OpenLLM-France/wikimedia huggingface dataset:
# A Library Primer (1899)/Chapter XLVI

As libraries have become more thoroughly organized, as they have become more aggressive in their methods, and as they have come to be looked upon by librarians and others as possible active factors in educational work, the proper management of them has naturally been found to require experience and technical knowledge as well as tact, a love of books, and janitorial zeal. It is seen that the best librarians are trained as well as born; hence the library school. The library school—a list of those now in operation will be found at the end of this chapter—does not confine itself to education in the technical details of library management. It aims first to arouse in its pupils the "modern library spirit," the wish, that is, to make the library an institution which shall help its owners, the public, to become happier and wiser, and adds to this work what it can of knowledge of books, their use, their housing, and their helpful arrangement. Perhaps the ideal preparation for a librarian today would be, after a thorough general education, two or three years in a good library school preceded and followed by a year in a growing library of moderate size.
A few libraries have tried with much success the apprentice system of library training, taking in a class, or series of classes, for a few months or a year, and at the end of the period of apprenticeship selecting from the class additions to its regular corps.
List of library schools and training classes
New York state library school, Albany; Pratt institute library school, Brooklyn; Wisconsin summer school of library science, Madison; Drexel institute library school, Philadelphia, Pa.; University of Illinois state library school, Champaign; Amherst summer school library class, Amherst, Mass.; Los Angeles public library training class; Cleveland summer school of library science.
# A Dictionary of Music and Musicians/Parry, John (of Denbigh)

From volume 2 of the work.
​PARRY, John, born at Denbigh, North Wales, in 1776, received his earliest musical instruction from a dancing master, who taught him also to play the clarinet. In 1795 he joined the band of the Denbighshire militia, and in 1797 became master of it. In 1807 he resigned his appointment, and settled in London as a teacher of the flageolet, then greatly in vogue. In 1809 he was engaged to compose songs, etc., for Vauxhall Gardens, which he continued to do for several years afterwards, and also adapted English words to a selection of Welsh melodies. He composed the music for T. Dibdin's extravaganza, 'Harlequin Hoax; or, A Pantomime proposed,' 1814; 'Oberon's Oath,' 1816; 'High Notions, or, A Trip to Exmouth,' 1817; and adapted the music for 'Ivanhoe,' 1820; and 'Caswallon,' a tragedy, 1829. He was author as well as composer of the musical pieces, 'Fair Cheating,' 1814; 'Helpless Animals,' 1818; and 'Two Wives, or, A Hint to Husbands,' 1821. For very many years he conducted the Cymmrodorion and Eisteddvodau, or Congresses of Welsh Bards, which were held in various places in Wales, etc., and in 1821 he received the degree of 'Bardd Alaw,' or Master of Song. He was author of 'An Account of the rise and progress of the Harp'; 'An Account of the Royal Musical Festival held in Westminster Abbey in 1834' (of which he had been secretary); and 'Il Puntello, or, The Supporter,' containing the first Rudiments of Music. In June 1837 he gave a farewell concert, at which he sang his own ballad of 'Jenny Jones' (made popular by Charles Mathews the year before), accompanied on the harp by his son. From 1834 to 1848 he was concert music critic to 'The Morning Post.' He published a collection of Welsh Melodies, embodying the greater part of Jones's 'Relics of the Welsh Bards,' under the title of 'The Welsh Harper.' From. 1831 to Aug. 5, 1849, he was treasurer of the Royal Society of Musicians. He died April 8, 1851.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Parry, John (of Rhuabon)

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

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

From volume 2 of the work.
​PARRY, Joseph, Mus. Doc., born at Merthyr Tydvil, May 21, 1841, of poor Welsh parents, the mother a superior woman with much music in her nature. There is a great deal of singing and brass-band-playing among the Welsh workmen, and at chapel and elsewhere the boy soon picked up enough to show that he had a real talent. At 10 however he was forced to go to the puddling furnaces and stop all education of any kind. In 1853 his father emigrated to the United States, and in 1854 the family followed him. After a few years Joseph returned from America, and then received some instruction in music from John Abel Jones of Merthyr and John Price of Rhymney. In 1862 he won prizes at the Llandudno Eisteddfod. He then went again to America, and during his absence there a prize was adjudged to him at the Swansea Eisteddfod of 1863, for a harmonised hymn tune.
[ G. ]
# A Dictionary of Music and Musicians/Parsons, Robert

From volume 2 of the work.
​PARSONS, Robert, a native of Exeter, was on Oct. 17, 1563, sworn a gentleman of the Chapel Royal. He is said, but erroneously, to have been organist of Westminster Abbey. He composed some church music. A Morning, Communion, and Evening Service is printed in Barnard's 'Selected Church Musick,' and a Burial Service in Low's 'Directions,' 1664. An anthem, 'Deliver us from our enemies,' is contained in the Tudway Collection (Harl. MS. 7339), and an 'In Nomine,' and a madrigal, 'Enforced by love and feare,' are in Add. MS. 11,586. Three services and an anthem, 'Ah, helpless wretch,' are in Barnard's MS. collections in the Sacred Harmonic Society's Library. Many of his compositions are extant in MS. in the library of Christ Church, Oxford. He was drowned in the Trent at Newark, Jan. 25, 1569–70.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Parsons, William

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

​PARRATT, Walter, was born Feb. 10, 1841, at Huddersfield, Yorkshire, where his father, Thomas Parratt, was a fine organist and at the head of his profession. The boy displayed much precocity and was thoroughly grounded by his father at an early age. At 7 years old he took the service in church, and at the age of 10 he played on one occasion the whole of the 48 preludes and fugues of Bach by heart, without notice. He thus laid the foundation of that affectionate and intimate knowledge of Bach's music which now distinguishes him. His predilection for the organ was no doubt grounded on his father's example and on his familiarity with Conacher's organ factory, which he haunted when very young. At any rate he was an organist from the beginning. At 11 years of age he held his first appointment at Armitage Bridge Church. After a few months he was sent to school in London, and became a pupil of George Cooper's; but the school was unsatisfactory, and in a short time he was recalled to Huddersfield, and became organist of St. Paul's, where he remained till 1861. In that year he received the appointment of organist to Lord Dudley, at Witley Court in Worcestershire. Here he had time and opportunity for study, of which he availed himself. His next steps were to the parish church, Wigan, in 1868; to Magdalen College, Oxford, in 1872, and to St. George's Chapel, Windsor, his present post, vice Sir G. Elvey, in 1882. In 1873 he took the degree of Mus. Bac. at Oxford, and in 1883 was chosen Professor of the Organ in the Royal College of Music. He is conductor of the Madrigal Society of Windsor, and 'Passed Grand Organist' of the Freemasons.
[ G. ]
# A Dictionary of Music and Musicians/Parry, Hubert

From volume 2 of the work.
​PARRY, Charles Hubert Hastings, born Feb. 27, 1848, was educated at Eton and Christ Church, Oxford, where he graduated Mus. Bac. in 1867 and B.A. in 1870. He passed the examination for the Mus. Bac. while still at Eton. The exercise for the degree (a Cantata entitled ​'O Lord, thou hast cast us out') was performed in the Music School according to the regulations. He took a few lessons in harmony from Dr. Elvey, in 1868, and since that time studied with H. H. Pierson at Stuttgart, with Professor Macfarren and Mr. Dannreuther.
A Morning and Evening Service in D (Novello), still a favourite, dates from his Eton days, and so possibly do two anthems for 4 voices (Ditto); three Odes of Anacreon; six Shakespearean and other old-fashioned songs; and 'Characterbilder,' a set of seven PF. pieces. His maturer works are numerous, and consist of:—Sonata for PF. in B♭ (L. Cock); Do. Do. in D minor (Lucas & Weber); Grosses Duo, for 2 PF.s in E minor (Breitkopf); Trio for PF., V., and Cello in E minor (Halle's Recitals 1880); Quartet for PF. and Strings in A minor [App. p.738 "A♭"]; Do. for Strings in G.; Fantaisie-sonata PF. and V. in B; Sonata for PF. and Cello in A; Nonet for Wind Instruments in Bb; Overture for Orchestra 'Guillem de Cabestanh' (performed at the Crystal Palace, March, 15, 1879); Concerto for PF. and Orchestra in F♯ (do. April 3, 1880, and Richter, May 10, 1880); Fantasia and Fugue for Organ; Variations for PF.; Miniatures for do.
[ G. ]
App. p.738:
[ M. ]
# A Selection of Original Songs, Scraps, Etc., by Ned Farmer/Wife of my Bosom

Wife of my Bosom.
Wife of my bosom! my soul's dearest treasure! Star of my dwelling place, listen to me; Know that when absent, my only true pleasure Is thinking, dear Mary, of home and of thee! And when in his fury the storm king was riding The wild waves, that foam'd as he hurried them on, And the thunder, awoke in his anger, was chiding, And all light, save the vivid forked lightning was gone. When despair laid his hand on the heart of the boldest, Stern misery whisper'd her tale in each ear; When hope scarcely spoke, and in tones of the coldest, And each one on board was the vassal of fear. I had, in that hour of dark peril, a feeling, Which never forsakes me, where'er I may be, The glow of affection around my heart stealing, Which told, my dear Mary, of Home and of Thee!
# A Sell

From The Harvard Lampoon
Suspense is hard to bear, just when A fellow is expecting A Valentine from Gwendolen, Excessively affecting;
Ah, here's the postman, messenger Of Cupidon; I pray He leaves a letter; it's from her No small amount I'll lay.
Though somewhat changed in each gay quirl, I'm sure that I can tell The dainty pot-hooks of the girl Who round me casts her spell.
I open it with eager haste, Oh! Thunder, it's a bill!! Go Joy, and feel thyself disgraced; Come, Sorrow, sup thy fill.
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
# A Self Accuser

Your mistris, that you follow whores, still taxeth you: 'Tis strange that she should thus confesse it, though'it be true.
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
# A Semi-centenary Discourse delivered in the First African Presbyterian Church, Philadelphia, on the fourth Sabbath of May, 1857

A
SEMI-CENTENARY DISCOURSE,
delivered in
THE FIRST AFRICAN PRESBYTERIAN CHURCH, PHILADELPHIA,
ON THE FOURTH SABBATH OF MAY, 1857:
with
A HISTORY
OF THE CHURCH FROM ITS FIRST ORGANIZATION:
including
A BRIEF NOTICE OF REV. JOHN GLOUCESTER, ITS FIRST PASTOR.
By Rev WILLIAM T. CATTO,
pastor.
also,
AN APPENDIX,
Containing sketches of all the Colored Churches in Philadelphia.
PHILADELPHIA:
JOSEPH M. WILSON,
No. 111 SOUTH TENTH STREET, BELOW CHESTNUT.
1857.
* Notice
* Discourse
* History of the Church
* Appendix
* Wanted
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
# A Selection of Original Songs, Scraps, Etc., by Ned Farmer/The Widowed Bird

The Widowed Bird.
Addressed to Mrs. ———
The grove is silent, and alone is heard The pious mourning of a widowed bird, Who weeps unceasingly her mate at rest, Her offspring nestled to her throbbing breast. O'erwhelmed in woe her faithful heart, she steeps In sorrow's fount, and mournful vigil keeps, Becoming grief! yet certain seasons past It is decreed, the dark hour may not last. The heart's warm blood with gentle joy elate At Nature's bidding, asks another mate. Wise dispensation for the common good, A feeling never to be long withstood. Love lives on memory till time soften'd hours Into another source its fondness pours. Soon as the feather'd choir began to sing, Their hymn of gratitude to welcome spring. Each innate feeling thus by music stirr'd, Its genial influence reach'd the Widowed Bird.
Unerring Nature wills that every kind, Alike in feeling, character, and mind, Consort together, and neglecting this, Small, small indeed, the chance of wedded bliss. The lovely Philomel, with instinct rife, Takes none save Nightingale to be his wife: Thrush will to Thrush, as Lark to Lark repairs, From fellow feeling known each other's cares; Each joy divided, and each sorrow known, And met with kindred feeling all its own. Thus time wore on, as yet no bird had come Congenial partner of her heart and home. A dreary void her "bosom's lord" besets, A life is her's of sighs and vain regrets; At last, in happy hour, one draweth near, Whose warbled notes fall sweetly on her ear, With fluttering plumage see he gains her side, And once again the Widowed Bird's a bride.
A man should never think once ere he performs a good action; but a thousand times before he does a bad one!
# A Selection of Original Songs, Scraps, Etc., by Ned Farmer/The Young Slave's Belief

The Young Slave's Belief.
What you term stars in yonder skies Are lovelier far—they 're angel's eyes; And when looks dim that glorious throng, They weep that those they love do wrong. The soft and murmuring winds you hear Are sighs that precede the coming tear, My Mother's, 'mong them, oft in showers; I've knelt me down and pray'd for hours, Hoping a tear from her bright eye Might fall upon her Orphan Boy. You've heard the thunder's awful crash, And seen the lightning's vivid flash; 'Tis "him" in anger, "he" who gave Life to the White man and the Slave. Who will demand the reason why You thus enslave his Indian Boy? "Will judge us by the heart within, "Nor heed the color of the skin."
# A Selection of Original Songs, Scraps, Etc., by Ned Farmer/They Found a Friend

They Found a Friend.
The north wind chaunts his wildest song, The leafless forest boughs among, Dark night hath drawn her mantle o'er The barren waste and trackless moor, There, wandering, shivering, side by side, Stern want their sad and only guide, Without one earthly friend, or home, The children of the pauper roam. The boy, with gentle accents, said, (Patting his little sister's head,)— "Don't cry, dear Anna; dry that tear; None but the wicked need to fear; Bright morn will soon be here, and then, We're sure to meet some friend again!" Each word prophetic that he said, Bright morning came—it found them dead! Their earthly troubles at an end; The child was right—they found a friend!
# A Selection of Original Songs, Scraps, Etc., by Ned Farmer/True Love

True Love.
True Love's an exotic, the heart is the soil Where implanted, it firmly grows on, In the pride of its beauty, diffusing its smile, When the weed, sensuality's gone.
And should the cold touch of indifference come, To attempt its removal, you'll find (It may wrest the plant from its favorite home,) But 'twill leave naught but ruin behind!
When 'whelmed in deep sorrow, you find that it's dead, And that all the atonement left here, (With a heart, where a thorn hath been planted instead) Is, to water its grave with a tear!
When remorse shall have lit the slow fire of regret, And the pride of life's garden is flown, And the seeds of despair have commingled and met In the spot where the plant should have grown,—
How dreadful, on memory's tablet to view, The sad record of happiness gone! And to feel, that with different treatment from you, The plant might have still flourished on!
# A Semi-centenary Discourse delivered in the First African Presbyterian Church, Philadelphia, on the fourth Sabbath of May, 1857/Notice

NOTICE.
On motion of Rev. Dr. Boardman, it was
Resolved, "That the Presbytery have learned, with satisfaction, that the Rev. Wm. T. Catto has prepared for publication an account of the First African Presbyterian Church, and cordially recommend his historical sketch to the patronage of all who feel interested in the religious welfare of the colored population of our country."
A true extract from the Minutes of the Presbytery of Philadelphia, at their session in "West Spruce Street Church, Philadelphia, July 6, 1857.
Attest:DANIEL GASTON,
Stated Clerk.
Layout 2
# A Series of Plays in which it is attempted to delineate The Stronger Passions of the Mind, Volume One

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
A
SERIES OF PLAYS
IN WHICH
IT IS ATTEMPTED TO DELINEATE
THE STRONGER PASSIONS OF THE MIND
EACH PASSION BEING THE SUBJECT
OF
A TRAGEDY AND A COMEDY
LONDON:
PRINTED FOR T. CADELL, JUN. AND W. DAVIES, IN THE STRAND
1798
Contents
| Introductory Discourse | | | 1 |
| Count Basil | A Tragedy | | 73 |
| | | Act 1 | 75 |
| | | Act 2 | 90 |
| | | Act 3 | 114 |
| | | Act 4 | 139 |
| | | Act 5 | 176 |
| The Tryal | A Comedy | | 193 |
| | | Act 1 | 195 |
| | | Act 2 | 213 |
| | | Act 3 | 235 |
| | | Act 4 | 252 |
| | | Act 5 | 275 |
| De Monfort | A Tragedy | | 301 |
| | | Act 1 | 303 |
| | | Act 2 | 324 |
| | | Act 3 | 345 |
| | | Act 4 | 377 |
| | | Act 5 | 391 |
# A Series of Plays in which it is attempted to delineate The Stronger Passions of the Mind, Volume One/Count Basil

COUNT BASIL:
A TRAGEDY.
PERSONS OF THE DRAMA.
MEN.
Count Basil, a General in the Emperour’s service. Count Rosinberg, his Friend. Duke of Mantua. Gauriceio, his Minister. Valtomer, } Frederick, } Two Officers of Basil’s Troops. Geoffry, an old Soldier, very much maimed in the Wars. Mirando, a little Boy, favourite to Victoria.
WOMEN.
Victoria, Daughter to the Duke of Mantua. Countess of Albini, Friend and Governess to Victoria. Isabella, a Lady attending upon Victoria.
Officers, Soldiers, and Attendants, Masks, Dancers, &c.
*$_*$*The Scene is in Mantua, and its environs. Time supposed to be in the Sixteenth Century, when Charles the Fifth defeated Francis the First, at the Battle of Pavia.
# A Semi-centenary Discourse delivered in the First African Presbyterian Church, Philadelphia, on the fourth Sabbath of May, 1857/Wanted

WANTED.
The undersigned wishes the assistance of COLPORTEURS, to circulate throughout our Church
THE HISTORY
OF THE
PRESBYTERIAN CHURCH IN AMERICA.
BY REV RICHARD WEBSTER.
WITH A MEMOIR OF THE AUTHOR,
BY REV. C. VAN RENSSELAER, D. D.,
AND AN HISTORICAL INTRODUCTION,
BY REV WM. BLACKWOOD, D. D.
With a Portrait of the Author.
Making a large octavo volume of 720 pages, at $3, .free of postage.
(Being the first volume of the Collections of
THE PRESBYTERIAN HISTORICAL SOCIETY.)
The great value of this volume is acknowledged in all parts of our country, and the active ministers in the Church are ready to co-operate in its fullest extent with any persons who engage in the work. To licentiates, ministers with or without charge, and to any others wishing to engage in a good cause, this opportunity is very favorable.
Arrangements of the most liberal character made, and those who will join us in giving this History the wide-spread circulation its worth demands, will address
JOSEPH M. WILSON, Publisher,
P. S. We would also call attention to THE PRESBYTERIAN MAGAZINE, a monthly religious journal, edited by Rev. C. Van Rensselaer, D. D., published at $1 per annum.
In Preparation,
Several works of interest to Presbyterians.
Layout 2
# A September Evening on the Banks of the Moshassuck

1841
    "Now to the sessions of sweet, silent thought,
    I summon up remembrance of things past."
                Shakespeare's Sonnets.
Again September's golden day  Serenely still, intensely bright, Fades on the umbered hills away  And melts into the coming night. Again Moshassuck's silver tide  Reflects each green herb on its side, Each tasselled wreath and tangling vine  Whose tenders o'er its margin twin.
And standing on its velvet short  Where yesternight with thee I stood, I trace its devious course once more  Far winding on through vale and wood. Now glimmering through yon golden mist,  By the last glinting sunbeams kissed, Now lost where lengthening shadows fall  From hazel-copse and moss-fringed wall.
Near where yon rocks the stream inurn  The lonely gentian blossoms still, Still wave the star-flower and the fern  O'er the soft outline of the hill; While far aloft where pine-trees throw  Their shade athwart the sunset glow, Thing vapors cloud the illumined air  And parting day-light lingers there.
But ah, no longer thou art near  This varied loveliness to see, And I, though fondly lingering here  To-night can only think on thee-- The flowers they gently hand caressed  Still lie unwithered on my breast, And still thy footsteps print the short  Where thou and I may rove no more.
Again I hear the murmuring fall  Of water from some distant dell, The beetle's hum, the cricket's call,  And, far away, that evening bell-- Again, again those sounds I hear,  But oh, how desolate and drear They seem to night--how like a knell  The music of that evening bell.
Again the new moon in the west,  Scarce seen upon yon golden sky, Hangs o'er the mountain's purple crest  With one pale planet trembling night, And beautiful her pearly light  As when we blessed its beams last night, But thou art on the far blue see,  And I can only think on thee.
# A First Series of Hymns and Songs/Descriptive Songs/Oh, call my Brother back again

20. Oh, call my Brother back again.
CHILD.
Oh, call my brother back again,
I cannot play alone;
The summer comes with flow'r and bee;
Where is my brother gone?
Oh! call my brother back to me,
I cannot play alone.
The butterfly is glancing bright
Across the sunbeam's track;
I care not now to chase its flight— Oh! call my brother back.
Oh! call, &c.
The flowers run wild—the flowers we sow'd
Around our garden-tree;
Our vine is drooping with its load— Oh! call him back to me.
Oh! call, &c.
MOTHER.
He would not hear my voice, fair child!
He may not come to thee;
The face that once like spring-time smiled
On earth no more thou'lt see!
Thy brother is in heaven, my boy,
And thou must play alone.
​A rose's brief bright life of joy,
Such unto him was given;
You call for him in vain, my boy— Thy brother is in heaven! Thy brother is, &c.
CHILD.
And has he left the birds and flowers,
And must I call in vain;
And through the long, long summer hours,
Will he not come again?
Oh I call, &c.
And by the brook, and in the glade,
Are all our wanderings o'er?
Oh! while my brother with me play'd,
Would I had loved him more!
Oh! call, &c.
# A First Series of Hymns and Songs/Descriptive Songs/By the side of a murmuring Stream

Sometimes attributed to George Canning
32. By the side of a murmuring Stream.
By the side of a murmuring stream
An elderly gentleman sat;
On the top of his head was his wig,
On the top of his wig was his hat.
The wind it blew high and blew strong
Where this elderly gentleman sat,
And took from his head in a trice
And plung'd in the river his hat.
The gentleman then took his cane,
Which lay by his side as he sat,
But he dropp'd in the river his wig,
In attempting to get out his hat.
And now in the depth of despair,
Though still from the place where he sat,
He flung in the river his cane,
To swim with his wig and his hat.
​But cooler reflection at length,
As this elderly gentleman sat,
Said, jump up and follow the stream,
And look for your wig and your hat.
But alas for the thought! for so soon
As he rose from the place where he sat,
He slipp'd! and fell plump overhead,
To swim with his wig and his hat!