OpenLLM-France/wikimedia huggingface dataset:
# A Field Book of the Stars/Bootes

The Constellations of Summer.
Layout 2
BOÖTES (bo-o'tez)—THE HERDSMAN, OR BEAR DRIVER. (Face West.)
Location.—Boötes lies just west of the Crown, and east of Cor Caroli. It may be easily distinguished by the position and splendor of its principal star, Arcturus, which shines with a golden yellow lustre. It is about 35 degrees east of Denebola, in Leo, and nearly as far north of Spica, in Virgo, and forms with these two a large equilateral triangle. A line drawn from (ζ) to (η) Ursæ Majoris and prolonged about 30 degrees locates it. The brightest stars in Boötes outline a characteristic kite-shaped figure.
Three stars of the fourth magnitude are situated in the right hand. They are about 5 degrees beyond Benetnasch, the first star in the handle of the Dipper.
It takes twenty-five years for the light from Arcturus to reach the earth. Contrast its color with Spica, Antares, and Vega. The trapezium β, γ, δ, and μ, was called "The Female Wolves," by the Arabians. θ, ι, κ, and λ, "The Whelps of the Hyenas."
# A Collection of Esoteric Writings of T. Subba Row/The Forms of Vâk

THE FORMS OF VAK.
I would therefore ask you to draw Mr. Subba Row's attention to the above facts, and to explain the thing in a more acceptable way. I have herewith enclosed extracts from Mahabhashya, Kaita, and Nirukta on this point.
Yours fraternally, N. Bhashyachary.
​I have to thank Mr. Bhashyachary for having called my attention to the wrong reference given in my third lecture. Instead of referring to Nageshabhatta's Bhashyapradipodyota and Sphotavada, I referred to the Mahabhasbyam itself through oversight. I had especially in my mind Nageshabhatta's remarks on the four forms of Vak in his Sphotavada when I made the statements adverted to in your learned correspondent's letter. Patanjali had to interpret the original rik of the Rig Veda from the stand-point of a grammarian in his Mahabhasbya: but he certainly recognised the importance of the interpretation put upon it by Hatayogis and Rajayogis as might be easily seen by the symbols he introduced into the mystic arrangements of the Chidambaram temple. Apart from mystic symbology, Nageshabhatta had very high and ancient authorities to guide him in interpreting this risk. Nearly seven interpretations have been suggested for this rik by various classes of writers and philosophers. The four forms of Vak enumerated by me are common to the interpretation of Hatayogis and Mantrayogis on the one hand and Rajayogis on the other. I request your learned correspondent to refer to Vidyaranya'a commentary on the 45th rik of the 164 Sukta of the 22nd Anuvaka of the first Mandala of Rig-veda. Most of these various interpretations are therein enumerated and explained. The learned commentator refers to Para, Pasyanti, Madhyama and Vaikhari and indicates the order of their development as stated by Mantrayogis and Hatayogis. It will be useful to refer to Yoga Sikha and other Upanishads in this connection. There is still higher authority for the views expressed in my lecture and the statements made by Nageshabhatta in Shankaracharya's commentary on Nrisimhottara Tapani (see page 118, Calcutta edition, from line 14 to the end of the para). These four forms of vak are therein explained from the stand-point of Tharaka Rajayoga. I would particularly invite the reader's attention to the explanation of Madhyama. Madhyama is so called because it occupies an intermediate position between the objective form and the subjective image. On carefully perusing this portion of the commentary, it will be seen that the explanations therein given form, as it were, the foundation of the various statements made by me in my lectures regarding these four forms of Vak. Whether this commentary is attributed to Shankaracharya as many have done, or to Goudapatha as some have stated, its authority is unimpeachable. I do not think it necessary to refer to any works on Mantra Shastra in this connection, as the authorities cited above are amply sufficient to justify my statements. I may perhaps have to refer to the mystic philosophy of vak at greater length in another connection.
T. S. R.
# A Dictionary of Music and Musicians/Obrecht, Jacob

From volume 2 of the work.
​OBRECHT, Jacob, sometimes given Hobrecht, one of the great masters of the 15th century, born probably about the year 1440. In early life he was chapel-master at Utrecht, and Erasmus learnt music from him, as a choir-boy in the cathedral, about the year 1474. He was also living some time in Florence, where Aaron met him in company with Josquin, Isaac, and Agricola, at the court of Lorenzo il Magnifico.
In 1491 Obrecht was elected chapel-master in Antwerp cathedral, already a great musical centre, with a fine choir of nearly 70 voices, exclusive of boys. Of the higher honours and emoluments he received there, of the visits paid him by foreign musicians, of his work in the revision of the cathedral music-books, and lastly of his poor health, M. Leon de Burbure has found ample evidence in the records of that church.
Many of his works are preserved, and 8 masses were printed, the merits of which are fully discussed by Ambros. The finest of these, 'Fortuna desperata,' has been published in modern notation (Amsterdam, 1870). The first volume of printed music in 1501 contained two secular pieces, and Petrucci included many more in his collection of the next few years. Eitner gives titles of about 30 printed chansons and motets still existing. Dr. Burney has scored some movements from the mass 'Si dedero,' in his note-books, and Forkel has given two examples in his history.
[ J. R. S.-B. ]
* ↑ Glarean, who was a pupil of Erasmus, mentions this in the 'Dodecachordon.'
* ↑ See article 'Obrecht' in Fétis's Biographie.
* ↑ Geschichte der Musik, iii. 180.
# A Dictionary of Music and Musicians/Oca del Cairo, L'

From volume 2 of the work.
​OCA DEL CAIRO, L'. Opera buffa in 2 acts; libretto by Varesco, music by Mozart, 1783.
[ G. ]
# A Dictionary of Music and Musicians/Ocarina

From volume 2 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Octave (organ stop)

From volume 2 of the work.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Oboe d'Amore

From volume 2 of the work.
​OBOE D'AMORE (Fr. Hautbois d'amour). An instrument of exactly the same compass and construction as the ordinary oboe, except that it stands a minor third lower than that, being in the key of A. It has also a hollow globular bell instead of a conical one, which renders the tone more veiled and pathetic. In this respect ​it is intermediate between the first and the Corno Inglese. It is chiefly in the scores of Bach that this instrument is met with, most of his works containing important parts for it. As a good instance may be cited the air No. 4 in the first part of the Christmas oratorio—'Bereite dich Zion.'
It has been common of late to replace this fine but almost obsolete instrument by the ordinary oboe. Occasionally, however, as in No. 7 of the work above named, the two are written for together, and the extreme note A is required, two lines below the treble stave, which is below the compass of the ordinary oboe.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Ochetto

From volume 2 of the work.
​OCHETTO (Lat. Ochetus; Fr. Hoquet; Old Eng. Hocket). A curious device in mediæval Discant, the sole merit of which consisted in interrupting one or more Voice parts—generally including the Tenor—by meaningless rests, so introduced as to produce an effect analogous to that of the hiccough—whence the origin of the word. [See Hocket.] It seems to have made its first appearance in the Sæcular Music of the 13th century; but no long time elapsed before it was introduced into the Discant sung upon Ecclesiastical Plain Chaunt, on which account it was severely condemned in the Decretal issued by Pope John XXII, in 1322. The following specimen is from a Sæcular Song of the 14th century, preserved in MS. at Cambrai, and printed in extenso in Coussemaker's 'Histoire de l'Harmonie au Moyen Age' (Paris, 1852).
In the latter half of the 14th century the popularity of the Ochetus began rapidly to wane; and in the 15th it was so far forgotten that Joannes Tinctoris does not even think it necessary to mention it in his 'Diffinitorum Terminorum Musicorum.'
But though the Ochetus so soon fell into disrepute as a contrapuntal device, its value, as a means of dramatic expression, has been recognised, by Composers of all ages, with the happiest possible result. An early instance of its appearance, as an aid to expression, will be found in Orazio Vecchi's Motet, 'Velocitur exaudi me' (Venice, 1590), where it is employed, with touching pathos, at the words defecit spiritus meus.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Octave

From volume 2 of the work.
​OCTAVE. An octave is the interval of eight notes, which is the most perfect consonance in music. The ratio of its sounds is 1 : 2; that is, every note has twice the number of vibrations of its corresponding note an octave lower. The sense of identity which appears to us between notes of the same name which are an octave or more apart, arises chiefly from the upper octaves and their harmonics corresponding with the most prominent harmonics of the lower note. Thus Helmholtz says, 'when a higher voice executes the same melody an octave higher, we hear again a part of what we heard before, namely the even-partial tones of the former compound tones, and at the same time we hear nothing that we had not previously heard. Hence the repetition of a melody in the higher octave is a real repetition of what has been previously heard, not of all of it, but of a part. If we allow a low voice to be accompanied by a higher in the octave above it, the only part-music which the Greeks employed, we add nothing new, we merely reinforce the even-partials. In this sense, then, the compound tones of an octave above are really repetitions of the tones of the lower octaves, or at least of part of their constituents.'
Irregularly consecutive octaves are forbidden in music in which the part-writing is clearly defined. The prohibition is commonly explained on the ground that the effect of number in the parts variously moving is pointlessly and inartistically reduced; at the same time that an equally pointless stress is laid upon the progression of the parts which are thus temporarily united either in octaves or unison. Where however there is an appreciable object to be gained by uniting the parts, for this very purpose of throwing a melodic phrase or figure into prominence, such octaves are not forbidden, and small groups or whole masses of voices, or strings, or wind instruments, are commonly so united with admirable effect.
The interval of an augmented octave, exceeding the octave by a semitone, is occasionally met with; as in the following example from the first subject ot the Overture to Don Giovanni:—
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Octave flute

From volume 2 of the work.
​OCTAVE FLUTE. [See Piccolo.]
# A Dictionary of Music and Musicians/Oboe di Caccia

From volume 2 of the work.
​OBOE DI CACCIA, i.e. hunting oboe (Fagottino; Tenoroon). An old name for an instrument of the Oboe or Bassoon family standing in the F or E♭ between those respectively in use. It occurs frequently in the scores of Bach, who assigns prominent solo and concerted parts to it. There is also a double part for instruments of this nature in Purcell's 'Dioclesian'; and two important movements, the 'O quam tristis' and the 'Virgo virginum praeclara' in Haydn's Stabat mater are scored for two oboi di caccia obbligati. As specimens of Bach's treatment of the instrument may be named the Pastoral Symphony and other movements of the Christmas Oratorio, scored for two, and a beautiful Aria in the Johannes Passion for the singular quartet of flute, soprano, oboe di caccia, and basso continuo, preceded by an Arioso for tenor, with 2 flutes, 2 oboi di caccia, and quartet of strings. It is much to be regretted that this magnificent instrument has almost entirely gone out of use, and is confounded by recent writers with the very different Corno Inglese. For whereas the latter is essentially an oboe lowered through a fifth, the real oboe di caccia is a bassoon raised a fourth. It therefore carries upwards the bass tone of the latter, rather than depresses the essentially treble quality of the oboe. It is obvious from Bach's practice that he looks on it as a tenor and not as an alto voice. In his older scores the part is headed Taille de Basson, Taille being the usual name for the Tenor Voice or Violin. In the older scores of Haydn's Stabat the parts are actually, and as a recent writer says 'curiously enough,' marked 'Fagotti in E♭,' that being the older name by which it was designated. Even as late as the time of Rossini the instrument was known, and to it is given the beautiful Ranz des Vaches, imitating very exactly the Alpenhorn, in the Overture to Guillaume Tell. This is scored in the F or bass clef, as is also remarked by the writer above referred to, who singularly concludes that the notation is 'an octave lower than the real sounds produced.' The fact is that when the opera was first heard in this country, the passage was actually played as written on the oboe di caccia by a gentleman still living, namely Signor Tamplini. There can be little doubt that Beethoven's Trio for two oboes and cor anglais (op. 87) was really intended for this instrument, since it takes the fundamental bass part throughout.
[ W. H. S. ]
* ↑ Mr. E. Prout. 'On the growth of the Modern Orchestra,' a paper read before the Musical Association, Jan. 6, 1879.
* ↑ 'Instrumentation,' In Novello and Co.'s Music Primers.
# A Dictionary of Music and Musicians/Occasional Oratorio, The

[ M. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Paterson (Michael)

​PATERSON (MICHAEL), bookseller in Glasgow, 1659-62. One of the debtors mentioned in G. Lithgow's Inventory, 1662. [H. G. Aldis, 'List of books, p. 118.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Paterson (William)

​PATERSON (WILLIAM), bookseller in Edinburgh, 1662. One of the debtors mentioned in G. Lithgow's Inventory, 1662. [H. G. Aldis, List of books, p. 118.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Payne, or Paine (Thomas)

​PAYNE, or PAINE (THOMAS), printer in London; In Goold-Smiths Alley in Redcross Street [Cripplegate], 1630-50 (?). Took up his freedom March 3rd, 1628. [Arber, iii. 686.] During the Commonwealth he was employed by the Council of State, which on September 19th, 1650, ordered twenty pounds to be given to him "as a gratuity for his sufferings by printing a book for the cause of Parliament, written by Mr. Walker." The Mr. Walker referred to was doubtless Clement Walker, the author of the History of Independency, but it was clearly not that book for which the printer was paid, and no further light can be thrown on the passage. [Domestic State Papers, Interr. 10, pp. 27-30.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Perry (Hugh)

​PERRY (HUGH), bookseller in London; Neere Ivy Bridge in the Strand. 1626-45. Took up his freedom December 15th, 1626. [Arber, iii. 686.] His first book entry in the registers of the Company occurs on the 19th
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Passinger (Thomas)

​PASSINGER (THOMAS), bookseller in London; Three Bibles on London Bridge, 1664-88. Son of Thomas Passinger, of Guildford, co. Surrey. Apprentice to Charles Tyas, or Tyus, bookseller at the Three Bibles on London Bridge for eight years from July 25th, 1657. [Register of Apprenticeships, Stationers' Hall, 1606-66.] On the death of Tyas in 1664, Passinger appears to have succeeded to the business, probably by marrying the widow. He died in 1688 and his will was proved in the Prerogative Court of Canterbury. He left to his kinsman, Thomas Passinger, all his copies and parts of copies and copperplates, as well as his share of books and ballads which he had in partnership with William Thackerye of Pye Comer. He left a bequest of forty shillings to the Company of Stationers and a book of the value of forty shillings to the public library at Guildford. [P.C.C. 82, Exton.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Pawley (Robert)

​PAWLEY (ROBERT), bookseller in London; In Fleet Street, 1661-5. His name is found on the title-page of a book entitled A Compendious Abridgement of all statutes, 1661. [Ames Collection, 2992.] He was associated with Henry Twyford in publishing an edition of Hugo Grotius' De Rebus Belgicis, rendered into English by T. M., April 21st, 1665. He may have been a descendant of Simon Pawley, the bookseller, of the earlier part of the century.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Pawlett, or Paulett (Robert)

​PAWLETT, or PAULETT (ROBERT), bookseller in London; Bible in Chancery Lane near the Inner Temple Gate, 1660-67. Publisher of political pamphlets. [Gray's Index to Hazlitt, p. 585.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Paxton (Edmund)

​PAXTON (EDMUND), bookseller in London; Pauls Chain, over against the Castle-tavern. 1655. His name is found in the imprint to England's Complete Law judge, 1655. [E. 860 (3).] An Edward Paxton took up his freedom June 7th, 1630. [Arber, iii. 686.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Paybody, or Paybodie (Thomas)

​PAYBODY, or PAYBODIE (THOMAS), printer (?) & bookseller in London; Queens Head Alley, Paternoster Row, 1642-65. Smyth in his Obituary, p. 69, records, "15th Oct$^r$. 1665 Tho. Paybodie a printer buried ex peste." His name is found in the imprint to a pamphlet entitled An Answer … upon some … observations … against his … majesty, 1642, which also has on the title-page a block having the letters T.P. on it, which may have been Thomas Paybody's device. [E. 108 (39).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Pienne (Peter de)

​PIENNE (PETER DE), printer at Cork & Waterford, Ireland, 1644-54. Printed an edition of the Eikon Basilike in Cork in 1649. In 1652 he is found printing at Waterford An Act for the settlement of Ireland. In that year an order was made by the Council for the affairs of Ireland forbidding the Commissioners of the Revenue at Waterford to pay Peter de Pienne any salary from that time. [E. R. McC. Dix, Irish Provincial Printing prior to 1701. Library, October, 1901, pp. 344-5.]
# A Naval Biographical Dictionary/Hastings, George Fowler

Layout 4
​HASTINGS. (Captain, 1845. f-p., 18; h-p., 5.)
The Honourable George Fowler Hastings, born 28 Nov. 1813, is second son (by Frances, third daughter of the Rev. Rich. Chaloner Cobb, Rector of Great Marlow, co. Bucks) of Hans Francis, 11th Earl of Huntingdon, a Captain in the R.N. (1824), who was for some time Governor of Dominica, and died 9 Dec. 1828. He is brother of the present Earl; and brother-in-law of Commanders Henry Parker and Chas. Calmady Dent, R.N.
This officer entered the Navy 3 Sept. 1824; passed his examination 7 Jan. 1832; and was promoted, 7 Jan. 1833, to the rank of Lieutenant. His appointments in the latter capacity were – 25 June, 1833, to the Excellent gunnery-ship at Portsmouth, Capt. Thos. Hastings – 13 May, 1834, to the Revenge 74, commanded in the Mediterranean by Capt. Wm. Elliott – and, 8 Sept. 1837, as First, to the Rhadamanthus steam-vessel, Capt. Arthur Wakefield, on the same station. Obtaining a second promotal commission 30 June, 1838, he was nominated, 5 Jan. 1839, to an Inspectorship in the Coast Guard, and, 16 Aug. 1841, to the command of the Harlequin 16. While in that sloop, Capt. Hastings, besides sharing in the closing operations of the Chinese war, acquired the public thanks of the Commander-in-Chief for his conduct in leading her boats, in conjunction with those of the Wanderer and Diana, in an attack on the piratical towns of Murdoo and Quallo Batto, in the island of Sumatra. He was promoted to the rank of Captain, on the paying off of the Harlequin, 31 Jan. 1845; and has since been unemployed. Agents – Coplands and Burnett.
# A Naval Biographical Dictionary/Hastings, Francis Decimus

Layout 4
​HASTINGS. (Captain, 1840. f-p., 19; h-p., 21.)
Francis Decimus Hastings entered the Navy, 19 Aug. 1807, as Third-cl. Vol., on board the Téméraire 98, Capts. Sir Chas. Hamilton and Edw. Sneyd Clay, successively stationed in the Channel and Baltic. In June, 1809, having attained the rating of Midshipman a few months previously, he removed to the Amethyst 36, Capt. Jacob Walton, with whom he appears to have been employed on Home service until wrecked in Plymouth Sound 16 Feb. 1811. He then joined, for a short period, the Acasta 40, Capt. Alex. Robt. Kerr; after which we find him, until Aug. 1815, employed, on the Spanish, North American, Jamaica, and Home stations, latterly as Master’s Mate, in the Iris 38, Capt. Hood Hanway Christian, St. Domingo 74, flag-ship of Sir John Borlase Warren, Emulous brig, Capt. Wm. M‘Kenzie Godfrey, and Argo 44, and Ville de Paris 110, bearing the flags of Rear-Admiral Wm. Brown and Lord Keith. With the exception of a few months in 1818-19, and until officially promoted on 18 Nov. in the latter year, Mr. Hastings next served, alternately as Acting-Lieutenant and Admiralty Midshipman, on board the Charwell sloop, Capt. Allen Otty, Icarus 10, Capt. Hon. Chas. Orlando Bridgeman, and Carnation 18, Capts. Henry Shiffner, Wm. Nugent Glascock, and Roger Hall. His succeeding appointments were, as First-Lieutenant – 14 April, 1831, to the Stag 46, Capts. Sir Edw. Thos. Troubridge and Nich. Lockyer, on the Lisbon station, where he remained until superseded in Aug. 1834 – and 31 Jan. 1835, to the Excellent gunnery-ship at Portsmouth, Capt. Thos. Hastings. Being awarded a second promotal commission 10 Jan. 1837, he was nominated, 25 July following, Second-Captain of the Edinburgh 72, Capt. Wm. Wilmott Henderson, with whom, after again serving with the force off Lisbon, he proceeded to the Mediterranean. For his conduct in the operations on the coast of Syria, where he displayed the greatest coolness and gallantry in command of the boats of the latter ship and of the Hastings 72, in an attempt made to remove the powder from the castle at Beyrout, and was slightly wounded at the bombardment of St. Jean d’Acre, Capt. Hastings was advanced to the rank he now holds 4 Nov. 1840. He has since been unemployed.
Capt. Hastings was left a widower 31 July, 1846.
# A Naval Biographical Dictionary/Haswell, Charles Symes

Layout 4
​HASWELL. (Lieutenant, 1827.)
Charles Symes Haswell passed his examination In 1821; obtained his commission 4 April, 1827; and was appointed, 7 Aug. following, to the Bustard sloop, commanded in the West Indies by Capt. Geo. Sidney Smith. With the exception of a command, from 6 Oct. 1840 until Sept. 1845, of the Fox Revenue-vessel, Mr. Haswell has had charge, since 13 Sept. 1832, of a station in the Coast Guard. He is married, and has issue.