OpenLLM-France/wikimedia huggingface dataset:
# A Child's Garden of Verses/A Good Boy

XX
A GOOD BOY
I WOKE before the morning, I was happy all the day,
I never said an ugly word, but smiled and stuck to play.
And now at last the sun is going down behind the wood,
And I am very happy, for I know that I've been good.
My bed is waiting cool and fresh, with linen smooth and fair,
And I must off to sleepsin-by, and not forget my prayer.
I know that, till to-morrow I shall see the sun arise,
No ugly dream shall fright my mind, no ugly sight my eyes,
But slumber hold me tightly till I waken in the dawn,
And hear the thrushes singing in the lilacs round the lawn.
# A Child's Garden of Verses

A CHILD'S GARDEN
OF VERSES
BY
ROBERT LOUIS STEVENSON
LONDON LONGMANS, GREEN, AND CO. 1885
All rights reserved
LONDON: PRINTED BY
SPOTTISWOODE AND CO., NEW-STREET SQUARE
AND PARLIAMENT STREET
CONTENTS
PAGE
THE CHILD ALONE
PAGE
GARDEN DAYS
ENVOYS
PAGE
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 Child's Garden of Verses/A Good Play

XIII
A GOOD PLAY
WE built a ship upon the stairs
All made of the back-bedroom chairs,
And filled it full of sofa pillows
To go a-sailing on the billows.
We took a saw and several nails,
And water in the nursery pails;
And Tom said, 'Let us also take
An apple and a slice of cake;'—
Which was enough for Tom and me
To go a-sailing on, till tea.
We sailed along for days and days,
And had the very best of plays;
But Tom fell out and hurt his knee,
So there was no one left but me.
# A Child's Garden of Verses/A Thought

II
A THOUGHT
IT is very nice to think
The world is full of meat and drink,
With little children saying grace
In every Christian kind of place.
# A Dictionary of Music and Musicians/Sesqui

​SESQUI. A Latin word, signifying, literally, the whole plus its half.
In musical terminology, the prefix Sesqui is used, in combination with certain numeral-adjectives, to express the Proportion, either of Harmonic Intervals or of rhythmic combinations. [See Proportion.] Thus, Sesquialtera expresses the Proportion of two to three, and therefore represents the Perfect Fifth, which is produced by sounding two-thirds of a given string. Sesquitertia, expressing the Proportion of three to four, represents the Perfect Fourth, sounded by three-fourths of the string. Sesquiquarta, or four-fifths, represents the Major Third. Sesquiquinta represents the Minor Third, given by five-sixths of the resonant string. Sesquisexta, six-sevenths, and Sesquiseptima, seven-eighths, correspond with no Intervals in the accepted Canon of the Scale: but, Sesquioctava, or eight-ninths, represents the peculiar form of the Major Second known to Theorists as the Greater Tone; and Sesquinona, nine-tenths, gives the Lesser Tone an Interval, which, though conventionally called a Major Second, and treated, in practice, as identical with that just described, is less, by one Comma, than the Tone represented by Sesquioctava.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Sesquialtera

​SESQUIALTERA. A compound organ stop consisting of several ranks of pipes, sometimes as many as five. Various combinations of intervals are used, but they only represent different positions of the 3rd, 5th, and 8th of the groundtone in the third or fourth octave above. The Sesquialtera thus gives brilliancy to the tone by reinforcing these upper partials.
[ J. S. ]
# A Dictionary of Music and Musicians/Serpette, Gaston

[ G. C. ]
# A Dictionary of Music and Musicians/Seroff, Alexander

[ G. ]
# A Dictionary of Music and Musicians/Servais, Adrien

[ T. P. H. ]
# A Dictionary of Music and Musicians/Sestini, Giovanna

​SESTINI, Giovanna, a singer engaged at the Italian opera in London as prima buffa in 1783. She first appeared in 'La Marchesa Giardiniera' of Anfossi. Although the quality of her voice was not agreeable ('gritty and sharp' Lord Mount-Edgecumbe describes it), and her vocalisation not of the first order, her beauty, vivacity, and intelligence won for her great popularity with the public. Kelly, who heard her at Dublin in 1787, mentions her in his Reminiscences as the best buffa of her time. She was 'first woman' for many years, then, in the decline of her voice, became second, and even after that sang at intervals at Covent Garden and the Haymarket. She was one of those useful people who are ready at a moment's notice to take almost any part, and up to 1791 was often recalled to strengthen a weak company. She remained constantly in England, and died here at last, in great poverty. Her salary for her first season was £450.
[ F. A. M. ]
# A Dictionary of Music and Musicians/Serva Padrona, La

[ G. ]
# A Dictionary of Music and Musicians/Sestet

​SESTET or SEXTET (Fr. Sextuor; Ital. Sestetto). A composition for six instruments, or six voices, with or without accompaniment.
Instrumental sestets are of two kinds; those for strings only, which belong to the same class as string quartets and quintets, being monochromes in six real parts, and those for various combinations of strings, wind and pianoforte, which belong to the class of pianoforte quartets etc., and may be regarded as miniature symphonies. The first of these two classes is, naturally, but rarely met with, six-part harmony not being easy to write; but the few examples we have are striking ones. We may pass over Haydn's solitary specimen, called an 'Echo,' for 4 violins and 2 cellos, and mention only that of Spohr, in C (op. 140), a charming work; the two immortal compositions of Brahms (B♭, op. 18; G, op. 36), which stand at the head of modern chamber-music; the Sextet of Raff, op. 178, in G minor; and that of Dvorshak, recently introduced into England. Raff's work deserves more than a passing word, being one of that composer's most carefully written productions. It is a veritable triumph of counterpoint; not only is the labour of 6-part writing never for a moment shirked, but every device of imitation and canon is lavishly expended. One canon of 6 in 3 in the variations is particularly happy.
All the above are for 2 violins, 2 violas and 2 cellos. Turning now to the second and more comprehensive class, we find a few more in point of number but none of much artistic value. The prolific Boccherini wrote sixteen, Haydn one, Mozart only the 'Musical Joke.' Beethoven's Sestet for Strings and 2 obligate Horns (op. 81b) is interesting, but unfortunately impracticable for modern players. His Sestet for Wind Instruments, op. 71 (for 2 clarinets, 2 horns, and 2 bassoons, in E♭), is an early work and little known. Beethoven himself mentions it in a letter of August 8, 1809, as 'one of my earlier things, and not only that, but written in a single night; perhaps the only thing in its favour is that it is the work of an author who has at least brought forward better works—though for many such works are the best.' (Nohl's Neue Briefe, No. 53.) Sterndale Bennett's Sestet for Piano and Strings a very early work (op. 8) is an elegant pianoforte piece with an unimportant though often picturesque accompaniment for strings, in which the piano has, perhaps, an undue share of work. Onslow left 2 sestets—ops. 30 and 77 bis.
[ F. C. ]
# A-Tisket, A-Tasket

"A-Tisket, A-Tasket" (Roud Folk Song Index 13188) is a nursery rhyme first recorded in America in the late 19th century. The melody to which the nursery rhyme is sung recurs in other nursery rhymes including "It's Raining, It's Pouring"; "Rain Rain Go Away" and "Ring Around the Rosie". It was further used as the basis for a successful 1938 recording by Ella Fitzgerald. Warning: template has been deprecated.
* "Kiss-in-the-ring" in Dorsetshire Children's Games, &c by John Symonds Udal (The Folk-Lore Journal, 1889)
* "Drop the Handkerchief" in Dorsetshire Children's Games, &c by John Symonds Udal (The Folk-Lore Journal, 1889)
# A.D. Bedell Wholesale Co., Inc. v. Philip Morris Inc.

* related portals: United States Court of Appeals for the Third Circuit.
* sister projects: Wikipedia article, Wikidata item.
263 F.3d 239 (3d Cir. 2001), was an early appellate case testing the legality of the Tobacco MSA, in this instance whether it could properly be alleged to violate the Sherman Antitrust Act.
* Court Documents
* Opinion of the Court
* Wikipedia article
* 263 F.3d 239
* A.D. BEDELL WHOLESALE COMPANY, INC.; TRIANGLE CANDY & TOBACCO CO., on behalf of themselves and all others similarly situated, Appellants
* v.
* PHILIP MORRIS INCORPORATED; R.J. REYNOLDS TOBACCO COMPANY, INC.; BROWN AND WILLIAMSON TOBACCO CORP.
* No. 00-3410
* United States Court of Appeals, Third Circuit.
* December 14, 2000, Argued
* June 19, 2001, Filed
* As Amended July 11, 2001
DAVID F. DOBBINS, ESQUIRE (ARGUED), Patterson, Belknap, Webb & Tyler, New York, New York. WILLIAM M. WYCOFF, ESQUIRE, Thorp, Reed & Armstrong, Pittsburgh, Pennsylvania. ALAN R. WENTZEL, ESQUIRE, Windels, Marx, Lane & Mittendorf, New York, New York, DENNIS J. O'BRIEN, ESQUIRE, Pittsburgh, Pennsylvania, Attorneys for Appellants.
DOUGLAS L. WALD, ESQUIRE (ARGUED), Arnold & Porter, Washington, D.C. BERNARD D. MARCUS, ESQUIRE, Marcus & Shapira, Pittsburgh, Pennsylvania, Attorneys for Appellee, Philip Morris Incorporated.
GREGORY G. KATSAS, ESQUIRE (ARGUED), Jones, Day, Reavis & Pogue, Washington, D.C. JOHN E. IOLE, ESQUIRE, Jones, Day, Reavis & Pogue, Pittsburgh, Pennsylvania, Attorneys for Appellee, R.J. Reynolds Tobacco Company, Inc.
TIMOTHY P. RYAN, ESQUIRE, Eckert, Seamans, Cherin & Mellott, Pittsburgh, Pennsylvania, Attorney for Appellee, Brown and Williamson Tobacco Corp.
ERIK S. JAFFE, ESQUIRE (ARGUED), Washington, D.C. THOMAS C. O'BRIEN, ESQUIRE, Corning, New York, Attorneys for Amici Curiae-Appellants, The Cato Institute, The Competitive Enterprise Institute, and The National Smokers Alliance.
JOEL M. RESSLER, ESQUIRE, Office of Attorney General of Pennsylvania, Harrisburg, Pennsylvania, Attorney for Amici Curiae-Appellees, Attorneys General of Pennsylvania, California, Alaska, American Samoa, Arizona, Arkansas, Colorado, Connecticut, Delaware, Georgia, Hawaii, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Rhode Island, South Carolina, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, West Virginia, and Wyoming.
Before: SCIRICA, FUENTES and GARTH, Circuit Judges.
This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# A-Roving

* Search for titles containing or beginning with: "A-Roving."
* sister projects: Wikidata item.
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-Rovin', traditional sea shanty.
* A-Roving, poem by Victor James William Patrick Daley (1892).
# A-Roving (Daley)

When the sap runs up the tree,
 And the vine runs o'er the wall,
When the blossom draws the bee,
 From the forest comes a call,
Wild, and clear, and sweet, and strange,
 Many-toned and murmuring
Like the river in the range
 'Tis the joyous voice of Spring!
On the boles of gray old trees
 See the flying sunbeams play
Mystic, soundless melodies
 A fantastic march and gay;
But the young leaves hear them hark,
 How they rustle, every one!
And the sap beneath the bark
 Hearing, leaps to meet the sun.
O, the world is wondrous fair
 When the tide of life's at flood!
There is magic in the air,
 There is music in the blood;
And a glamour draws us on
 To the Distance, rainbow-spanned,
And the road we tread upon
 Is the road to Fairyland.
Lo! the elders hear the sweet
 Voice, and know the wondrous song;
And their ancient pulses beat
 To a tune forgotten long;
And they talk in whispers low,
 With a smile and with a sigh,
Of the years of long ago,
 And the roving days gone by.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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
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. B. Kirschbaum Company v. Walling

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
316 U.S. 517
A. B. Kirschbaum Company v. Walling
Argued: April 28, 29, 1942. --- Decided: June 1, 1942
Messrs. Wm. Clarke Mason and Frederick H. Knight, both of Philadelphia, Pa., for petitioner A. B. Kirschbaum Co.
Messrs. Walter Gordon Merritt and Kenneth c. Newman, both of New York City, for petitioners Arsenal Bldg. Corporation and another.
Charles Fahy, Sol. Gen., for respondent.
Mr. Justice FRANKFURTER delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# A Compendium of the Chief Doctrines of the True Christian Religion/Chapter 2

II. God himself the primary Substance and Form.
THIS one God is the real and primary substance and form, from whom and by whom all created substances and forms were produced; it being impossible that any substance whatever could have risen up out ​of nothing. All things that exist must, therefore, have been produced by a divine power from an original substance, that is, from God himself, yet in a way, and according to an order, that preserves the most perfect and complete distinction between the Creator and the creature. And as we see, that all created substances and forms have, either directly or indirectly, some respect to the human form; and it being certain, that this respect must ultimately lead and point to him, from whom they proceeded; it necessarily follows, that God is in such original and primary substance and form a Divine Man, in whom nevertheless all things are infinite and eternal, without any relation either to space, or time, or matter, being prior to and far above them.
# A Compendium of the Chief Doctrines of the True Christian Religion/Chapter 26

XXVI. Temptations.
THE removal of evils, together with the pleasures and delights attending them, in consequence of their being deeply implanted in the human mind, cannot be effected without interior pain, distress, and anxiety. Such interior pain is called temptation; and if the objects which occasion it be spiritual, the temptation is then spiritual; but if the objects which occasion it be worldly, the temptation is then merely natural, and is more properly called anxiety. In spiritual temptation there is a conflict or combat between the heavenly kingdom and the infernal kingdom in man, that is, between good and evil, with an endeavour on the part of each to gain the dominion over the other. This conflict is carried on by evil spirits on the one hand, who excite and cherish in man his evil affections, and by good spirits on the other hand, who ​excite and cherish in him his good affections: during which conflict the Lord fights for man, and also gives him the power of co-operating with him, and thus of resisting evil as of himself, while still he acknowledges, that all his help is from the Lord alone.
In this way a check is given to self-love, and the love of the world, which are the two sources, from which all evil and falsehood take their rise. Hereby also man is more distinctly taught the difference between good and evil; and, by the relation subsisting between these two opposite principles, he learns to know, that of himself he is nothing but evil, and that all the good he possesses is the gift of the Lord with him. But as it is impossible for him to support the conflict that takes place between good and evil, in a state of temptation, without the means provided for that purpose by the Lord, which are the truths of faith derived from the Word, therefore no one is admitted into this spiritual warfare, until he is initiated into the knowledges of truth and good, and has thereby acquired some degree of heavenly life. Consequently no man is admitted into spiritual temptations, until he is arrived at years of maturity, and by the exercise of his own free judgment capable of resisting evil as of himself. This was represented in the Israelitish church by the males from twenty years old and upward being ordered to go forth to war, but not those who were under that age; man, about this period of life, being generally capable of exercising his own judgment and determination, but not before. (See Numb. i. 2, 3, 18, &c. Chap. xxvi. 2, 4.)
The effect of temptation is, that the dominion of good over evil, and of truth over falsehood, is established in the human mind; truth also is confirmed, and united with good; the external man is brought under subjection to the internal man; the power of ​selfish and worldly love is reduced; and the concupiscences thence derived are kept in continual restraint. When these purposes are accomplished, a superior degree of illumination takes place, together with a sensible increase of benevolence in the disposition, and man daily advances in understanding, wisdom, and love.
# A Compendium of the Chief Doctrines of the True Christian Religion/Chapter 27

XXVII. Difficulty of Regeneration gradually overcome.
DURING the first stages of regeneration, while man has to oppose all his natural inclinations to evil, with the false pleasures and delights accompanying them, the work is indeed difficult, and resembles a voluntary martyrdom: on which account the Lord says, "If any man will come after me, let him deny himself, and take up his cross daily, and follow me. For whosoever will save his life, shall lose it: but whosoever will lose his life for my sake, the same shall save it," Luke ix. 23, 24. But in the future progress of the work, after a man has for some time successfully combated against his own natural propensities, and when with the return of temptation his delight in the evil excited is sensibly abated, as it will be after a few cases of determined opposition, the difficulty, which was at first experienced, is gradually overcome, and is at length succeeded first by an aversion to the evil which was before pleasing, and secondly by a delight in doing good, and in every possible way promoting the kingdom of the Lord.
In this new state of mind he comprehends and experiences the truth of these divine words, "Come unto me, all ye that labour, and are heavy laden, ​and I will give you rest. Take my yoke upon you, and learn of me, for I am meek and lowly in heart; and ye shall find rest unto your souls. For my yoke is easy, and my burden is light," Matt xi. 28 to 30. And though formerly he could discern in religion nothing but crosses, trials, and sacrifices, he can now unite with the Psalmist in saying, "O how I love thy law! How sweet are thy words unto my taste! they are sweeter than honey to my mouth. Thy testimonies have I taken as an heritage for ever: for they are the rejoicing of my heart. I have longed for thy salvation, O Jehovah; and thy law is my delight," Ps. cxix. 97, 103, 111, 174.
# A Dictionary of Music and Musicians/Whythorne, Thomas

[ W. H. H. ]
# A Dictionary of Music and Musicians/White Meadows, Alice

​WHITE MEADOWS, Alice Mary Meadows White, née Smith, a distinguished English composer, was born May 19, 1839. She was a pupil of Sir W. Sterndale Bennett and Sir G. A. Macfarren; married Frederick Meadows White, Esq., Q.C., Jan. 2, 1867, was elected Female Professional Associate of the Philharmonic Society in Nov. 1867, Hon. Member of the Royal Academy of Music in 1884, and died Dec. 4, 1884. She was a prolific composer of works of all dimensions. The list embraces 2 Symphonies, in C minor (1863), and G (18—); Overtures to 'Endymion' (1871), 'Lalla Rookh' (1865), 'Masque of Pandora,' with two Intermezzi (1878), and 'Jason' (1879); a Concerto for clarinet and orchestra (1872); an Introduction and Allegro for PF. and orchestra (1865); 4 PF. quartets, in B♭
[ G. ]
# A Dictionary of Music and Musicians/Widerspänstigen Zähmung, Der

[ G. ]
# A Dictionary of Music and Musicians/Wieck, Friedrich

​WIECK, Friedrich, a remarkable pianoforte teacher, and father of Madame Schumann, was born Aug. 18, 1785, at Pretsch, near Torgau, in Saxony, began life as a student of theology at Wittenburg, preacher and private tutor, and, was for some time engaged in a piano factory and library at Leipzig. His first wife was named Tromlitz, and was the mother of Clara Josephine, his famous daughter, and of two sons, Alwyn and Gustav. This union, however, was broken off, and the lady married Bargiel, father of Woldemar Bargiel. Wieck married again, July 31, 1828, Clementine Fechner, by whom he had a daughter Marie. About 1844 he removed from Leipzig to Dresden, where he resided till his death, Oct. 6, 1873, spending the summer at Löschwitz, and leading a very musical life, his house a rendezvous for artists. Mendelssohn endeavoured to secure him as Professor of the Piano in the Leipzig Conservatorium, but without success, and Moscheles was appointed instead.
Wieck began to teach the piano on Logier's system, but soon abandoned it for a method of his own, if that can be called a method which seems to have consisted of the application of the greatest care, sense, and intelligence possible to the teaching of technique and expression. He has embodied his views on the piano and singing in a pamphlet entitled 'Clavier und Gesang' (2nd ed., Leipzig, 1875), translated bv H. Krüger, of Aberdeen, with three portraits. [See vol. iii. p. 423b.] Among Wieck's pupils may be mentioned Hans von Bülow, who, in a letter quoted in the translation just mentioned, speaks of him with respect and gratitude. But his daughter Clara, is his best pupil, and his greatest glory.
An institution called the 'Wieck-Stiftung' was founded in Dresden on Aug. 18, 1871, his 86th birthday, partly by funds of his own. He continued to see his friends almost up to the end of his life, and an amusing account of a visit to him in 1872 is given by Miss Amy Fay ('Music Study in Germany,' London, 1886, p. 147). ​He published some Studies and Dances for the piano, Exercises in Singing, and a few pamphlets, Verfall der Gesangkunst' (Decay of the Art of Singing), etc. He edited a number of classical pianoforte works which are published anonymously, but distinguished by the letters DAS (Der alte Schulmeister). For portrait, see p. 492.
[ G. ]
​ Friedrich Wieck. See p. 451.
# A Dictionary of Music and Musicians/Wiener, Wilhelm

[ G. ]
# A Dictionary of Music and Musicians/Whitfeld, Clarke

​WHITFELD, CLARKE. [See Clarke, John. vol. i. p. 365b.]
# A Dictionary of Music and Musicians/Whitmore, Charles

[ A. C. ]