OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Greek and Roman Antiquities/Abigei

ABIG´EI, ABIGEATO´RES or ABACTO´RES, terms used to signify the class of thieves who commit the crime of cattle stealing (abigeatus), which was distinguished from ordinary furtum and punished as a special offence. Abigeatus was committed by stealing beasts of pasture, as horses, oxen, sheep, goats, and pigs; but only if the theft was of a sufficiently serious kind. The stealing of one horse and perhaps of an ox made the thief abigeus; but it was thought that to steal less than ten sheep, or than four or perhaps five pigs, was not abigeatus, but simple furtum. It was abigeatus, however, if the aggregate of sheep or pigs stolen on separate occasions amounted to the above numbers. It appears that a person who stole cattle was not abigeus unless it was his practice to steal cattle. (Dig. 47, 14, 1, § 1: et abigendi studium quasi artem exercent; but see Platner, De jure crim. quaest., p. 447.) An abigeus who took cattle from a stable was punished more severely than one who drove them from pasture ground. (Dig. 47, 14, 3, § 1, plenius coercendum ; but see Cujas, Obs. vi. 8.) Abigeatus was not prosecuted by a judicium publicum, but fell under the extra-ordinary jurisdiction of the magistrate, who punished it according to his discretion. The different punishments by which the crime was visited are enumerated in a rescript of Hadrian (Collat. xi. 7; Dig. 47, 14). They included different forms of death, the mines, and other kinds of penal servitude for a term or for life, but a person of superior rank was only liable to banishment (relegatio) and degradation from his rank. For an abigeus to carry arms was a great aggravation of his offence. Ulpian does not think the exposure of armed abigei to wild beasts too severe a punishment. Pastoral districts were at times devastated by armed and mounted bands of cattle stealers. (Paul. Sent. v. 18, de Abactoribus; Collat. xi. de Abigeatoribus; Dig. 47, 14, de Abigeis; Cod. ix. 37, de Abigeis; L. Platner, Quaestio de jure crim. pp. 445-449; Rein, Das Criminalfrecht der Röm. pp. 323-325, Leipzig, 1844.)
# A Dictionary of Greek and Roman Antiquities

Shortcut: DGRA
This edition of A Dictionary of Greek and Roman Antiquities (taken from perseus.tufts.edu) is the 1890 edition, the third, final, and most complete edition published, weighing in at over a million words.

## Table of contents

* Preface to the Third Edition
* List of writers
* Appendix
* A
* B
* C, K
* D
* E
* F
* G
* H
* I, J
* L
* M
* N
* O
* P
* Q
* R
* S
* T
* U, V
* X
* Z
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 Greek and Roman Antiquities/Abactores

ABACTO´RES [Abigei.]
# A Dictionary of Greek and Roman Antiquities/Abactus venter

ABACTUS VENTER [Abortio.]
# A Dictionary of Greek and Roman Antiquities/Abaculus

ABAC´ULUS (ἀβακίσκος), diminutive of Abacus denoted a tile of marble, glass, or any other substance used for making ornamental pavements. They were of various colours (Plin. H. N. xxxvi. § 199; Moschion, ap. Ath. v. 207 d.) [Musivum opus.]
# A Dictionary of Greek and Roman Antiquities/Abolla

ABOLLA a thick, double cloak, which, according to Servius (ad Verg. A. 5.421), resembled the chlamys, and which he identifies with the duplex pannus of Horace (Hor. Ep. 1.17, 25). It was of foreign origin; and in a Roman inscription (A.D. 202) found in Mauretania, there is mentioned the abolla cenatoria in a Lex vestis peregrinae (C. I. L. 8.4508). The generally accepted identification of the word with the Greek ἀναβολὴ is questionable etymologically; and it is rightly pointed out by Daremberg and Saglio (s. v.), that the Greek word applies especially to the manner of wearing any cloak (thrown back over the shoulder), while the Latin denotes a cloak of a particular form. Varro (ap. Nonium, p. 538, 16) contrasts it with the toga as a distinctively military garment (vestis militaris), much as the sagum and toga are commonly contrasted. The sagum (q. v.) appears as early as Cato (Cat. Agr. 59) to have been not confined to military wear; and the abolla similarly had become in imperial times an indiscriminately worn garment. Thus we find it used as an outdoor dress in Juvenal, 4.76. Ptolemy of Mauretania offended Caligula by the splendour of his purpurea abolla (Suet. Cal. 35), and Martial satirizes a similar extravagance in the fop Crispinus (abolla Tyria, 8.48). While for rich and fashionable wearers the original [p. 1.4] military form of the abolla was probably altered, and its rough texture exchanged for fine linen, it seems to have retained or exaggerated its simple coarseness when adopted by philosophers. It was thus worn by the cynic, serving alike for day-and night-clothes (Martial, 4.53.5; Hor. Ep. l.c., same as the τρίβων διπλοῦς, D. L. 6.22). Hence facinus majoris abollae (Juv. 3.115) means “a crime committed by a deep philosopher.” The abolla as worn by soldiers is probably to be recognised in the bas-relief from the arch of Septimius Severus, figured above; as worn by philosophers, in the annexed representation from a silver vase in the Paris Cabinet des Médailles (apud Daremberg and Saglio, s.v. cf. Marquardt, Röm. Alterth. vii. p. 553).
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Webb (Daniel)

​WEBB (DANIEL), bookseller (?) in London, 1660. His name occurs on the imprint to a pamphlet entitled Brethren in Iniquity, 1660. 4$^o$. [Hazlitt, iii. 23.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Webb (Richard)

​WEBB (RICHARD), bookseller (?) in London (?), 1642. His name is found on the imprint to John Taylor's Cluster of Coxcombs, 1642. [Hazlitt, i. 419.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wenborn (William)

​WENBORN (WILLIAM), bookseller in London; The Rose at the Bridge Foot, 1646. Only known from the imprint to the following pamphlet: Πανταλογία. The Saints Abundance opened. By Thomas Sterry. [E. 355 (28).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wells (William)

​WELLS (WILLIAM), bookseller in London; Princes Arms, Little Britain, 1641-73. Took up his freedom April 3rd, 1637. [Arber, iii. 688.] Mentioned in a list of stationers who on August 5th, 1641, had paid their proportion of the poll tax. [Domestic State Papers, Charles I, vol 483 (11).] Was in partnership for a time with Robert Scott, q.v. Died in January, 167 2/3. Smyth in his Obituary records, "Mr. Wells, bookseller in Little Britain (my old acquaintance) died this Saturday morning. Buried at St. Butolphs extra Aldersgate. No sermon."
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/West (G.)

​WEST (G.), bookseller in Oxford (c. 1650-95). [Madan, Oxford Chart, p. 31; Ames Collection, 3186.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Webb (Nathaniel)

​WEBB (NATHANIEL), bookseller in London, (1) King's Head, St. Paul's Churchyard, 1660; (2) Royal Oak, St. Paul's Churchyard, 1663 (1646-65). In partnership for a time with W. Grantham, q.v. Died March 26th, 1665. [Smyth's Obituary, p. 63.] His second address is found on a pamphlet entitled A Modest Discourse concerning the Ceremonies … used in the Church, 1660. [E. 1035 (4).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Weekly (William)

​WEEKLY (WILLIAM), bookseller in Ipswich, 1657-9. His name is found on the imprints to the following books: C Beck, Universal Character, 1657. [E. 1591 (1)]; A. Pringle, Stay in Trouble, 1657 [E. 1592 (1)]; M. Lawrence, Use and Practice of Faith, 1657 [E. 924 (1)]; Edm. Warren, Jews Sabbath antiquated, 1659. [Ames Collection, 2854.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Webb (Charles)

​WEBB (CHARLES), bookseller in London; Golden Boar's Head, St. Paul's Churchyard, 1658-60. Publisher of miscellaneous literature, including plays.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Webb (William)

​WEBB [WILLIAM), bookseller in Oxford, 1629-52. [Madan, Oxford Chart, p. 29.] His name is found on a large number of political pamphlets between 1641 and 1652.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wells (R.)

​WELLS (R.), bookseller (?) in London; Royal Exchange in Cornhill (?), 1648. His name is found on the imprint to a pamphlet entitled Prince Charles his Declaration … London, Printed for R. Wells, and are to be sold at the Royall Exchange in Cornhill, 1648. [Hazlitt, ii. 105.]
# A Dictionary of Music and Musicians/Tree, Anna

[ A. C. ]
# A Dictionary of Music and Musicians/Treble

​TREBLE (Canto; Distant; Dessus). A general term applied to the highest voices in a chorus or other concerted vocal piece, and to the upper parts in concerted instrumental music; also to soprano voices generally. The treble clef is the G clef on the second line of the upper (our treble) stave; the eighth line of the great stave of eleven lines (Chiave di sol, chiave di violino; Clef de Sol).
Its etymology does not refer it to any special class of voice. It has been said to be a corruption of Triplum, a third part superadded to the Altus and Bassus (high and low). In this case it will have been sung by boys, who till then will have joined instinctively in congregational singing in unison with, or an octave above, the tenor. Another derivation is Thurible, the vessel in which incense is burnt in the services of the Roman Catholic Church, from the Latin Thuribulum. The portable thurible or censer was carried and swung by boys. But there is very strong doubt whether the thurible boys ever had any share in the vocal part of the church services; and if they did not, this theory is overturned. The thurible-bearers would surely be called, in describing a religious procession, 'the thurifers.' The derivation from Triplum seems therefore the more probable. At what time 'treble' may have found its way into English it is difficult to say. 'Childish treble,' as the voice of old age, appears in Shakspeare, and 'faint treble' used to be applied to what is commonly known as falsetto. English amateur pianists frequently call the right hand the treble hand. The word Triplum as a third part was of course introduced at a very early date, and marks a most important step in the progress of part-music.
[ H. C. D. ]
# A Dictionary of Music and Musicians/Treitschke, Georg

​TREITSCHKE, Georg Friedrich, author and entomologist, deserves a place in a Dictionary of Music, as the adapter of Joseph Sonnleithner's libretto for Beethoven's 'Fidelio,' for its revival in 1814. He was born at Leipzig, Aug. 29, 1776, died at Vienna, June 4, 1842. In 1793 his father sent him for further education to Switzerland, and there he became acquainted with Gessner of Zurich, who inspired him with a love of literature. In 1802 he went to Vienna, and fell in with Baron Braun who made him manager and librettist of the Court theatre, of which he himself was director. In 1809 he became vice-director of the theatre an-der-Wien, but in 1814 returned to his former post. In 1822 the whole of the financial arrangements of the Court theatre were placed in his hands, and remained there till his death. He adapted a host of French librettos (Cherubini's 'Deux Journées,' 'Médée,' 'Aline,' etc.) for the German stage, not always, it must be owned, with the skill shown in 'Fidelio.' His connexion with Beethoven was considerable. Besides the revision of 'Fidelio' in 1813–14, a letter of Beethoven to him, dated June 6, 1811, seems to speak of aproposed opera book; another, of July 3, of a melodrama. Beethoven supplied music to a chorus of his, 'Germania,' à propos to the Fall of Paris (March 31, 1814), and to another chorus, 'Es ist vollbracht,' celebrating the entry of the Allies into Paris, July 15, 1815. Treitschke made a collection of 2,582 species of butterflies, now in the National Museum in Pesth, and was the author of several books on entomology. His first wife,
[ F. G. ]
# A Dictionary of Music and Musicians/Trial, Jean

​TRIAL, Jean Claude, French composer, bora at Avignon, Dec. 13, 1732, was educated at the Maitrise, and early studied the violin, for which his first compositions were intended. Settling in Paris he became intimate with Rameau, and was taken up by the Prince de Conti, who made him conductor of his own music, and procured him the joint-directorship with Berton of the Opéra (1767). He composed 'Esope à Cythere' (1766), and 'La Fête de Flore' (1771), each in one act, and with Berton 'Sylvie,' 3 acts (1766), and 'Théonis,' 1 act (1767); also short overtures, orchestral divertissements, cantatas, and the music for 'La Chercheuse d'esprit.' He died of apoplexy June 23, 1771. His brother,
Antoine, his junior by four years, was also born at Avignon, and educated at the Maitrise, but forsook ecclesiastical plainsong for stage ariettas. Having appeared with success as a comedy-tenor in several provincial towns, he went to Paris in 1764, and there quickly rose into favour as a singer of considerable musical attainments, and an actor possessing real wit and originality. For 30 years composers eagerly vied with each other in writing parts for him, and he left permanent traces at the Opéra Comique, where the comedy-tenor part is still called by his name. Like Dugazon, Antoine Trial embraced with fervour the doctrines of the Revolution, and on the fall of Robespierre was constrained by the mob to atone for his previous exploits by singing the 'Réveil du Peuple' on his knees. Forced to give up his post in the municipality, and subjected to many cruel humiliations, his mind gave way, and he poisoned himself Feb. 5, 1795. His wife, Marie Jeanne Milon, sang under the name of Mme. Mandeville, and having a voice of remarkable compass and flexibility, brought into fashion airs full of roulades and vocalises. Their son,
[ G. C. ]
# A Dictionary of Music and Musicians/Trento, Vittorio

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

​TRIAD is a chord of three notes standing in the relation to one another of bottom note, third, and fifth. It is of no consequence what the quality of the combination is, whether consonant or dissonant, major or minor. The following are specimens:—
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Trial by Jury

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

[ J. S. ]
# A Dictionary of Music and Musicians/Trenchmore

​TRENCHMORE, an old English country dance, frequently mentioned by writers of the 16th and 17th century. According to Mr. Chappell ('Popular Music') the earliest mention of it is in a Morality by William Bulleyn, published in 1564. The character of the dance may be gathered from the following amusing quotation from Selden's 'Table Talk' (1689): 'The Court of England is much altered. At a solemn Dancing, first you had the grave Measures, then the Corrantoes and the Galliards, and this is kept up with Ceremony; at length to Trenchmore, and the Cushion-Dance, and then all the Company dance, Lord and Groom, Lady and Kitchen-Maid, no distinction. So in our Court, in Queen Elizabeth's time, Gravity and State were kept up. In King James's time things were pretty well. But in King Charles's time, there has been nothing but Trenchmore, and the Cushion-Dance, omnium gatherum tolly-polly, hoite come toite.' Trenchmore appears first in the Dancing Master in the fifth edition (1675), where it is directed to be danced 'longways for as many as will.' The tune there given (which we reprint) occurs in 'Deuteromelia' (1609), where it is called 'Tomorrow the fox will come to town.'
[ W. B. S. ]
# A Dead City

1912.
Twilight ascends the abandoned ramps of noon Within an ancient land, whose after-time Unfathomably shadows its ruined prime. Like rising mist the night increases soon Round shattered palaces, ere yet the moon On mute, unsentried walls and turrets climb, And touch with pallor of sepulchral rime The desert where a city's bones are strewn.
She comes at last: unsepultured, they show In all the hoary starkness of old stone. From out a shadow like the lips of Death Issues a wind, that through the ruins blown, Cries like a prophet's ghost, with waiting breath, The weirds of finished and forgotten woe.
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 1961, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 62 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 Death blow is a Life blow to Some

* "A death-blow is a life-blow to some" in Poems: Second Series (1891)
* "A death-blow is a life-blow to some" in The Complete Poems of Emily Dickinson (1924)
# A Day with the Cow Column in 1843

"Without question the best bit of literature left to us by any participant in the pioneer movement, and dealing with that movement," –Parrish, 1934. It "ranks as a western classic" –Powers, 1936.
* In The Overland Monthly, Vol. 1, Iss. 2 (1868)
* Read before the Oregon Pioneer Association in 1876 (and included in its Transactions)
* Oregon Historical Quarterly/Volume 1/A Day with the Cow Column in 1843 (1900)
* In The Oregon Trail and Some of Its Blazers by Maude A. Rucker (1930)
* Book edited by Joseph Schafer (Caxton Club, 1934; limited run of 300) IA
** Book also contains narrative of Applegate's nephew Jesse A., Recollections of My Boyhood.
* Ye Galleon Press (1990)

## Reviews

* Discussed & excerpted in Powers' History of Oregon Literature, ch. 23.
* Philip H. Parrish, Oregon Historical Quarterly Vol. 34 No. 4 (1934)
* The Wisconsin Magazine of History, Vol. 18, No. 2 (Dec., 1934), p. 233
# A Death-Bed (Kipling)

First published in The Years Between, 1919.
"This is the State above the Law. The State exists for the State alone." [This is a gland at the back of the jaw, And an answering lump by the collar-bone.]
Some die shouting in gas or fire; Some die silent, by shell and shot. Some die desperate, caught on the wire —
Some die suddenly. This will not.
"Regis suprema voluntas Lex" [It will follow the regular course of — throats.] Some die pinned by the broken decks, Some die sobbing between the boats.
Some die eloquent, pressed to death By the sliding trench as their friends can hear Some die wholly in half a breath. Some — give trouble for half a year.
"There is neither Evil nor Good in life Except as the needs of the State ordain." [Since it is rather too late for the knife, All we can do is to mask the pain.]
Some die saintly in faith and hope —
One died thus in a prison-yard —
Some die broken by rape or the rope; Some die easily. This dies hard.
"I will dash to pieces who bar my way. Woe to the traitor! Woe to the weak!" [Let him write what he wishes to say. It tires him out if he tries to speak.]
Some die quietly. Some abound In loud self-pity. Others spread Bad morale through the cots around. This is a type that is better dead.
"The war was forced on me by my foes. All that I sought was the right to live." [Don't be afraid of a triple dose; The pain will neutralize all we give.
Here are the needles. See that he dies While the effects of the drug endure… What is the question he asks with his eyes? —
Yes, All-Highest, to God, be sure.]
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 Death-Scene

"'O Day! he cannot die"
* "A Death Scene" in Poems by Currer, Ellis, and Acton Bell (1846)
* "A Death-Scene" in The Complete Poems of Emily Brontë (1908)
# A Death-Bed (Aldrich)

From The Poets of America (ed. John Keese, 1841)
Her suff'ring ended with the day, Yet lived she at its close, And breathed the long, long night away, In statue-like repose.
But when the sun, in all his state, Illum'd the eastern skies, She passed through Glory's Morning-gate, And walked in Paradise!
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 Dead Harvest

* Meynell, Alice (1920), "A Dead Harvest" in The year's at the spring.
* Meynell, Alice (1921), "A Dead Harvest" in Poems.
# A Dictionary of Saintly Women/Brigid (18)

​St. Brigid (18), March 6. 13th century. Franciscan nun, seen by her contemporary, St. Agnes of Bohemia, among the angels in glory. AA. SS.
# A Dictionary of Saintly Women/Brigid (15)

​St. Brigid (15), Dec. 31, Feb. 1. 9th century. Irish. Her brother St. Andrew left his country to go on a pilgrimage. When he said farewell to her, he advised her to dedicate her life to God. She did so. Many years passed, and she had long ceased to expect news of her brother, when, about the year 840, she was sitting at home preparing her frugal fare, when an angel appeared and carried her off to Fiesole, near Florence. There she found herself in the presence of St. Andrew, who lay on his death-bed, surrounded by his sorrowing monks. He had been for years Archdeacon of Fiesole, under its Irish seventh bishop, St. Donatus, and had restored the monastery of St. Martin. Donatus was lately dead. Andrew was ill of fever, and felt that he had not many days to live. He greatly longed to see his sister Brigid before he died, and in answer to his strong wish, she had been miraculously brought to him. She thought she was dreaming, and was as much amazed and bewildered as the monks were to see her arrive in their midst Andrew said, “Brigid, my beloved sister, I have longed to see thee before I die, and because of the great distance that lay between us I feared my desire would not be granted. I trust that here where I have lived, thou, as a solitary and penitent, wilt dwell, and by thy prayers and virtues fill up the measure of my shortcomings. Cease from thy amazement, and pray for me with all thy soul, for my last hour is at hand, and my summons has come.” Then Brigid awoke as from a dream, and wept both for joy and grief; she grieved to lose him again so soon, but exulted that he had resisted temptations and overcome the evil one. She promised that all the days of life that remained to her should be dedicated to carrying out his will, and that she would stay in the country of his adoption and walk in his footsteps as far as her weakness allowed. Then brilliant lights and sweet odours announced the ascent of the soul of Andrew, and all the people came and venerated their dead saint. Brigid left the monastery and settled near the source of the Sieci, high up in the Val d’Arno, where she founded a church in honour of St. Martin of Tours. After some years she went further up the mountain to a more secluded place in the thick woods. Here she found a cave, where she led a solitary life of penance and prayer, and there she lived to a great age. The cave is still shown underneath the church of the Madonna del Sasso, high up among the Apennines, about two miles from Lobaco. In 870 the inhabitants built a church on the site of her hermitage, and called it Santa Brigida. Boll., AA. SS. Lanigan. Stokes, Six Months in the Apennines.