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# 1 Chronicles

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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.
* A book of the Christian and Hebrew Bibles; for versions, see 1 Chronicles (Bible).
* Biblical commentary and analysis
** "1 Chronicles," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
** "1 Chronicles" in Halley's Bible Handbook
See also Chronicles.
# 1 Chronicles (Bible)

1 Chronicles is a book of the Christian and Hebrew Bibles. It is universally accepted across all Jewish and Christian biblical canons, though the order in which it appears varies. In some very early versions of the bible based on translation from the Vulgate, it was named "1 Paralipomenon"
English-language translations of Diḇrê Hayyāmîm 1 include:
* "I. Paralipomenon" in the Wycliffe version (first printing, c. 1384)
* "1 Paralipomenon" in the Wycliffe version (revised by Purvey et al., c. 1394)
* "I. Paralipomenon" in the Coverdale version (1535)
* "1 Chronicles" in the Geneva version (1560)
* "1 Paralipomenon" in the Bishops' version (1568)
* "1 Chronicles" in the Douay–Rheims version (first printing, 1582–1610)
* "1 Chronicles" in the King James version (first printing, 1611)
* "1 Chronicles" in the Douay–Rheims version (illustrated version, 1633–1635)
* "1 Chronicles" in the Douay–Rheims version (Challoner's revision, 1749–1952)
* "1 Chronicles" in the King James version (Oxford text, 1769)
* "1 Chronicles" in the Thomson version (1808)
* "1 Chronicles" in the Webster's version (1833)
* "1 Chronicles" in the Leeser version (1853)
* "1 Chronicles" in the English Revised version (1885)
* "1 Chronicles" in the Young's Literal Translation version (1898)
* "1 Chronicles" in the American Standard version (1901)
* "I. Chronicles" in the King James version (tercentenary printing, 1911)
* "1 Chronicles" in the Emphasised Bible version (1916)
* "I Chronicles" in the Jewish Publication Society version (third impression, 1919)
* "1 Chronicles" in the Basic English version (1941–1949)
* "1 Chronicles" in the World English version (in progress since 1997)
* "1 Chronicles" in the Wikisource edition (in progress since 2006)
* "1 Chronicles" in the Literal Standard Version (2020)
# A Dictionary of Music and Musicians/Kent Bugle

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Keolanthe

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Keraulophon

From volume 2 of the work.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Kettle-drums

From volume 2 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Kennedy

​KENNEDY. See London Violin-makers, vol. ii. p. 165a.
# A Dictionary of Music and Musicians/Keper, John

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Kerl, Johann Caspar

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Ketterer, Eugène

[ M. ]
# A Dictionary of Music and Musicians/Kennedy, David

[ W. H. ]
# A Dictionary of Music and Musicians/Kent, James

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Mireille

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Missa Papæ Marcelli

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Missa Super Voces Musicales

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Missa Brevis

From volume 2 of the work.
​MISSA BREVIS. A Mass of moderate length, intended rather for use on ordinary occasions, than on Festivals of very great solemnity.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Minor Canons

From volume 2 of the work.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Missa de Angelis

​MISSA DE ANGELIS. The name generally given to a very beautiful Plain-Chaunt Mass, in Mode XIII, prescribed in the Ratisbon Gradual, for use 'In Festis Solemnibus,' and appended to the Mechlin Gradual, as a 'Missa ad libitum.' Judging from the internal evidence afforded by the freedom of its phrasing, and the Mode in which it is written, the Missa de Angelis would seem to be by no means the oldest Mass of this class now in use: its antiquity is, however, great enough to have obliterated all trace of its history, and even of the origin of the name by which it is now generally designated, and under which it is perhaps more frequently sung than any other Mass of its kind, both in its original form, and in the English translation used at S. Alban's, Holborn, S. Mary's, Paddington, and other London Churches in which Gregorian Services are encouraged.
The number of the older Masses to which allusion has been made is very small. The Ordinarium Missse in the Ratisbon Gradual, published under the authority of the Congregation of Rites, contains: the 'Missa in Tempore Paschali' in Modes VII and VIII; a very fine 'Missa in Duplicibus,' beginning in Mode I, and another in Mode VIII; a 'Missa Beatæ Marias' beginning in Mode I, and another in Mode VIII; the 'Missa in Dominicis,' in Mode I and II; the 'Missæ in Festis Semiduplicibus' and 'In Festis Simplicibus,' both begining in Mode VIII; the well-known 'Missa pro Defunctis,' beginning in Mode I, and including the famous 'Dies iræ' in Modes I and II; and some smaller Masses, sung in Advent, and Lent, during Octaves, and on Ferial Days. The Mechlin Gradual also gives another 'Missa ad libitum' in Mode XIII, and yet another in Modes VII and VIII.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Missa Sine Nomine

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Mitchell, John

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Giusquino

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Gladstone, Francis

[ W. B. S. ]
# A Dictionary of Music and Musicians/Glinka, Michael

From volume 1 of the work.
​GLINKA, Michael Ivanovitch, born 1803 [App. p.648 "May 20, 1804"] near Novospaskoi in Russia, died Feb. 15 [App. p.648 "Feb. 2"], 1857, at Berlin. Of late years several northern composers, not German by birth but German as far as their musical method goes—like Gade the Dane, Grieg and Svendsen the Norwegians, Glinka, Anton Rubinstein, and Peter Tschaikoffsky the Russians—have made their mark more or less strongly. Glinka is the earliest of the Russians, as gifted as any, perhaps, but not so accomplished; there has always been a dash of dilettantism about his productions, spite of his obvious talents, his gift of spontaneous, and (to those who do not know much of Russian folk-songs and dances) original melody, and his undeniable cleverness in the manipulation of the voice and of orchestral instruments. Glinka's two Russian operas are held to be of national importance by his country-men. They were among the first musical works in Russian, and for a long time the best of their kind, though their value has undoubtedly been exaggerated from patriotic motives.
In early youth Glinka enjoyed the advantage of lessons in pianoforte playing from John Field. In 1830 he visited Italy, and made a close study of Italian singing and of the Italian method of composition for the voice; but, feeling himself helpless as regards harmony and counterpoint, he went, in 1833, to Berlin for some months, and worked hard as the pupil of S. W. Dehn. Thence he returned to Russia, and became court conductor, and director of the opera and the choral performances at the imperial churches. From 1840 to 50 he again led an itinerant life, the centre of which was Paris, and the extent the confines of Spain. In the autumn of 1856 he came back to Berlin, had much intercourse with his old master Dehn upon the subject of ancient church tunes connected with the Eastern Church, and died there, unexpectedly, early in 1857.
[ E. D. ]
# A Dictionary of Music and Musicians/Giuramento, Il

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Giusto

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Glee Club, The

From volume 1 of the work.
[ C. M. ]
# A Dictionary of Music and Musicians/Glen

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Gizziello, Gioacchino

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Glareanus, Henricus

From volume 1 of the work.
[ F. G. ]
# A Boy's Will/A Late Walk

From A Boy's Will, 1913.
A LATE WALK
When I go up through the mowing field,
 The headless aftermath,
Smooth-laid like thatch with the heavy dew,
 Half closes the garden path.
And when I come to the garden ground,
 The whir of sober birds
Up from the tangle of withered weeds
 Is sadder than any words.
A tree beside the wall stands bare,
 But a leaf that lingered brown,
Disturbed, I doubt not, by my thought,
 Comes softly rattling down.
I end not far from my going forth
 By picking the faded blue
Of the last remaining aster flower
 To carry again to you.
# A Boy's Will

His first book of poetry, A Boy's Will, was first published by David Nutt in 1913 OCLC:1214302, and by Holt in 1915 OCLC:869355.
A BOY'S WILL
BY
ROBERT FROST
AUTHOR OF "NORTH OF BOSTON"
NEW YORK
HENRY HOLT AND COMPANY
1915
TO
E. M. F.
CONTENTS
PART I
page
    The youth is persuaded that he will be rather more than less himself for having forsworn the world.
    He is happy in society of his choosing.
    He is in love with being misunderstood.
    He is in doubt whether to admit real trouble to a place beside the hearth with love.
    He courts the autumnal mood.
    There is no oversight of human affairs.
    He is afraid of his own isolation.
    Out of the winter things he fashions a story of modern love.
    He calls on change through the violence of the elements. ​A Prayer in Spring23
    He discovers that the greatness of love lies not in forward-looking thoughts;
    nor yet in any spur it may be to ambition.
    He is no dissenter from the ritualism of nature;
    nor from the ritualism of youth which is make-believe.
    He arrives at the turn of the year.
    Out of old longings he fashions a story.
    He is shown by a dream how really well it is with him.
    He is scornful of folk his scorn cannot reach.
    And again scornful, but there is no one hurt.
    He takes up life simply with the small tasks.
PART II
    He resolves to become intelligible, at least to himself, since there is no help else;
    and to know definitely what he thinks about the soul;
    about love;
    about fellowship;
    about death;
    about art (his own);
    about science.
PART III
    It is time to make an end of speaking.
    It is the autumnal mood with a difference.
    He sees days slipping from him that were the best for what they were.
    There are things that can never be the same.
​Certain of these poems are reprinted by courteous permission from:—The Forum, The Independent, The Companion.
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 1963, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 60 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
# A Boy's Will/A Dream Pang

From A Boy's Will, 1913.
A DREAM PANG
I had withdrawn in forest, and my song
Was swallowed up in leaves that blew alway;
And to the forest edge you came one day
(This was my dream) and looked and pondered long,
But did not enter, though the wish was strong:
You shook your pensive head as who should say,
'I dare not—too far in his footsteps stray— He must seek me would he undo the wrong.
Not far, but near, I stood and saw it all
Behind low boughs the trees let down outside;
And the sweet pang it cost me not to call
And tell you that I saw does still abide.
But 'tis not true that thus I dwelt aloof,
For the wood wakes, and you are here for proof.
# A Boy's Song

* "A Boy's Song", in The Book of Scottish Song (1843)
* "A Boy's Song", in Poems That Every Child Should Know (1904), edited by Mary Elizabeth Burt
# A Dictionary of Music and Musicians/Quarles, Charles

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Quart-Geige

​QUART-GEIGE. See Violino Piccolo.
# A Dictionary of Music and Musicians/Quartet, Double

From volume 3 of the work.
[ F. C. ]
# A Dictionary of Music and Musicians/Quadrille

From volume 3 of the work.
​QUADRILLE (German Contretanz), a dance executed by an equal number of couples drawn up in a square. The name (which is derived from the Italian squadra) was originally not solely applied to dances, but was used to denote a small company or squadron of horsemen, from 3 to 15 in number, magnificently mounted and caparisoned to take part in a tournament or carrousel. The name was next given to 4, 6, 8, or 16 dancers, dressed alike, who danced in one or more companies in the elaborate French ballets of the 18th century. The introduction of 'contredanses' into the ballet, which first took place in the 5th act of Rousseau's 'Fêtes de Polymnie' (1745), and the consequent popularity of these dances, are the origin of the dance which, at first known as the 'Quadrille de Contredanses' was soon abbreviated into 'quadrille.' The quadrille was settled in its present shape at the beginning of the 19th century, and it has undergone but little change, save in the simplification of its steps. It was very popular in Paris during the Consulate and the first Empire, and after the fall of Napoleon was brought to England by Lady Jersey, who in 1815 danced it for the first time at Almack's with Lady Harriet Butler, Lady Susan Ryde, Miss Montgomery, Count St. Aldegonde, Mr. Montgomery, Mr. Montague, and Mr. Standish. The English took it up with the same eagerness which they displayed with regard to the polka in 1845, and the caricatures of the period abound with amusing illustrations of the quadrille mania. It became popular in Berlin in 1821.
The quadrille consists of five distinct parts, which bear the name of the 'contredanses' to which they owe their origin. No. i is 'Le Pantalon,' the name of which is derived from a song which began as follows:
Le pantalon De Madelon N'a pas de fond,
[ W. B. S. ]
* ↑ The Ballets were divided into 5 acts, each act into 3, 6, 9, or 12 'entrées,' and each 'entrée' was performed by on or more 'quadrilles' of dancers.
* ↑ See Captain Gronow's Reminiscences (1861).
* ↑ Some of our readers may recollect the clever 'Bologna Quadrilles' on themes from Rossini's 'Stabat Mater,' which were published shortly after the appearance ot that work. The plates of these quadrilles were destroyed on the publishers learning the source from which the author had obtained the melodies.
# A Dictionary of Music and Musicians/Quantity

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Quarenghi, Guglielmo

[ G. H. ]
# A Dictionary of Music and Musicians/Quartett Association, The

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Quarterly Musical Magazine and Review

From volume 3 of the work.
[ G. ]
# A Dictionary of the Book of Mormon/Anti-Nephi-Lehi, People of

​ANTI-NEPHI-LEHI, PEOPLE OF. See Anti-Nephi-Lehi, Ammon, Ammonites.
# A Dictionary of the Book of Mormon/Anti-Nephi-Lehies

​ANTI-NEPHI-LEHIES. A name given to the people of Anti-Nephi-Lehi, but they are better ​known as Ammonites, or the people of Ammon, in honor of the son of king Mosiah II, who was the leading spirit in converting them to the truth.
# A Dictionary of the Book of Mormon/Antiparah

​ANTIPARAH. A Nephite city on the southwest border, not far from the Pacific Ocean, which fell into the hands of the Lamanites in the long war inaugurated by Amalickiah. They stationed a powerful garrison there; but afterwards evacuated it to strengthen other Nephite cities which they had captured (B. C. 64). In after years it undoubtedly again fell into the hands of the Lamanites, as at the time of their invasion of the land of Zarahemla, (B. C. 35).
# A Dictionary of the Book of Mormon/Anti-Nephi-Lehi

​ANTI-NEPHI-LEHI. The name given by the king of the Lamanites to his son, who succeeded him on the throne, he being also chief of that portion of his race who had become Christians (B. C. 83). He was a brother of Lamoni. The Christian Lamanites became known as the people of Anti-Nephi-Lehi, but when they removed to the lands of the Nephites they were called Ammonites. The unrepentant Lamanites, especially those who were Nephite apostates or their seed, would not recognize the rule of Anti-Nephi-Lehi, but rebelled against him. As the Christian portion of the race would not contend with them, they carried out their rebellious designs and also massacred thousands of the original Lamanites, until, to avoid extinction, the believers in Christ removed in a body to that portion of the land of Zarahemla called Jershon. From this era it would appear that the Nephite apostates and their descendants controlled affairs among the Lamanites. Whether the king, who was slain (B. C. 73) by Amalickiah's men, was of Nephite blood does not appear, though it is presumable that he was, but his three successors — Amalickiah, Ammoron and Tubeloth — unquestionably were. Anti-Nephi-Lehi, if alive, as we have every reason to suppose he was, doubtless accompanied his people to the land of Jershon.
# A Dictionary of the Book of Mormon/Antiomno

​ANTIOMNO. A king of the Lamanites who reigned over the land of Middoni, in the early part of the first century before Christ, It was in his realm that Aaron, the son of Mosiah, and some of his fellow missionaries were imprisoned for many days, and afterwards delivered through the intercession of Ammon and king Lamoni. Antiomno is not again mentioned by name, but as we are informed that among the thousands of the Lamanites converted to the Lord, by the preaching of the sons of Mosiah, were they “who were in the land of Middoni,” it is quite probable that their king was also numbered among the converted. Before the coming of Aaron and his associates into their midst the people of Middoni were a hard-hearted and stiff-necked race, and it would be doing no violence to the law of probabilities to imagine that the character of the king was similar to that of his subjects; at any rate he permitted his Nephite prisoners to be treated with much cruelty.
# A Dictionary of the Book of Mormon/Antionah

​ANTIONAH. A chief ruler among the people of the city of Ammonihah. His inquiry regarding the resurrection, and the immortality of the soul, afforded Alma an opportunity to explain these and other vital principles of the everlasting Gospel. From the manner in which the question is put, we judge that Antionah was, like the majority of the people in Ammoniah, a corrupt man (and the probabilities are that he would not have been elected to that position if he had not been), or at the least very ignorant of the teachings of the servants of God. Whether he repented at Alma's preaching or was destroyed with the unrepentant is not made clear. (B. C. 82.)
# A Dictionary of the Book of Mormon/Animals

​ANIMALS. The animals named in the Book of Mormon are: the Ass, Bear, Bull, Calf, Cow, Dog, Elephant, Goat, Horse, Kid, Lamb, Lion, Mole, Sheep, Sow, Swine, Whale, Wolf. Also the Curelum and Cumom. Many of these are only mentioned in quotations from the Bible.
# A Dictionary of the Book of Mormon/Ani-Anti

​ANI-ANTI. A Lamanite village in the land of Nephi, in which Aaron, Muloki, Ammah and others proclaimed the gospel; but the people hardened their hearts, and after considerable preaching ​the missionaries departed into the land of Middoni (B. C. 87).
# A Dictionary of the Book of Mormon/Antionum

​ANTIONUM. A Nephite general who commanded a division of 10,000 men at the battle of ​Cumorah (A. C. 385). He and his whole command perished.
# A Dictionary of the Book of Mormon/Antionum, Land of

​ANTIONUM, LAND OF. A district of country east of the Sidon, inhabited by the Zoramites (B. C. 75). Thither Alma and his brethren repaired to convince them of their errors. The mission was not altogether successful. Those who believed were driven out of the land and found a refuge among the Ammonites in Jershon. The unconverted Zoramites joined the Lamanites, who, the next year, occupied Antionum with an army. To confront this force the Nephites placed an army in Jershon. The Lamanites did not consider themselves equal to attacking the Nephites, and changed the plan of their campaign. They retired from Antionum into the wilderness, with the intention of invading Manti, in which purpose they were thwarted by Moroni and disastrously defeated by his troops. This land appears to have been of considerable extent, stretching from the great southern wilderness to Jershon on the north; the land of Zarahemla formed its western border, while on the east it extended indefinitely into the great eastern wilderness.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cartwright (Samuel)

​CARTWRIGHT (SAMUEL), bookseller in London, (1) Bible in Duck Lane; (2) Hand and Bible in Ducke Lane. 1623–50. Brother of Richard ​Cartwright, and evidently in business with him. Took up his freedom October 16th, 1622. [Arber, iii. 685.] Amongst his publications was an English edition of Mercator's Atlas, of which he held a half share with Michael Sparke. He died August 17th, 1650. [Smyth's Obituary, p. 29.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chapman (Laurence)

​CHAPMAN (LAURENCE), bookseller in London, (1) Upper end of Chancery Lane, next Holborn; (2) Against Staple Inn; (3) Next doore to ye Fountain Tavern in y$^e$ Strand neare the Savoy. 1620–55. Took up his freedom February 9th, 1618. [Arber, iii. 684.] During the Civil War he was associated with Lawrence Blaiklock and Francis Coles in the publication of the Perfect Diurnal, and also issued The Scottish Dove. Amongst his other publications may be noticed Inigo Jones's work on Stone Henge, 1655, folio.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chetwin, or Chetwind (Philip)

​CHETWIN, or CHETWIND (PHILIP), bookseller in London; Next to the Black Horse in Aldersgate, 1670 (1656–74). Married the widow of Robert Allot, 1626–36, and so became possessed of certain copyrights in various Shakespeare quartos. In 1663 he published the third folio, and followed it up with a re-issue in 1664, to which he added the seven spurious plays, no doubt with a view to increasing the sale. His address has not been found before 1670. [Arber, Term Catalogue, vol. i.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cartwright (Richard)

​CARTWRIGHT (RICHARD), bookseller in London, (1) Bible in Duck Lane neere Smithfield; (2) Hand and Bible, Duck Lane. 1627–47. Took up his freedom June 15th, 1615, his first publication being a sermon preached by Matthew Brookes at Paul's Cross at Christmas, 1626, entitled the House of God. [B.M. 3932 f. 27.] He died on November 17th, 1647. [Smyth's Obituary, p. 25.] By his will he desired to be buried in the Church of Little St. Bartholomew. He mentions his brother Samuel Cartwright, and left the half of his stock to his wife and the other half to his son-in-law, Thomas Smith. One of his executors was Thomas Slater, q.v. The will was proved on April 11th, 1648. [P.C.C. 59, Essex.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chapman ( )

​CHAPMAN, Mrs., (?) bookseller in London, 1662. Perhaps the wife of Livewell Chapman, q. v. Mentioned in the State Papers [Charles II, vol. 67, 161], as having "managed" the printing of a pamphlet called The Face of the Times, written by Sir Harry Vane and printed with his Epistle General in 1662.