OpenLLM-France/wikimedia huggingface dataset:
# A Grammar of the Telugu Language/Chapter I/Sunna and half sunna, circle and semicircle

Section transcluded as per the table of contents rather than in-work section headers due to inconsistent section lengths.
On the Sunna and Half Sunna.
It has already been stated that the circle or cipher ం called sunna is used as a substitute for any nasal letter. But it is wrong to place it in conjugation with న N or మ​ M.
Thus the words anna elder brother and tammudu younger brother should be written అన్న​, తమ్ముడు Some persons write అంన​ తంముడు or even అంన్న​, అంమ్ముడు but these modes are disapproved. In the latter, which is in general use, the N and M are needlessly tripled.
In some particular words the sunna is inserted when required by rule. Thus తమ్ముడు tammudu may become తమ్మండు tammundu. The ం thus inserted is called ఆదేశసున్న​ ādēsa sunna.
​The words are Sanscrit: but in some Telugu words the letter ఁ called the half sunna, or semicircle is used by some grammarians, but in common use the circle alone is used: though it sometimes is pronounced full N as in the English word son, and elsewhere as half N as in the French word son.
In the ancient pronunciation of Telugu, which the rustic and uncultivated classes still retain, the nasal sound was very prevalent in Telugu: as it is to this day among the rural population of England. But in each country the educated classes have laid aside this disagreeable accent.
The nasal is preserved in many Telugu words: as వాడు he వీక​ strength, తోక​ a tail, కాక​ heat which the rustic classes write వాండు, వీంక​, తోంక​, కాంక​ a mode of spelling which we find in several manuscripts, but which is in common use laid aside The learned have attempted to reconcile this discrepancy by using ఁ the semicircle: thus they wish such words to be written thus వాఁడు, వీఁక​, తోఁక​, (Telugu characters)క. In like manner the forms చేయగా, పోవగా, రాగా, (doing, going, coming) are commonly written చేయంగా, పోవంగా, రాంగా. And grammarians wish to retain the semicircle చేయఁగా, పోవఁగా, to denote the slightly nasal sound: which answers to the indistinct N used in French or in the Hindustani language.
But this semicircle has never come into general use among the people, and it will be hard to prove the expedience of a refinement like this: which is discountenanced by most manuscripts of the poets and is entirely unprofitable.
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 Grand Ball

A poem from an invitational ticket to "A Grand Ball" in connection with Tobermore Flute Band that was held on Friday, 23rd October 1896.
1. You Protestants arouse from sleep, do not in slumber lie, Think on the freedom that was gained on the 12th day of July, It's now one and all we on you call to attend our Ball so grand, Which will be held on Friday evening by Tubbermore Flute Band.
2. You ladies, young and beautiful, we kindly you invite, To come to our grand So ree and Ball to spend a happy night, So heed the invitation, and come with hearts so true, Unto the boys of Tubbermore, who love to wear the blue.
# A Grammar of the Telugu Language/Index

ALPHABETICAL INDEX.
To some miscellaneous subjects.
అచ్చ​ తెలుగు, page 18. 101. అసుట 197. 209. అర్ధ​చిందు, 26. 115. 116. 133. ఆంధ్ర, 8. ఆత్మపదార్ఢం, 153. ఉండ, ఉండా, 177. ఊరక, 207. ఏది (i. e. చేశేది,) 137. ఏని 176. కడుపు, 121. 122. కలుగు 135. కా and కాదు, 128. 193. కీర్త​న, 242. కూడుట, 197. గణం, 225. గాంధర్వపచం, 224. చాప్రత్యయం, 95. చాడ్డ​, 181. చెయ్య, 208. తప్పుట, 176. తాటాకు, 210. తెలుగు 223. త్రివింగ, 233. నీళ్లు, 109. పడుట, 196. పదములు, 242. పాపం, 207. పుణ్యం, 207. పాౕవుట, 196. 197. ప్ర​కాశం, 206 బండిరేఫ, 10. బిందు, 2, 8. ఛాగవతపదం, 242. మాట, 208. మానుట, 177. రానా, 131. లె or లేదు, 128, 193, 194. వచ్చుట. 198. వేయుట, 196, 198. వైక్పత, 233. వైదిక, 223. శ and స in verbs, 80. శకటరేఫ, 10. శతకం. 203. శ్రీ, 24. సంగతి, 160, 208. సంగీతశా (Telugu characters), 242. నున్న​, 2, 8, 25, 132.
ENGLISH INDEX.
Notices regarding some books.
Basava Puran, 238. Bhanudmad Vijayam, 228. Bhattiyam 180. Chintamani 180. Prabhu Linga Lila, 238. Casi Yatra 223. Sumati Satacam 203, 232.
The references to various Telugu Poems are explained at the end of volume. The other contractions are such as grammatical phrases require. Thus P‖, denoting participle, pret. preterite. v. n. verb neuter. Lit. literally; n. noun, &c. &c. The persons of the verb are denoted numerically, according to the European mode. But the native method denominates the third person as uttama purusha and the second person as madhyama purusha.
ERRATA.
(In many copies these have been corrected.)
| Page 11. | last line; | for | a long, read along. | a long, read along. | a long, read along. |
| 67. | Aff: Ao. 1. | for | పలుకుదుమ | I speak, read | పలుకుదును |
| 78. | foot | for | కొనుకోరు | read | కొనుకోను |
| 140. | line 24. | for | వెూప​నివి | read | వెూప​నిది. |
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 Dictionary of Music and Musicians/U. C.

​U. C. (Ital. una corda; Fr. petite pedale; Germ, mit Verschiebung). An indication of the use of the left pedal of the pianoforte, by means of which the action is shifted a little to the right, and the hammers made to strike a single string (in modern instruments generally two strings), instead of the three which are ordinarily struck. The return to the use of three strings is indicated by the letters t. c., tre corde, tutte le corde, or sometimes tutto il cembalo. The shifting pedal, the invention of which dates from about the end of the 18th century, is an improvement on the earlier Celeste pedal (also called Sourdine) in which the sound was deadened by the interposition of a strip of leather, or other material, between the hammers and the strings. This arrangement, which is now used only in upright pianos, where from lack of space or from the oblique direction of the strings the shifting action would not be available, gives a dull, muffled sound, which in small instruments is often so weak as to be practically useless; the shifting pedal, on the contrary, produces a beautiful and delicate quality of tone, arising from the sympathetic vibrations of the unused strings, which is by no means the same thing as the ordinary pianissimo, but is of the greatest service in producing certain special effects. Beethoven uses it frequently, in the later Sonatas (from op. 101), and in the Andante of the G major Concerto, op. 58, the whole of which movement is to be played a una corda, except the long shake in the middle, in which Beethoven requires the gradual addition of the other strings, and afterwards the gradual return from three strings to one. His directions are 'due, e poi tre corde,' and afterwards 'due, poi una corda,' but it is not possible to carry them out strictly on the modern pianoforte, as the shifting action now only reduces to two strings instead of one.
[ F. T. ]
# A Dictionary of Music and Musicians/Unequal

[ G. ]
# A Dictionary of Music and Musicians/Ugalde, Delphine

​UGALDE, Delphine, née Beaucé, was born on Dec. 3, 1829, at Paris or at Larne. She received instruction in singing from Madame Moreau-Sainti, and in 1848 made her début as Angela in 'Le Domino Noir' at the Opéra Comique where she became a great favourite. Her repertoire included Henriette in Auber's 'L'Ambassadrice,' and characters in many new operas by A. Thomas, Halévy, Massé, etc. On June 12, 1851, she made her début at Her Majesty's Theatre, London, as Nefte on the production, in England, of Auber's 'L'Enfant Prodigue,' and during the season also played Corilla in Gnecco's 'La Prova,' but though favourably received, did not appear to her usual advantage. According to the 'Musical World,' June 14, 1851, she could 'execute passages with a facility rarely ever heard equalled or surpassed—she sings like a musician and a thorough artist, and in her acting betokens singular esprit and fine comic powers.' Chorley considered that with all her vocal cleverness and audacity, and a dash of true dramatic instinct here and there, she was always an unattractive singer. A want of refinement as distinct from accuracy or finish ran through all her performances; she was too conscious, too emphatic and too audacious; she came with great ambitions to make her first appearance as Semiramide with not one solitary requisite, save command over any given number of notes in a roulade.' In 1853 she retired for a time from the Opéra Comique, through loss of voice, and played at the Variétés, but returned Jan. 26, 1857, as Eros on the production of Psyche (Thomas). In 1859–60 she sang at the Lyrique as Suzanne ('Le Nozze'), and in 'La Fée Carabosse' (Massé) and 'Gil Blas' (Semet) on their production. She afterwards sang in opera bouffe, and, with her second husband Varcollier, for a short time undertook the management of the Bouffes Parisiens.' She is now living in retirement. She also devoted herself to teaching, among her pupils being Madame Marie Sass; also her daughter,
[ A. C. ]
# A Dictionary of Music and Musicians/Umlauf, Ignaz

​UMLAUF, Ignaz, popular dramatic composer in his day, born 1756, in Vienna, where he died June 8, 1796. In 1772 he entered the orchestra of the Court Theatre as violin-player, in 1778 became Capellmeister of the German Singspiel, in 1789 deputy Capellmeister (with Salieri as chief) at the Court Theatre, and later was associated with Weigl in a similar manner at the Opera. His first opera, 'I Rovinati,' was composed to Italian words by Boccherini (Court Theatre, 1772). When the Emperor Joseph instituted the national Singspiel (for which Mozart composed the Entführung') he pitched upon Umlauf to start it, and his 'Bergknappen' was the first German Singspiel produced at the Burgtheater (Feb. 17, 1778). This was succeeded by 'Die Apotheke'; 'Die pucefarbenen Schuhe,' or 'Die schöne Schusterin' (long a favourite with the charming singer Mme. Weiss in the principal part) (1779); 'Das Irrlicht,' comic opera in 3 acts, with Mme. Lange; and 'Der Oberamtmann und die Soldaten' (after Calderon), a 5-act play with airs and serenade (1782); 'Die glücklichen Jäger,' and 'Der Ring der Liebe,' both Singspiele (1786). These operas are all distinguished by a pleasing style, a fine flow of melody, and plenty of striking tunes. Umlauf never left Vienna but once, and that was in 1790, when he went with Salieri and a part of the Court band to the Coronation of the Emperor Leopold II. at Frankfort. A set of variations on the favourite air from 'Das Irrlicht,' 'Zu Steffan sprach in Traume,' composed for the celebrated bass-singer Fischer, was long attributed to Mozart, but they were really written by Eberl (see Köchel's 'Mozart Catalogue,' Appendix V. No. 288). Pianoforte scores appeared of 'Die schöne Schusterin' and 'Das Irrlicht,' while several of the airs from the other Singspiele were published singly or in arrangements. Umlauf's son
[ C. F. P. ]
# A Dictionary of Music and Musicians/Unda Maris

[ G. ]
# A Dictionary of Music and Musicians/Uberti, Giulio

[ J. C. G. ]
# A Dictionary of Music and Musicians/Ulibischew

[ G. ]
# A Dictionary of Music and Musicians/Ulrich, Hugo

[ G. ]
# A Dictionary of Music and Musicians/Un Anno ed un Giorno

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

[ G. ]
# A Little Child's Monument/"The Desert shall blossom as the Rose"

London: C. Kegan Paul & Co., pages 139–141
The desert way is dreary, All empty is the wild, My feet are very weary, I cannot find my child. The infinite blank spaces Are weighing on my soul, Gloom reigns in their dumb faces, And there is no goal! My hand is on the hollow, Where I dreamed a heart; The world is dead; I follow, Darling, where thou art! But while my Hope was swooning, And Earth and Heaven reeled, I heard an infant moaning, Who to my love appealed: So then I prayed for power, And laid him on my breast; The little human flower
Sank trustfully to rest— But in the self-same hour My form the cold earth pressed…
… An orbèd luminous haze-lily, For pistil the Moon-pearl! Ringed round with daffadowndilly, A halo of blown curl, As of young angels kneeling, A reverent band aloof! Earth smiles in the revealing Of Heaven's aery woof. The stranger child I lifted Wan lieth where he fell; His scanty raiment rifted, And woeworn features tell Of a lifelong famine, Of cruelty and pain: And now, while I examine The piteous face again, Meseems there dawns a kindred To a long-lost face; While wakening unhindered Wings of filmy grace From the poor frayed swathings Of his soiled garments break, And delicate soft bathings In the moon-sphere make.
Behold! they turn to flowers, And settle in his hair. All over him in showers; He hath grown so fair! Christ in him overpowers Dull strength of my despair: While some sweet kindred gathers To one fair face I love: Ye divine it, fathers, Who have a child above! … Lo! an eyelid fluttered; I know the bosom heaved! … Now his own arms have uttered All I disbelieved! Dear eyes, long held in durance, For ever open wide, To yield my soul assurance Of all she hath denied!
# A Little Child's Monument

London: C. Kegan Paul & Co., pages Title–ToC
A LITTLE CHILD'S
MONUMENT
BY
THE HON. RODEN NOEL
"Ya mati! ya mati!" "My dead! my dead!"
(Arabic dirge)
"And a little child shall lead them"
FOURTH EDITION
LONDON C. KEGAN PAUL & CO., 1, PATERNOSTER SQUARE 1881
TO
HIS MOTHER
I DEDICATE THIS.
PAGE
My acknowledgments are due to Messrs. Longman and Co., for permission to reprint "In the Corsican Highlands" from Fraser's Magazine, as also to other publishers who have given a similar permission in the case of one or two other poems here reprinted.
R. N.
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 Little Child's Monument/"A Milk-white Bloomed Acacia Tree"

London: C. Kegan Paul & Co., page 15
A milk-white bloomed acacia tree, A flowery fair lawn, Lark-song upsoaring from the lea, In a rosy dawn; A little child who, while he sings, Gives light and joy to all and song, and sunny wings!
The green acacia still blooms, And all the fairy flowers, Song thrills the chorister’s light plumes In blue celestial bowers; Darkling I wander in the wild, Looking for my little child I cannot hear his happy voice, Bidding all the world be lovely, and rejoice.
# A Little Child's Monument/"That they all may be One"

London: C. Kegan Paul & Co., pages 114–115
Whene'er there comes a little child, My darling comes with him; Whene'er I hear a birdie wild Who sings his merry whim, Mine sings with him: If a low strain of music sails Among melodious hills and dales, When a white lamb or kitten leaps, Or star, or vernal flower peeps, When rainbow dews are pulsing joy, Or sunny waves, or leaflets toy, Then he who sleeps Softly wakes within my heart; With a kiss from him I start; He lays his head upon my breast, Tho' I may not see my guest, Dear bosom-guest! In all that's pure and fair and good, I feel the spring-time of thy blood, Hear thy whispered accents flow To lighten woe,
Feel them blend, Although I fail to comprehend. And if one woundeth with harsh word, Or deed, a child, or beast, or bird, It seems to strike weak Innocence Through him, who hath for his defence Thunder of the All-loving Sire, And mine, to whom He gave the fire.
# A Little Child's Monument/"The Cloud may sail there"

London: C. Kegan Paul & Co., pages 121–122
The cloud may sail there, Day flow and fail there, And the eagle fly, Haze overshadow A smooth snow meadow, And gleams of silver Fleeting fly From yon cloud-delver Of gleaming eye! The moon may tarry with Her pale bow, And moonrise marry with Virgin snow, Blue heavens abide, Or solemn-eyed Stars by night, who gaze and go: Ah! ne'er pollute With a mortal foot Yon realms of spirits aerial; All but the lute
Of air be mute From rosy morn to evening fall, While flowerets blue. Fair with dew, Laugh to the azure over all; Let a music mazy, Born of the hazy Play of a tender light and shade, On hallowed ground Dance with the sound Fairy horns have faintly made; A cloud of snow Softly blow On the blue verge of the form so white, Delicate curl In a windy whirl; But man, be far from the holy height Soil no fair fields of frosty light!
# A Little Boy Lost

* A Little Boy Lost (Songs of Experience), by William Blake
* Nought loves another as itself, first draft of A Little Boy Lost (Songs of Experience) by William Blake
# A Little Child's Monument/"The Peace of God which passeth all Understanding"

London: C. Kegan Paul & Co., pages 119–120
I wonder why God hurts little ones in hospital yonder, Lying so pale and quiet, each in his narrow bed, Who should be filling the radiant air with ringing laughter! Here fiendish fingers torture every restless head. The merry hearts are delivered over to cruel Anguish! Why doth God not scare the loathsome Pest away, The harpy at her feast on His own little ones who play? Ah! was it well to blast their one poor hour for pleasure, Who will weep in dull November, nor ever have known a May? Nay! the little ones are Thy children, Thou hast given them gladness! May I not trust Thee with them, who art the pity in me? For how my heart leaps up when I see their dear eyes dawning,
Beholding a toy lamb I bring them tenderly! Shall my poor rill of love be more than the infinite fountain? Then the womb of all were chaos, one wild disharmony! Nay, the river of reason sweeps imperially rolling To a goal of reconcilement afar from mortal eye! Refuse foul is food for a fair supernal flower; Blaspheme not the rank soil where a pure blossom springs; For blossom soars away in a singing-bird's blithe pinion, And bird yields a meek life for a spiritual king's. Discord feeds, and fades in a universal chorus, And the world-psalm were silent, wanting moods of bale— So only Love may work her full miracle of blessing; Annihilate the base metal, all her art would fail. Cease, baffled heart! thy longing to unravel the confusion: Nay! for I hear a Voice beyond the æonian wail! The immeasurable ideal holds us, laps the world in splendour; Every dark point dissolves, and radiates glory infinite, Heaves in waves of mystic music among the heavenlies out of sight. The Ideal involved within impels to reconcile, Blessing vile, and mean, and woeworn with a faint, far smile.
# A Little Brother of the Books

* "A Little Brother of the Books" in Scribner's Magazine (1902)
* "A Little Brother of the Books" in Whom the Gods Destroyed (1902)
# A Princetonian

A PRINCETONIAN
A STORY OF UNDERGRADUATE LIFE AT THE COLLEGE OF NEW JERSEY
BY JAMES BARNES CLASS OF '91 AUTHOR OF "FOR KING OR COUNTRY"
"MIDSHIPMAN FARRAGUT," ETC.
ILLUSTRATED
SECOND EDITION
G. P. PUTNAM'S SONS
| NEW YORK 27 WEST TWENTY-THIRD STREET | LONDON 24 BEDFORD STREET, STRAND |
The Knickerbocker Press 1897
Copyright, 1896 by G. P. PUTNAM'S SONS Entered at Stationers' Hall, London
The Knickerbocker Press, New York
TO THE PRINCETON MAN PAST, PRESENT, AND FUTURE TO ALL LOVERS AND WELL-WISHERS OF OLD NASSAU TO AN ALMA MATER WHO HAS SHELTERED US AND WHOSE PRIDE AND HAPPINESS ARE IN THE WELFARE OF HER CHILDREN THIS LITTLE BOOK IS DEDICATED
PREFACE.
This story deals mostly with a time that is recent, but tempora mutantur. Some of the references I fear will appeal to memories only. If I have mingled the what-might-have-been with what-really-did-occur, I shall make no excuse. I have done this with the idea in my head that the one might seem quite as probable as the other.
If I have been personal, it is without malice, and if I have the merit to stir your recollections, I am rewarded.
One thing will never change, the Princeton spirit. I trust that it can be felt in this tale from old Princeton in the measure that it stirs the heart of the writer.
CONTENTS.
ILLUSTRATIONS
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 years or less. 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
# A Naval Biographical Dictionary/Mitchell, George

Layout 4
​MITCHELL. (Lieut., 1815. f-p., 16; h-p., 27.)
George Mitchell entered the Navy, 27 April, 1804, as Midshipman, on board the Eagle 74, Capts. David Colby and Chas. Rowley, in which ship he continued to serve until 30 Aug. 1811. At first he was employed in the North Sea under the flags of Admirals Edw. Thornbrough and Thos. Macnamara Russell; he afterwards, in May, 1806, assisted at the capture of the island of Capri, on the coast of Italy; and in 1810, having previously taken part in the gun-boat service in the expedition to the Walcheren, he aided in conveying powder to Fort Matagorda, when attacked by the French during the siege of Cadiz. Joining next, in Jan. 1812 (he had passed his examination 15 Jan. 1811), the Sappho sloop, Capt. Hayes O’Grady, he served for two years in that vessel on the Jamaica station, and was often employed in her boats in effecting the well-resisted capture of slave-vessels and other contraband traders. In Nov. 1815, after he had been attached for three months as a Supernumerary to the Namur 74, flag-ship of Sir Thos. AVilliaras at Sheerness, and for 14 as Master’s Mate and Acting-Lieutenant to the Tanais 38, Capt. Jos. James, on the Jamaica station, he took up a commission dated 3 March in that year. His next and last appointment was, 27 Dec. 1825, to the Coast Blockade, in which service he continued, with his name on the books of the Ramillies 74, Capt. Hugh Pigot, until March, 1830.
# A Naval Biographical Dictionary/Minchin, William

Layout 4
​MINCHIN. (Commander, 1821. f-p., 18; h-p., 38.)
William Minchin died 7 Sept. 1845.
This officer entered the Navy, 15 Jan. 1790, as A.B., on board the Advice cutter, ​Lieut.-Commander Henry Wray, attached to the force at Jamaica; and, between March of the following year and April, 1794, was employed on the Home and Mediterranean stations, the last 16 months as Master’s Mate, in the Scout and Orestes sloops, Capts. Rich. Runwa Bowyer, Sir Harry Burrard, Graham Moore, Solomon Ferris, and Lord Augustus FitzRoy; with the latter of whom he further, until Feb. 1796, served in the Pomona, Amphitrite, and Impérieuse frigates. Being promoted (from the Romney 50, flag-ship at Newfoundland of Sir Jas. Wallace) to a Lieutenancy, 27 Dec. 1796, in the Star sloop, Capt. David Atkins, he served in that vessel in the Channel and at the Cape of Good Hope until Feb. 1799; and he was next, between July, 1800, and Oct. 1803, employed, on the Java, Baltic, and West India stations, in the Camel store-ship, Capt. John Lee, Scout again, Capt. Geo. Ormsby, Monarch 74, Capts. Jas. Robt. Mosse and Wm. Bligh, Blenheim 74, Capt. Peter Turner Bover, and Emerald 36, Capt. Jas. O’Bryen. In the Monarch he fought and bled at Copenhagen. He afterwards served on the Home and Newfoundland stations – from Sept. 1804, to May, 1807, in the Warrior 74, Capts. Wm. Bligh and Sam. Hood Linzee, Tisiphone sloop, Capt. Wm. Williams Foote, and Diana 38, Capt. Thos. Jas. Maling – from Sept. 1815 to Aug. 1816, in the Albion and Queen 74’s, each under the orders of Capt. Jas. Walker – and from Nov. 1819, until awarded a second promotal commission, 19 July, 1821, in command of the Pelter gun-brig. He did not afterwards go afloat.