OpenLLM-France/wikimedia huggingface dataset:
# The Tatler (New York)/Volume 1/Number 1/Idiotic, Isn't It?

IDIOTIC, ISN'T IT? By HAROLD ATTERIDGE
WHEN you figure this life that we're living It's a question of mere getting breath We are here for a time For no reason or rhyme And the future holds nothing but death. Idiotic, isn't it?
II.
If you save all you earn you're a miser If you spend all you earn you're a joke In the struggle for wealth You acquire bad health Still the doctors can't live if you're broke. Idiotic, isn't it?
III.
You give pain to someone when you're brought here You're in pain when you bid life goodbye Though it's all of no use You attempt to produce Someone else who will soon have to die. Idiotic, isn't it?
IV.
When you're single you feel you should marry When you're married you want to be free Oh, I waste all my life Being mean to my wife And she's doing the same thing for me. Idiotic, isn't it?
V.
When a working man works till he's tired He goes in a saloon for his ale Then some Congressman fine, With his house stocked with wine Says "No beer or you'll go off to jail." Idiotic, isn't it?
# The Tattooed Countess

Carl Van Vechten: A Bibliography
Why and What (an advertising pamphlet, signed atlas; 1914)
Music After the Great War (1915)
Music and Bad Manners (1916) Out of print
Interpreters and Interpretations (1917) Out of print
The Merry-go-round (1918) Out of print
In the Garret (1920)
Marguerite d'Alvarez: A Broadsheet (1920)
Interpreters (1920)
The Tiger in the House (1920)
Peter Whiffle: His Life and Works (1922)
The Blind Bow-boy (1923)
Mr. Van Vechten has written prefaces for the following books:
Sophie, by Philip Moeller (1919)
A Letter Written in 1837 by Morgan Lewis Fitch (1919) Privately printed
Lords of the Housetops (1921)
Kittens, by Svend Fleuron (1922)
In a Winter City, by Ouida (The Modern Library: 1923)
My Musical Life, by N. A. Rimsky-Korsakoff (1923)
Prancing Nigger, by Ronald Firbank (1924)
The Lord of the Sea, by M. P. Shiel (1924)
The following books contain papers by Mr. Van Vechten:
The Borzoi: 1920
When Winter Comes to Main Street, by Grant Overton (1922)
Mr. Van Vechten is the composer of:
Five Old English Ditties (1904)
* The Tattooed Countess
* A romantic novel with a happy ending
* Carl Van Vechten
* New YorkAlfred · A · Knopf MCMXXIV
For Hugh Walpole
Marcel Proust.
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
* Chapter 13
* Chapter 14
* Chapter 15
* Chapter 16
* Chapter 17
* Chapter 18
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 1964, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 59 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.
Public domainPublic domainfalsefalse
# The Tatler (New York)

Content exists for this periodical, though at this stage it is not specifically organised beyond a basic hierarchy.
The pages listed below are an automatically generated listing.
Special:PrefixIndex/The Tatler (New York)/
# The Tatler (New York)/Volume 1/Number 1/Then—Earl Fuller—Now

Then—EARL FULLER—Now
TWO years ago, "a fellow named Fuller" was an orchestra drummer playing in one of the big hotels in New York.
Today Earl Fuller has a luxurious office at 1604 Broadway, New York, where he directs the booking of his many orchestras and instrumental organizations which are everywhere—Earl Fuller's Orchestras, Earl Fuller's Jazz Bands, Earl Fuller's All Star Bands and so on. His fame as an orchestra organizer and originator has spread over the country faster than the Bolshevik movement through Russia. At Rector's he has set the standard of music for New York.
Much of Mr. Fuller's time is devoted to directing his orchestras in making those wonderful and unique jazz records for the Victor, Columbia and Emerson records which are played on hundreds of thousands of phonographs all over the world. As a director, a man of exceptional business acumen and a composer of great ability, he is probably the best known orchestra leader in the country, and he rightly claims that his organizations are originations.
# The Task

* Search for titles containing or beginning with: "The Task."
* 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.
* The Task, a poem by William Cowper
* The Task, a poem by Alexander Pushkin
* The Task, traditional folk song
* The Task, an anonymous poem in Littell's Living Age, Volume 140, Issue 1815
# The World's Famous Orations/Volume 7/Speech to the Directory

III
SPEECH TO THE DIRECTORY
(1797)
Citizens, the French people, in order to be free, had kings to combat. To obtain a Constitution founded on reason, it had the prejudices of eighteen centuries to overcome, The Constitution of the year 3 and you have triumphed over all obstacles. Religion, feudalism, royalty have successively for twenty centuries past governed Europe; but from the peace which you have just concluded dates the era of republican governments.
You have succeeded in organizing the great nation whose vast territory is circumscribed only because Nature herself has fixed its limits. You have done more. The two finest countries in Europe, formerly so renowned for the arts, the sciences, and the great men whose cradle they were, see with the greatest hopes genius and freedom issuing from the tomb of their ancestors. ​These are two pedestals on which the destinies are about to place two powerful nations.
I have the honor to deliver to you the treaty signed at Campo Formio, and ratified by his majesty, the emperor. Peace insures the liberty, prosperity, and the glory of the Republic. When the happiness of the French people shall be seated on better organic laws, all Europe shall become free.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Spider as an Artist

The Spider as an Artist Has never been employed — Though his surpassing Merit Is freely certified
By every Broom and Bridget Throughout a Christian Land — Neglected Son of Genius I take thee by the Hand —
# The Spider and the Fly (Weed)

* information about this edition.
* sister projects: Wikipedia article.
"Will you walk into my parlor?" said the Spider to the Fly,  "'Tis the prettiest little parlor that ever you did spy;  The way into my parlor is up a winding stair,  And I have many curious things to show you when you are there."  "Oh no, no," said the Fly, "to ask me is in vain;  For who goes up your winding stair can ne'er come down again."
 "I'm sure you must be weary, dear, with soaring up so high;  Will you rest upon my little bed?" said the Spider to the Fly.  "There are pretty curtains drawn around, the sheets are fine and thin;  And if you like to rest awhile, I'll snugly tuck you in!"  "Oh no, no," said the little Fly, "for I've often heard it said  They never, never wake again, who sleep upon your bed!"
 Said the cunning Spider to the Fly, "Dear friend, what can I do  To prove that warm affection I've always felt for you?  I have within my pantry, good store of all that's nice;  I'm sure you're very welcome - will you please take a slice?"  "Oh no, no," said the little Fly, "kind sir, that cannot be,  I've heard what's in your pantry, and I do not wish to see!"
 "Sweet creature," said the Spider, "you're witty and you're wise;  How handsome are your gauzy wings, how brilliant are your eyes!  I have a little looking-glass upon my parlor shelf;  If you step in one moment, dear, you shall behold yourself."  "I thank you, gentle sir," she said, "for what you're pleased to say;  And bidding good morning now, I'll call another day."
 The Spider turned him round about, and went into his den,  For well he knew the silly Fly would soon come back again;  So he wove a subtle web in a little corner sly,  And set his table ready to dine upon the Fly.  then he came out to his door again, and merrily did sing,  "Come hither, hither, pretty Fly, with the pearl and silver wing;  Your robes are green and purple, there's a crest upon your head;  Your eyes are like the diamond bright, but mine are as dull as lead."
 Alas, alas! how very soon this silly little Fly,  Hearing his wily, flattering words, came slowly flitting by;  With buzzing wings she hung aloft, then near and nearer drew, -  Thinking only of her brilliant eyes, and green and purple hue;  Thinking only of her crested head - poor foolish thing! At last,  Up jumped the cunning Spider, and fiercely held her fast.  He dragged her up his winding stair, into his dismal den  Within his little parlor - but she ne'er came out again!
 And now, dear little children, who may this story read,  To idle, silly, flattering words, I pray you ne'er heed;  Unto an evil counsellor close heart, and ear, and eye,  And take a lesson from this tale of the Spider and the Fly.
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
# The Themes of Song

* The Themes of Song, in The Amulet, 1829.
* The Themes of Song, in National Lyrics, and Songs for Music (as Introductory Stanzas), 1834.
# The Theory and Practice of Handwriting/Appendix 1

APPENDICES
APPENDIX I
Contrasts or specimens of the two styles of caligraphy written (as in Fig. 51) by the same persons; save in Figures 52 and 61.
Fig. 51.
Further specimens of the Italian style during the reign of Elizabeth. These facsimiles are remarkable as exhibiting the extremely demoralizing influence of the Sloping style.
Fig. 52.
Fig. 53.
Fig. 54.–After three months’ practice in the Vertical Style at School.
Fig. 55.–After six months’ tuition in the Vertical Style at School.
Fig. 56.–After two years in the Vertical Style at School.
Fig 56.–After twelve months’ tuition in the Vertical Style School.
Fig. 58.–After two years at School in the Vertical Style.
Fig. 59.–After one year at School in the Vertical Style.
Fig. 60.–After two years at School learning the Vertical.
Fig. 61.–Specimens of pupil’s writing taken from the last pages of the Copy Books, in each of which there is a total absence of correction or guidance marks.
# The Theory and Practice of Archery

BY HORACE A. FORD., Edited By Dean V. R. Manley., AMERICAN EDITION., Frank E. Roff, Publisher, 1880., HARVARD COLLEGE LIBRARY.

## Contents

* Introductory
* Of The English Long-Bow
* The Bow
* How To Choose, Use, And Preserve A Bow
* Of The Arrow
* The String, The Bracer, And Shooting-glove
* The Grease-box, Tassel, Belt, &c
* Bracing And Nocking
* Position
* Drawing
* Aiming
* Holding And Loosing
* Distance Shooting
* Ancient And Modern Scoring
* Robin Hood; Closing Remarks
* Formation, Rules And Regulations Of Societies
* Editor's Notes

## Source

The theory and practice of archery By Horace A. Ford, W. Butt
# The World and the Individual, First Series

Index page: The World and the Individual, First Series (1899).djvu
THE WORLD AND THE INDIVIDUAL
Gifford Lectures Delivered before the University of Aberdeen
FIRST SERIES: THE FOUR HISTORICAL CONCEPTIONS OF BEING
CONTENTS
Preface (vii-xiv)
Lecture I: Introduction: The Religious Problems and the Theory of Being (3-43)
Lecture II: Realism and Mysticism in the History of Thought (47-87)
Lecture III: The Independent Beings: A Critical Examination of Realism (91-138)
Lecture IV: The Unity of Being, and the Mystical Interpretation (141-182)
Lecture V: The Outcome of Mysticism, and the World of Modern Critical Rationalism (185-222)
Lecture VI: Validity and Experience (225-262)
Lecture VII: The Internal and External Meaning of Ideas (265-342)
Lecture VIII: The Fourth Conception of Being (345-382)
Lecture IX: Universality and Unity (385-427)
Lecture X: Individuality and Freedom (431-470)
Supplementary Essay: The One, the Many, and the Infinite (473-588)
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Liber Primus/Fable 11

Numbered 484 in the Perry Index. Translated from French by William Caxton and first published in 1484. This is a version of The fables of Aesop by William Caxton (Jacobs)/Vol. II/Liber Primus/Fable 11 that has been annotated by the Wikisource community.
¶ The xi fable is of the lyon and of the asse
F them whiche mocken other esope reherceth such a fable Ther was an asse which met with a lyon to whom he said my broder god saue the & the lyon shaked his hede and with grete payne he myght hold his courage / to have forth with deuoured hym / But the lyon sayd to hym self / It behoueth not that teethe soo noble and so fayre as myn be touchen not / ne byten suche a fowle beest / For he that is wyse must not hurte the foole ne take hede to his wordes / but lete hym go for suche as he is.
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Liber Primus

From Vol. II of The fables of Aesop, as first printed by William Caxton in 1484, with those of Avian, Alfonso and Poggio.
* The Cock and the precious Stone
* The Wulf and the Lambe
* The Rat and the Frogge
* The Dogge and the Sheep
* The Dogge and the piece of flesh
* The Cowe, the Goote and the Sheep
* The Theef and the Sonne
* The Wulf and the Crane
* The two Bytches
* The Man and the Serpent
* The Lyon and the Asse
* The two Rats
* The Egle and the Foxe
* The Egle whiche bare a mutte in his becke and the Rauen
* The Rauen and the Foxe
* The Lyon, the Wylde Bore, the Bole & the Asse
* The Asse and the yong Dogge
* The Lyon and the Rat
* The Mylan whiche was secke and his moder
* The Swallowe and other byrdes
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Liber Primus/Fable 1

Numbered 503 in the Perry Index. Translated from French by William Caxton and first published in 1484. This is a version of The fables of Aesop by William Caxton (Jacobs)/Vol. II/Liber Primus/Fable 1 that has been annotated by the Wikisource community.
¶ The first fable is of the cock and of the precious stone /
s a Cok ones sought his pasture in the donghylle / he fond a precious stone / to whome the Cok sayd / Ha a fayre stone and precious thow arte here in the fylth And yf he that desyreth the had found the / as I haue he wold haue take the vp / and sette the ageyne in thy fyrst estate / but in vayne I haue found the / For no thynge I haue to do with the / ne no good I may doo to the ne thou to me / And thys fable sayde Esope to them that rede this book / For by the cok is to vnderstond the fool which retcheth not of sapyence ne of wysedome / as the cok retcheth and setteth not by the precious stone / And by the stone is to vnderstond this fayre and playsaunt book
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Liber Primus/Fable 12

Numbered 352 in the Perry Index. Translated from French by William Caxton and first published in 1484. This is a version of The fables of Aesop by William Caxton (Jacobs)/Vol. II/Liber Primus/Fable 12 that has been annotated by the Wikisource community.
¶ The xij fable is of the two rats
Etter worthe is to lyue in pouerte surely / than to lyue rychely beyng euer in daunger / Wherof Esope tellelh suche a fable / There were two rats wherof the one was grete and fatte / and held hym in the celer of a Ryche man And the other was poure and lene / ¶ On a daye this grete and fat ratte wente to sporte hym in the feldes and mette by the way the poure rat / of the whiche he was receyued as well as he coude in his poure cauerne or hole / and gaf from of suche mete as he had / Thenne sayd the fatte ratte come thow wyth me / And I shalle gyue the wel other metes / He went with hym in to the toune / and enterd bothe into the celer of the ryche man / the whiche celer was full of alle goodes / And when they were within the grete rat presented and gaf to the poure rat of the delycious metes / saying thus to hym / Be mery and make good chere / and ete and drynke Joyously / ¶ And as they were etynge / the bouteler of the place came in to the celer / & the grete rat fled anon in to his hole / ​& the poure rat wist not whyther he shold goo ne flee / But hyd hym behynd the dore with grete fere and drede / and the bouteler turned ageyne and sawe hym not / And whan he was gone the fatte rat cam out of his cauerne or hole / and called the poure ratte / whiche yet was shakynge for fere / and said to hym / come hyder and be not aferd / & ete as moche as thou wylt / And the poure rat sayd to hym / for goddes loue lete me go oute of this celer / For I haue better ete some corne in the feldes and lyue surely / than to be ever in this torment / for thou arte here in grete doubte & lyuest not surely / And therfore hit is good to lyue pourely & surely For the poure lyueth more surely than the ryche.
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Errata

This is a version of The fables of Aesop by William Caxton (Jacobs)/Vol. II/Errata that has been annotated by the Wikisource community.
ERRATA.
Those in Gothic are in the original Caxton.
| Page. | Line. | | |
| 6 | 11 | Teeth / Theune, | teeth / Thenne. |
| 22 | 4 | auducyte, | audacyte. |
| 29 | 12 | gunnes, | gynnes. |
| 35 | 7 | nygt, | nyȝt. |
| 47 | 12 | conenaunces, | conuenaunces. |
| 54 | 20 | double, | doubte. |
| 58 | 9 | rygte, | ryȝte |
| 74 | 1 | Seventh, | vj. |
| 92 | 8 | grede, | grete. |
| 102 | 17 | eyylle, | euylle. |
| 103 | 10 | folowith, | foloweth. |
| 105 | 18 | beaulte, | beaute. |
| 111 | | No heading. | |
| 112 | 20 | enhauced, | enhaunced. |
| 115 | 16 | aso, | also. |
| ” | 21 | mone, | |
| 116 | 17 | ypocytes, | ypoerytes. |
| 117 | 13 | vysyded, | vysyted. |
| 119 | 2 | eyylle, | euyelle. |
| 120 | 3 | behodeth, | behoueth. |
| 120 | 12 | thyn conuenynt, | thynconuenyent. |
| 128 | 22 | uf, | yf. |
| 138 | 1 | knygtt, | knyght. |
| ” | 25 | fend, | and. |
| 145 | 5 | raynfull, | raynfall. |
| 198 | 7 | thexcasacions, | thexcusacions. |
| 204 | 15 | eyylle. | euylle. |
| 215 | 15 | than dyd. | then hyt dyd. |
| 221 | 3 | he he, | he. |
| 232 | 4 | sommen of a, | som men of a. |
| 234 | 12 | and byldeth, | omit and. |
| 238 | 24 | ppssessour, | possessour. |
| 241 | 21 | ond, | and. |
| 246 | 17 | And And, | And. |
| ” | 22 | lasse, | lesse. |
| 247 | 22 | inhance, | enhaūce. |
| 248 | 16 | sacryfyed, | sacryfysed. |
| 251 | 13 | Arabe, | a Rabe. |
| 266 | 5 | the, | thre. |
| 276 | 3 | wgiche, | whiche. |
| 277 | 2 | sechynge, | seckynge. |
| 286 | 9 | euyelle, | euylle. |
| 313 | 8 | parfȝly, | parfiȝtly. |
| ” | 23 | wrongth, | wrought. |
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
# The fables of Aesop by William Caxton (Jacobs)/Annotated/Vol. II/Liber Primus/Fable 10

Numbered 176 in the Perry Index. Translated from French by William Caxton and first published in 1484. This is a version of The fables of Aesop by William Caxton (Jacobs)/Vol. II/Liber Primus/Fable 10 that has been annotated by the Wikisource community.
¶ The tenthe fable is of the man and of the serpent
E that leneth and helpeth the euylle men / synneth / sor after that men have doo to them some good / they hurte them afterward / For as men sayen comynly / yf ye kepe a man fro the galhows / he shalle neuer loue yow after / wherof Esope reherceth suche a fable / ¶ A man was som tyme whiche fond a serpent within a Vyne / and for the grete wynter and frost the serpent was hard / and almost dede for cold wherof the good man had pyte and toke and bare her in to his hows and leyd her before the fyre / and so moche he dyd that that she came ageyne in to her strengthe and vygour / She beganne thynne to crye and whystled about the hows and troubled the good wyf / and the children / wherfor this good man wold haue her oute of his hows / And whanne he thoughte to have take her she sprange after his neck for to have strangled hym / And thus hit is of the euyll folk whiche for the good done to them / they yeld ageyne euyll and deceyuen them whiche have had pyte on them / And also theyre felauship is not good ne vtyle.
# The Woman and the Priest

The Woman and the Priest
Novels of To-day (Uniform with this volume)
The Highbrows by C. E. M. Joad The Age of Consent by Evelyn Fane A French Girl in London by A. Orna My Daughter Helen by Allan Monkhonse People by Pierre Hamp
The Woman & the Priest by Grazia Deledda
Translated from the Italian by Mary G. Steegmann
Jonathan Cape Eleven Gower Street, London
First published in 1922 All rights reserved
Printed in Great Britain by Butler & Tanner, Frome and London.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The poetical works of Matthew Arnold/Monica's Last Prayer

MONICA'S LAST PRAYER.
"Ah! could thy grave at home, at Carthage, be!" Care not for that, and lay me where I fall! Everywhere heard will be the judgment-call; But at God's altar, oh! remember me.
Thus Monica, and died in Italy. Yet fervent had her longing been, through all Her course, for home at last, and burial With her own husband, by the Libyan sea.
Had been! but at the end, to her pure soul All tie with all beside seemed vain and cheap, And union before God the only care.
Creeds pass, rites change, no altar standeth whole. Yet we her memory, as she prayed, will keep, Keep by this: Life in God, and union there!
# The poetical works of Matthew Arnold/Morality

MORALITY.
We cannot kindle when we will The fire which in the heart resides; The spirit bloweth and is still, In mystery our soul abides. But tasks in hours of insight willed Can be through hours of gloom fulfilled.
With aching hands and bleeding feet We dig and heap, lay stone on stone; We bear the burden and the heat Of the long day, and wish 'twere done. Not till the hours of light return, All we have built do we discern.
Then, when the clouds are off the soul, When thou dost bask in Nature's eye. Ask how she viewed thy self-control, Thy struggling, tasked morality,— Nature, whose free, light, cheerful air, Oft made thee, in thy gloom, despair.
And she, whose censure thou dost dread, Whose eye thou wast afraid to seek, ​See, on her face a glow is spread, A strong emotion on her cheek! "Ah, child!" she cries, "that strife divine, Whence was it, for it is not mine?
"There is no effort on my brow; I do not strive, I do not weep: I rush with the swift spheres, and glow In joy, and when I will, I sleep. Yet that severe, that earnest air, I saw, I felt it once—but where?
"I knew not yet the gauge of time, Nor wore the manacles of space; I felt it in some other clime, I saw it in some other place. 'Twas when the heavenly house I trod, And lay upon the breast of God."
# The poetical works of Matthew Arnold/New Rome

NEW ROME.
LINES WRITTEN FOR MISS STORY'S ALBUM.
The armless Vatican Cupid Hangs down his beautiful head; For the priests have got him in prison, And Psyche long has been dead.
But see, his shaven oppressors Begin to quake and disband! And The Times, that bright Apollo, Proclaims salvation at hand.
"And what," cries Cupid, "will save us?" Says Apollo: "Modernise Rome! What inns! Your streets, too, how narrow! Too much of palace and dome!
"O learn of London, whose paupers Are not pushed out by the swells! Wide streets with fine double trottoirs; And then—the London hotels!"
The armless Vatican Cupid Hangs down his head as before. Through centuries past it has hung so, And will through centuries more.