. Then I should wrong thee; thou hast ever been
Honest and true, and will be still I know.
Chr. I, but this marriage alters many men,
And you may fear it will do me, my lord;
But ere it do so, I will undergo
Ten thousand several deaths.
Count. I know it, man.
Who wouldst thou have, I prithee?
Chr. Rachel de Prie,
If your good lordship grant me your consent.
Count. Rachel de Prie! what the poor beggar's daughter?
She's a right handsome maid, how poor soever,
And thou hast my consent with all my heart.
Chr. I humbly thank your honour; I'll now ask
Her father. [Exit.]
Count. Do so, Christophero; thou shalt do well.
'Tis strange (she being so poor) he should affect her!
But this is more strange that myself should love her.
I spy'd her lately at her father's door,
And if I did not see in her sweet face
Gentry and nobleness, ne'er trust me more;
But this persuasion fancy wrought in me,
That fancy being created with her looks;
For where love is, he thinks his basest object
Gentle and noble: I am far in love,
And shall be forc'd to wrong my honest steward,
For I must sue and seek her for myself.
How much my duty to my late dead wife,
And my own dear renown, soe'er it sways,
I'll to her father straight, love hates delays.
# The Case is Altered/Act II Scene IV

SCENE IV.
Enter Aurelia, Phœnixella, Francisco, Angelo.
Franc. See, signior Angelo, here are the ladies;
Go you and comfort one, I'll to the other.
Ang. Therefore I come, sir; I'll to the eldest.
God save you, ladies; these sad modes of yours,
That make you choose these solitary walks,
Are hurtful for your beauties.
Aur. If we had them.
Ang. Come, that condition might be for your hearts,
When you protest faith, since we cannot see them.
But this same heart of beauty, your sweet face,
Is in mine eye still.
Aur. O you cut my heart With your sharp eye.
Ang. Nay, lady, that's not so,
Your heart's too hard.
Aur. My beauty's heart? Ang. O no.
I mean that regent of affection, madam,
That tramples on all love with such contempt
In this fair breast.
Aur. No more, your drift is savour'd;
I had rather seem hard-hearted ———
Ang. Than hard-favour'd;
Is that your meaning, lady?
Aur. Go to, sir;
Your wits are fresh I know, they need no spur.
Ang. And therefore you will ride them.
Aur. Say, I do,
They will not tire, I hope?
Ang. No, not with you.
Hark you, sweet lady.
Franc. 'Tis much pity, madam,
You should have any reason to retain
This sign of grief, much less the thing design'd.
Phœ. Griefs are more fit for ladies than their pleasures.
Franc. That is for such as follow nought but pleasures.
But you that temper them so well with virtues,
Using your griefs so, it would prove them pleasures;
And you would seem, in cause of griefs and pleasures,
Equally pleasant.
Phœ. Sir, so I do now.
It is the excess of either that I strive
So much to shun, in all my prov'd endeavours,
Although perhaps, unto a general eye,
I may appear most wedded to my griefs;
Yet doth my mind forsake no taste of pleasure,
I mean that happy pleasure of the soul,
Divine and sacred contemplation
Of that eternal and most glorious bliss,
Proposed as the crown unto our souls.
Franc. I will be silent; yet that I may serve
But as a decade in the art of memory,
To put you still in mind of your own virtues,
When your too serious thoughts make you too sad,
Accept me for your servant, honour'd lady.
Phœ. Those ceremonies are too common, signior Francis,
For your uncommon gravity and judgment,
And fits them only that are nought but ceremony.
Ang. Come, I will not sue stalely to be your servant,
But a new term, will you be my refuge?
Aur. Your refuge! why, sir?
Ang. That I might fly to you when all else fail me.
Aur. An' you be good at flying, be my plover.
Ang. Nay, take away the p.
Aur. Tut, then you cannot fly.
Ang. I'll warrant you: I'll borrow Cupid's wings.
Aur. Mass, then I fear me you will do strange things.
I pray you blame me not, if I suspect you;
Your own confession simply doth detect you.
Nay, and you be so great in Cupid's books,
'Twill make me jealous. You can with your looks
(I'll warrant you) enflame a woman's heart,
And at your pleasure take love's golden dart,
And wound the breast of any virtuous maid.
Would I were hence! good faith, I am afraid
You can constrain one, ere they be aware,
To run mad for your love.
Ang. O this is rare.
# The Case is Altered/Act II Scene V

SCENE V.
Aurelia, Phœnixella, Francisco, Angelo, Count.
Count. Close with my daughters, gentlemen! well done,
'Tis like yourselves: nay, lusty Angelo,
Let not my presence make you baulk your sport;
I will not break a minute of discourse
'Twixt you and one of your fair mistresses.
Ang. One of my mistresses? why thinks your lordship
I have so many?
Count. Many! no, Angelo,
I do not think th'ast many, some fourteen
I hear thou hast, even of our worthiest dames
Of any note in Milan.
Ang. Nay, good my lord, fourteen! it is not so.
Count. By th' mass that is't; here are their names to shew,
Fourteen, or fifteen to one. Good Angelo,
You need not be asham'd of any of them,
They are gallants all.
Ang. 'Sblood you are such a lord.
Count. Nay stay, sweet Angelo, I am dispos'd
[Exit Angelo.]
A little to be pleasant past my custom.
He's gone, he's gone, I have disgrac'd him shrewdly.
Daughters, take heed of him, he's a wild youth;
Look what he says to you, believe him not,
He will swear love to every one he sees.
Francisco, give them counsel, good Francisco,
I dare trust thee with both, but him with neither.
Franc. Your lordship yet may trust both them with him.
[Exuent.]
# The Case is Altered/Act IV Scene III

SCENE III.
Enter Chamont, Camillo.
Cha. Sweet Gasper, I am sorry we must part;
But strong necessity enforces it.
Let not the time seem long unto my friend,
Till my return; for by our love I swear
(The sacred sphere wherein our souls are knit)
I will endeavour to effect this business
With all industrious care and happy speed.
Cam. My lord, these circumstances would come well
To one less capable of your desert
Than I, in whom your merit is confirm'd
With such authentical and grounded proofs.
Cha. Well, I will use no more. Gasper, adieu.
Cam. Farewell, my honour'd lord.
Cha. Commend me to the lady, my good Gasper.
Cam. I had remember'd that, had not you urg'd it.
Cha. Once more adieu, sweet Gasper.
Cam. My good lord.
[Exit Camillo.]
Cha. Thy virtues are more precious than thy name;
Kind gentleman, I would not sell thy love
For all the earthly objects that mine eyes
Have ever tasted. Sure thou art nobly born,
However fortune hath obscur'd thy birth;
For native honour sparkles in thine eyes.
How may I bless the time wherein Chamont,
My honour'd father, did surprize Vicenza,
Where this my friend (known by no name) was found,
Being then a child, and scarce of power to speak,
To whom my father gave this name of Gasper,
And as his own respected him to death;
Since when we two have shar'd our mutual fortunes
With equal spirits, and but death's rude hand,
No violence shall dissolve the sacred band.
[Exit.]
# The Case is Altered/Act IV Scene IV

SCENE IV.
Enter Juniper in his shop, singing. To him Onion.
Oni. Fellow, Juniper, no more of thy
songs and sonnets; sweet Juniper, no more
of thy hymns and madrigals; thou sing'st, but I sigh.
Junip. What's the matter, Peter, ha?
what in an academy still! still in sable and
black costly array, ha?
Oni. Prithee rise, mount, mount, sweet
Juniper; for I go down the wind, and yet I
puff, for I am vext.
Junip. Ha, bully! vext! what, intoxicate!
is thy brain in a quintessence, an
idea, a metamorphosis, an apology, ha,
rogue? Come, this love feeds upon thee, I
see by thy cheeks, and drinks healths of
vermilion tears, I see by thine eyes.
Oni. I confess Cupid's carouse, he plays
super negulum with my liquor of life.
Junip. Tut, thou art a goose to be Cupid's
gull; go to; no more of this contemplations
and calculations; mourn not, for Rachel's thine own.
Oni. For that let the higher powers work;
but sweet Juniper, I am not sad for her, and
yet for her in a second person, or if not, yet
so in a third.
Junip. How! second person! away,
away. In the crotchets already! longitude
and latitude! what second? what person? ha?
Oni. Juniper, I'll bewray myself before
thee, for thy company is sweet unto me;
but I must intreat thy helping hand in the case.
Junip. Tut, no more of this surquedry;
I am thine own ad unguem, upsie freeze;
pell mell, come, what case? what case?
Oni. For the case, it may be any man's
case, as well as mine. Rachel I mean;
but I'll meddle with her anon; in the mean
time, Valentine is the man has wronged me.
Junip. How! my Ingle wrong thee! is't possible!
Oni. Your Ingle! hang him, infidel.
Well, and if I be not revenged on him, let
Peter Onion (by the infernal gods) be turned
to a leek, or a scalion. I spake to him for a
ditty for this handkerchief.
Junip. Why, has he not done it?
Oni. Done it! not a verse, by this hand.
Junip. O in diebus illis! O preposterous!
well, come, be blith; the best inditer of
them all is sometimes dull. Fellow Onion,
pardon mine Ingle; he is a man has imperfections
and declinations, as other men
have; his muse sometimes cannot curvet,
nor prognosticate and come off, as it should;
no matter, I'll hammer out a paraphrase for
thee myself.
Oni. No, sweet Juniper, no; danger doth
breed delay; love makes me choleric, I
can bear no longer.
Junip. Not bear what? my mad meridian
slave. Not bear what?
Oni. Cupid's burden, 'tis too heavy, too
tolerable; and as for the handkerchief and
the posie, I will not trouble thee; but if
thou wilt go with me into her father's backside,
old Jaques' back-side, and speak for me
to Rachel, I will not be ingratitude; the old
man is abroad and all.
Junip. Art thou sure on't?
Oni. As sure an obligation.
Junip. Let's away then; come, we spend
time in a vain circumference; trade, I
casheer thee till to-morrow: fellow Onion,
for thy sake I finish this workiday.
Oni. God a mercy, and for thy sake I'll
at any time make a holiday.
[Exeunt.]
# The Complete Works of Swami Vivekananda/Volume 5/Epistles - First Series/XXXIII Alasinga

XXXIII
19 W., 38 St., New York, 1895.
Dear Alasinga,
. . . Meddle not with so-called social reform, for there cannot be any reform without spiritual reform first. Who told you that I want social reform? Not I. Preach the Lord — say neither good nor bad about the superstitions and diets. Do not lose heart, do not lose faith in your Guru, do not lose faith in God. So long as you possess these three, nothing can harm you, my child. I am growing stronger every day. Work on, my brave boys.
Ever yours with blessings, Vivekananda.