OpenLLM-France/wikimedia huggingface dataset:
# A Chinese and English vocabulary, in the Tie-chiu dialect/Long
### Long.
#### 農$^{-1}$

    To cultivate the ground; to plant; sow; agriculture.

#### 儂$^{-1}$

    I; me; he; him.

#### 濃$^{-1}$

    A thick liquid; rich; strong.

#### 醲$^{-1}$

    Strong liquor; high flavored wine.

#### 瓏$^{-1}$

    A large precious stone laid on the later when praying for rain.

#### 朧$^{-1}$

    A fat appearance.

#### 隆$^{-1}$

    High and fertile; eminent; abundant; conspicuous.

#### 鈴$^{-1}$

    A bell; a small bell suspended from banners.

#### 壟$^2$

    A grave; tomb; a high place in the midst of a field.

#### 攏$^2$

    To grasp; seize; use effort to effect some end; to work.

#### 隴$^2$

    A large natural b ank; a dike between two fields.

#### 竉$^2$

    An aperture; a hole; a den.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Liàng
### Liàng.
#### 良$^{-1}$

    Good; able; considerable.

#### 踉$^{-1}$

    To jump; proceed precipitately; to struggle.

#### 凉$^{-1}$

    Cool; sparing.

#### 梁$^{-1}$

    A bridge; beam or plant; the top beam of a house.

#### 粱$^{-1}$

    A species of grain; millet; tares.

#### 兩$^2$

    Two; a pair; to double; an ounce weight; a two wheel carriage.

#### 倆$^2$

    Art; craft; ingenuity.

#### 輛$^2$

    A pair of wheels; one cart or carriage.

#### 魎$^2$

    A kind of fairy or sprite; an apparition.

#### 諒$^{-3}$

    True speech; to believe; confide in; to know; to assist.

#### 量$^{-3}$

    A measure; to measure; the measure of; capacity of mind; ability to judge.

#### 亮$^{-3}$

    Clear; bright; splendid.

#### 喨$^{-3}$

    Clear distinct sound; to call plainly.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Lio
### Lio.
#### 僚$^{-1}$

    A companion; comrade; colleague; of the same rank.

#### 寮$^{-1}$

    A small window; to study at the same window.

#### 撩$^{-1}$

    To take hold of with the hand; to manage; support.

#### 燎$^{-1}$

    Signal fires intended to rouse attention.

#### 療$^{-1}$

    To resist disease; to cure; the practice of medicine.

#### 瞭$^{-1}$

    Clear vision; a good eye. ​

#### 繚$^{-1}$

    To wrap round; wind about; to manage.

#### 䜍$^{-1}$

    Artful; specious word; insidious language.

#### 遼$^{-1}$

    Remote; far off.

#### 廖$^{-1}$

    A hut; mean abode.

#### 寥$^{-1}$

    Empty; vacant; wide; solitary.

#### 瘳$^{-1}$

    To cure disease; convalescent.

#### 蓼$^{-1}$

    Name of an acrid herb; name of a state.

#### 聊$^{-1}$

    Carelessly; any how; to desire; to depend upon.

#### 了$^2$

    Finished; done; past; entirely; sign of perfect tense.

#### 料$^{-3}$

    To measure; estimate; calculate; manage; provender; materials
# A Chinese and English vocabulary, in the Tie-chiu dialect/Loi
### Loi.
#### 犂$^{-1}$

    To plough; a plough.

#### 禮$^2$

    Ceremony; rite; propriety; decorum; what is becoming.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Lip
### Lip.
#### 立$^{-4}$

    Erect; to set up; establish; to fix; soon; speedily.

#### 笠$^{-4}$

    A bamboo umbrella without a handle, like a cap.

#### 苙$^{-4}$

    A kind of basket.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Liu
### Liu.
#### 旒$^{-1}$

    The streamers of a banner; pendent ornaments of a crown.

#### 流$^{-1}$

    To flow; flow down; to cast off restraint; a class; clan.

#### 琉$^{-1}$

    A pearl; vitreous substance or glaze; bright.

#### 硫$^{-1}$

    Sulphur.

#### 留$^{-1}$

    To stop; remain; detail; delay; slowly; a long time.

#### 榴$^{-1}$

    The pomegranate.

#### 溜$^{-1}$

    Name of a river; to flow; issue forth;

#### 瑠$^{-1}$

    Vitreous substance; glass; a rice vessel.

#### 瘤$^{-1}$

    A large swelling or tumour.

#### 罶$^{-1}$

    A basket in which fish are taken.

#### 遛$^{-1}$

    To linger or lurk about.

#### 騮$^{-1}$

    A bay or chestnut horse with a black tail.

#### 瘰$^{-1}$

    A gathering that swells and increases.

#### 㧕$^2$

    To touch; lay the hand on; feel.

#### 柳$^2$

    The willow; weeping willow; a soft tree of free growth.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Lo
### Lo.
#### 盧$^{-1}$

    A furnace; a rice vessel; reeds that grow by the river.

#### 爐$^{-1}$

    A furnace; stove; fireplace; a censer.

#### 罏$^{-1}$

    A vessel for wine.

#### 蘆$^{-1}$

    Reeds that grow high on the banks of a river. ​

#### 鑪$^{-1}$

    A furnace; a vase for incense; a wine vessel.

#### 鱸$^{-1}$

    Name of a fish.

#### 陋$^{-3}$

    Low; vulgar; obscure; petty; a narrow, dirty lane.

#### 路$^3$

    A path; road; passage; means; opportunity; way.

#### 露$^3$

    Dew, vapors in the night; genial dews.

#### 露$^{3-}$

    To disclose; divulge; come to light.
# A Dictionary of Music and Musicians/Responsorium

From volume 3 of the work.
​RESPONSORIUM. A species of Antiphon, sung in many parts of the Roman Office, and particularly after each of the nine Lessons at Matins, in which Service it forms a very important feature, more especially during Holy Week, when the Lessons are taken from the Lamentations of Jeremiah, and the Responsoria are so arranged as to explain their connection with the sad History of the Passion. [See Lamentations.]
The number of Responsoria used throughout the Ecclesiastical Year is very great. The Plain Chaunt Melodies adapted to them will be found in the Antiphonarium, the Directorium Chori, the Officium Hebdomadæ Sanctæ, and other similar Office Books. They have also been frequently treated in the Polyphonic Style, with very great effect, not only by the Great Masters of the 16th century, but even as late as the time of Colonna, whose Responsoria of the Office for the Dead, for 8 Voices, are written with intense appreciation of the solemn import of the text.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Reverse

From volume 3 of the work.
​REVERSE. See Rovescio.
# A Dictionary of Music and Musicians/Revue et Gazette Musicale

From volume 3 of the work.
​REVUE ET GAZETTE MUSICALE, the oldest and most complete of French musical periodicals. This branch of literature has taken root in France with great difficulty. So far back as Jan. 1770, M. de Breuilly and other amateurs founded the 'Journal de Musique' (monthly, 8vo), which after a troubled existence of three years was dropped till 1777, and then resumed for one year more. In 1810 Fayolle started 'Les Tablettes de Polymnie' (8vo), but it did not survive beyond 1811. Undeterred by these failures, Fétis brought out the first number of the 'Revue musicale' in January 1827. It appeared four times a month, each number containing 24 pages 8vo., till Feb. 5, 1831, when it was published weekly, in small 4to, double columns. 'La Gazette musicale de Paris,' started Jan. 5, 1834, was similar in size to Fétis's Revue,' and also weekly, but issued on Sunday instead of Saturday. The two were united on Nov. 1, 1835, since which date the 'Revue et Gazette musicale,' has twice enlarged its form, in 1841 and in 1845, at which date it became what it was till its last number, Dec. 31, 1880.
The property of the publishers Schlesinger and Brandus, this periodical has always been noted for the reputation and ability of its editors. Amongst its regular contributors have been: Anders, C. Bannelier, C. Beauquier, Berlioz, P. Bernard, H. Blanchard, A. Botte, M. Bourges, Chouquet, Comettant, Cristal, Danjou, Ernest David, F. J. Fétis, O. Fouque, Heller, Héquet, A. Jullien, Kastner, Lacome, A. de La Fage, Liavoix fils, Liszt, de Monter, d'Ortigues, Pougin, Monnais ('Paul Smith'), Richard Wagner, and Johannes Weber. A careful reader of the 47 volumes will easily recognise the sentiments ​of the various editors through whose hands it passed; among those deserving special mention are Fétis, Edouard Monnais, and M. Charles Bannelier, who conducted it from 1872 with equal learning and taste. The indexes given with each volume are a great boon, and constitute one of its advantages over other French periodicals of the same kind.
[ G. C. ]
# A Dictionary of Music and Musicians/Retardation

From volume 3 of the work.
​RETARDATION is a word used by some theorists to distinguish a small group of discords which are similar in nature to suspensions, but resolve upwards, as in Ex. 1.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Reveille

From volume 3 of the work.
​REVEILLE. See Signals.
# A Dictionary of Music and Musicians/Reutter, Georg

From volume 3 of the work.
​REUTTER, Georg, born 1656 at Vienna, became in 1686 organist of St. Stephen's, and in 1700 Hof- and Kammer-organist. He also played the theorbo in the Hof-Kapelle from 1697 to 1703. In 1712 he succeeded Fux as Capellmeister to the Gnadenbild in St. Stephen's, and in 1715 became Capellmeister of the cathedral itself. He died Aug. 29, 1738. His church music was sound, without being remarkable. In Jan. 1695 he was knighted in Rome by Count Francesco Sforza, on whose family Pope Paul III. bestowed the privilege of conferring that honour in 1539. The name of Reutter is closely connected with that of Haydn, through his son,
[ C. F. P. ]
# A Course in Miracles/Workbook for Students/I do not understand anything I see

I do not understand anything I see in this room [on this street, from this window, in this place].
Apply this idea in the same way as the previous ones, without making distinctions of any kind. Whatever you see becomes a proper subject for applying the idea. Be sure that you do not question the suitability of anything for application of the idea. These are not exercises in judgment. Anything is suitable if you see it. Some of the things you see may have emotionally charged meaning for you. Try to lay such feelings aside, and merely use these things exactly as you would anything else.
The point of the exercises is to help you clear your mind of all past associations, to see things exactly as they appear to you now, and to realize how little you really understand about them. It is therefore essential that you keep a perfectly open mind, unhampered by judgment, in selecting the things to which the idea for the day is to be applied. For this purpose one thing is like another; equally suitable and therefore equally useful.
# A Course in Miracles/Workbook for Students/I choose the second place to gain the first

I choose the second place to gain the first.
What seems to be the second place is first, for all things we perceive are upside down until we listen to the Voice for God. It seems that we will gain autonomy but by our striving to be separate, and that our independence from the rest of God's creation is the way in which salvation is obtained. Yet all we find is sickness, suffering and loss and death. This is not what our Father wills for us, nor is there any second to His Will. To join with His is but to find our own. And since our will is His, it is to Him that we must go to recognize our will.
There is no will but Yours. And I am glad that nothing I imagine contradicts what You would have me be. It is Your Will that I be wholly safe, eternally at peace. And happily I share that Will which You, my Father, gave as part of me.
# A Course in Miracles/Workbook for Students/I choose to see my brother's sinlessness

I choose to see my brother's sinlessness.
Forgiveness is a choice. I never see my brother as he is, for that is far beyond perception. What I see in him is merely what I wish to see, because it stands for what I want to be the truth. It is to this alone that I respond, however much I seem to be impelled by outside happenings. I choose to see what I would look upon, and this I see, and only this. My brother's sinlessness shows me that I would look upon my own. And I will see it, having chosen to behold my brother in its holy light.
What could restore Your memory to me, except to see my brother's sinlessness? His holiness reminds me that he was created one with me, and like myself. In him I find my Self, and in Your Son I find the memory of You as well.
# A Course in Miracles/Workbook for Students/I do not know what anything is for

I do not know what anything is for.
Purpose is meaning. Today's idea explains why nothing you see means anything. You do not know what it is for. Therefore, it is meaningless to you. Everything is for your own best interests. That is what it is for; that is its purpose; that is what it means. It is in recognizing this that your goals become unified. It is in recognizing this that what you see is given meaning.
You perceive the world and everything in it as meaningful in terms of ego goals. These goals have nothing to do with your own best interests, because the ego is not you. This false identification makes you incapable of understanding what anything is for. As a result, you are bound to misuse it. When you believe this, you will try to withdraw the goals you have assigned to the world, instead of attempting to reinforce them.
Another way of describing the goals you now perceive is to say that they are all concerned with "personal" interests. Since you have no personal interests, your goals are really concerned with nothing. In cherishing them, therefore, you have no goals at all. And thus you do not know what anything is for.
Before you can make any sense out of the exercises for today, one more thought is necessary. At the most superficial levels, you do recognize purpose. Yet purpose cannot be understood at these levels. For example, you do understand that a telephone is for the purpose of talking to someone who is not physically in your immediate vicinity. What you do not understand is what you want to reach him for. And it is this that makes your contact with him meaningful or not.
It is crucial to your learning to be willing to give up the goals you have established for everything. The recognition that they are meaningless, rather than "good" or "bad," is the only way to accomplish this. The idea for today is a step in this direction.
Six practice periods, each of two-minutes duration, are required. Each practice period should begin with a slow repetition of the idea for today, followed by looking about you and letting your glance rest on whatever happens to catch your eye, near or far, "important" or "unimportant," "human" or "nonhuman." With your eyes resting on each subject you so select, say, for example:
    I do not know what this chair is for.
    I do not know what this pencil is for.
    I do not know what this hand is for.
Say this quite slowly, without shifting your eyes from the subject until you have completed the statement about it. Then move on to the next subject, and apply today's idea as before.
# A Course in Miracles/Workbook for Students/I do not perceive my own best interests

I do not perceive my own best interests.
In no situation that arises do you realize the outcome that would make you happy. Therefore, you have no guide to appropriate action, and no way of judging the result. What you do is determined by your perception of the situation, and that perception is wrong. It is inevitable, then, that you will not serve your own best interests. Yet they are your only goal in any situation which is correctly perceived. Otherwise, you will not recognize what they are.
If you realized that you do not perceive your own best interests, you could be taught what they are. But in the presence of your conviction that you do know what they are, you cannot learn. The idea for today is a step toward opening your mind so that learning can begin.
The exercises for today require much more honesty than you are accustomed to using. A few subjects, honestly and carefully considered in each of the five practice periods which should be undertaken today, will be more helpful than a more cursory examination of a large number. Two minutes are suggested for each of the mind-searching periods which the exercises involve.
The practice periods should begin with repeating today's idea, followed by searching the mind, with closed eyes, for unresolved situations about which you are currently concerned. The emphasis should be on uncovering the outcome you want. You will quickly realize that you have a number of goals in mind as part of the desired outcome, and also that these goals are on different levels and often conflict.
In applying the idea for today, name each situation that occurs to you, and then enumerate carefully as many goals as possible that you would like to be met in its resolution. The form of each application should be roughly as follows:
    In the situation involving ______, I would like ______to happen, and ______ to happen,
and so on. Try to cover as many different kinds of outcomes as may honestly occur to you, even if some of them do not appear to be directly related to the situation, or even to be inherent in it at all.
If these exercises are done properly, you will quickly recognize that you are making a large number of demands of the situation which have nothing to do with it. You will also recognize that many of your goals are contradictory, that you have no unified outcome in mind, and that you must experience disappointment in connection with some of your goals, however the situation turns out.
After covering the list of as many hoped-for goals as possible, for each unresolved situation that crosses your mind say to yourself:
    I do not perceive my own best interests in this situation,
and go on to the next one.
# A Course in Miracles/Workbook for Students/I could see peace instead of this

I could see peace instead of this.
The idea for today begins to describe the conditions that prevail in the other way of seeing. Peace of mind is clearly an internal matter. It must begin with your own thoughts, and then extend outward. It is from your peace of mind that a peaceful perception of the world arises.
Three longer practice periods are required for today's exercises. One in the morning and one in the evening are advised, with an additional one to be undertaken at any time in between that seems most conducive to readiness. All applications should be done with your eyes closed. It is your inner world to which the applications of today's idea should be made.
Some five minutes of mind searching are required for each of the longer practice periods. Search your mind for fear thoughts, anxiety-provoking situations, "offending" personalities or events, or anything else about which you are harboring unloving thoughts. Note them all casually, repeating the idea for today slowly as you watch them arise in your mind, and let each one go, to be replaced by the next.
If you begin to experience difficulty in thinking of specific subjects, continue to repeat the idea to yourself in an unhurried manner, without applying it to anything in particular. Be sure, however, not to make any specific exclusions.
The shorter applications are to be frequent, and made whenever you feel your peace of mind is threatened in any way. The purpose is to protect yourself from temptation throughout the day. If a specific form of temptation arises in your awareness, the exercise should take this form:
    I could see peace in this situation instead of what I now see in it.
If the inroads on your peace of mind take the form of more generalized adverse emotions, such as depression, anxiety or worry, use the idea in its original form. If you find you need more than one application of today's idea to help you change your mind in any specific context, try to take several minutes and devote them to repeating the idea until you feel some sense of relief. It will help you if you tell yourself specifically:
    I can replace my feelings of depression, anxiety or worry
    [or my thoughts about this situation, personality or event] with peace.
# A Course in Miracles/Workbook for Students/I follow in the way appointed me

I follow in the way appointed me.
I have a special place to fill; a role for me alone. Salvation waits until I take this part as what I choose to do. Until I make this choice, I am the slave of time and human destiny. But when I willingly and gladly go the way my Father's plan appointed me to go, then will I recognize salvation is already here, already given all my brothers and already mine as well.
Father, Your way is what I choose today. Where it would lead me do I choose to go; what it would have me do I choose to do. Your way is certain, and the end secure. The memory of You awaits me there. And all my sorrows end in Your embrace, which You have promised to Your Son, who thought mistakenly that he had wandered from the sure protection of Your loving Arms.
# A Course in Miracles/Workbook for Students/I give my life to God to guide today

I give my life to God to guide today.
Father, I give You all my thoughts today. I would have none of mine. In place of them, give me Your Own. I give You all my acts as well, that I may do Your Will instead of seeking goals which cannot be obtained, and wasting time in vain imaginings. Today I come to You. I will step back and merely follow You. Be You the Guide, and I the follower who questions not the wisdom of the Infinite, nor Love whose tenderness I cannot comprehend, but which is yet Your perfect gift to me.
Today we have one Guide to lead us on. And as we walk together, we will give this day to Him with no reserve at all. This is His day. And so it is a day of countless gifts and mercies unto us.
# A Dictionary of Music and Musicians/Roose, John

[ V. de P. ]
# A Dictionary of Music and Musicians/Romer, Emma

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

From volume 3 of the work.
​RONZI. [See Begnis, de.]
# A Dictionary of Music and Musicians/Romeo and Juliet

From volume 3 of the work.
​ROMEO AND JULIET. A subject often set by opera composers; e.g.—
1. Roméo et Juliette; 3 acts; words by de Ségur, music by Steibelt. Feydeau, Paris, Sept. 10, 1793.
2. 'Giulietta e Romeo.' Opera seria in 3 acts, by Zingarelli. Produced at the Scala, Milan, Carnival [App. p.775 "Jan. 30"], 1796. It was one of Napoleon's favourite operas, when Crescentini sang in it.
3. 'Giulietta e Romeo,' by Vaccaj. Produced at the Scala [App. p.775 "the Teatro della Canobbiana"], Milan, spring of 1826 [App. p.775 "Oct. 31, 1825"]; King's Theatre, London, April 10, 1832.
4. 'I Capuletti ed i Montecchi,' in 3 acts; libretto by Romani, music by Bellini. Produced at Venice, March 12 [App. p.775 "11"], 1830. It was written for the two Grisis and Rubini. King's Theatre, London, July 20, 1833.
5. 'Romeo et Juliette,' in 5 acts; words by Barbier and Carre, music by Gounod. Produced at the Thèâtre Lyrique, April 27, 1867. In London, at Covent Garden, in Italian, July 11, 1867.
[ G. ]
# A Dictionary of Music and Musicians/Rooke, William

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Glen (James)

​GLEN (JAMES), printer and bookseller, Edinburgh; In the Parliament Yard, 1656-87. A James Glen appears among the debtors in Lithgow's Inventory, 1662. Probably one of the booksellers who in 1671 acquired the printing-house of the Society of Stationers. A partner of A. Anderson in the privilege and appointment of King's printer, 1671. His name as printer, alone and in partnership, appears in books from 1667 to 1681. In 1687 he was ordered to be imprisoned for causing to be reprinted The Rout of Romish Rites. [H. G. Aldis, List of Books printed in Scotland, 1905, p. 113.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Godwin, or Goodwin (Joseph)

​GODWIN, or GOODWIN (JOSEPH), printer and bookseller in Oxford, 1637-67. His imprint is found in the following work: Christophori Scheibleri Antehac in academia Gissena professoris … Metaphysica … editio ultima, 1637. [F. Madan, Oxford Press, pp. 201, 308.] He was also the publisher of the later edition of 1665.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Gibs, Gibbes, or Gibbs (George)

​GIBS, GIBBES, or GIBBS (GEORGE) bookseller in London; Flower de Luce in Popes-Head-Alley, 1646. Only known from the imprint to L. Owen's Unmasking of all Popish Monks, 1646. [B.M. E. 339 (15).] Possibly a son of George Gibbs the elder, who was publishing at this address from 1613 to 1633. [Arber, v. 237; Sayle, 839.]