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# Ante-Nicene Fathers/Volume VI/Anatolius and Minor Writers/Anatolius of Alexandria/The Paschal Canon of Anatolius of Alexandria/Chapter II

II.
There is, then, in the first year, the new moon of the first month, which is the beginning of every cycle of nineteen years, on the six and twentieth day of the month called by the Egyptians Phamenoth. But, according to the months of the Macedonians, it is on the two-and-twentieth day of Dystrus. And, as the Romans would say, it is on the eleventh day before the Kalends of April. Now the sun is found on the said six-and-twentieth day of Phamenoth, not only as having mounted to the first segment, but as already passing the fourth day in it. And this segment they are accustomed to call the first dodecatemorion (twelfth part), and the equinox, and the beginning of months, and the head of the cycle, and the starting-point of the course of the planets. And the segment before this they call the last of the months, and the twelfth segment, and the last dodecatemorion, and the end of the circuit of the planets. And for this reason, also, we maintain that those who place the first month in it, and who determine the fourteenth day of the Paschal season by it, make no trivial or common blunder.

## Footnotes

* ↑ [The Church’s Easter-calculations created modern astronomy, which passed to the Arabians from the Church. (See Whewell’s Inductive Sciences.) They preserved it, but did not improve it, in Spain. Christianity re-adopted it, and the presbyter Copernicus new-created it. The court of Rome (not the Church Catholic) persecuted Galileo; but it did so under the lead of professional “Science,’” which had darkened the human mind, from the days of Pythagoras, respecting his more enlightened system.]
* ↑ The word is ἄφεσις, which Valesius makes equivalent to ἀφετηρια, the rope or post from which the chariots started in the race, and so = starting-point.—Tr.
* ↑ περιοδου.
# Ante-Nicene Fathers/Volume VI/Anatolius and Minor Writers/Anatolius of Alexandria/The Paschal Canon of Anatolius of Alexandria/Chapter X

X.
But nothing was difficult to them with whom it was lawful to celebrate the Passover on any day when the fourteenth of the moon happened after the equinox. Following their example up to the present time all the bishops of Asia—as themselves also receiving the rule from an unimpeachable authority, to wit, the evangelist John, who leant on the Lord’s breast, and drank in instructions spiritual without doubt—were in the way of celebrating the Paschal feast, without question, every year, whenever the fourteenth day of the moon had come, and the lamb was sacrificed by the Jews after the equinox was past; not acquiescing, so far as regards this matter, with the authority of some, namely, the successors of Peter and Paul, who have taught all the churches in which they sowed the spiritual seeds of the Gospel, that the solemn festival of the resurrection of the Lord can be celebrated only on the Lord’s day. Whence, also, a certain contention broke out between the successors of these, namely, Victor, at that time bishop of the city of Rome, and Polycrates, who then appeared to hold the primacy among the bishops of Asia. And this contention was adjusted most rightfully by Irenæus, at that time president of a part of Gaul, so that both parties kept by their own order, and did not decline from the original custom of antiquity. The one party, indeed, kept the Paschal day on the fourteenth day of the first month, according to the Gospel, as they thought, adding nothing of an extraneous kind, but keeping through all things the rule of faith. And the other party, passing the day of the Lord’s Passion as one replete with sadness and grief, hold that it should not be lawful to celebrate the Lord’s mystery of the Passover at any other time but on the Lord’s day, on which the resurrection of the Lord from death took place, and on which rose also for us the cause of everlasting joy. For it is one thing to act in accordance with the precept given by the apostle, yea, by the Lord Himself, and be sad with the sad, and suffer with him that suffers by the cross, His own word being: “My soul is exceeding sorrowful, even unto death;” and it is another thing to rejoice with the victor as he triumphs over an ancient enemy, and exults with the highest triumph over a conquered adversary, as He Himself also says: “Rejoice with Me; for I have found the sheep which I had lost.”

## Footnotes

* ↑ [Vol. iii. p. 630. The convenire ad of Irenæus is thus shown to be geographical, not ecclesiastical. Vol. i. pp. 415, 569.]
* ↑ Matt. xxvi. 38.
* ↑ Luke xv. 6.
# Ante-Nicene Fathers/Volume VI/Anatolius and Minor Writers/Anatolius of Alexandria/The Paschal Canon of Anatolius of Alexandria/Chapter IX

IX.
But what wonder is it that they should have erred in the matter of the 21st day of the moon who have added three days before the equinox, in which they hold that the Passover may be celebrated? An assertion which certainly must be considered altogether absurd, since, by the best-known historiographers of the Jews, and by the Seventy Elders, it has been clearly determined that the Paschal festival cannot be celebrated at the equinox.
# Ante-Nicene Fathers/Volume VI/Anatolius and Minor Writers/Anatolius of Alexandria/The Paschal Canon of Anatolius of Alexandria/Chapter VI

VI.
And, therefore, in this concurrence of the sun and moon, the Paschal festival is not to be celebrated, because as long as they are found in this course the power of darkness is not overcome; and as long as equality between light and darkness endures, and is not diminished by the light, it is shown that the Paschal festival is not to be celebrated. Accordingly, it is enjoined that that festival be kept after the equinox, because the moon of the fourteenth, if before the equinox or at the equinox, does not fill the whole night. But after the equinox, the moon of the fourteenth, with one day being added because of the passing of the equinox, although it does not extend to the true light, that is, the rising of the sun and the beginning of day, will nevertheless leave no darkness behind it. And, in accordance with this, Moses is charged by the Lord to keep seven days of unleavened bread for the celebration of the Passover, that in them no power of darkness should be found to surpass the light. And although the outset of four nights begins to be dark, that is, the 17th and 18th and 19th and 20th, yet the moon of the 20th, which rises before that, does not permit the darkness to extend on even to midnight.

## Footnotes

* ↑ xiv. luna. The Romans used the phrase luna prima, secunda, &c., as meaning, the first, second day, &c., after new moon.—Tr.
# Annabel Lee (manuscript)

Annabel Lee.
By Edgar A. Poe.
It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee;— And this maiden she lived with no other thought Than to love and be loved by me.
She was a child and I was a child, In this kingdom by the sea, But we loved with a love that was more than love— I and my Annabel Lee— With a love that the wingéd seraphs of Heaven Coveted her and me.
And this was the reason that, long ago, In this kingdom by the sea, A wind blew out of a cloud by night Chilling my Annabel Lee; So that her high-born kinsmen came And bore her away from me, To shut her up in a sepulchre In this kingdom by the sea.
The angels, not half so happy in Heaven, Went envying her and me:— Yes! that was the reason (as all men know, In this kingdom by the sea) That the wind came out of the cloud, chilling And killing my Annabel Lee.
But our love it was stronger by far than the love Of those who were older than we— Of many far wiser than we— And neither the angels in Heaven above Nor the demons down under the sea, Can ever dissever my soul from the soul Of the beautiful Annabel Lee:—
For the moon never beams without bringing me dreams Of the beautiful Annabel Lee; And the stars never rise but I see the bright eyes Of the beautiful Annabel Lee; And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride In the sepulchre there by the sea— In her tomb by the side of the sea.
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
# Annals

* Search for titles containing or beginning with: "Annals."
* 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.
* Annals, history book by Roman historian and senator Tacitus
* Annals of Wales, history book by Anonymous

## See also

* Chronicles
* History of Rome and Roman History
# Annals (Tacitus)

The Annals (Latin: Annales) by Roman historian and senator Tacitus is a history of the Roman Empire from the reign of Tiberius to that of Nero, the years AD 14–68. The Annals are an important source to modern understanding of the history of the Roman Empire during the first century. The Annals is Tacitus' final work, and modern historians generally consider it his greatest writing.
English-language translations of Annales include:
* The Annals (1858), translated by Roscoe Mongan (full text at HathiTrust)
* The Annals (1876), translated by Alfred John Church and William Jackson Brodribb
* The Annals of Tacitus (1904), translated by George Gilbert Ramsay (full text at HathiTrust)
# An Etymological Dictionary of the German Language/Annotated/Buhle

| This annotated version expands the abbreviations in the original entry Buhle. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Buhle, masculine, ‘lover, paramour,’ from Middle High German buole, masculine, ‘near relative, lover, sweetheart’; likewise Middle High German buole, feminine, ‘lady-love’ (Old High German Buolo, masculine, as a masculine name only); the implied correspondences in the cognate Teutonic dialects are not recorded. It is scarcely disputable, however, that a primitively German word lies at the base of Buhle. Since Bube in Up German dialects signifies ‘lover’ also, it is perhaps connected with Buhle, which may a term of endearment formed from it.
# An Etymological Dictionary of the German Language/Annotated/Bund

| This annotated version expands the abbreviations in the original entry Bund. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bund, masculine, from the equivalent Middle High German bunt (d), ‘bond, fetter, confederacy’; related to binden.
# An Etymological Dictionary of the German Language/Annotated/Bunzen

| This annotated version expands the abbreviations in the original entry Bunzen. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bunzen, Bunzel, masculine, ‘punch, stamp,’ from Middle High German punze, ‘burin, chisel’; the latter word is borrowed from Romance (Italian punzone, French poinçon, Latin punctionem), whence also English punch, puncheon, puncher.
# An Etymological Dictionary of the German Language/Annotated/Bulge

| This annotated version expands the abbreviations in the original entry Bulge. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bulge (Swiss, also Bulgge), feminine, ‘leather water-pail,’ from Middle High German bulge, Old High German bulga, ‘leather bag’; Middle English and English bilğe, bulğe, from *bylčğe. The cognates are allied to Balg (Gothic balgs, ‘leather bottle, bag’), Middle Latin bulga.
# An Etymological Dictionary of the German Language/Annotated/Bugspriet

| This annotated version expands the abbreviations in the original entry Bugspriet. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bugspriet, neuter, from the equivalent Dutch boegspriet; compare the equivalent Middle English bôusprét, English bowsprit (French beaupré).
# An Etymological Dictionary of the German Language/Annotated/Bursche

| This annotated version expands the abbreviations in the original entry Bursche. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bursche, masculine, ‘fellow, apprentice, student,’ properly identical with Modern High German Börse, from Middle High German burse, feminine, ‘purse, money-bag, society, house belonging to a ​society, especially to a students' society.’ From the last meaning, prevalent in the 15th century, the Modern High German acceptation of Bursche (s after r became sch, as in Arsch, Hirsch) was developed, just as perhaps Frauenzimmer from Frauengemach; compare the existing phrase altes Haus among students, Anglo-Saxon geogoð. ‘a company of young people,’ similar to English youth.
# An Etymological Dictionary of the German Language/Annotated/Bude

| This annotated version expands the abbreviations in the original entry Bude. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bude, feminine, ‘booth, stall, shop,’ from Middle High German buode, feminine, ‘hut, tent’; corresponds to Middle English bôþe, ‘taberna,’ English booth; Old Icelandic búð, feminine, ‘dwelling, hut, tent,’ has a different vowel, and is based on the widely diffused root bû-bhû, ‘to dwell, stay.’ By a different derivation English to bui-ld, Anglo-Saxon bold, botl, ‘dwelling,’ Old Frisian bold, Old Icelandic ból, Old Low German bodal, are produced from the same root. So too Old Irish both (bothán), ‘hut,’ from *bu-to, as well as the words discussed under bauen, Lithuanian-Slavonic buda, ‘booth,’ and Bohemian and Silesian Baude, ‘shepherd's hut,’ are borrowed.
# An Etymological Dictionary of the German Language/Annotated/Bug

| This annotated version expands the abbreviations in the original entry Bug. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bug, masculine, ‘bend, flexure, hock, bow (of a ship),’ from Middle High German buoc(g), Old High German buog, masculine, ‘upper joint of the arm, shoulder, upper joint of the leg, hin, hock’; compare Dutch boeg, ‘ship’s bow,’ Anglo-Saxon bôg, bôh, ‘armus, ramus,’ English bough (‘the joint of a tree,’ as it were). The Gothic word may have been *bôgus (from pre-Teutonic bhâghú-s); compare Sanscrit bâhus (for bhâghú-s), ‘arm, fore-arm, fore-feet,’ also Greek πᾶχυς, πῆχυς (for φᾶχυς), ‘elbow, fore-arm, bend of the arm,’ Armenian bazuk, ‘arm.’ On account of the Aryan base bhâghú-s the derivation of Modern High German Bug from biegen (root bug, pre-Teutonic bhuk), is impossible. The ancient terms for parts of the body, such as Arm, Bug, Herz, Nase, Niere, &c., are based upon obscure roots, of which we find no further trace anywhere; they belong, in fact, to the most primitive vocabulary of Aryan speech. —
# An Etymological Dictionary of the German Language/Annotated/Bulle

| This annotated version expands the abbreviations in the original entry Bulle. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Bulle (1.), masculine, ‘bull’ Middle High German only, from the equivalent Low German bulle; compare Dutch bul, bol, English bull (in Anglo-Saxon only the derivative bulluca, ‘bullock,’ appears); akin to Old Icelandic bole, ‘bull’; Lithuanian bullus is not a cognate; root bel in bellen?.
Bulle (2.), feminine, ‘bottle,’ first occurs at a late period in Modern High German, corrupted from buttel, French bouteille.
Bulle (3.), feminine, ‘bull, papal edict,’ from Middle High German bulle, f, ‘seal, document, bull’ Anglo-Saxon bulle, English bull, Modern French bulle). From Latin bulla, literally ‘‘water bubble,’ then ‘boss, knob (on a door),’ finally ‘a ball attached as a seal to documents’; whence also Bill.
# An Etymological Dictionary of the German Language/Annotated/Burg

| This annotated version expands the abbreviations in the original entry Burg. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Burg, feminine, ‘stronghold, citadel, castle, fortified town,’ from Middle High German burc(g), Old High German burg, burug, feminine, ‘enclosed, fortified place, stronghold, castle, town.’ Compare Old Saxon burg, Dutch burg, Anglo-Saxon burh (plural byrg), English borough, bury, burrow (especially in compounds), Gothic baúrgs. In the Old Teutonic dialects Burg corresponded to the modern town. Ulfilas translated πόλις by baurgs. According to the Germania of Tacitus, the Teutons had no urbes, but their oppida were mentioned as early as Cæsar (De Bell. Gall.). With Greek πύργος, ‘tower,’ the Old Teutonic Burg accords neither in form nor meaning. The Old Teutonic word appears strangely enough in Armenian as burgu, and in Arabic as burǵ, which probably owed their immediate origin to late Latin burgus (whence the Romance words Italian borgo, French bourg, ‘market town’; so too Old Irish borg, ‘town’). In this sense the word is solely Teutonic, and belongs with Berg to an Aryan bhṛgh-, which also appears in Old Irish bri (genitive brig), ‘mountain, hill,’ but scarcely to the verbal stem of bergen. The words for ‘town’ were not formed until the separate Aryan tribes ceased their wanderings and became permanent settlers; compare also Garten.
# Anecdotes of Great Musicians/Anecdote 273

273.—OUR MUSICAL ADVANCEMENT.
But few of the great composers have heard their works given with such completeness and skill as they can be given to-day. Wagner was of course an exception to this rule. In our day, while the voices may not be better they are used in more massive combinations, and the orchestral instruments have been improved by modern skill. But of course the stringed instruments ​are an exception to this rule. The organs of to-day are larger and have a more flexible action and greater varieties of tone color than in the time of Bach. The piano of to-day has a much greater volume of tone and an increased compass over the piano of Beethoven's time. In the field of choral music the choruses have been largely augmented, though, to be sure, a large chorus does not always promise the best results in shading and promptitude.
Händel heard no such choruses give his oratorios as we may hear sing them to-day.
When "The Messiah" was first given in Dublin the chorus consisted simply of the choirs at the two cathedral churches. And if Dean Swift had been sane in 1742 it is doubtful whether Händel would have been allowed the use of St. Patrick's choir, for in 1741 the great Dean addressed an exhortation to the Sub-Dean and Chapter, commenting on the conduct of certain members of the choir for "singing and fiddling at a club of fiddlers." The choruses that took part in the performance of Händel's oratorios during his lifetime numbered less than 100 singers. The chorus brought together for the great commemoration performances in Westminster Abbey and in the Pantheon in 1784 was made up of about 275 singers, and yet its size was the astonishment of the contemporaneous musical world.
What would the musicians and public of that day have said to a chorus of five or six thousand singers, such as are now frequently gathered together?
# Anecdotes of Great Musicians/Anecdote 274

274.—HONEST OPINIONS.
Professional musicians often have questions propounded to them that are quite hard to answer, and occasionally some to which, were the truth answered, the reply would not be particularly enjoyed by the questioner. Very frequently some fond mamma brings her aspiring daughter, who, by the way, hardly knows the ​difference between the manipulation of the piano and that of the bass drum, and seeks to be told that her fair offspring is an incipient Clara Schumann or Fannie Bloomfield, and only needs a few suggestions from a teacher to be ready to take the concert stage. Or, perhaps the fair damsel has succeeded in singing the first ten bars of "Bel Raggio" and can sing "Home, Sweet Home" (à la Patti) without getting off the pitch more than five times. The aspiring mater insists that the daughter has a heavenly voice and remarkable talent, and will surely be able to graduate next year, and possibly this year, if the teacher is propitious. And she feels personally insulted if the teacher ventures to offer the information that even the first principles of correct breathing are unknown, that the tones are throaty and not "placed" at all,—that her daughter has to have a thing taught to her by hearing it (like a parrot), and cannot read two consecutive measures correctly,—and that it is necessary to have at least a majority of the notes in tune; but when he adds that it will take two or more years to complete the purely theoretical part of the musical education, the pair take their departure in angry haste and declare that they will go to some teacher who knows a little something about music, and who will at least not insult defenseless ladies who call upon him with the most honorable of intentions.
It would save trouble, though it might lose the teacher an occasional pupil, if he were always to be as honest as was the great French teacher and composer, Cherubini.
One day he was appealed to by a singer, a man with a tremendous voice, to tell him what art he had better follow,—if he had not better become a singer. Cherubini at once asked him to sing, whereupon he opened his mouth and the foundations well nigh trembled with his bellowing.
"What shall I become?" he asked, when he had finished.
"An auctioneer," laconically answered the master.
The singer fled.
# Anecdotes of Great Musicians/Anecdote 275

275.—THE MODERN TENDENCY.
The modern tendency is to do away with the lengthy repetitions which characterized the music of the old classic school. Quite a number of the standard compositions of that epoch are subject to a pruning-down process when given a modern hearing. Whole acts of some of the longer operas are frequently omitted, such as "Roberto" and "L'Africaine" of Meyerbeer, and in others some of the longer-winded parts are excised in performance. Wagner's "Lohengrin" is treated to this kind of a pruning, and the day will doubtless come when this same process will be used in his later works. The general opera-going public, outside of a certain circle of enthusiasts, do not care to hear operas four and five hours long, or a series of operas that, to complete, one must hear three or four presentations. The day of the bulky three-volumed novel is past.
The "Messiah" is so generally "cut" that we might say it is never given in its entirety. Even with a dozen numbers omitted it takes some two hours to give this great oratorio. In it, also, a majority of the long repeats are omitted.
Beethoven felt this spirit dawning even in his day and was inclined to meet it half way. To the opera of "Leonore" he wrote four different overtures before he was satisfied. In the second of these, of which there are two manuscripts in existence, there are many excisions, some of them being ten, fifteen, or twenty measures in length. Had some other and lesser lights submitted their music to this same pruning operation, their works would be more frequently heard and stand higher in the estimation of the musical public.