OpenLLM-France/wikimedia huggingface dataset:
# A Simplified Grammar of the Swedish Language/Part I/Pronouns

PRONOUNS. (Ersättningsord.)
The Personal Pronouns in Swedish are:—
          Singular.
    Nom., jag, I; du, thou; han, he; hon, she; det, it. Gen., — — hans; hennes; dess. D., Acc., mig; dig; honom; henne; det; sig, self (reflect).
          Plural.
    Nom., vi, we; i, ni, you; de, they. Gen., — — deras. D., Acc., oss; eder (er); dem.
​The reflective pronoun sig is used in all genders for the third person, both singular and plural. For the special use of the personal pronouns, see Part II.
The Possessive Pronouns are:—
    Singular. Plural. masc. and fem. neuter. all genders. min, mitt, my. mina, my. din, ditt, thy. dina, thy. sin, sitt, his, her. sina, their. vår, vårt, our. våra, our. eder, er, edert (ert), your. edra, your.
Sin, sitt, sina are used (as in Danish) in a subjective reflective sense, whilst hans, hennes, dess are only used objectively; as, Fadern äskar sitt barn, och söker befrämja dess väl, 'a father loves his (own) child, and strives to promote his (the child's) welfare.
The Demonstrative Pronouns are:—
    Singular. Plural. masc. and fem. neuter. all genders. Nom., etc., den, det, the, this, that. N., de, the, these. G., dess (dens), dess, " G., deras, " " D., Acc., dem, " " ​
          Singular.
    masc. fem. neuter. Nom., denne (a), denna, detta, this. Gen., dennes (as), dennas, dettas, "
          Plural.
    masc. fem. neuter. Nom., desse (a), dessa, dessa. Gen., desses (as), dessas, dessas.
| Sing., | den samme (a), | m., | den samma, | f., | det samma, | the same |
| Plur., | de samme (a), | " | de samma, | " | de samma, | "" |
The Reciprocal Pronouns hvarandra, hvarannan, 'one another,' 'each other,' take s in the genitive.
The Interrogative and Relative Pronouns are:—
    Nom., ho, hvem, who; hvad, what. Gen., hvars (hvems), " hvars, " D., Acc., hvem, " hvad, "
Hvad för en, m., f., hvad för ett, n., hvad för, pl., are occasionally used instead of the relative hvilken, m., f., hvilket, n., Gen. hvilkens, hvilkets, N. A. D. pl. hvilka, for all genders, Gen. hvilkas, 'which.'
Som, 'whom,' 'which,' 'that,' is not declinable.
The principal Indefinite Pronouns are:—
En, Gen. ens, pl. ena, 'one,' 'some one,' generally used only in the objective case.
Man, 'one,' 'they,' used only in the nominative singular.
​Någon, m., f., något, n., pl. några, 'some one,' 'any one;' ingen, m., f., intet, n., pl. inga, 'no one,' 'none;' bägge, båda, 'both;' mången, m., f., månget, n., pl. många, 'many,' 'many a one;' annan, m., f., annat, n., pl. andra, 'other;' ömse, 'both,' 'each;' sjelf, m., f., sjelft, n., pl. sjelfva, 'other;' dylik, 'such;' egen, m., f., eget, n., pl. egna, 'own.'
# A Simplified Grammar of the Swedish Language/Part II/Adverbs

Adverbs. (Omständighetsord.)
The place of the adverb in Swedish is in many cases identical with that which it occupies in English; as, den unga flickan taler väl, 'the young girl speaks well;' dagen derpå, gik han bort, 'the day after, he went away;' glädjen är förbi, 'the pleasure is over;' der du är, der vil jag vara! 'where you are, there I will be!'
​The affirmative ja is used where no negative is involved, jo where the question is put in a negative form; as, Var soldaten hër i går? 'Was the soldier here yesterday?' Ja, 'Yes.' Var icke soldaten der? 'Was not the soldier there?' Jo, 'Yes.' The word ju gives a confirmative or more emphatic significance to the sentence; as, du var ju der i går? 'you (surely) were there yesterday?' It is used in connection with comparative modes of expression, and may be rendered by 'the,' as, ju för ju hellere, 'the sooner the better.'
The negative icke, 'not,' is a modification of the Old Northern gi which also appears in aldrig (aldrige), 'never.' This and ej, inte, 'not,' often follow the verb both in questions and affirmatives; as, Sjunger icke foglen? 'Is not the bird singing?' Lärkan sjunger icke, 'The lark is not singing;' Känner du inte igen doktorn här? 'Do you not know the doctor again?' Nej, jag kan inte erinra mig, 'No, I cannot remember (him).'
Certain adverbs may be used in Swedish in the same attributive sense as in English; as, endast Gud är allvetande, 'only God is omniscient.'
Others may be used with a preposition in the sense of a noun; as, jag har ej sett honom på länge, 'I have not seen him for a long time;' du har fält nog af tårar, 'you have shed enough tears.'
Some adverbs are used as relative or demonstrative pronouns; as, det tidehvarf hvari Luther framstod var en af de stora verldshistoriska epoker, 'the age in which Luther appeared marked one of the great historical epochs of the ​world;' hvarest vinet går in, der går vettet ut, 'where wine enters in, sense goes out.'
# A Simplified Grammar of the Swedish Language/Part II/Prepositions

Prepositions. (Förord).
A preposition in Swedish generally precedes directly the noun which it governs; as nu blifver det en stor glädje på gården och i hela huset, 'now there will be great joy on the estate, and in the house.'
Some prepositions may follow the noun or pronoun; as, det kan ske honom förutan, 'that may happen without him;' oss emellan sagdt, älskar jag henne icke, 'between ourselves, I do not care for her;' att gå om, 'to pass by;' systeren gjorde det mig emot, 'my sister did it against my wishes;' ni med, 'you and all.'
Many prepositions govern the genitive in accordance with the Old Northern construction; as, till lands, 'by land;' till bords, 'to (table) dinner.' This older form is also traceable in such expressions as, tillhanda, 'to hand;' i somras, 'last summer;' i sommar 'this summer;' om sommaren, 'in the summer;' i höstas 'last autumn;' i höst, 'this autumn.'
The correct use of the prepositions presents considerable difficulty in Swedish. Thus, for instance, in rendering the English 'of,' a number of different prepositions are needed in accordance with the special nature of the relations or conditions referred to; as, herren i huset 'the master of the house;' släppen på rocken, 'the train of the dress;' skälet till, 'the reason of;' enkaman efter min syster, 'widower ​of my sister;' tjenaren hos generalen, 'the servant of the general;' full med, 'full of;' af gammal familj, 'of an old family;' en man af snille, 'a man of genius.'
Till still governs a genitive as in Old Swedish; as, till fots, 'on foot;' but the Swedish prepositions generally govern the dative or the accusative.
# A Simplified Grammar of the Swedish Language/Part II/Adjectives

Adjectives.
The masculine singular and plural termination -e is generally changed to -a for the sake of euphony in speaking. It should, however, be retained when the adjective is used as a noun, or when it follows the latter as a distinctive cognomen, or is used as a vocative; as den gode, 'the good (man);' de vise, 'the wise (men);' Gustaf Adolf den store, 'Gustavus Adolphus the Great;' I ädle män! 'ye noble men!' Where the adjective is used to express a noun, it takes s in the genitive; as, de gamles son, 'the old people's son.'
Some adjectives are defective or irregular in their mode of declension; as, grå, 'grey,' which may remain unchanged, or take an a in the plural; as, grå ögon or gråa ögon, 'grey eyes.' Små, although the plural of liten, litet, 'little', may be used in the singular masculine and feminine in a collective sense; as, små fisk, 'small fish;' småskog, m., 'underwood.' As a noun or an adverb, smått is of common occurrence; as, Jag har smått om tid, 'I am pinched for time;' det regnar smått, 'it is (a small rain) drizzling.'
Survivals of the older forms are to be found in such expressions as, till fullo, 'in full;' på ljusan dag, 'in broad daylight.'
Adjectives ending in a, e, se; as, bra (abbr. of braf), 'fine;' lika, 'like;' öde, 'desert;' gängse, 'current,' do not admit of being declined.
A similar rule applies to present participles and adverbs ​used in the sense of adjectives; as, ett leende barn, 'a laughing child;' inhyses hjon, 'a dependant,' 'a person living free of cost in another person's house;' inbördes krig, 'intestine war.'
Certain superlatives are used only in prayer or invocation, and in epistolary and official communications; as, den aller Högste, 'the Most High;' stormäktigst, 'most mighty;' allernådigst, 'most gracious;' tropligtigst, 'most obedient;' underdånigst, ' most humbly.'
The comparative degree may be expressed by the help of the conjunction än 'than;' as, Adolf är äldre än sin syster Maria, 'Adolphus is older than his sister Mary.'
A comparison between two persons or things is not expressed with the comparative but the superlative; as, hvilken af de tvänne qvinnorna är yngst? 'which is the younger of the two women?'
As in English, a certain definite preposition must follow the adjective, to give it the special meaning required; as, ledsen vid, 'weary of;' glad öfver, 'glad of;' kunnig i, 'conversant with.'
The preposition may be omitted with some adjectives; as, Albert är mäktig det svenska språket, 'Albert is master (of) the Swedish language;' min Moder blef henne qvitt, 'my mother got rid (of) her.'
# A Naval Biographical Dictionary/Symons, William Henry (b)

Layout 4
​SYMONS. (Lieutenant, 1841.)
William Henry Symons (b) entered the Navy 2 Nov. 1832; passed his examination 26 Sept. 1839; and after having served as Mate of the Blenheim 72, Capt. Sir Humphrey Fleming Senhouse, at the capture of the Bogue Forts, and as Acting-Lieutenant of the Blonde 42, Capt. Thos. Bourchier, in the attack upon Canton, was promoted by the Admiralty to his present rank 8 Oct. 1841. He was appointed, 3 June, 1842, to the Excellent gunnery-ship at Portsmouth, Capt. Sir Thos. Hastings; and from 5 June, 1843, until the spring of 1844, was employed in the Tyne 26, Capt. Wm. Nugent Glascock, in the Mediterranean.
# A Naval Biographical Dictionary/Talbot, Henry John Chetwynd

Layout 4
​TALBOT, Earl, &c. (Captain, 1827)
The Right Honourable Henry John Chetwynd Earl Talbot succeeded to the peerage, as third Earl, on the demise of his father in Jan. 1849. His services are recorded under the head of Viscount Ingestrie.
# A Naval Biographical Dictionary/Symons, William Joseph

Layout 4
​SYMONS. (Retired Commander, 1837. f-p., 16; h-p., 41.)
William Joseph Symons died 22 Jan. 1845. This officer entered the Navy, 19 Aug. 1788, as A.B., on board the Impregnable 98, Capt. Thos. Byard, bearing the flag of Admiral Graves at Plymouth. In Feb. 1789 he removed to the Echo sloop, Capt. Drew, stationed at Newfoundland; he served next as Midshipman from June, 1790, until Sept. 1791, in the Winchelsea 32, Capts. Hon. Chas. Carpenter and Rich. Fisher, and Roebuck 44, Capt. Jas. May, in the Channel and at Spithead; and from May, 1792, until Nov. 1801, he was employed on the coast of North America and in the North Sea in the Hussar 28, Capts. Rupert George, Chas. Rowley, and John Poo Beresford, Resolution 74, flag-ship of Vice-Admiral Robt. Murray, and Thisbe 28 and Assistance 50, Capts. John Okes Hardy, Robt. Hall, and Rich. Lee. He was nominated an Acting-Lieutenant of the Thisbe 26 Aug. 1795; and was confirmed to that ship 23 June, 1796. He was in her at the capture of the 36-gun frigate Elizabeth. In the Assistance he served for nearly three years and a half. His last appointments were – 2 May, 1804, for three months, to the Pheasant 18, Capt. Henry Carew, in the Channel – 20 March, 1806, to the Princess Royal 98, Capt. Robt. Carthew Reynolds, with whom he continued employed on the same station until April, 1807 – and, in April, 1813, to the Transport Service in the Mediterranean, where he remained until Feb. 1815. He accepted the rank of Commander on the Retired List 30 Aug. 1837.
# A Naval Biographical Dictionary/Synge, Robert

Layout 4
​SYNGE. (Lieutenant, 1841.)
Robert Synge, born 8 July, 1812, is third son of the late Sir Edw. Synge, Bart., by Mary Helena, eldest daughter of Robt. Welsh, Esq., of the Irish bar; brother of the present Sir Edw. Synge, Bart, (a Magistrate for King’s County and a Deputy- Lieutenant for co. Cork, who served as High-Sheriff of the latter in 1844) and of Lieut. Henry Millington Henry Synge, R.E.; and nephew of the Rev. Robt. Synge, M.A., who married a sister of the late Right Hon. Sir Wm. Webb Follett, M.P., H.M. Attorney-General.
This officer entered the Navy, 22 April, 1825; passed his examination 2 Oct. 1833; and since 6 Dec. 1839 has been employed in the Coast Guard. He was advanced to his present rank 23 Nov. 1841.
Lieut. Synge married Jessie, daughter of ___ Robyns, Esq., which lady died, leaving a daughter.
# A Naval Biographical Dictionary/Tait, Alexander

Layout 4
​TAIT. (Commander, 1825. f-p., 14; h-p., 27.)
Alexander Tait entered the Navy, 15 Feb. 1806, as Fst.-cl. Vol., on board the Lynx sloop, Capt. John Willoughby Marshall. After serving for upwards of three years in that vessel in the North Sea and Baltic, he removed, in March, 1809, as Midshipman (a rating he had attained in March, 1808) to the Nymphen 36, Capts. Keith Maxwell and John Hancock; under the former of whom he accompanied the expedition to the Walcheren, and assisted in forcing the passage between the batteries of Flushing and Cadsand. From Dec. 1810 until Dec. 1812 he was again employed in the Baltic, part of the time as Master’s Mate, in the Reynard sloop, Capts. Hew Steuart, Geo. Brine, and David Latimer St. Clair; and in Jan. 1813 he joined the Daedalus 38, Capt. Murray Maxwell, fitting for the East Indies; where he was wrecked, 2 July following, near the island of Ceylon. He was then received on board the Minden 74, bearing the flag of Sir Sam. Hood, who nominated him, 2 Oct. in the same year, Acting-Lieutenant of the Africaine 38, Capt. Hon. Edw. Rodney. In that frigate, to which he was confirmed 1 June, 1814, he continued until Feb. 1816. His next and last appointment was, 1 Nov. 1821, to the Andromache 42. In her he served for upwards of three years at the Cape of Good Hope under the broad pendants of Commodores Joseph Nourse and Constantine Rich. Moorsom. On being paid off he was promoted to his present rank 9 July, 1825.
# A Dictionary of Music and Musicians/Kit

From volume 2 of the work.
​KIT, a tiny violin, which, before the general introduction of pianofortes, was carried by dancing masters in their pockets. Hence the French and German names for it were 'pochette' and 'Taschengeige,' though pochette is also applied to an instrument of long and narrow form resembling a sourdine. It was usually about 16 inches long over all: the woodcut shows its size relatively to that of the violin. Sometimes, however, as in Nos. 61h and 66 of the Special Exhibition of Ancient Musical Instruments, S. K. Mus. 1872, the neck was longer and broader, for convenience of fingering, which gave the Kit a disproportioned look. The instrument is now practically obsolete.
[ G. ]
# A Dictionary of Music and Musicians/Kitchener, William

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Klavier-musik, Alte

From volume 2 of the work.
​KLAVIER-MUSIK, ALTE. The name of two collections of P.F. music. I. Edited by E Pauer, and published by Senff, Leipzig:—
1st Series.
2. Galuppi, Sonata in D. Padre Martini. Gavotte and Ballet. Paradies, Sonata in A.
3. Kerl. Toccata in C. Frohberger, Toccata in A minor. Kuhnau, Suite in E minor.
4. Mattheson, Suite in A. Muffat, Courante and 2 Minuets. Hasse, Sonata in D.
5. J. L. Krebs, Fugue in F. Marpurg, Preludium and Capriccio. Kirnberger, Gigue, Gavotte, Courante, and Allegro for a musical clock.
2nd Series.
2. Murschhauser, Aria pastoralis variata. W. Fr. Bach, Capriccio in D minor. Eberlin, Prelude and Fugue in A minor.
3. Nichelmann, La Galllarde et La Tendre (Sarabande and Gigue) in G. Benda, Sonata in G minor. J. E. Bach, Fantasia and Fugue in F.
4. J. C. F. Bach, Rondeau in C. J. Ch. Bach, Sonata in B♭.
5. Rameau, Deux Gigues en Rondeau, Le Rappel des Oiseaux, Les tendres Plaintes, Deux Menuets, L'Egyptienne, La Poule.
II. Edited by F. Roitzsch, published by Peters:—
J. Ernst Bach, Fantaisie and Fugue in F. Kirnberger, Prelude and Fugue in C♯ minor. C. P. E. Bach, Solfeggio in C min. Do., Sonata in F minor. Couperin, March in A♭. Do., Le Réveille-Matin in F. Rameau, Tambourin in E minor. D. Scarlatti, Allegro in G minor. D. Scarlatti, Sonata in A. Do., The Cat's Fugue, in G minor. Clementi, Toccata in B♭. Field, Rondo in E. Cherubini, Fugue in C. W. F. Bach, Sonata in D. Eberlin, Prelude and Fugue in E minor. Hässler, Fantasia in C minor. J. B. Cramer, Toccatina in A♭.
[ G. ]
# A Dictionary of Music and Musicians/Klein, Bernhard

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

From volume 2 of the work.
​KIRKMAN. The name borne by a family of eminent harpsichord, and subsequently pianoforte makers. Jacob Kirchmann (afterwards Kirkman) a German, came to England early in the last century, and worked for Tabel, a Flemish harpsichord maker, who had brought to London the traditions of the Ruckers of Antwerp. [See Ruckers.] Another apprentice of Tabel's was Shudi, properly Tschudi, who became Kirkman's rival, and founded the house of Broadwood. Tabel would have been quite forgotten, but for these distinguished pupils, and for the droll anecdote narrated by Dr. Burney, of Kirkman's rapid courtship of Tabel's widow and securing with her the business and stock in trade. He proposed at breakfast-time, and married her (the marriage act being not then passed) before twelve o'clock, the same day, just one month after Tabel's demise. Jacob Kirkman carried on business at the sign of the King's Arms in Broad Street, Carnaby Market, now No. 19 Broad Street, Soho; still owned by the present Kirkman firm. Dr. Burney places the arrival of Jacob Kirkman in England in 1740, but that is manifestly too late, Shudi being then already established in business in Great Pulteney Street. There is no reason, however, to doubt the same generally excellent authority that his death took place about 1778, and that he left nearly £200,000.
Burney, in Rees's Cyclopaedia, gives Jacob Kirkman's harpsichords high praise, regarding them as more full in tone and durable than those of Shudi. These instruments retained certain features of the Antwerp model, as late as 1768, preserving André Ruckers's keyboard of G—F (nearly 5 octaves) with lowest G♯ wanting. This, as well as the retention of the rosette in the soundboard may be seen in Mr. Salaman's Kirkman harpsichord of that year, in which we find King David playing upon the harp, between the letters I and K. Dr. Burney met with no harpsichords on the continent that could at all compare with those made in England by Jacob Kirkman, and his almost life-long competitor, Shudi.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Kjerulf, Halfdan

​KJERULF, Halfdan, was born at Christiania in 1815, and became known as a composer in Norway and the surrounding countries during the time of Norway's struggle for freedom, and the consequent renascence of her intel lectual and artistic spirit.
In 1834 he was a graduate of the Christiania University, and he had as a matter of course devoted himself to the study of jurisprudence, for his father's high post under Government would have ensured for him a good start in official life. There ensued the heartaches and the struggles of a born artist who cannot throw himself into what he feels to be the 'wrong direction for his energies.' His case was aggravated by the condition of the poor and cold country of Norway,' which possessed 'no hothouse to foster the arts.' Nevertheless, the blossom of Kjerulf's art was destined to raise its head in the chill desert. On the death of his father in 1840, a decided step was at last taken by Halfdan Kjerulf; and he began his professional career at the age of 25. He settled down as a teacher of music, and published some simple songs even before he had been introduced to the theory of music by some resident foreigner. In 1850 or thereabouts Kjerulf had begun to attract public attention, the Government awarded to him a grant by which he was enabled to study for a year at Leipzig under Richter. On his return to Christiania he did his best to establish classical subscription concerts in that city, but with no lasting success. In 1860 he was in active co-operation with Björnson, who wrote for him many poems; and it was during these years—1860 to 1865—that Kjerulf did his best work, resigned to a contemplative and lonely existence, and content to exercise a quiet influence upon those who sought him out. Grieg amongst others was very glad of the older master's moral support.
The portraits of Kjerulf represent him with a mild and pensive face, with traces of pain in the expression. He had indeed suffered for long from extreme delicacy in the chest, and death overtook him when he had withdrawn to a retreat at Grefsen, near Christiania, in August 1868. A wave of deep emotion and sympathy, the fervour of which would have astonished the composer himself, passed over the country he had loved and served so well.
The value of Kjerulf's stirring quartets and choruses for men's voices, as reflecting the national sentiment in the way most acceptable to his countrymen, has already been commented on. As absolute music they are of slight interest, but by their vigour and their straightforward simplicity they may be said to possess all the virtue which belongs to complete appropriateness to the subject. His few pianoforte pieces fully maintain the highly artistic standard to which Kjerulf was always faithful.
[ L. M. M. ]
* ↑ Mendel and other German authorities give wrong dates.
* ↑ For a full account of Kjerulf as the representative of his country, and for extracts from his letters and details of his private life, the reader may be referred to the articles 'Halfdan Kjerulf' by Henrik Sundt, in the 'Musical World' of October 1, 8, and 15, 1887.
# A Dictionary of Music and Musicians/Kirnberger, Johann Philipp

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

​KIRTLAND. See Jardine in Appendix.
# A Dictionary of Music and Musicians/Kistner

From volume 2 of the work.
​KISTNER. One of the great music publishing firms of Leipzig. The business was founded in 1823 by Probst, who was succeeded in 1831 by Karl Friedrich Kistner, a man of some gifts for music and great business powers. The new name was not assumed till 1836. Kistner greatly improved the business and secured important works of Mendelssohn, Schumann, Chopin, Moscheles, Sterndale Bennett, etc. He died greatly esteemed, in 1844, and was succeeded by his son [App. p.691 "brother"] Julius, who followed in his father's steps with equal success. He added the names of Hiller, Taubert, and Rubinstein to the catalogue of the house, and will long be remembered by those who had to do with him for his kindness and liberality. He withdrew from the business in 1866 in favour of Karl Friedrich Ludwig Gurckhaus—by whom the establishment is still carried on in its old style—and died May 13, 1868.
[ G. ]
# A Dictionary of Music and Musicians/Kittel, Johann Christian

From volume 2 of the work.
[ G. ]