OpenLLM-France/wikimedia huggingface dataset:
# John in Vision Saw the Day

The great tribunal by John Newton
    John in vision saw the day
    When the Judge will hasten down;
    Heav’n and earth shall flee away
    From the terror of His frown:
    Dead and living, small and great,
    Raised from the earth and sea;
    At His bar shall hear their fate,
    What will then become of me?
    Can I bear His awful looks?
    Shall I stand in judgment then,
    When I see the opened books,
    Written by th’ Almighty’s pen?
    If He to remembrance bring,
    And expose to public view,
    Every work and secret thing,
    Ah, my soul, what canst thou do?
    When the list shall be produced
    Of the talents I enjoyed;
    Means and mercies, how abused!
    Time and strength, how misemployed!
    Conscience then, compelled to read,
    Must allow the charge is true;
    Say, my soul, what canst thou plead
    In that hour, what wilt thou do?
    But the book of life I see,
    May my name be written there!
    Then from guilt and danger free,
    Glad I’ll meet Him in the air:
    That’s the book I hope to plead,
    ’Tis the Gospel opened wide;
    Lord, I am a wretch indeed!
    I have sinned, but Thou hast died.
    Now my soul knows what to do;
    Thus I shall with boldness stand,
    Numbered with the faithful few,
    Owned and saved, at Thy right hand:
    If Thou help a foolish worm
    To believe Thy promise now;
    Justice will at last confirm
    What Thy mercy wrought below.
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
# Jaybird Mining Company v. Weir

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
271 U.S. 609
Jaybird Mining Company v. Weir
Argued: April 29, 1926. --- Decided: June 7, 1926
Mr. A. Scott Thompson, of Miami, Okl., for plaintiff in error.
Mr. John H. Venable, of Miami, Okl., for defendant in error.
[Argument of Counsel from page 610 intentionally omitted]
Mr. Justice BUTLER 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
# Jealousy

* Search for titles containing or beginning with: "Jealousy."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Jealousy, a poem by Rupert Brooke
* Jealousy, a poem by Anne Finch
* Jealousy, a poem by Alexander Pushkin
# Jean-Christophe/The Dawn

Translated from L’Aube, 1904.

### Contents

* I
* II
* III
This work is in the public domain in the United States because it was published before January 1, 1929.
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.
Public domainPublic domainfalsefalse
# Jean-Christophe/Morning

Translated from Le Matin, 1904.

### Contents

* I: The Death of Jean-Michel
* II: Otto
* III: Minna
This work is in the public domain in the United States because it was published before January 1, 1929.
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.
Public domainPublic domainfalsefalse
# Jean-Christophe

1904–1912

### Contents
#### The Dawn

* I
* II
* III

#### Morning

* I: The Death of Jean-Michel
* II: Otto
* III: Minna

#### Youth

* I:The House of Euler
* II: Sabine
* III: Ada

#### Revolt

* I: Shifting Sands
* II: Engulfed
* III: Deliverance
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Indira and Other Stories/Radharani

Bengali original first published in 1877.
Contents
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
# Indira and Other Stories/Radharani/Chapter 4

IV.
One or two years after this, a gentleman made his appearance at Radharani's poor-house. He was about thirty-five or thirty-six years old. He was of grave but kindly appearance, and seemed to be in comfortable circumstances. He stood for some time in the gateway of the Rukmini Kumar Prasad and ​finally asked the attendants whose residence it was. He was told that it was not a private dwelling, but an asylum for the poor and indigent. He was also informed of the name it bore. He asked if he might visit the institution.
"Why," they replied, "should not such an one as you enter a building which is open to all the poor and miserable of the land?"
The stranger made a careful inspection of the asylum, and returning to the entrance, said,
"I have carefully examined all the arrangements for the comfort of the poor and sick, and am greatly pleased. To whose generosity do we owe this institution? Is his name Rukmini Kumar?"
The attendants replied, "No, sir, this institution has been founded by our mistress, Srimati Radharani Dasi."
"Why, then," asked the stranger, "is it called the Rukmini Kumar Benefaction?"
The attendants said that they did not know.
"Who then is this Rukmini Kumar?"
​"No one of whom we know."
"Where is the residence of the generous foundress?"
The attendants pointed out a handsome mansion hard by.
"Can you tell me," said the stranger, "is the lady married or a widow?"
"She is neither married nor a widow. She comes of great people. All her relatives are dead. There is no one to give her in marriage."
"Does the lady ever admit male visitors to an interview? Do not be offended at my question. Let me tell you that many Hindu ladies now go into mixed society like Englishwomen. That is why I ask."
"Indeed," the attendants indignantly replied, "our lady has no such foreign manners. She never shows herself to males, even if they be friends of the family."
The stranger walked thoughtfully away towards the heiress's residence and entered its hospitable gate.
# Irvin v. Dowd (359 U.S. 394)

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

## Concurring Opinion

    Stewart

## Dissenting Opinion

    Frankfurter
United States Supreme Court
359 U.S. 394
Irvin v. Dowd
Argued: Jan. 15, 1959. --- Decided: May 4, 1959
Messrs. Theodore Lockyear and James D. Lopp, Evansville, Ind., and James D. Nafe, South Bend, Ind., for petitioner.
Mr. Richard M. Givan, Indianapolis, Ind., for respondent.
Mr. Justice BRENNAN 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
# Irvin v. Dowd (366 U.S. 717)

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

## Concurring Opinion

    Frankfurter
United States Supreme Court
366 U.S. 717
Irvin v. Dowd
Argued: Nov. 9, 1960. --- Decided: June 5, 1961
Messrs. Theodore Lockyear, Jr., and James D. Lopp, Evansville, Ind., Messrs. Hahn, Zimmerman, Nafe & Fisher by Mr. James D. Nafe, South Bend, Ind., on the brief, for petitioner.
Mr. Richard M. Givan, Indianapolis, Ind., for respondent.
Mr. Justice CLARK 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
# Irvin v. Dowd (359 U.S. 394)/Concurrence Stewart

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Stewart
* Dissenting Opinion Frankfurter
* Wikipedia article
United States Supreme Court
359 U.S. 394
Irvin v. Dowd
Argued: Jan. 15, 1959. --- Decided: May 4, 1959
Mr. Justice STEWART concurs in the judgment and the opinion of the Court, with the understanding that the Court does not here depart from the principles announced in Brown v. Allen, 344 U.S. 443, 73 S.Ct. 397, 97 L.Ed. 469.
Mr. Justice FRANKFURTER, dissenting.

## 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
# Irvine v. California

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

## Concurring Opinion

    Clark

## Dissenting Opinions

    Black
    Douglas
United States Supreme Court
347 U.S. 128
Irvine v. California
Argued: Nov. 30, 1953. --- Decided: Feb 8, 1954
See 347 U.S. 931, 74 S.Ct. 527.
Mr. Morris Lavine, Los Angeles, Cal., for petitioner.
Miss Elizabeth Miller, Los Angeles, Cal., Mr. Clarence A. Linn, San Francisco, Cal., for respondent.
Mr. Justice JACKSON announced the judgment of the Court and an opinion in which The CHIEF JUSTICE, Mr. Justice REED and Mr. Justice MINTON join.

## 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
# Irvine v. California/Concurrence Clark

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Clark
* Dissenting Opinions Black Douglas
United States Supreme Court
347 U.S. 128
Irvine v. California
Argued: Nov. 30, 1953. --- Decided: Feb 8, 1954
Mr. Justice CLARK, concurring.
Had I been here in 1949 when Wolf was decided I would have applied the doctrine of Weeks v. United States, 1914, 232 U.S. 383, 34 S.Ct. 341, 58 L.Ed. 652, to the states. But the Court refused to do so then, and it still refuses today. Thus Wolf remains the law and, as such, is entitled to the respect of this Court's membership.
Of course, we could sterilize the rule announced in Wolf by adopting a case-by-case approach to due process in which inchoate notions of propriety concerning local police conduct guide our decisions. But this makes for such uncertainty and unpredictability that it would be impossible to foretell-other than by guess-work-just how brazen the invasion of the intimate privacies of one's home must be in order to shock itself into the protective arms of the Constitution. In truth, the practical result of this ad hoc approach is simply that when five Justices are sufficiently revolted by local police action a conviction is overturned and a guilty man may go free. Rochin bears witness to this. We may thus vindicate the abstract principle of due process, but we do not shape the conduct of local police one whit; unpredictable reversals on dissimilar fact situations are not likely to curb the zeal of those police and prosecutors who may be intent on racking up a high percentage of successful prosecutions. I do not believe that the extension of such a vacillating course beyond the clear cases of physical coercion and brutality, such as Rochin, would serve a useful purpose.
In light of the 'incredible' activity of the police here it is with great reluctance that I follow Wolf. Perhaps strict adherence to the tenor of that decision may produce needed converts for its extinction. Thus I merely concur in the judgment of affirmance.
Mr. Justice BLACK, with whom Mr. Justice DOUGLAS concurs, dissenting.

## 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
# Instruments of the Modern Symphony Orchestra/CORNET

CORNET
Edwin Franko Goldman formerly Metropolitan Opera House Orchestra, N.Y.
This instrument is similar to the valve trumpet in all respects except that its bore is slightly conical instead of cylindrical. The mouthpiece also differs from that of the trumpet in being less cup-shaped, thus tapering more gradually into the main bore of the instrument. These two features combine to render the tone of the cornet coarser and thicker than the clear, brilliant tone of the trumpet.
The cornet is rare in the modern symphony orchestra, though it was of undoubted utility during the period prior to the introduction of valve trumpets. Two cornets in addition to two trumpets, were then employed, their special function being to supply the chromatic tones lacking on the plain trumpet.
Owing to its ease of blowing and its pleasing, mellow tone, the cornet is still much used in amateur and in professional small orchestras; also in military bands. It is made in B flat and is provided with a slide or a valve mechanism which instantly transforms it into an "A" instrument. In compass and in the manner of writing it is precisely like the valve trumpet. Cornets, like other similar brass instruments, may be muted by means of a pear-shaped device set in the bell.
# Instruments of the Modern Symphony Orchestra/CELLO

VIOLONCELLO (CELLO)
Leo Schulz Principal Cello N.Y. Philharmonic Orchestra
Although the principal use of the cello in the orchestra Is to supply the bass part of the harmony—with the double-bass usually an octave below—its full, rich penetrating tone, combined with an unusually large range, renders the Cello one of the most frequently used voices in solo passages. It is equally telling in the bass, tenor, and soprano registers.
It is tuned in fifths, one octave below the viola, and its lowest two strings, the C and the G, are wire-spun. In Symphony and grand opera orchestras the number of cellos is likely to be slightly more than half that of the first Violins.
All the effects in bowing, pizzicato, use of the mute, etc., May be advantageously employed on the cello.
Cello parts are usually written in the bass clef, but the Tenor Clef—middle C on the fourth line—is frequently employed where the parts run rather high. For the highest Solo passages the treble clef (the G clef of the violin, piano, etc.), is used.
# Instruments of the Modern Symphony Orchestra/DOUBLE BASSOON

DOUBLE BASSOON
Max F. Wenning Metropolitan Opera House Orchestra N.Y.
This ponderous instrument, also called contra bassoon, is pitched an octave below the bassoon, to which it bears the same relation as does the double bass to the cello. It is usually about sixteen feet long, but is doubled on itself four times to make it less unwieldy. Although it has a possible range of three and a half octaves, its principal use is to extend the downward range of the bassoon, thus supplying a solid, deep-pitched foundation for the wood-wind section.
The tones comprising the two lowest octaves are the most valuable. They are employed both in forte and piano passages, though the subduing of the deepest tones requires great skill. The soft attack is all but impossible. The tonal quality differs little from that of the ordinary bassoon.
Although not a modern instrument, its use was long restricted, owing to imperfections in intonation. Recent improvements have made its use more general, and the third bassoonist of symphony and grand opera orchestras is always provided with a double bassoon to be used when required by the score. It is a transposing instrument in the same sense as is the double bass, parts being written an octave above their actual sound.
# Instruments of the Modern Symphony Orchestra/FLUTE

FLUTE
Ernest F. Wagner N.Y. Philharmonic Orchestra
The flute and the piccolo are the only wood-wind instruments played without a reed, the performer blowing across a hole in the side instead of into the end of the tube. As in all other wood-wind instruments, differences in pitch are obtained by opening and closing the finger-holes and keys.
The flute is usually made of wood, though metal flutes, provided with various and elaborate key-systems, are by no means uncommon. The most perfect modern type is known as the Boehm flute. Named after Theobald Boehm, who in 1832, modified and greatly improved its construction and intonation. Boehm flutes are made of wood or of silver—either solid or plated.
The flute is the most agile of all the wind instruments, and with the exception of the piccolo, the highest in pitch. It is equally effective in staccato and legato passages. Repeated notes may be rapidly executed by "double-tonguing."
The sombre, low notes are very characteristic, but are useful only in solos or in soft combinations. The medium register, is sweet and liquid; the highest notes, brilliant and piercing.
Symphony orchestras usually require three flute players, the third of whom is provided also with a piccolo, to be used when required by the score.
# Instruments of the Modern Symphony Orchestra/CELESTA

CELESTA
André Benoist
This instrument was invented in 1886 by Mustel, of Paris, the eminent manufacturer of harmoniums. It is a small keyboard instrument and consists of a series of steel plates suspended over, accurately tuned wooden resonators. The plates are struck by small hammers and damped when the keys are released by an action similar to that of the pianoforte.
The tone of the celesta is of exquisite purity. While lacking the power and the sparkling brilliancy of the glockenspiel it excels that instrument in mellowness and refinement of tone as well as in facility of execution.
Until comparatively recent times the celesta was little used by other than French composers, though Tschaikowsky was early attracted to it and promptly introduced it into several of his ballets. Of late years, composers of all nations, notably Puccini and Richard Strauss, have included parts for this instrument in their orchestrations. The celesta is especially effective in combination with harps, supported by the soft chords in the woodwind. It is usually treated as a transposing instrument, the celesta part being written an octave below the actual sound.
# Instruments of the Modern Symphony Orchestra/ENGLISH HORN

ENGLISH HORN
Romeo Boninsegna Metropolitan Opera House Orchestra, N.Y.
The name of this instrument is misleading, as it is neither english nor a horn, but simply an enlarged or alto oboe, fingered and blown the same as the ordinary oboe. It has the same range (thirty-two notes), but is pitched a fifth lower. The two or three highest notes are seldom used, as they are difficult of production and of inferior quality to notes of the same pitch taken on the oboe.
Its tonal quality lacks the artless gayety and sprightliness obtainable on the oboe. It is nobler, richer, and somewhat veiled. It blends admirably with all the other instruments of the wood-wind group, even its lowest tones being available in soft combinations without fear of cutting through the tonal mass.
The english horn, in reality, is a transposing instrument in F, though not so designated in the score. It speaks a fifth lower than its notation, so that, for instance, the sounding scale of C would require the notation of the scale of G. Hence it follows that the english horn calls for one more sharp (or one less flat) in its signatures than do violins, violas, flutes, and other instruments pitched in C. The english horn part is usually played by the third oboist.
# Instruments of the Modern Symphony Orchestra/FRENCH HORN

FRENCH HORN
Frank Corrado Metropolitan Opera House Orchestra, N.Y.
The original form of french horn (hand horn, waldhorn, cor du chasse, etc.) consisted of from nine to eighteen feet of coiled brass tubing, the precise length of which depended upon the key in which the horn was pitched. This instrument possessed very limited chromatic possibilities and it has become practically obsolete. In its place the modern valve horn in F is used almost exclusively. Its tube is about twelve feet long, and by virtue of its valve mechanism it can produce all chromatic tones within its range of three and one-half octaves. As in all brass instruments, the tone is produced by the vibration of the lips pressed against a mouthpiece, which in the case of the horn, is small and funnel rather than cup-shaped.
The tone of the horn, except when forced and rendered "brassy" for the production of dramatic effects, is pure and noble. Its lovely, mellow tones blend as perfectly with the wood-wind as with the brass choir. The horn thus forms a connecting link between these two sections of the orchestra.
The horn is of inestimable value, both as a melody and as a harmony instrument. Its soft notes possess a remarkable pervading quality which is felt rather than heard, while a unison passage played ff by the four horns with which every symphony orchestra is provided, will cut through the entire orchestral mass.
The horn is probably the most difficult of all the wind instruments, and that it is the most treacherous is evidenced by the slips occasionably made by even the finest performers. The F horn is a transposing instrument. Both treble and bass clefs are used. F horn parts in the treble clef sound a fifth lower; in the bass clef, a fourth higher, than written.
(The five highest and the five lowest notes are difficult of production)
# Instruments of the Modern Symphony Orchestra/CHIMES

CHIMES
| Italian | German | French |
| Campane | Glocken | Cloches |
Orchestral chimes consist of a series of accurately-tuned tubes of steel or bell-metal. They are graduated in size like organ pipes and are suspended from a suitable framework of wood. Their tone effectively simulates that of deep-pitched cathedral chimes and they serve in the orchestra to produce an atmosphere of solemnity, especially in music of a religious character. The tubes are struck near the upper end with a wooden mallet.
# Instruments of the Modern Symphony Orchestra/CLARINET

CLARINET
Gustave Langenus N.Y. Philharmonic Orchestra
Unlike the oboe, english horn, and bassoon, the clarinet is of cylindrical bore, and is played with a mouthpiece to which is bound a single flat reed of cane.
Owing to its large range, variety of tone colors, facility of execution, and power of swelling and diminishing its tones, the clarinet is generally conceded to be the most useful, as well as the most beautiful, of all the wood-wind instruments.
The clarinet comprises four registers, which can be blended without perceptible break by the skillful performer. The first or lowest is dark and ominous. The second consists of four or five dull, weak, notes of inferior quality. The third or medium register is of singular beauty, combining nobility, tenderness, and that limpid quality for which the clarinet is distinguished. The highest register is brilliant, but difficult to subdue, hence useful mainly in forte passages.
Clarinets are made in five or six different keys. All except the clarinet in C are transposing instruments. In the modern symphony orchestra the two (or three) clarinets are pitched in A or in B flat. The latter sounds one tone lower than written; the former, in A, sounds a tone and a half lower than written. Compositions in sharp keys are usually scored for the A clarinet: in flat keys for the B flat instrument.
# Instruments of the Modern Symphony Orchestra/CYMBALS

CYMBALS
| Italian | German | French |
| Piatti | Becken | Cymbales |
| Cinelli | Cinellen |
A pair of cymbals consists of two discs of resonant metal formed not unlike large dinner plates and about twelve inches in diameter. They are held by means of a loop of leather attached to the center of the instrument and passed around the hand of the performer. Cymbals are played, not by clashing them together, but by striking their edges with a sliding movement. Like other art instruments, cymbals may be of fine or of poor quality, producing a brilliant, lastingm and terrifying tone, or an impotent, dull smash, like broken crockery. The pitch is indefinite.
From motives of economy, one of the cymbals is often attached to the bass drum, the two instruments being played by the same performer; but as the cymbals lose much of their characteristic clash by this treatment, it is not followed in first-class orchestras. One cymbal is sometimes held in the hand and struck with the bass drumstick a single stroke or even a roll. Thus used the cymbal takes on something of the character of the gong. When short notes are required, the tone is damped by quickly bringing the cymbals against the chest.