OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Jewsbury, Maria Jane

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JEWSBURY, MARIA JANE.
We choose to retain the name by which this gifted woman was known as an authoress, although she had changed it before her decease; but we can never think of her as Mrs. Fletcher. Miss Jewsbury was born about 1800, in Warwickshire. In early youth she lost her mother, and was thenceforth called to take her place at the head of a large family. Her father, soon after her mother's death, removed to Manchester; and here, in the midst of a busy population, oppressed with ill health, and the grave cares of life, the promptings of genius still triumphed, and the young lady found time to dream dreams of literary distinction, which the energy of her mind, in a few years, converted into realities.
It was at this period that she addressed a letter to Wordsworth, full of the enthusiasm of an ardent imagination: this led to a correspondence with the bard of "the Excursion," which soon ripened into permanent friendship. She was materially assisted in the developement of her talents, and the circulation of her literary efforts, by the advice and active kindness of Mr. Alaric Watts, at that time a resident in Manchester: these obligations she always gratefully acknowledged.
Her first work was entitled "Phantasmagoria; or. Essays of Life and Literature,"—which was well received by the public. This was followed by "Letters to the Young," written soon after a severe illness: then appeared "Lays for Leisure Hours." Her last work was her "Three Histories," which she allows displays much of her own character and feelings. But her best writings are to be found in the periodicals and annuals, to which she was a large and most popular contributor.
In 1833, she married Mr. Fletcher, a gentleman who held an office under the London East India Company—and soon after her marriage left England with her husband for Bombay. She anticipated with eager pleasure the riches of nature and antiquity, which the gorgeous East would open before her—but the buoyant and active spirit was soon to be called to another and higher existence. ​She died a short time after reaching India, and sleeps in that "clime of the sun," a fit resting-place for her warm and ardent heart
# A Cyclopaedia of Female Biography/Joanna, or Jane of Navarre

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JOANNA, OR JANE OF NAVARRE,
Consort of Henry the Fourth of England, was the second daughter of Charles d'Albert, King of Navarre, surnamed the Bad. Her mother was Jane, daughter of John, King of France. Joanna was born about 1370, and in 1386, she married John de Montfort, Duke of Bretagne, surnamed the Valiant, by whom she was tenderly beloved, and who left her regent and sole guardian of the young duke, their eldest son, on his death, in 1399. In 1402, Joanna married Henry of Lancaster, King of England, who died in 1413; after which event, Joanna still remained in England. In 1419, she was arrested on a charge of witchcraft against the king, Henry the Fifth, her step-son. She was condemned, deprived of all her property, and imprisoned till 1422, when she was set free, and her dower restored. She died at Havering Bower, in 1437. Joanna had nine children by the Duke of Bretagne, some of whom died before her; but none by Henry the Fourth. She was a beautiful and very intelligent woman.
# A Cyclopaedia of Female Biography/Jeanne of France and Navarre

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JEANNE OF FRANCE AND NAVARRE,
Wife of Philip the Fourth of France, was the only child and heiress of Henry the First, King of Navarre and Count of Champagne. The Count de Bar having attacked Champagne, she placed herself at the head of a small army, forced him to surrender, and kept him a long time in prison. But her most solid title to glory, is the having founded the famous college of Navarre.
Jeanne of Navarre died at Vincennes, in 1304, aged thirty-three. Her husband was devotedly attached to her, and she fully deserved his love. Philip never took the titles of King of Navarre, or of Count of Champagne and of Brie; and to all his ordinances relative to the government of these principalities, he always added that he acted with the concurrence of his dear companion; and Jeanne ​added her seal to that of her husband. Jeanne was married at the age of thirteen, and, during her twenty years of wedded life, she bore her husband seven children. She was equally beautiful, eloquent generous, and courageous.
# A Cyclopaedia of Female Biography/Jewsbury, Geraldine E.

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JEWSBURY, GERALDINE E.,
Is a younger sister of the late Mrs. Fletcher, who always highly estimated her abilities, and prophesied for her a career even more successful than her own. "Zoe, on the History of Two Lives," published in 1845, was the first work which drew public attention towards its author. It exhibits great power and originality, but contrasts strongly in its tone of feverish excitement, and passionate unrest, with the calmness and symplicity which characterizes Miss Jewsbury's later works. These are "The Half Sisters," a tale published in 1848; "Marian Withers," a story of middle class life in the manufacturing districts; "The History of an Adopted Child," a book for young people, issued in 1852; and another novel entitled "Constance Herbert," in which is inculcated the duty of self-sacrifice to prevent the extension of hereditary insanity.
# A Cyclopaedia of Female Biography/Joanna, of Naples

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JOANNA,
Of Naples, daughter of Robert, King of Naples, of the Anjou dynasty, succeeded her father in 1343. She was then sixteen, hand​some and accomplished. She had been for some time married to her cousin Andreas of Hungary; but this union was not a happy one. Andreas claimed to be king and to share his wife's authority, which, by her father's will, had been left solely to her. The conduct of Andreas, and his haughty manners, offended the Neapolitan nobility, and his Hungarian guards excited their jealousy. A conspiracy was formed by the nobles, and one night while the court was at Aversa, Andreas was strangled, and his body thrown out of a window of the castle.
Joanna went immediately to Naples, and thence issued orders for the apprehension of the murderers. Many persons were put to a cruel death as accessaries, but public opinion still implicated the queen in the murder. The same year Joanna married her cousin Louis, Prince of Tarentum. Soon after Louis, King of Hungary, the brother of Andreas, came with an army to avenge his brother's death. He defeated the queen's troops, and entered Naples. Joanna then took refuge in her hereditary principality of Provence. She soon repaired to Avignon, and, before Pope Clement the Sixth, protested her innocence and demanded a trial. She was tried and acquitted; and, out of gratitude, she gave up to the papal see the town and county of Avignon.
In the mean time, a pestilence had frightened away the Hungarians from Naples, and Joanna, returning to her kingdom, was solemnly crowned with her husband, in 1351. Joan reigned many years in peace. Having lost her husband in 1362, she married James of Arragon, a Prince of Majorca, and on his death she again married, in 1376, Otho, Duke of Brunswick; but having no children, she gave her niece Margaret to Charles, Duke of Durazzo, and appointing him her successor. On the breaking out of the schism between Urban the Sixth and Clement the Seventh, Joanna took the part of the latter. Urban excommunicated her, and gave her kingdom to Charles Durazzo, who revolted against his sovereign and benefactress. With the aid of the pope he raised troops, defeated the queen, and took her prisoner. He then tried to induce Joanna to abdicate in his favour; but she firmly refused, and named Louis of Anjou, brother of Charles the Fifth, King of France, as her successor. Charles then transferred Joanna to the castle of Muro, in Basilicata, where he caused her to be murdered, in 1382. She was a woman of great accomplishments, and many good qualities.
# A Cyclopaedia of Female Biography/Jarzoff, Mademoisella

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JARZOFF, MADEMOISELLA,
Obtained, in 1837, the prize offered by the Imperial Academy of Sciences at St. Petersburg, for "Useful Reading for Children." Her books for the young are much praised.
# A Cyclopaedia of Female Biography/Joghebed

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JOGHEBED,
Wife of Amram, and mother of Miriam, Aaron, and Moses, has stamped her memory indelibly on the heart of Jew and Christian. She was grand-daughter of Levi; her husband was also of the same family or tribe; their exact relationship is not decided, though the probability is that they were cousins-german.
As Amram is only mentioned incidentally, we have no authority for concluding he took any part in the great crisis of Jochebed's life; but as their children were all distinguished for talents and piety, it is reasonable to conclude that this married pair were congenial in mind and heart. Still, though both were pious believers in the promises made by God to their forefathers, it was only the wife who had the opportunity of manifesting by her deeds her superior wisdom and faith.
​Nearly three hundred years had gone by since Jacob and his sons went down into Egypt. Their posterity was now a numerous people, but held in the most abject bondage. Pharaoh, a king "who knew not Joseph," endeavouring to extirpate the hated race, had even strict commands to destroy every male child born of a Hebrew mother.
Jochebed had borne two children before this bloody edict was promulgated; Miriam, a daughter of thirteen, and Aaron, a little son of three years old. These were safe; but now God gives her another son, "a goodly child;" and the mother's heart must have nearly fainted with grief and terror, as she looked on her helpless babe, and knew he was doomed by the cruel Pharaoh to be cast forth to the monsters of the Nile. No ray of hope from the help of man was visible. The Hebrew men had been bowed beneath the lash of their oppressors, till their souls had become abject as their toils. Jochebed could have no aid from her husband's superior physical strength and worldly knowledge. The man was overborne; the superior spiritual insight of the woman was now to lead; her mother's soul had been gifted with a strength the power of Pharaoh could not subdue; her moral sense had a sagacity that the reason of man could never have reached.
She fashioned an "ark of bulrushes," and in the frail structure laid down her infant son. Then concealing the basket among the flags on the banks of the Nile, she placed her daughter Miriam to watch what should become of the babe, while she, no doubt, retired to weep and pray. The whole plan was in perfect accordance with the peculiar nature of woman—and women only were the actors in this drama of life and life's holiest hopes. That the preservation of Moses, and his preparation for his great mission as the Deliverer of Israel, and the Lawgiver for all men who worship Jehovah, were effected by the agency of woman, displays her spiritual gifts in such a clear light as must make them strikingly apparent; and that their importance in the progress of mankind, will be frankly acknowledged by all Christian men, seems certain—whenever they will, laying aside their masculine prejudices, carefully study the word of God. These events occurred B.C. 1535. See Exodus, chap. I. and II.
# A Cyclopaedia of Female Biography/Jeanne de Bourbon

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JEANNE DE BOURBON,
Daughter of Pierre the First, Duke de Bourbon, was born at Vincennes, near Paris, February 3rd., 1337. In 1350, when about thirteen, she married Charles, who was nearly the same age, afterwards Charles the Fifth of France, eldest son of King John. She was a very beautiful woman, and her husband was much attached to her. He had a high opinion of her judgment, often consulted her on state affairs, and loved to see her surrounded by all the pomp and luxury suited to her station. On days of solemnity, Charles frequently brought his wife, whom he called "the sun of his kingdom," with him to the parliament, where she took her seat by his side. By his will, he left the regency to Jeanne, although he had three brothers of mature age. However, his queen died before him, at the Hotel de St. Paul, in Paris, February 11th, 1378. Her death proved a real misfortune to France. She is spoken of by historians as one of the most accomplished and virtuous princesses of her time.
# A'body's like to be married but me/The beggar girl

THE ⟨BEGGAR⟩ GIRL.
⟨Over⟩ the mountain and over the moor, Hungry and barefoot I wander forlorn; ⟨My⟩ father is dead, and my mother is poor, And she grieves for the days that will never return.
Pity, kind gentlefolks, friends to humanity, Cold blows the wind, and the night's coming o Give me some food for my mother in charity; Give me some food, and then I'll begone.
Call me not lazy-back, beggar, and bold enough Fain would I learn both to knit and to sew; I've two little brothers at home, when ⟨they're⟩ old enough, They will work hard for the gifts you bestow Pity, kind gentlefolks, &c.
O think, while you revel, so careless and free, Secure from the wind, and well clothed and ⟨fed⟩ Should fortune so change it how hard would it To beg at a door for a morsel of bread. Pity, kind gentlefolks, &c.
# A'body's like to be married but me/The lass o' Arranteenie

THE LASS O' ARRANTEENIE.
Far lone amang the Highland hills, Midst Nature's wildest grandeur, By rocky dens, and woody glens, With weary steps I wander. The langsome way, the darksome day; The mountain-mist sae rainy,
Are nought to me when gaun to thee, Sweet lass o' Arranteenie!
Yon mossy rose-bud down the howe, Just op'ning fresh and bonnie, ⟨It⟩ blinks beneath the hazle bough, An's scarcely seen by onie: ⟨Sae⟩ sweet, amidst her native hills, Obscurely blooms my Jeanie; ⟨Mair⟩ fair an' gay than rosy May, The flow'r o' Arranteenie.
Now, from the mountain's lofty brow, I view the distant ocean; There ⟨avarice⟩ guides the bounding prow— Ambition courts promotion. ⟨Let⟩ fortune pour her golden store, Her laurel'd favours many— ⟨Give⟩ me but this my soul's first wish, The lass of Arranteenie.
# A Dictionary of Music and Musicians/Avvertimento ai Gelosi, Un

From volume 1 of the work.
​AVVERTIMENTO AI GELOSI, UN, an Italian opera by Balfe—his second—produced at Pavia in 1830 or 31, chiefly worth notice because of the fact that in it Ronconi made his second public appearance.
# A Dictionary of Music and Musicians/Avoglio, Signora

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Avison, Charles

From volume 1 of the work.
​AVISON, Charles, born at Newcastle-upon-Tyne, in 1710. When a young man he visited Italy for the purpose of study, and after his return to England, became a pupil of Geminiani. On July 12, 1736, he was appointed organist of the church of St. Nicholas, in his native town. In addition to his musical attainments, he was a scholar, and a man of some literary acquirement. In 1752 he published the work by which he is best known, 'An Essay on Musical Expression.' It contains some judicious reflections on the art, but the division of the modern authors into classes is rather fanciful than just. Throughout the whole of this work we find the highest encomiums on Marcello and Geminiani, frequently to the disparagement of Handel. In the following year it was answered anonymously by Dr. W. Hayes, the Oxford professor, in a pamphlet entitled 'Remarks on Mr. Avison's Essay on Musical Expression.' Hayes points out many errors against the rules of composition in the works of Avison; and infers from thence that his skill in the science was not very profound. He then proceeds to examine the book itself, and seldom fails to establish his point, and prove his adversary in the wrong. Before the conclusion of the same year, Avison re-published his Essay, with a reply to these Remarks, in which he was assisted by the learned Dr. Jortin, who added 'A Letter to the Author, concerning the Music of the Ancients.' In 1757 Avison joined John Garth, organist of Durham, in editing an edition of Marcello's Psalms, adapted to English words. He prefixed to the first volume a Life of Marcello, and some introductory remarks.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Auswahl Vorzüglicher Musikwerke

From volume 1 of the work.
​AUSWAHL VORZÜGLICHER MUSIKWERKE, a collection of ancient and modern music in strict style, published with the countenance of the 'Königliche Akademie der Künste' of Berlin in 1840 (8vo. Trautwein). It contains:—
1. Fugue. 'Tu Bex.' Grann.  2. Do. 'Meine Zonge.' Fasch.  3. Do. from 4tett, F min. J. Haydn.  4. Do. 'Halleluja.' Handel.  5. Do. ' Di l'alimenta.' Naumann.  6. Do. for Org., G minor. Fr. Bach.  7. Fugue, 'Auf, dass wir.' C. P. E. Bach.  8. Do.'Lobet selnen Namen.' Fesca.  9. Do. for Piano, B♭. Kirnberger. 10. Canon, Kyrie. Fux. 11. Fig. Choral. Ich lame. J. B. [J. C.] Bach. 12. Fugue for Piano in F. Clementi. 13. Do. Gott ist offenbaret. Keiser. 14. Kyrie. Lotti. 15. Fugue for Piano. D m. Marpurg. 16. Do. 2 Choirs, 'Durch denselbigen.' J. C. Bach. 17. Christe. Graun. 18. Fugue for Piano, A min. Telemann. 19. Do. 'Christe.' Hasse. 20. Do. 'Quam ollm.' M. Haydn. 21. Do. for Piano in C. Mozart. 22. Motet, 'Was betrübst.' H. Schütz. 23. Fig. Choral, 'Ewiger Lob.'Zelter. 24. Fugue for Org. in C. Pachelbel. 25. Kyrie. F. Schneider. 26. Fugue. 'Lasst uns.' Spohr. 27. Do. for 4tett in C. Kelz. 28. Motet (a 6) 'Tu es Petrus.' Palestrina. 29. Canon, 'Sanctus' and 'Hosanna.' Horsley. 30. Fugue for Organ, in B♭. Pasterwitz. 31. Benedictus, etc. Salieri. 32. Fugue, 'Tu ad dexteram.' Rungenhagen. 33. Do. for Org., B♭. Albrechtsberger. 34. Motet, 'Hilf Herr.' Homilius. 35. Fugue. 'Tune imponent.' Jomelli. 36. Do. for 4tett, A min. Gassmann. 37. Do. 'Mai non turbarsi.' Marcello. 38. 'Ave Maria.' Klein. 39. Fugue, for 4tett In 0. Henning. 40. Do. 'Timentibus.' Vierling. 41. Do. 'Et in saecula.' Caldara. 42. Do. for Organ (4 subj.). Frescobaldi. 43. 'Eja mater.' Astorga. 44. Fughetta, 'Cum Sancto.' Reissiger. 45. Introd. and Fugue for Org. M. G. Fischer. 46. Motet, 'O d'immenso.' J. A. Perti. 47. Fugue. 'Halleluja.' G. Harrer. 48. Do. for Piano, in F. N. Le Begue.
Some copies have an Appendix:
Aria, 'Ingemesco.' Durante. Do. Agnus. J. S. Bach. Duet, 'Occhi perché.' Steffani. 'Salve Regina.' Pergolesi. 'O my Irene' (Theodora). Handel. Chorus and Air (Israeliten). C. P. E. Bach. Duet and Chorus (Morgengesang) Belchardt. Solo and Chorus (Do.) Do. Aria, 'Pieta Signore.' Hasse. Scena (Davidde pen.). Naumann. Trio, 'Dominus. Leo. 'Gratias' and 'Deus Pater.' F. Feo.
# A Dictionary of Music and Musicians/Authentic

From volume 1 of the work.
​AUTHENTIC. Such of the ecclesiastical modes are called authentic as have their sounds comprised within an octave from the final. They are as follow, in order of the Gregorian system:—
| No. | Mode. | Compass. | Final. | Dominant. |
| 1 | Dorian | D to D | D | A |
| 3 | Phrygian | E to E | E | C |
| 5 | Lydian | F to F | F | C |
| 7 | Mixolydian | G to G | G | D |
| 9 | Æolian | A to A | A | E |
| 11 | Ionian or Instian | C to C | C | G |
A mode, or tone, or scale, must be made up of the union of a perfect fifth (diapente) and a perfect fourth (diatessaron). In the authentic modes the fifth is below, and the fourth above. Thus in mode 1 from D to A is a perfect fifth, and from A to the upper D, or final, a perfect fourth. In mode 9, from A to E is a perfect fifth, and from E to the upper A, or final, a perfect fourth, and so on.
In all these the fifths and fourths are perfect; but no scale or mode could be made upon B in conformity with this theory, for from B to F is an imperfect fifth and from F to the upper B is a tritone or pluperfect fourth, both which intervals are forbidden in the ancient ecclesiastical melody. This may serve also to explain the irregularity of the dominant of the third mode. In all the other authentic modes the fifth note of the scale is the dominant; but in the third mode, the fifth being B, and consequently bearing forbidden relations with F the fourth below it and F the fifth above it, B was not used, but C the sixth was substituted for it as the dominant. It is to be borne in mind that melodic and not harmonic considerations lay at the foundation of all these rules, and that the 'dominant' then meant the prevailing or predominant sound in the melody of the tone or scale. The prefix hyper (or over) is often added to the name of any authentic mode in the sense of upper, to distinguish it from the corresponding plagal mode, to which the word hypo (under or lower) was prefixed. Thus while the authentic Dorian or hyperdorian scale ran from D to D, its plagal, the hypodorian, began on the A below and ran to its octave, the dominant of the authentic scale. 'Ein feste Burg' and 'Eisenach' are examples of 'authentic' melodies, and the Old 100th and Hanover of 'plagal' ones. [Gregorian Tones.]
[ T. H. ]
# A Dictionary of Music and Musicians/Avery, John

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Aylward, Theodore

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Augmented Interval

From volume 1 of the work.
​AUGMENTED INTERVAL. An interval which is extended by the addition of a semitone to its normal dimension. The following examples show the augmentations of intervals commonly used:—
[ W. P. ]
# A Dictionary of Music and Musicians/Auxcousteaux, Arthur d'

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Augmentation

From volume 1 of the work.
​AUGMENTATION. This term is used to express the appearance of the subject of a fugue in notes of double the original value, e.g. crotchets for quavers, minims for crotchets, etc., and is thus the opposite to Diminution. Or it is a kind of imitation, or canon, where the same thing takes place. Dr. Benjamin Cooke's celebrated canon by double augmentation (engraved on his tombstone) begins as follows, and is perhaps the best instance on record.
We subjoin by way of example one of a simpler kind by Cherubini.
[ F. A. G. O. ]
# A Dictionary of Music and Musicians/Blitheman, William

[ W. H. H. ]
# A Dictionary of Music and Musicians/Blankenburg, Quirin van

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Blewitt, Jonas

From volume 1 of the work.
​BLEWITT, Jonas, a celebrated organist in the latter half of the 18th century, author of 'A Treatise on the Organ, with explanatory Voluntaries'; 'Ten Voluntaries, or pieces for the Organ,' etc.; 'Twelve easy and familiar movements for the Organ,' etc. He died in 1805. His son, Jonathan Blewitt, was born in London in 1782, received the rudiments of his musical education from his father, and was afterwards placed under his godfather, Jonathan Battishill. At eleven years old he was appointed deputy organist to his father. After holding several appointments as organist, he left London for Haverhill, Suffolk; and subsequently became organist of Brecon, where he remained three years. On the death of his father he returned to London, with the intention of bringing out an opera he had composed for Drury Lane, but the burning of that theatre destroyed his hopes. He next went to Sheffield as organist. [App. p.549 "about 1795 he was organist of the united parishes of St. Margaret Pattens and St. Gabriel Fenchurch, also of St. Catherine Coleman, Fenchurch Street."] In 1811 he took up his abode in Ireland, in the family of Lord Cahir. He was appointed organist of St. Andrew's Church, Dublin, and composer and director of the music to the Theatre Royal in that city. The Duke of Leinster appointed him grand organist to the masonic body of Ireland, and he became the conductor of the principal concerts in Dublin. When Logier commenced his system of musical instruction in Ireland, Blewitt was the first who joined him; and being an able lecturer, and possessing sound musical knowledge, he soon procured the great majority of teaching in Dublin.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Blaze de Bury, Henri

From volume 1 of the work.
[ F. H. ]
# A Dictionary of Music and Musicians/Blancks, Edward

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Blow, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Bland, Maria

[ W. H. H. ]
# A Dictionary of Music and Musicians/Blangini, Giuseppe

From volume 1 of the work.
[ F. G. ]