OpenLLM-France/wikimedia huggingface dataset:
# Dictionary of National Biography, 1885-1900/Carr, Robert James

1904 Errata appended.
​CARR, ROBERT JAMES (1774–1841), bishop of Worcester, the son of the the Rev. Colston Carr, a schoolmaster at Twickenham, who was afterwards vicar of Ealing, was born in 1774 at Twickenham. He received his primary education in his father's school. and afterwards went to Worcester College, Oxford. In 1797 he married Nancy, daughter of John Wilkinson of Roehampton, by whom he had a numerous family, of which only four children survived him. In the following year he was ordained by the Bishop of Salisbury, and, after holding some unimportant preferments for a short time, was presented to the vicarage of Brighton. In 1806 he graduated M.A. While he was vicar of Brighton his eloquence commended him to the prince regent, and a friendship was commenced which only terminated with the death of George IV. In 1820 he was appointed dean of Hereford, and in the same year he took the degrees of B.D. and D.D. Four years later he was consecrated bishop of Chichester, and, along with his bishopric, held a canonry in St. Paul's Cathedral. He was also appointed clerk to the closet, an honorary position which he held until the accession of Queen Victoria, when he was dismissed in account of a strict adherence to his political principles. In 1831 he was translated to the bishopric of Worcester, in fulfillment, as it was understood at the time, of a promise made by the late king. Carr was the prelate who attended George IV during his last illness. He devoted himself almost entirely to his episcopal duties, and, although constant in his attendance at the House of Lords, took little interest in politics. He was one of the bishops who voted against the Roman Catholic Relief Bill, and, if ​he did not speak against the measure, allowed his opinions to be seen by the number of petitions against it which he presented. Although strict in the enforcement of religious observances, he had a decided leaning towards the evangelical school of thought. He died in 1841, aged 67, at Hartlebury Palace, near Worcester, from paralysis, and was buried in the churchyard of the parish. His only published works were sermons preached for charitable objects.
[Annual Register, 1841: Times; Record; Worcestershire papers.]
A. C. B.
Dictionary of National Biography, Errata (1904), p.56 N.B.— f.e. stands for from end and l.l. for last line
| Page | Col. | Line | |
| 176 | ii | 21 f.e. | Carr, Robert J.: after George IV insert He was prebendary of Salisbury 1819-24, of Chichester 1821-4, and of Hereford 1822-4 |
| 177 | i | 7 | for in 1841 read on 24 April 1841 |
# Dictionary of National Biography, 1885-1900/Carr, John (1772-1832)

​CARR, Sir JOHN (1772–1832), writer of ‘tours,’ a native of Devonshire, was born in 1772. He was called to the bar at the Middle Temple, but from reasons of health found it advisable to travel, and published accounts of his journeys in different European countries, which, though without much ​intrinsic merit, obtained a wide circulation on account of their light, gossipy style, and the fact that in this species of literature there was then comparatively little competition. In 1803 he published ‘The Stranger in France, a Tour from Devonshire to Paris,’ which, meeting with immediate success, was followed in 1805 by ‘A Northern Summer, or Travels round the Baltic, through Denmark, Sweden, Russia, part of Poland, and Prussia, in 1804;’ in 1806 by ‘The Stranger in Ireland, or a Tour in the Southern and Western parts of that country in 1805,’ soon after which he was knighted by the Duke of Bedford, then viceroy of Ireland; and in 1807 by ‘A Tour through Holland, along the right and left banks of the Rhine, to the south of Germany, in 1806.’ In 1807 his ‘Tour in Ireland’ was made the subject of a clever jeu d'esprit by Edward Dubois, entitled ‘My Pocket Book, or Hints for a Ryghte Merrie and Conceited Tour in 4to, to be called “The Stranger in Ireland in 1805, by a Knight Errant,” and dedicated to the paper-makers.’ For this satire the publishers, Messrs. Vernor, Hood, & Sharpe, were prosecuted in 1809, but Carr was nonsuited. In 1808 there appeared ‘Caledonian Sketches, or a Tour through Scotland in 1807,’ which was made the subject of a witty review by Sir Walter Scott in the ‘Quarterly Review;’ and in 1811 ‘Descriptive Travels in the Southern and Eastern parts of Spain and the Balearic Isles [Majorca and Minorca] in the year 1809.’ Lord Byron—who had met Carr at Cadiz, and had begged ‘not to be put down in black and white’—refers to him in some suppressed stanzas of ‘Childe Harold’ as ‘Green Erin's knight and Europe's wandering star.’ Besides his books of travels Carr was the author of ‘The Fury of Discord, a poem,’ 1803; ‘The Seaside Hero, a drama in three acts,’ 1804 (on the supposed repulse of an anticipated invasion, the scene being laid on the coast of Sussex); and a volume of ‘Poems,’ 1809, to which his portrait was prefixed. He died in New Norfolk Street, London, on 17 July 1832.
[Gent. Mag. cii. pt. ii. 182–3; Annual Register, lxxiv. 211.]
T. F. H.
# Dictionary of National Biography, 1885-1900/Ezekiel, Solomon

​EZEKIEL, SOLOMON (1781–1867), Jewish writer, son of Abraham Ezekiel Ezekiel [q. v.], was born at Newton Abbot, Devonshire, on 7 June 1781, and settled at Penzance as a plumber. In January 1820 he published a letter to Sir Rose Price, bart., ​chairman of a branch of the Society for Promoting Christianity among the Jews, who had asked for a conference with the large and wealthy Hebrew community at Penzance. In consequence of Ezekiel's letter Sir Rose Price made further reaearches, and came to the conclusion that the Jews were not yet prepared to adopt the christian faith, Ezekiel, who was a rigid observer of the rites and ceremonies of the Jewish religion, died at Penzance on 9 March 1867.
He wrote:
* A translation from the Hebrew of a pamphlet by the Rev. Hart Symons, containing censures of the authorised version of the holy scriptures. A reply to this, by John Rogers, canon of Exeter, was published in 1822.
* 'The Life of Abraham' and 'The Life of Isaac,' Penzance, 1844-5, 12mo, being a series of lectures on the lives of the patriarchs, delivered before the Penzance Hebrew Society for Promoting the Diffusion of Religious Knowledge.
* 'Lecture on the Hebrew Festivals,' Penzance, 1847, 12mo, delivered at the Penzance Literary Institute.
[Jewish Chronicle, 22 March 1867, p. 6; Boase and Courtney's Bibl. Cornubiensis, pp. 145. 1178; Cat. of Printed Books in Brit. Mus.; Jacobs and Wolf's Bibl. Anglo-Judaica, No. 971.]
T. C.
# Dictionary of National Biography, 1885-1900/Fabricius

​FABRICIUS. [See Carpenter, Alexander, fl. 1429.]
# Dictionary of National Biography, 1885-1900/Faber, John (1695?-1756)

​FABER, JOHN, the younger (1695?–1756), devoted himself entirely to mezzotint engraving, which he learnt from his father, and attained great excellence in that art, producing a vast number of works. He resided with his father up to the time of the latter's death, and during this period always signed his engravings John Faber, junior. He was for some time a student in Vanderbank's academy in St. Martin's Lane. Among his early works were portraits of Charles I (1717), Charles XII of Sweden (1718), Sir George Byng (1718), Eustace Budgell (1720), and others. A portrait of Thomas, duke of Newcastle, an early work, bears in a second state of the plate the address of John Smith [q. v.], ​the other great exponent of the art of mezzotint engraving at this period. It is possible that Faber may have also worked under him. To Faber posterity owes the preservation of the school of portraiture which was in vogue between the days of Sir Godfrey Kneller (whose school and style are preserved in Smith's engravings) and those of Reynolds and Gainsborough. Among his numerous portraits, more than four hundred of which have come down to us, may be especially noted the fine whole-length of Miss Jane Collier, and that of Father Couplet (from a picture by Kneller at Windsor); also the portraits of Charles II in his robes of state (after Lely), Ignatius Loyola (after Titian), Carreras (after Kneller), and the six aldermen known as ‘Benn's Club’ (after Hudson). He published some sets of engravings, among the best known being ‘The Beauties of Hampton Court,’ ‘The Five Philosophers of England,’ and ‘The Members of the Kit-Cat Club.’ This club [for which see Cat, Christopher] at one time held its meetings in Fountain Court, Strand, in which Faber also resided; this may have led to his being engaged by Tonson to engrave the series of portraits painted by Sir Godfrey Kneller. Faber was engaged on the engravings from 1731 to 1735, and in the latter year they were published by him and Tonson jointly; the plates subsequently passed into the hands of the Boydells, and were sold at the Boydell sale in 1818. During the latter part of his life Faber resided at the Golden Head in Bloomsbury Square, where he died of the gout on 2 May 1756. From the inscription on a masonic portrait of Frederick, prince of Wales, it appears that Faber was a freemason himself. He did not confine his engravings to portraiture, but occasionally produced other subjects, such as ‘The Taking of Namur’ (after Wyck), ‘St. Peter’ (after Vandyck), ‘Salvator Mundi’ (after R. Browne), and various domestic subjects after Philip Mercier. His engravings show a steady progress and improvement throughout his career. According to Walpole, his widow, of whom there is an engraving by Faber from a portrait by Hudson, remarried a lawyer of the name of Smith.
L. C.
# Dictionary of National Biography, 1885-1900/Faber, John (1660?-1721)

​FABER, JOHN, the elder (1660?–1721), draughtsman and mezzotint engraver, a native of the Hague, born about 1660, is usually stated to have settled in England about 1687, bringing with him his son, John Faber [q. v.], then about three years of age. It seems, however, more probable that he did not come until about 1698, for Vertue notes a portrait by him executed at the Hague in 1692, and in the print room at the British Museum there is a small portrait of the younger Faber, as a child of under ten years of age, executed by his father in December 1704. Faber was especially noted for the small portraits which he drew from the life on vellum with a pen; there are other examples in the print room, including one of Simon Episcopius. In 1707 Faber was settled in the Strand, near the Savoy, where he kept a print-shop, and practised as a mezzotint engraver, in which art he gained some proficiency. He engraved many portraits from the life, among them being those of Bishop Atterbury, John Caspar, Count Bothmer, Bishop Hough, Dr. Sacheverell, and others, besides numerous portraits of dissenting clergy. In 1712 he was employed at Oxford to engrave a set of the portraits of the founders of the colleges; this was followed by a similar set of portraits at Cambridge, making forty-five in all. To his visit to Oxford were due the engraved portraits of Samuel Butler, Charles I, Geoffrey Chaucer, Duns Scotus, John Hevelius, Ben Jonson, and others. He also engraved various sets of portraits, such as ‘12 Ancient Philosophers,’ after Rubens, ‘The Four Indian Kings’ (1710), and ‘The 21 Reformers.’ He died at Bristol in May 1721. His engravings, though rather stiffly executed, are much prized, but his fame was overshadowed by that of his son.
[Redgrave's Dict. of Artists; J. Chaloner Smith's British Mezzotinto Portraits; Dodd's manuscript History of English Engravers; Walpole's Anecdotes of Painting, ed. Dallaway and Wornum.]
L. C.
# Dictionary of National Biography, 1885-1900/Fabell, Peter

​FABELL, PETER (fl. 15th cent.), was a native of Edmonton, where he was known as a magician and dabbler in alchemy. His name appears as that of the ‘Merry Devil,’ the chief character in the play of the ‘Merry Devil of Edmonton,’ once attributed to Shakespeare. In the prologue to the play it is proclaimed that the ‘merry devil,’ Peter Fabell, was ‘a renowned scholar,’ and it is added—
If any here make doubt of such a name, In Edmonton yet fresh unto this day, Fixed in the wall of that old ancient church, His monument remaineth to be seen.
There is no precise evidence obtainable as to the existence of such a memorial, but it seems undoubted that Fabell had an historical existence. Weever in his ‘Funerall Monuments’ (1631) says under ‘Edmundton:’ ‘Here lieth interred under a seemelie tomb without inscription the body of Peter Fabell (as the report goes), upon whom this fable was fathered, that he by his wittie devices beguiled the devill: belike he was some ingenious conceited gentleman, who did use some slightie tricks for his own disports. He lived and died in the raigne of Henry VII, saith the booke of his merry pranks.’ Norden, in his account of Edmonton, says: ‘There is a fable of one Peter Fabell, that lies in this church, who is said to have beguiled the devill by policie for money, but the devill is deceit itself.’ The play of the ‘Merry Devil’ went through five editions, dated 1608, 1617, 1626, 1631, and 1655. It was entered on the Stationers' Registers 22 Oct. 1607. Ben Jonson notices its popularity in his prologue to ‘The Devil is an Ass’ (acted in 1616). A similar reference made in the ‘Blacke Booke,’ a tract by Thomas Middleton, the dramatist, issued in 1604, shows that the play had been produced before that date. Thomas Brewer (fl. 1624) [q. v.] was author of a pamphlet dealing with the story of Fabell and others as treated in the play; this tract was entered on the Stationers' Registers in 1608, although not published till 1631. Fuller, who makes the inevitable pun upon the name, says: ‘I shall probably offend the gravity of some to insert, and certainly curiosity of others to omit him. Some make him a fryer, others a lay gentleman, all a conceited person, who with his merry devices deceived the devil, who by grace may be resisted, not deceived by wit.’ In Brewer's pamphlet we are told that Fabell was of good descent, and that he was ‘a man either for his gifts externall or internall inferior to few.’ It speaks of his learning, affability, and liberality to the poor and needy.
[The Merry Devil of Edmonton (1608); Brewer's Life and Death of the Merry Devil of Edmonton (1631); Robinson's History of Edmonton, 1819; Fuller's Worthies; Weever's Funerall Monuments; Warton's Hist. English Poetry, 1824, iii. 365.]
J. B-y.
# Trade Act of 2002/Division D

DIVISION D—EXTENSION OF CERTAIN PREFERENTIAL TRADE TREATMENT

## TITLE XLI—EXTENSION OF GENERALIZED SYSTEM OF PREFERENCES
### SEC. 4101. EXTENSION OF GENERALIZED SYSTEM OF PREFERENCES.

    (a) Extension of Duty-Free Treatment Under System.—
       Section 505 of the Trade Act of 1974 (19 U.S.C. 2465(a)) is amended by striking ``September 30, 2001´´ and inserting ``December 31, 2006´´.
    (b) Retroactive Application for Certain Liquidations and Reliquidations.—
       (1) In general.—
          Notwithstanding section 514 of the Tariff Act of 1930 or any other provision of law, and subject to paragraph (2), the entry—
          (A) of any article to which duty-free treatment under title V of the Trade Act of 1974 would have applied if the entry had been made on September 30, 2001,
          (B) that was made after September 30, 2001, and before the date of the enactment of this Act, and
          (C) to which duty-free treatment under title V of that Act did not apply,
       shall be liquidated or reliquidated as free of duty, and the Secretary of the Treasury shall refund any duty paid with respect to such entry.
       (2) Requests.—
          Liquidation or reliquidation may be made under paragraph (1) with respect to an entry only if a request therefor is filed with the Customs Service, within 180 days after the date of the enactment of this Act, that contains sufficient information to enable the Customs Service—
          (A) to locate the entry; or
          (B) to reconstruct the entry if it cannot be located.
       (3) Definition.—
          As used in this subsection, the term ``entry´´ includes a withdrawal from warehouse for consumption.

### SEC. 4102. AMENDMENTS TO GENERALIZED SYSTEM OF PREFERENCES.

    (a) Eligibility for Generalized System of Preferences.—
       Section 502(b)(2)(F) of the Trade Act of 1974 (19 U.S.C. 2462(b)(2)(F)) is amended by striking the period at the end and inserting ``or such country has not taken steps to support the efforts of the United States to combat terrorism.´´.
    (b) Definition of Internationally Recognized Worker Rights.—
       Section 507(4) of the Trade Act of 1974 (19 U.S.C. 2467(4)) is amended by amending subparagraph (D) to read as follows:
                   ``(D) a minimum age for the employment of children, and a prohibition on the worst forms of child labor, as defined in paragraph (6); and´´.
# Translations into English Verse from the Poems of Davyth ap Gwilym/The Sword

THE SWORD.
Shapely burden of my hand! Foul disgrace is never nigh, When I clasp my long bright brand, Girt by Heaven upon my thigh: Proud protector in the fight, Ranging fierce, and wild and bright. One there is my heart detests, Songs and songsters he infests With a cunning enmity; Fat and taciturn, and foul, Oxlike in his heavy scowl, And his rank obesity: Now with silent frowns he tries, Now with threats, the bard to scare. Wrathful weapon, noble prize! While my hand thy blade can rear, All his terrors I defy! Cold at midnight may I lie, If on charger I retreat From yon wretch, or on my feet! Shall we not our vengeance claim On that man of hate and shame— Eithig—who so foxlike knows How to skulk before his foes,
Scourge and spoiler of the maid? Come with me, my trusty blade; Brightest shingle of my roof, As the rock thou art rust proof! In the turmoil of the fight, Beauteous omen of delight To the ravens—from thy blade Shrink Deira’s hosts dismayed; Double-lip’d, and beaked with ire, Like the lightning’s edge of fire! In thy hollow sheath repose, My defender from my foes. Whereso’er thy master’s hand Plunges with thee, brilliant brand, Despot of the battle ground! Thou a path for him hast found. Should some foes in secret dwell In the forest citadel, Thou shalt flame, impetuous steel, Wildly as the mimic wheel, Which the nurse, from brand on blaze, Whirls before her infant’s gaze. Should the foeman cross my path, E’en Cyhelyn’s shield would fail To protect the foe from scath; Should my sword his life assail, Thou shalt save me, rapier good, From the hornets of the wood. Many a long, long holiday, Through the woodlands I will stray; In the forests will rejoice, With the lady of my choice;
Though, whilst in the woods I stray, All my riches melt away, And my friends indignant say, They my steps too oft behold Near the bank that keeps my gold. Gentle maid, a gen’rous mind, To its love is ever kind!
# Translations into English Verse from the Poems of Davyth ap Gwilym/The Thunder

THE THUNDER.
When she met me in the glade, In the leaves of spring array’d, Well did Morvyth compensate For my dreary watchings late. O’er our verdant couch of state Woodland music ever hung, By the thrush and cuckoo sung: But in this ecstatic hour, The hoarse thunder sudden roar’d, And in many a furious shower The clear rain-drops downward pour’d; The fierce lightning frequent glared. By the ruthless tempest scared, In an agony of dread, From the grove my Morvyth fled! Beaked flame! dread living thunder, Rending lovers’ hearts asunder; Sound of danger and of fear To the beauteous maiden’s ear; Noise that all the nations hear; Clamour that the senses mocks, Hoarse bull raging ’mid the rocks; Clanging armour of the heav’n, Fire and wave in conflict driven; Flame of wrath, and waves that tame, By their mighty gush, the flame;
Giant echoes of dismay, Trumpet of the whelming spray, Like a thousand voices blending, From the stars of heav’n descending; Like the crash of forests hurl’d, From the welkin to our world.
He then becomes, in his peculiar manner, very abusive against the thunder, compares it to the Rhuglgroen (an instrument used for frightening crows), and to an old hag beating her kettles about; he adds that he should not have cared for its vile noise had it not scared Morvyth from his side.
# Translations into English Verse from the Poems of Davyth ap Gwilym/To Morvyth (2)

TO MORVYTH,
WHEN SHE MARRIED HUNCHBACK.
Too long I’ve loved the fickle maid, My love is turned to grief and pain; In vain delusive hopes I stray’d, Through days that ne’er will dawn again; And she, in beauty like the dawn, From me has now her heart withdrawn! A constant suitor—on her ear My sweetest melodies I pour’d; Where’er she wander’d I was near; For her whose face my soul ador’d My wealth I madly spent in wine, And gorgeous jewels of the mine. I deck’d her arms with lovely chains, With bracelets wove of slender gold; I sang her charms in varied strains, Her praise to every minstrel told: The bards of distant Keri know That she is spotless as the snow! These proofs of love I hoped might bind My Morvyth to be ever true: Alas! to deep despair consign’d, My bosom’s blighted hopes I rue, And the base craft that gave her charms, Oh, anguish! to another’s arms!
He adds that he does not know whether she was induced to desert him by fraud or by violence; but that, in either case, he is equally undone.
In another poem he again reproaches her with inconstancy and ingratitude, declaring that, like the cuckoo, he has had only one song—the name of Morvyth.
# Translations into English Verse from the Poems of Davyth ap Gwilym/The last Song the Bard sung

THE LAST SONG THE BARD SUNG.
Youth has fled, and like a dart Grief is planted in my heart— All the joy of life is gone, (Strengthen me, thou Secret One!) Utterly have passed away Youthful prowess—spirit gay, Brain, and soul, and genius—Thou Hast, O Love, thy vengeance now! Wrung for ever from my tongue Is the glorious power of song That inspired my life so long— Ivor, my illustrious guide, Nest my patroness—his bride, Morvyth, idol of my breast— All are in the dust at rest! By a life I loathe, oppress’d, I am left alone to bear Time’s dread load of grief and care! Rhymes no longer I indite, And to woodland wilds recite— In the groves no more I doat On the cuckoo, and the note
Of the nightingale—no more Pine for maiden I adore— For the kiss and murm’ring voice Of the lady of my choice! Age’s pangs are on my brow, (Love is not my sickness now!) Love and all his joys are o’er, E’en his memory I deplore! All my strength like chaff is sear— Death is threateningly near! Near is the impending doom, Earth, and darkness, and the tomb— Christ, my thoughts, my footsteps lead! Amen!—no other guide I need!
# Translations into English Verse from the Poems of Davyth ap Gwilym/To Ivor the Generous (2)

TO IVOR THE GENEROUS,
ON THE BARD GOING ON HIS “CLERA” TO NORTH WALES.
In this poem the bard extols Ivor in a strain somewhat similar to the preceding poem. He thanks him for the munificence with which he had been treated during his stay at Maesaleg.
I obtained from thee the gifts I desired, Kind words and silver, And pure gold, And gay French arms; Abundance of mead and wine; Jewels fit for a second Taliesin.
* ↑ The “Clera” was the periodical circuit made by the Welsh bards, to enjoy the hospitality of their patrons in different parts of Wales. See an Essay on Chivalry in the Cambrian Quarterly Magazine, in which is pointed out the resemblance which many of these privileges and customs of the Welsh bards bore to those of the Provençal troubadours.
* ↑ Taliesin, the most celebrated of the ancient Welsh Bards.