OpenLLM-France/wikimedia huggingface dataset:
# Flint and Feather (1914)/Part 2/Silhouette

SILHOUETTE
The sky-line melts from russet into blue, Unbroken the horizon, saving where A wreath of smoke curls up the far, thin air, And points the distant lodges of the Sioux.
Etched where the lands and cloudlands touch and die A solitary Indian tepee stands, The only habitation of these lands, That roll their magnitude from sky to sky.
The tent poles lift and loom in thin relief, The upward floating smoke ascends between, And near the open doorway, gaunt and lean, And shadow-like, there stands an Indian Chief.
With eyes that lost their lustre long ago, With visage fixed and stern as fate's decree, He looks towards the empty west, to see The never-coming herd of buffalo.
Only the bones that bleach upon the plains, Only the fleshless skeletons that lie In ghastly nakedness and silence, cry Out mutely that naught else to him remains.
# Flint and Feather (1914)/Part 2/The Art of Alma-Tadema

THE ART OF ALMA-TADEMA
There is no song his colours cannot sing, For all his art breathes melody, and tunes The fine, keen beauty that his brushes bring To murmuring marbles and to golden Junes.
The music of those marbles you can hear In every crevice, where the deep green stains Have sunken when the grey days of the year Spilled leisurely their warm, incessant rains
That, lingering, forget to leave the ledge, But drenched into the seams, amid the hush Of ages, leaving but the silent pledge To waken to the wonder of his brush.
And at the Master's touch the marbles leap To life, the creamy onyx and the skins Of copper-coloured leopards, and the deep, Cool basins where the whispering water wins
Reflections from the gold and glowing sun, And tints from warm, sweet human flesh, for fair And subtly lithe and beautiful, leans one— A goddess with a wealth of tawny hair.
# Flint and Feather (1914)/Part 2/The Riders of the Plains

THE RIDERS OF THE PLAINS
Who is it lacks the knowledge? Who are the curs that dare To whine and sneer that they do not fear the whelps in the Lion's lair? But we of the North will answer, while life in the North remains, Let the curs beware lest the whelps they dare are the Riders of the Plains; For these are the kind whose muscle makes the power of the Lion's jaw, And they keep the peace of our people and the honour of British law.
A woman has painted a picture,—'tis a neat little bit of art The critics aver, and it roused up for her the love of the big British heart. 'Tis a sketch of an English bulldog that tigers would scarce attack, And round and about and beneath him is painted the Union Jack,
With its blaze of colour, and courage, its daring in every fold, And underneath is the title, "What we have we'll hold." 'Tis a picture plain as a mirror, but the reflex it contains Is the counterpart of the life and heart of the Riders of the Plains; For like to that flag and that motto, and the power of that bulldog's jaw, They keep the peace of our people and the honour of British law.
These are the fearless fighters, whose life in the open lies, Who never fail on the prairie trail 'neath the Territorial skies, Who have laughed in the face of the bullets and the edge of the rebels' steel, Who have set their ban on the lawless man with his crime beneath their heel; These are the men who battle the blizzards, the suns, the rains, These are the famed that the North has named the "Riders of the Plains," And theirs is the might and the meaning and the strength of the bulldog's jaw, While they keep the peace of the people and the honour of British law.
These are the men of action, who need not the world's renown,
For their valour is known to England's throne as a gem in the British crown; These are the men who face the front, whose courage the world may scan, The men who are feared by the felon, but are loved by the honest man; These are the marrow, the pith, the cream, the best that the blood contains, Who have cast their days in the valiant ways of the Riders of the Plains; And theirs is the kind whose muscle makes the power of old England's jaw, And they keep the peace of her people and the honour of British law.
Then down with the cur that questions,—let him slink to his craven den,— For he daren't deny our hot reply as to "who are our mounted men." He shall honour them east and westward, he shall honour them south and north, He shall bare his head to that coat of red wherever that red rides forth. 'Tis well that he knows the fibre that the great North-West contains, The North-West pride in her men that ride on the Territorial plains,— For of such as these are the muscles and the teeth in the Lion's jaw, And they keep the peace of our people and the honour of British law.
# Flint and Feather (1914)/Part 2/The Corn Husker

THE CORN HUSKER
Hard by the Indian lodges, where the bush Breaks in a clearing, through ill-fashioned fields, She comes to labour, when the first still hush Of autumn follows large and recent yields.
Age in her fingers, hunger in her face, Her shoulders stooped with weight of work and years, But rich in tawny colouring of her race, She comes a-field to strip the purple ears.
And all her thoughts are with the days gone by, Ere might's injustice banished from their lands Her people, that to-day unheeded lie, Like the dead husks that rustle through her hands.
# Flint and Feather (1914)/Part 2/The Mariner

THE MARINER
"Wreck and stray and castaway."—Swinburne.
Once more adrift. O'er dappling sea and broad lagoon, O'er frowning cliff and yellow dune, The long, warm lights of afternoon Like jewel dustings sift.
Once more awake. I dreamed an hour of port and quay, Of anchorage not meant for me; The sea, the sea, the hungry sea Came rolling up the break.
Once more afloat. The billows on my moorings press't, They drove me from my moment's rest, And now a portless sea I breast, And shelterless my boat.
Once more away. The harbour lights are growing dim, The shore is but a purple rim, The sea outstretches grey and grim. Away, away, away!
Once more at sea, The old, old sea I used to sail, The battling tide, the blowing gale, The waves with ceaseless under-wail The life that used to be.
# Gross v. Irving Trust Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
289 U.S. 342
Gross v. Irving Trust Company
Argued: April 12, 1933. --- Decided: May 8, 1933
Mr. Merritt Lane, of Newark, N.J., for petitioners.
Mr. Samuel Kaufman, of Newark, N.J., for respondent.
Mr. Justice SUTHERLAND 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
# Grosjean v. American Press Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
Grosjean v. American Press Co., 297 U.S. 233 (1936), was a decision of the United States Supreme Court over a challenge to a separate sales tax on newspapers with circulation of over 20,000. The Supreme Court, in a unanimous decision, found the tax to be an unconstitutional violation of the First Amendment to the United States Constitution.Warning: template has been deprecated.
United States Supreme Court
297 U.S. 233
Grosjean v. American Press Company
Argued: Jan. 13, 14, 1936. --- Decided: Feb 10, 1936
Appeal from the District Court of the United States for the Eastern District of Louisiana.
Messrs. Charles J. Rivet, of New Orleans, La., and Gaston L. Porterie, Atty. Gen., for appellant.
[Argument of Counsel from pages 234-236 intentionally omitted]
Messrs. Esmond Phelps, of New Orleans, La., and Elisha Hanson, of Washington, D.C., for appellees.
[Argument of Counsel from pages 237-239 intentionally omitted]
Mr. Justice SUTHERLAND 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
# H. R. 4982 (1899)

55th CONGRESS, 3d Session.
H. R. 4982.
[Report No. 1774.]
IN THE HOUSE OF REPRESENTATIVES.
December 14, 1897.
Mr. Payne introduced the following bill; which was referred to the Committee on Invalid Pensions and ordered to be printed.
January 19, 1899
Reported with an amendment, committed to the Whole House, and ordered to be printed.
[Amend the title.]
A BILL
Granting a pension to Harriet Tubman Davis, late a nurse in the
United States Army.
1Be it enacted by the Senate and House of Representa-
2tives of the United States of America in Congress assembled,
3That the Secretary of the Interior be, and he is hereby,
4authorized and directed to place upon the pension roll of the
5United States the name of Harriet Tubman Davis, late a
6nurse in the United States Army, and pay her a pension at
7the rate of twenty-five dollars per month in lieu of all other
8pensions.
Amend the title so as to read: "A bill granting an
increase of pension to Harriet Tubman Davis."
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
# H. P. Hood & Sons, Inc. v. Du Mond

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

## Dissenting Opinions

    Black
    Frankfurter
United States Supreme Court
336 U.S. 525
Hood Sons v. Du Mond
Argued: Dec. 13, 14, 1948. --- Decided: April 4, 1949
Mr. Warren F. Farr, of Boston, Mass., for petitioner.
Messrs. Nathaniel L. Goldstein, Wendell P. Brown and Robert G. Blabey, all of Albany, N.Y., for respondent.
Mr. Justice JACKSON 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
# Fond Du Lac County v. May

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
137 U.S. 395
Fond Du Lac County v. May
C. E. Shepard, for plaintiff in error.
M. C. Burch and Duane E. Fox, for defendant in error.
BLATCHFORD, J.

## 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
# Gesenius' Hebrew Grammar/101. Prepositions

Layout 2
Brockelmann, Grundriss, i. 494 ff.
a 1. All words, which by usage serve as prepositions, were originally substantives, viz.:
(a) Substantives in the accusative and in the construct state, so that the noun governed by them is to be considered as in the genitive, and in Arabic actually has the genitive ending, cf. in German statt dessen, kraft dessen, in Greek τούτου χάριν, in Latin huius rei causa, or gratia, montis instar. Cf. אַחַ֫ר (hinder part*) behind, after (Milʿêl in אַ֫חַר כֵּן Lv 14, Dt 21, 1 S 10; אַ֫חַר זֶה 2 Ch 32); אֵ֫צֶל (side) close by; בֵּין (intermediate space*) between; בְּעַד, בַּ֫עַד (distance) behind, around; זוּלַת, or with Ḥireq compaginis זֽוּלָתִי (removal, want) except; יַ֫עַן (purpose) on account of; מוּל (מוֹל only in Dt 1) before, over against; מִן־ (separation; cf. § 119 v) from, out of; נֶ֫גֶד (coming in front, that which is over against) before, over against; עַד־ (progress, duration*) during, until; עַל־ (height, upper part*) upon, over; עִם־ (connexion?) with; it is doubtful whether this is to be derived from the same stem as עֻמַּת, לְעֻמַּת near, beside, like; תַּ֫חַת (under part*) under, instead of.
b (b) Substantives in the construct state, but to be regarded as in the genitive, since they depend on prepositions (especially the inseparable), e.g. לִפְנֵי (in the face of*) before; כְּפִי, לְפִי (according to the mouth, ​i.e. the command of*) according to; בִּגְלַל (in the concern of) on account of; לְמַ֫עַן (for the purpose of) on account of.
c 2. Substantives used adverbially very frequently become prepositions in this way, e.g. בְּלִי, בִּבְלִי, מִבְּלִי, בִּלְתִּי, בְּאֵין, בְּאֶ֫פֶס (with cessation) without, בְּעוֹד (in the duration of) during; בְּדֵי, כְּדֵי (according to the requirement of) for, according to.
* ↑ In the examples which follow, the meaning of the noun is added in parentheses, and, when it is actually in use [though it is mostly in such cases very rare], is marked with an asterisk.—On a similar use in other languages, see W. von Humboldt, Über die Kawisprache, iii, p. 621.
* ↑ So also J. Hoch de Long, Die hebr. Präpos. בְּעַד, Lpz. 1905.
# Gesenius' Hebrew Grammar/105. Interjections

Layout 2
a 1. Among the interjections some (as in all languages) are simply natural sounds, or, as it were, vocal gestures, called forth involuntarily by certain impressions or sensations, e.g. אֲהָהּ (Ez 30 הָהּ), אָח ah! הֶאָח aha! (cf. this אָח also in אַחְלַי and אַֽחֲלֵי utinam!), אָֽנָּ֫א Ex 32, &c. (Gn 50 אָ֣נָּ֫א) ah! (from אָהּ and נָא), otherwise written אָֽנָּ֫ה 2 K 20, Jn 1, ψ 116; also הַס (in pause הָס, even in the plural הַ֫סּוּ hold your peace! Neh 8) hush! הוֹי (Am 5 הוֹ־הוֹ) ha! woe! אוֹי, א֫וֹיָה (ψ 120), אִי (in אִילוֹ Ec 4; אִי־לָךְ 10) woe!
b 2. Others, however, originally expressed independent ideas, and become interjections only by rapid pronunciation and by usage, e.g. (הֵא) הֵן or הִנֵּה behold! (prop. here); רְאֵה behold! (prop. imperative); הָ֫בָה, plur. הָבוּ (prop. give, imperative of יָהַב; as to the tone, cf. § 69 o), come, the Latin age, agite! לְכָה (also לְךָ), לְכוּ (prop. go, imperative of הָלַךְ) with the same meaning; חָלִ֫ילָה far be it! (prop. ad profanum!) ​בִּי (see the Lexicon) I beseech, hear me! נָא pray! used to emphasize a demand, warning, or entreaty, and always placed after the expression to which it belongs.
* ↑ רְאֵה (Dt 1), הָ֫בָה and לְכָה are also used in connexion with the feminine and the plural, which proves that they have become quite stereotyped as interjections.
* ↑ נָא serves to express the most various shades of expression, which are discussed in the various parts of the syntax. It is used especially (a) after the imperative, either in commands or entreaty, see § 110 d; (b) with the imperfect, either in the cohortative (§ 108 b) or jussive (§ 109 b); (c) once with perfect, Gn 40; (d) after various particles: הִנֵּה־נָא behold now; particularly after the conjunctions אַל and אִם: אַל־נָא ne quaeso and אִם־נָא if now, εἴπερ, εἴποτε if, in a deprecatory sense, expressive of politeness or modesty. In Nu 12 נָא stands after a noun; but we ought certainly to read אַל־נָא.—In polite language this particle is used constantly in all these ways, Gn 18, 19, and 50.
* ↑ Against the usual view which regards נָא as a hortatory particle (=up! come! analogous to the original imperatives הָ֫בָה and לְכָה and the Ethiopic năʿâ, properly hither, also come!), P. Haupt, in the Johns Hopkins University Circulars, xiii, no. 114, p. 109, justly observes that we should then expect the particle to be prefixed to the imperative, &c. He proposes to describe נָא as an emphatic particle. Haupt’s suggested identification of this נָא with the Assyrian, Arabic, and Ethiopic particle mā (which is also an enclitic of emphasis), and ultimately with the interrogative mā, we shall not discuss here.
# Geschichte des Grafen Walther und der Helgunda

Büsching's Latin to German translation of an extract from the Wielkopolska Chronicle (c. 1283–1296)
English-language translations of Geschichte des Grafen Walther und der Helgunda include:
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
# Have a Heart (Bolton, Kern and Wodehouse)/Napoleon
## Verse 1

Napoleon was a little guy, They used to call him shorty, He only stood about so high, His chest was under forty. But when they started joshing him, His pride, it didn't injure. He'd simply say "Ah, fade away!" He knew that he had ginger.

## Refrain

Napoleon, Napoleon, They thought him quite a joke. "Hey! talke a slant at the little pill!" Was the line of chatter that they used to spill. But they couldn't hold Napoleon, When he started into scrap, He was five feet high, But he was one tough guy, And I take after Nap.

## Verse 2

Napoleon was a homely gink, He hadn't time to doll up, But though he looked like thirty cents, He packed an awful wallop. And all the kings in Europe, when they came to know his habits, Pulled up their socks, And ran for blocks, He'd got 'em scared like rabbits.

## Refrain

Napoleon, Napoleon, Went out and got a "rep," He had a lot of 'em climbing trees, Though he weighed a hundred in his B.V.D's. It was easy for Napoleon, And he wiped them off the map. He was not so tall, But he could lick them all, And I take after Nap.

## Verse 3

Napoleon was a ladie's pet, He liked to have them handy. He used to blow in half his pay, On violets and candy. He knew the game from soup to nuts And worked it on a system! He'd meet a Queen at five fifteen, By six o'clock she'd kiss him.

## Refrain

Napoleon, Napoleon, The ladies thought him great, They fell for him good and hard, they did. When he came and handed them the "Oh, you Kid" They were wild about Napoleon, For his work was full of snap. He was sawn off short, But he was one good sport, And I take after Nap.
# Have a Heart (Bolton, Kern and Wodehouse)/Shop
## Verse 1

It's time that we were firm and lodged a strong complaint, This sort of thing would try the temper of a saint. We snatch a minute off, to ease the cruel strain. And someone comes along, And makes us work again.

## Refrain

Yes That's the way! It's always the same, Ev'ry day, It's always the same. Our little chats, we have to stop. When we hear someone shouting "Shop!" We're oppressed, it's simply not right,
Get no rest from morning till night. It's abore, this serving in a store. Don't think we can stand it much more.
# Have a Heart (Bolton, Kern and Wodehouse)/Opening Chorus Act II
## Opening Chorus

GIRLS, MEN.The weary sun has fled, and the day is o'er. The moon reigns in his stead over sea and shore. The soothing shadows fall like a cool caress And darkness covers all, bringing happiness. Who knows what woes may come tomorrow? Sad tomorrow may be. But fill your glasses high, and bid care goodbye. Tomorrow is a long way off, you see.

## Samarkand

TURK. Cigarettes, Cigars and coffee! Of the very finest, these! Cigarettes, Cigars and coffee! At your service, if you please! GIRLS. So let's be gay, Let soft music play Beneath the ray of moonlight so bright. Though troubles may MEN. Return with the day, GIRLS. Be happy tonight. TURK. The moon that shines up there, Shines on my native land. My heart is far away in Samerkand. GIRLS. Ee-ah! MEN. Ah! GIRLS. Ee-ah!
TURK. Long ago in Samarkand, such nights I've known, In that garden when I stand and wait alone. In the moonlight wan and pale, Singing with the nightingale Sulima, your lover stands below. GIRLS. Oh, that scented garden long ago. TURK. Show your face and let it dim the jealous moon. With your beauty, turn the night to flaming noon. See how brightly yonder star Glitters down from heaven's bar; Your bright eyes will gleam more brightly far, My Sulima!
The nightingale, Took up the tale. We sang together there To Sulima, the fair.
Soft breezes fanned The list'ning land. While the nightingale and I Sang out our love beneath a silver sky, When the moon shone down on Samarkand. GIRLS, MEN. The nightingale, Took up the tale. We sang together there To Sulima, the fair. Soft breezes fanned The list'ning land. While the nightingale and I Sang out our love beneath the silver sky, When the moon shone down on Samarkand.
# Have a Heart (Bolton, Kern and Wodehouse)/The Road That Lies Before
## Verse

RUDDY. If there's nothing more to say; If things can't be mended; PEGGY. Well, the chapter's ended, Let's say goodbye. RUDDY. Wait, though, I have some things of yours, I had best return them. PEGGY. What! you didn't burn them? RUDDY. Burn them? not I. These souvenirs of you, Were once a lover's token, And now our vows are broken, There's only this to do. This little glove, which once, you used to wear, I now give back to you PEGGY. (Spoken.) No, keep it! RUDDY. You used this once to bind your hair, I'll give it back to you. PEGGY. (Spoken.) No, keep it! RUDDY. The love that once you gave me, I now give back to you
PEGGY. (Spoken.) No, keep that too. RUDDY. Then our first kiss, I'll now give back to you. (They kiss) PEGGY. Once more, love's path, we'll try Together, you and I.

## Refrain

The road that lies before, Is dark, and hard to see. Whate'er fate holds in store, Try it with me, try it with me! What though we missed it once, We did not understand. Better today, we know the way, So let us set out hand in hand. Love for our path, a light will make, Shining to guide the steps we take.
# Have a Heart (Bolton, Kern and Wodehouse)/You Said Something
## Verse 1

Ted. All the girls I see Make a hit with me, Where'er I wander, I love brunettes or something blonder. Lizzie. I don't care a bit Where your heart may flit;
Ted. Why surely you knew, dear, I was teasing, I love you dear.

## Refrain

Both. You said something when you said you love me, Oh, but I wonder for how long it will be. If you find someday, you've altered your mind I'd be forgiving, but simply could not go on living! Lizzie. Girls much prettier you will meet by the score, Will you regret you never met them before? You said something when you said you love me, But say it a whole lot more.

## Verse 2

Lizzie. All the men I know Fascinate me so, Oh! what romances I've built around them in my fancies. Ted. I am not aware Why you think I care;
Lizzie. Why surely you knew, dear, I was teasing, I love you dear.

## Refrain

Both. You said something when you said you love me, Oh, but I wonder for how long it will be. If you find someday, you've altered your mind I'd be forgiving, but simply could not go on living! Ted. Men much handsomer you'll meet by the score, Will you regret you never met them before? You said something when you said you love me, But say it a whole lot more.
# Have a Heart (Bolton, Kern and Wodehouse)/Look in His Eyes
## Verse 1

In the game of love, the points that count are subtlety and finesse. Not crude displays of your mental craze that advertize distress! A rippling laugh and a fund of chaff, with never the sound of sighs! And all else above, if you'd win at love, Always look in your partner's eyes!

## Refrain

Look in his eyes, look in his eyes, Take my advice and be wise. Hints that you need, in your plans to succeed! Plainer than print you'll be able to read. Look in his eyes, Look in his eyes, If love anywhere in them lies!
Without any doubt, it is bound to peep out. Umm, Umm, Umm, Through his eyes!

## Verse 2

In the dance, there's your chance, then the stage is all set for the play! With his arm 'round your waist, you are properly placed for survey! Your romance, may advance, to the thought of the trousseau you'll buy! And you're planning the house. To a rhythm by Strauss! As you watch the lovelight in his eyes.

## Refrain

Look in his eyes, Look in his eyes, Take my advice and be wise. Hints that you need in your plans to succeed. Plainer than print you'll be able to read. Look in his eyes. Look in his eyes And if love anywhere in them lies. Without any doubt, it is bound to peep out. Umm, Umm, Umm, through his eyes.