text:
United States Code/Title 15/Chapter 107/Section 8111

(a) Intellectual Property Enforcement Coordinator

The President shall appoint, by and with the advice and consent of the Senate, an Intellectual Property Enforcement Coordinator (in this subchapter referred to as the “IPEC”) to serve within the Executive Office of the President. As an exercise of the rulemaking power of the Senate, any nomination of the IPEC submitted to the Senate for confirmation, and referred to a committee, shall be referred to the Committee on the Judiciary.

(b) Duties of IPEC
 * (1) In general
 * The IPEC shall—
 * (A) chair the interagency intellectual property enforcement advisory committee established under subsection (b)(3)(A);
 * (B) coordinate the development of the Joint Strategic Plan against counterfeiting and infringement by the advisory committee under section 8113 of this title;
 * (C) assist, at the request of the departments and agencies listed in subsection (b)(3)(A), in the implementation of the Joint Strategic Plan;
 * (D) facilitate the issuance of policy guidance to departments and agencies on basic issues of policy and interpretation, to the extent necessary to assure the coordination of intellectual property enforcement policy and consistency with other law;
 * (E) report to the President and report to Congress, to the extent consistent with law, regarding domestic and international intellectual property enforcement programs;
 * (F) report to Congress, as provided in section 8114 of this title, on the implementation of the Joint Strategic Plan, and make recommendations, if any and as appropriate, to Congress for improvements in Federal intellectual property laws and enforcement efforts; and
 * (G) carry out such other functions as the President may direct.
 * (2) Limitation on authority
 * The IPEC may not control or direct any law enforcement agency, including the Department of Justice, in the exercise of its investigative or prosecutorial authority.
 * (3) Advisory committee
 * (A) Establishment
 * There is established an interagency intellectual property enforcement advisory committee composed of the IPEC, who shall chair the committee, and the following members:
 * (i) Senate-confirmed representatives of the following departments and agencies who are involved in intellectual property enforcement, and who are, or are appointed by, the respective heads of those departments and agencies:
 * (I) The Office of Management and Budget.
 * (II) Relevant units within the Department of Justice, including the Federal Bureau of Investigation and the Criminal Division.
 * (III) The United States Patent and Trademark Office and other relevant units of the Department of Commerce.
 * (IV) The Office of the United States Trade Representative.
 * (V) The Department of State, the United States Agency for International Development, and the Bureau of International Narcotics Law Enforcement.
 * (VI) The Department of Homeland Security, United States Customs and Border Protection, and United States Immigration and Customs Enforcement.
 * (VII) The Food and Drug Administration of the Department of Health and Human Services.
 * (VIII) The Department of Agriculture.
 * (IX) Any such other agencies as the President determines to be substantially involved in the efforts of the Federal Government to combat counterfeiting and infringement.
 * (ii) The Register of Copyrights, or a senior representative of the United States Copyright Office appointed by the Register of Copyrights.
 * (B) Functions
 * The advisory committee established under subparagraph (A) shall develop the Joint Strategic Plan against counterfeiting and infringement under section 8113 of this title.


text: The Crowne of All Homers Workes/To the Mother of the Gods

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text: The Crowne of All Homers Workes/To Lyon-Hearted Hercules


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/14

, Third Edition As with other matters of intellectual property law, Congressional Rules give the respective judiciary committees of both chambers legislative jurisdiction over all copyright matters. See Senate Rule XXV; House Rule X. The Register is the principal advisor to Congress regarding domestic and international copyright issues, but also works closely and collaboratively with other federal departments and agencies on copyright matters.

The longstanding role of the U.S. Copyright Office in policy matters was codified in the Copyright Act. 17 U.S.C. § 701. The work of the Office takes several forms. It provides expert subject matter assistance to Congress on copyright policy and interpretation of the copyright law; provides drafting support, including analysis and assistance for copyright legislation and legislative reports; undertakes studies and public roundtables for Congress; and offers advice on compliance with treaties and trade agreements.

As a critical office within the U.S. government, the U.S. Copyright Office also works closely with executive branch offices, including most regularly the Department of Justice, the White House, the Office of the U.S. Trade Representative, the Department of Commerce and U.S. Patent and Trademark Office, and the Department of State. It provides policy analysis to these offices; participates in copyright-related litigation; provides support on trade and enforcement measures; participates on U.S. delegations to intergovernmental meetings and in other international events; hosts copyright training for copyright officials from foreign countries; and provides outreach and education on a routine basis.

The Register of Copyrights has an especially important relationship with the Undersecretary for Intellectual Property, who heads the U.S. Patent and Trademark Office and advises the President on intellectual properly matters. These officers frequently work together in the international arena and the Undersecretary must consult with the Register “on all copyright and related matters” that involve his Office. 35 U.S.C. § 2(c)(5). The U.S. Copyright Office also works closely with the Intellectual Properly Enforcement Coordinator (the “IPEC”), based in the Executive Office of the President. The Register is a statutory member of the IPEC’s interagency intellectual property enforcement advisory committee. 15 U.S.C. § 8111(b)(3)(A)(ii).

Finally, the U.S. Copyright Office’s unique position as the guardian of copyright registration documents deserves special mention. The Office maintains a wealth of information about the different types of works that have been registered in the United States throughout the years. This amounts to an unparalleled database of cultural heritage, as the Office has registered millions of copyright claims for authors, artists, publishers, producers, and distributors of creative works since 1897. The Office annually registers more than half a million copyright claims, records more than 10,000 documents relating to chain of title and other copyright-related matters in connection with hundreds of thousands of titles, and collects more than $300 million dollars in statutory licensing funds. Likewise, it has facilitated the acquisition of hundreds of thousands of copies of books, serial publications, sound recordings, motion pictures, photographs, maps, and prints for the Library’s collection. Chapter 100 : 5


text:
Page:Essay on the theory of capillary phenomena. Theory of surface adhesion of liquid (1879).pdf/5

 found in Laplace's and Poisson's; however, in my view, du Bois-Reymond brought them out in an independent way. Questions concerning thermal capillarity, Du Bois-Reymond leads to four main problems. The solution to the last of them, which relates to an equally floating body, is based on the erroneous assumption and led the author to incorrect conclusions about the relationship that exists between the entire volume of floating body and that part of it that is wetted liquid.

Meanwhile, how the theory founded by Laplace, in the works of the mentioned scientists and some others, reached significant development and well-known completeness, the method proposed by Young, developed much more slowly and for some time found only few followers.

In 1845 and 1846 Hagen in a number of articles again examined from this point of view both the general theory of capillarity and its particular questions. Since then, many physicists (Plateau, Lamarle, Van der Mensbrugghe and others) have used the hypothesis of surface cohesion of liquids when considering capillary phenomena. The number of such followers of Young has been constantly increasing in recent times. Flipping through the first books of the magazine Almeida, dedicated to physics, we find several notes concerning the theory of capillarity and a whole polemic between followers of both directions. At first Moutier placed a note in order to show the advantage Laplace theory. Renewing the reproach that


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/15

, Third Edition U.S. Copyright Office records also provide a glimpse into the evolution of U.S. registration practices and related rights. Examples of some important historic registrations include:
 * First federal registration of a work: John Barry’s book, The Philadelphia Spelling Book, registered with the U.S. District Court for the District of Pennsylvania in 1790.
 * Registration of the Statue of Liberty: On August 31, 1876, Henry de Stuckle and Auguste F. Bartholdi secured registration number 9939-G for the “Statue of American Independence,” as the Statue of Liberty was first named. The copyright claim was filed in America’s centennial year, a decade before the statue was erected in New York Harbor.
 * First motion picture registrations: The Edison Kinetoscopic Record of a Sneeze, January 7, 1894, submitted on January 9, 1894, is the earliest extant copyrighted motion picture in the Library of Congress’s collections. The short clip, known in film circles as Fred Ott’s Sneeze, shows a mustachioed man sneezing. The motion picture was registered as a series of photographs because motion pictures were not covered by U.S. copyright law until 1912. The first work registered as a motion picture was the Republic Film Company’s September 12, 1912 registration for Black Sheep’s Wool.
 * First television show registration: “Unexpected Guest” by Hopalong Cassidy, registered in 1947.
 * First computer program registration: John F. Banzhaf’s computer program to compute automobile distances, registered in 1964.
 * First sound recording registration: Bob and Dorothy Roberts’s “Color Photo Processing Cassette, An Accurate Sound Signal and Oral Instruction System for Processing,” registered on February 15, 1972.

101.2 Organization of the U.S. Copyright Office

The is the Director of the U.S. Copyright Office and a recognized leader and lawyer within the U.S. government. By statute, the Register works under the general direction of the Librarian of Congress and carries out a variety of legal and policy functions that are enumerated throughout Title 17. The U.S. Copyright Office has seven main divisions, in addition to the Register’s Office, and several hundred staff. There are four Associate Registers of Copyrights and three additional division heads that report directly to the Register and help to carry out her statutory mandate. An organizational chart is available at www.copyright.gov/docs/c-711.pdf.

101.2(A) Office of the Register

The Office of the Register of Copyrights has overall responsibility for the U.S. Copyright Office and its statutory mandate, specifically: for legal interpretation of the copyright law; administering the provisions of Title 17; promulgating copyright regulations; advising Congress and other government officials on domestic and international copyright policy and other intellectual property issues; determining personnel and Chapter 100 : 6


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/16

, Third Edition other resource requirements for the Office; organizing strategic and annual program planning; and preparing budget estimates for inclusion in the budget of the Library of Congress and U.S. government.

101.2(B) Office of the General Counsel

The Office of the General Counsel (“OGC”) is headed by the General Counsel and Associate Register of Copyrights, who is an expert copyright attorney and one of four legal advisors to the Register. This Office assists the Register in carrying out critical work of the U.S. Copyright Office regarding the legal interpretation of the copyright law. The General Counsel liaisons with the Department of Justice, other federal departments, and the legal community on a wide range of copyright matters, including litigation and the administration of Title 17. The General Counsel also has primary responsibility for the formulation and promulgation of regulations and the adoption of legal positions governing policy matters and the practices of the U.S. Copyright Office.

101.2(C) Office of Policy and International Affairs

The Office of Policy and International Affairs (“PIA”) is headed by the Associate Register of Copyrights and Director of Policy and International Affairs, who is an expert copyright attorney and one of four legal advisors to the Register. This Office assists the Register with critical policy functions of the U.S. Copyright Office, including domestic and international policy analyses, legislative support, and trade negotiations. PIA represents the U.S. Copyright Office at meetings of government officials concerned with the international aspects of intellectual properly protection, and provides regular support to Congress and its committees on statutory amendments and construction.

101.2(D) Office of Registration Policy and Practice

The Office of Registration Policy and Practice is headed by the Associate Register of Copyrights and Director of Registration Policy and Practice, who is an expert copyright attorney and one of four legal advisors to the Register. This Office administers the U.S. copyright registration system and advises the Register of Copyrights on questions of registration policy and related regulations and interpretations of copyright law. This Office has three divisions: Literary, Performing Arts, and Visual Arts, which are described in, , and of this Compendium, respectively. It also has a number of specialized sections, for example, in the area of motion pictures. This Office executes major sections of the Compendium of Copyright Office Practices, particularly with respect to the examination of claims and related principles of law.

101.2(E) Office of Public Information and Education

The Office of Public Information and Education (“PIE”) is headed by the Associate Register for Public Information and Education, who is an expert copyright attorney and one of four legal advisors to the Register. This Office informs and helps carry out the work of the Register and the U.S. Copyright Office in providing authoritative information about the copyright law to the public and establishing educational programs. The Office publishes the copyright law and other provisions of Title 17; maintains a robust and accurate public website; creates and distributes a variety of circulars, information sheets, and newsletters, including NewsNet; responds to public inquiries regarding Chapter 100 : 7


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/17

, Third Edition provisions of the law, explains registration policies, procedures, and other copyright-related topics upon request; plans and executes a variety of educational activities; and engages in outreach with various copyright community stakeholders.

101.2(F) Office of Public Records and Repositories

The Office of Public Records and Repositories is headed by the Director, who is an expert in public administration and one of the Register’s top business advisors. This Office is responsible for carrying out major provisions of Title 17, including establishing records policies; ensuring the storage and security of copyright deposits, both analog and digital; recording licenses and transfers of copyright ownership; preserving, maintaining, and servicing copyright-related records; researching and providing certified and uncertified reproductions of copyright deposits; and maintaining the official records of the U.S. Copyright Office. Additionally, the Office engages regularly in discussions with leaders in the private and public sectors regarding issues of metadata, interoperability, data management, and open government.

101.2(G) Office of the Chief Information Officer

The Office of the Chief Information Officer is headed by the Chief Information Officer (“CIO”), who is the Register’s top advisor on the development and implementation of technology policy and infrastructure. The Office of the CIO provides strategic leadership and direction for necessary planning, design, development, and implementation of the U.S. Copyright Office’s automated initiatives. The Office of the CIO is a liaison to the central technology office of the Library of Congress, which administers the U.S. Copyright Office’s networks and communications. The CIO also supervises the Copyright Technology Office (“CTO”). CTO maintains the U.S. Copyright Office’s enterprise-wide information technology systems for registration, recordation, public records management and access, and related public services, as well as internal and external help desk functions.

101.2(H) Office of the Chief of Operations

The Office of the Chief of Operations is headed by the Chief of Operations (“COO”), who advises the Register on core business functions and coordinates and directs the day-to-day operations of the U.S. Copyright Office. The Office of the COO supervises financial controls, budget, human capital, statutory royalty investments, mandatory deposits and acquisitions, contracts, and strategic planning functions. This Office interacts with every other senior management office that reports to the Register and frequently coordinates and assesses institutional projects. The COO chairs the U.S. Copyright Office’s operations committee.

The following divisions fall under the oversight of the Chief of Operations:

101.2(H)(1) Receipt Analysis and Control Division

The Receipt Analysis and Control Division is responsible for sorting, analyzing, and scanning incoming mail; creating initial records; labeling materials; and searching, assembling, and dispatching electronic and hard copy materials and deposits to the appropriate service areas. The Division is responsible for operating the U.S. Copyright Chapter 100 : 8


text:
Page:Essay on the theory of capillary phenomena. Theory of surface adhesion of liquid (1879).pdf/6

 Young's theory had not criticized before, as if it was founded only on the analogy between the surface layer of a liquid and an elastic plate, Moutier proves that the theory of partial attractions can explain all capillary phenomena without possible hypotheses about the existence of an elastic plate on the surface of a liquid. In the same volume there is a letter from Van der Mensdrugghe, who hotly disputes Moutier's opinion that the concept of tension, if any, exists, at the very least, uselessly. Understanding that this does not exclude the validity of Laplace's theory, and having mentioned Lamarle's attempt to explain tension precisely on the basis of this theory, Mensbrugghe points to the works of Quincke, Ludtge and many others. "So numerous questions,” writes Mensbrugghe, “considered, if not resolved, by these scientists, sufficiently proved the greatest benefit of this view, which will not hesitate to be accepted in physics courses.” I bring an excerpt from this controversy, as a characteristic of those opinions that have been expressed about this subject recently. In the same edition of Almeida we meet an attempt made by Duclaux to implement the idea expressed by Mensbrugghe is to base the elementary method on the principle of surface adhesion of a liquid. A similar elementary theory presented in the Grashoff's textbook.

The above brief overview of some of the most important works concerning capillary phenomena, clearly reveals two directions in it, which not


text: The Crowne of All Homers Workes/To Æsculapius


text: The Crowne of All Homers Workes/To Castor and Pollvx


text: The Crowne of All Homers Workes/To Mercurie


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/18

, Third Edition Office’s central print room, mail functions, and temporary storage. The Division also processes all incoming fees and maintains accounts, related records, and reports involving fees received.

101.2(H)(2) Licensing Division

The Licensing Division administers certain statutory licenses set forth in the Copyright Act. The Division collects royalty payments and examines statements of account for the cable statutory license (17 U.S.C. § 111), the satellite statutory license for retransmission of distant television broadcast stations (17 U.S.C. § 119), and the statutory license for digital audio recording technology (17 U.S.C. chapter 10). The Division also accepts and records documents associated with the use of the mechanical statutory license (17 U.S.C. §115).

101.2(H)(3) Copyright Acquisitions Division

The Copyright Acquisitions Division (“CAD”) administers the mandatory deposit requirements of the Copyright Act, acting as a trusted intermediary between copyright owners of certain published works and the acquisitions staff in the Library of Congress. 17 U.S.C. § 407. This Office creates and updates records for the copies received by the U.S. Copyright Office; demands particular works or particular formats of works as necessary; administers deposit agreements between the Library and copyright owners; and assists the Office in public discussions and rulemakings regarding the submission requirements for digital works and the best edition requirements.

101.3 Functions of the U.S. Copyright Office

The functions of the U.S. Copyright Office are set forth in Title 17 of the U.S. Code, which includes the provisions of the Copyright Act of 1976 as well chapters on the Digital Millennium Copyright Act (“DMCA”), vessel designs, and other  protections and exemptions (referenced in this Compendium, as the case may require, as “Title 17,” the “DMCA,” or the “Copyright Act,” or with respect to the latter, the “” or “Act”). The statute directs the Register of Copyrights, as Director of the U.S. Copyright Office, to carry out a variety of activities, which are described in Sections 101.3(A) through.

101.3(A) National Copyright Registration and Recordation System

The Copyright Act establishes the U.S. Copyright Office’s statutory obligation to administer both a copyright registration and copyright recordation system on behalf of the Nation. Pursuant to its provisions, the Office undertakes the following duties, among others: Chapter 100 : 9
 * Registration: The U.S. Copyright Office examines applications for registering claims to copyright and any accompanying deposit copy(ies) to determine whether they satisfy the statutory requirements for registrability, including copyrightability, and otherwise comply with the Office’s regulations. Based on its findings, the Office then either registers or refuses to register the claims. Many of the controlling provisions for registration are set forth in Chapter 4 of the Copyright Act. Section 408 of the Act authorizes the Register to promulgate regulations to allow identifying material in


text: The Crowne of All Homers Workes/To Pan

title: The Crowne of All Homers Workes/To Pan


text: The Crowne of All Homers Workes/To Vulcan


text:
Page:Journal of the Optical Society of America, volume 30, number 12.pdf/82

 DECEMBER, 1940

1. Refractive Indices of Liquid Aliphatic Organic Compounds. , Research Laboratories, Eastman Kodak Co.

The molal refraction, defined by a Gladstone-Dale type of equation, R=V(n$D$-1), where V is the molal volume and n$D$ is the refractive index for the Na D lines, is, for a normal paraffin, a rectilinear function of the chain length. For any paraffin, the molal refraction is, practically within experimental error, the sum of “bond refractions,” each of which has a magnitude depending on the kinds of atom (hydrogen; primary, secondary, tertiary or quaternary carbon) joined by the bond. The molal refraction of an unsaturated aliphatic hydrocarbon can be computed from that for the corresponding saturated compound by subtracting a characteristic constant for each double or triple bond (the size of the constant depending somewhat on the number of R groups attached to the multiply bonded atoms) and adding another constant if two multiple bonds are adjacent to or conjugated with each other. The molal refraction of many derivatives of aliphatic hydrocarbons can be computed quite accurately by adding appropriate constants, characteristic of the substituting atoms or groups, to the refractions calculated for the corresponding unsubstituted compounds. Constants have been derived for chlorides, bromides, iodides, amines, alcohols, ketones, aldehydes, acids, esters, ethers, thio-ethers, etc. Equations are presented for the calculation, for compounds of the various classes discussed, of molal refractions from the structural formulas.

2. The Regulation of Tungsten and Mercury Lamps., University of Rochester.

Certain radiometric problems attempted here have required the regulation of high intensity tungsten lamps and of mercury arc lamps. Voltage, current, resistance, radiation, and power d.c. regulators were developed for tungsten lamps. Voltage regulation was chosen. A 1500-watt 115volt tungsten lamp in series with a resistance bank of heater coils is connected to the 220-volt line. In parallel with the resistance bank are six power tubes. Differences in the lamp voltage from a reference voltage are put into a two-stage d.c. amplifier and the output is applied to the grids of the power tubes in such a way as to increase the power tube current when the lamp voltage decreases. Fluctuations in the voltage output of the local generator are several percent, but regulation of lamp voltage is about 1/400 of one percent. However the radiation output of the lamps is not better than 1/10 of one percent due to several causes within the lamp itself. The radiation output of the type H5 mercury arc lamps has been regulated to better than 1/10 of one percent for short periods (30 minutes) by a photoelectric regulator. Six power tubes are connected in parallel with the lamp across the secondary of the lamp’s transformer. Light from the lamp falls on a photo-cell in series with 100 megohms which operates into a one-stage feed-back amplifier. The output of the feedback amplifier goes to the input of a three-stage d.c. amplifier the output of which controls the voltage on the grids of the power tubes in such a way as to decrease the current in the power tubes when the photo-current decreases. Without the regulator, radiation fluctuations are several percent. When the regulator is to be used for long periods a thermopile or other such device is used as a reference standard.

3. Factors Contributing to the Discrepancy Between Subjective and Skiascopic Determinations of the Refraction of the Eye. , Ohio State University.

 * J. P. C. Southall, “Optical principles of skiametry,” J. Opt. Soc. Am. 13, 245-266 (1928).

An eye can be rendered artificially emmetropic by placing before it an ophthalmic lens which corrects the spherical and astigmatic errors of refraction. When such an eye is subjected to skiascopic examination at a distance of, say, 40 cm, the eye can be made to fixate a target in the same plane as the skiascope, and although the subject reports that the target is seen clearly, the skiascope will indicate that the eye is under-accommodated. Conceivably, the following factors might contribute to this discrepancy between subjective and skiascopic criteria of the state of refraction: (1) displacement of the skiascope from the line of sight; (2) the lazy lag of accommodation; (3) spherical aberration; (4) chromatic aberration. The paper reports an investigation of the relative roles played by these factors. A special type of skiascope and an instrument called an aberrometer have been designed for carrying out the investigation. These two instruments make it possible to evaluate the roles played by the different factors. The displacement of the skiascope from the line of sight was not found to be an important factor, and the discrepancy between the subjective and skiascopic determinations of the eye involves to a certain extent all the other factors mentioned above.

4. Ophthalmic Lens Testing Instrument. , Dartmouth Medical School.

In the study of the importance of the relative sizes and shapes of the ocular images in the two eyes to binocular vision, it is necessary to have an instrument with which the optical properties of lenses, as used with the eyes, can be completely determined. Since no existing instrument was adaptable, this necessitated the building of one. The present paper briefly describes the instrument from the point of view of measuring power, astigmatism, peripheral aberrations, prismatic deviation, magnification and distortion for the lens used with the stationary and mobile eye. An example of the measurements is given. (There are two such instruments at the present time—one at Dartmouth,


text: The Crowne of All Homers Workes/To Phœbus


text: The Crowne of All Homers Workes/To Neptune


text: The Crowne of All Homers Workes/To Iove

title: The Crowne of All Homers Workes/To Iove


text: The Crowne of All Homers Workes/To Vesta


text: The Crowne of All Homers Workes/To the Mvses and Apollo


text: The Crowne of All Homers Workes/To Bacchus


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/19

, Third Edition : place of deposit copy(ies), permit the registration of groups of related works with one application, and provide for the correction and amplification of registrations. Section 410 of the Act sets forth the Register’s authority to examine and either register or refuse copyright claims. Sections 411 and 412 address registration as a prerequisite for civil infringement claims and certain remedies. Chapters 200 through 2200 of this Compendium discuss the Office’s policies and practices relating to the examination of claims for copyright registration. Chapter 100 : 10
 * Recordation: The statutory provisions governing recordation are set forth in Chapter 2 of the Copyright Act. Under Section 205, any transfer of copyright ownership or other document relating to copyright may be recorded in the U.S. Copyright Office, subject to certain conditions. The recordation of documents pertaining to transfers or other ownership matters is voluntary, but recommended because: (i) it provides constructive notice of the facts stated in the recorded document if certain conditions have been met; (ii) when a transfer of copyright is timely recorded (within one month of its execution in the United States or two months of its execution outside of the United States, or any time before a conflicting transfer is recorded), the recorded transfer prevails over a later executed transfer; and (iii) a complete public record may mitigate problems related to orphan works. Interested parties also record or consult documents pertaining to licenses, death of authors, expiration of term, wills, trusts, security interests, and mortgages, to name a few. For a discussion of some of these documents, see of this Compendium.
 * Termination notices: The Copyright Act allows, under certain circumstances, authors or their heirs to terminate an agreement that previously granted one or more of the author’s exclusive rights to a third party. These termination provisions are set forth in Sections 203, 304(c), and 304(d) of the Act. To terminate an agreement, a notice of termination must be served on the grantee, and it must be recorded with the U.S. Copyright Office in a timely manner as a condition of effect. 17 U.S.C. §§ 203(a)(4), 304(c)(4), 304(d)(1). For a discussion of recordation of notices of termination, see of this Compendium.
 * Public records: The U.S. Copyright Office maintains extensive public records of copyright claims dating back to 1870 and in some instances earlier, including:
 * Certificates of registration, which attest that registration has been made and may constitute prima facie evidence of the validity of the copyright and of the facts stated in the certificate (if registration is made before publication or within five years of first publication). 17 U.S.C. § 410(c).
 * The, which provides the basic facts of registrations and recordations made after January 1, 1978. This information is available in a searchable database on the Office’s website at www.copyright.gov/.
 * The, which is a physical archive available for public use at the Copyright Office in searching for completed registrations and recorded documents made before January 1, 1978.


text:
Page:Clermont - Roche (1798, volume 2).djvu/186

 re-enter them; and start back, chilled and affrighted by their neglect and desertion, as if it was unexpected. Oh, my father, what a change has a few days produced! The sound of social mirth no longer enlivens the Castle; a death-like stillness reigns throughout it, scarcely ever interrupted but by the wind sighing through its long galleries, as if in unison with the grief of its inhabitants.

"Things without appear almost as dreary as they do within. The fury of a late storm has scattered the lawn with broken boughs and fragments from the chateau, and thus given the place an appearance of desolation saddening in the extreme. The poor peasants, too, who are employed within the wood, appear (to me at least) quite altered. They seem to pursue their labours with reluctance, and, often suspending them, look towards the Castle with a melancholy air, as if to say the comforts that cheered their toils, and supported their strength, died with its honoured and lamented owner.


text:
Page:Clermont - Roche (1798, volume 2).djvu/187

 "Their loss, indeed, is unspeakable;—not content with relieving the objects chance threw in her way, she herself explored the recesses of poverty, and, like a ministering angel from heaven, dispensed charity and compassion wherever she went. She delighted too in contriving little pastimes which should give relaxation to labour, and smiled to see the rough brow of industry smoothed by pleasure, and the peasants sporting on the sod which they had cultivated.

"This morning, as I stood at an upper window, which overlooked the old trees that waved before it, and saw the distant fields already beginning to wear the yellow tinge of Autumn; I recollected the manner in which she had planned to celebrate the conclusion of the ensuing harvest: she was to have given a feast and a dance upon the lawn to all her tenants, and I was to have mixed in the latter with the peasant girls. Alas! little did I think, when she spoke to me about it, that, ere the period destined


text:
Page:Clermont - Roche (1798, volume 2).djvu/188

 for it, she would be laid within the narrow house of clay.

"To quit this place directly, to return to you, my dear father, and mingle those tears with your's, which should embalm her memory, would be my wish, had she not requested, almost in her last moments, that I might continue here to receive Madame D'Alembert, who is shortly expected, and also to give her my company while she staid, or whenever she came to the chateau alone—a request which the gratitude of your heart will not, I am convinced, permit me to disobey;—yet, alas! little benefit can she derive from my society. How can I comfort—how try to reconcile her to a loss which I feel myself nothing earthly can supply to me? But, perhaps, she may derive a melancholy pleasure from the company of a person who is a real mourner; I feel myself, that those of the Countess's family who are the most afflicted, are those to whom I am the most attached.


text:
Page:Clermont - Roche (1798, volume 2).djvu/189

 "It will, I am sure, impart to you the same satisfaction it has done to me, to know that, to the last, my beloved, my estimable benefactress, bestowed upon me those proofs of affection and esteem, which long since excited a gratitude in my heart, death or the loss of reason only can remove. The very morning on which she died so unexpectedly, her generous intentions towards me were to have been put into execution; that they were unfulfilled will, I am confident, be to you, as to me, a small source of regret, compared to that which we feel for her death. I am not now worse with respect to fortune than when she took me under her protection: the luxuries I enjoyed with her have not vitiated my taste, or rendered me unable to support with contentment the humble situation I am destined to. No, my dear father, her lessons and my affection for you guarded me against such perversion of disposition; and as I will still strive to deserve the protection of heaven, so I trust I shall obtain it, and never feel the pressure of


text:
Page:The chemistry of paints and painting.djvu/49

Rh pure linen rags have been used for the pulp; they may be generally traced to the disintegrating action on the fibre of the chemical bleaching agents employed. The development of rust-spots, when not due to the mount or backing of a drawing, arises from the presence of small particles of metallic iron from the machinery having become embedded in the pulp. These particles appear grey, brown, or black; they may be detected by placing a drop of oxalic acid solution on the suspected spot, allowing it to dry, and then moistening the place with a drop of a freshly-prepared solution of tannin. If the particle be iron an ink-stain will be produced. However, some dark spots consist of blackened grease, or of tar, or of the paper-fungus (Myxotrichum chavtanim).

Naturally, there is a small quantity of oil or fat in paper; it varies from 3 to 5 parts in a thousand. The difficulty experienced in immediately wetting a surface of paper, caused by the presence of this trace of oil, may be overcome by first washing the surface with distilled water to which a drop or two of caustic ammonia has been added. A solution of the natural mixture of alkaline organic salts, known as oxgall, effects the same purpose. The use of borax had better be avoided. It is always advisable to wet the whole surface of the paper before beginning a water-colour drawing. Thus any abrasions or defects of the surface will become apparent.

As drawing-papers are sized in the sheet they occasionally show a peculiar defect arising from the irregular distribution of the size. In such cases, when the surface is scraped off, an absorbent layer of imperfectly sized pulp is revealed beneath. When such paper is used for water-colour painting the sinking-in and running of the pigments produce disastrous results; but it is easy to guard against


text:
Page:Clermont - Roche (1798, volume 2).djvu/190

 worldly want. Do not suffer any apprehensions about my health to disturb your mind; my body has not sympathized as much as you might have supposed with my mind; I am not ill, indeed, though a little fatigued; but there is nothing now (alas! I sigh as I say so) to prevent my taking repose.

"I now regret more than ever the departure of my good friends, Madame Chatteneuf and her daughter; had they continued at V, I am sure, on the first intimation of the melancholy event which has happened, they would have flown to the castle; and their society, I think, would a little have alleviated my feelings. When I sat down, I did not imagine I could have written above a few lines; but now I find that in writing to, as well as in conversing with, a beloved friend, one is insensibly drawn on, and comforted by being so.

"I have now, however, written almost to the extent of my paper; and as I have no-


text:
Page:Clermont - Roche (1798, volume 2).djvu/191

 thing of sufficient consequence to say to make me begin a new sheet, I shall bid you, my dearest father, farewell. Write as soon as possible, I entreat you; if you say (which I know you will not, except it is the case) that you are well, and somewhat composed after our great loss, you will give ease to my heart.

"I shall receive pleasure from hearing that our faithful Jaqueline, and all our good neighbours, are well: to all who may be so kind as to inquire after me, present my best wishes. Once more farewell! and believe me

"Your truly dutiful and affectionate child, ""


text:
Page:The chemistry of paints and painting.djvu/50

16 accidents of this sort by previously scraping and colouring a corner of the sheet to be used. The peculiarity is generally owing to the too prolonged and slow drying of the sheets of paper after they have been removed from the warm sizing-bath and pressed. The solution of size is brought to the surfaces from the interior of the sheet, and remains there. Moreover, in very slow drying, the size is apt to decompose with loss of its glutinous character and, possibly, the formation of mildew. A good drawing-paper will indeed have rather more size at the surface than in the interior, this result being secured by a rate of drying which is neither too rapid nor too slow. Let us add that the strength of paper when completely wetted and in the presence of free water, is very low. If, however, it has been gelatin-sized and afterwards sprayed with a 40 per cent, solution of formalin to coagulate the gelatin it becomes appreciably stronger.

As to vellum, parchment, and ivory, little need be said. All three contain the characteristic ingredient ossein, an insoluble nitrogenous organic substance, which by long boiling with water is converted into gelatin: a solution of gelatin constitutes ordinary size. Water-colour paints placed upon any of these materials sink either very slightly, or not at all into their substance—a very few, such as aureolin, strontia-yellow, and madder carmine, stain the superficial layer. The old method of preparing vellum for the reception of water-colours consisted in rubbing the surface with very finely-ground bone-ash, or with pulverized sandarac. Pumice-stone or cuttle-fish, reduced to a minutely divided state by pounding, grinding, and sifting, may be used for this purpose; the infusorial earth known as polishing silica, or kieselguhr, may also be employed.


text:
Page:Essay on the theory of capillary phenomena. Theory of surface adhesion of liquid (1879).pdf/7

 not only differ significantly from each other in their counterparts, but even, in the interpretation of some authors, they become directly hostile to each other. In this I decide to offer my readers a special point of view on the theory of surface adhesion of liquid. This view is capable, it seems to me, of reconciling both of the abovementioned directions, and also of removing from Young’s theory the most important accusation that its opponents bring to it, claiming that it does not have a sufficient basis in general principles of rational mechanics. A theoretical consideration of those questions that lead to the idea of partial forces will significantly is facilitated through the introduction of the auxiliary concept of pressure. Kowu further defined as the resultant force of a certain system of partial interactions and showed that the influence of these interactions on the equilibrium of particles of any body can be determined as long as it is known further at every point inside the body. After that the concept of pressure was usefully used in the study of the equilibrium and movement of certain physical bodies, what are the solid ynpyria of the body, liquids undergoing destruction inside, etc. Applying this concept to the consideration of capillary phenomena leads to the theory of surface adhesion in the general principles of mechanics, including the elimination its disagreement with Laplace's theory.

I considered it appropriate to preface this theory with a review of those general theorems about pressure that Kowu found and were accepted by many authors and included in some educational courses.


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/352

RV 342 (BUDDENBROOKS) by any chance a plain master. This is a mystery not to be revealed to youthful minds; it is only intended for grown-ups and persons of mature experience. An ordinary intelligence might say that either one is a master or one is not. I might go up to the Lord God or Herr Marotzke and explain this to him. But what would be the result? They would consider it an insult, and I should be punished for insubordination—all for having discovered for them a much higher significance in their calling than they themselves were aware of! No, let’s not talk about them—they’re all thick-skinned brutes!”

They walked about the court; Kai made jokes to help Hanno forget his bad mark, and Hanno listened and enjoyed.

“Look, here is a door, an outer door. It is open, and outside there is the street. How would it be if we were to go out and take a little walk? It is recess, and we have still six minutes. We could easily be back in time. But it ia perfectly impossible. You see what I mean? Here is the door. It is open, there is no grating, there is nothing, nothing whatever to prevent us. And yet it is impossible for us to step outside for even a second—it is even impossible for us to think of doing so. Well, let’s not think of it, then. Let’s take another example: we don’t say, for instance, that it is nearly half-past twelve. No, we say, ‘It’s nearly time for the geography period’! You see? Now, I ask, is this any sort of a life to lead? Everything is wrong. Oh, Lord, if the institution would just once let us out of her loving embrace!”

“Well, and what then? No, Kai, we should just have to do something then; here, at least we are taken care of. Since my Father died Herr Stephan Kistenmaker and Pastor Pringsheim have taken over the business of asking me every day what I want to be. I don’t know. I can’t answer. I can’t be anything. I’m afraid of everything—”

“How can anybody talk so dismally? What about your music?”

“What about my music, Kai? There is nothing to it. Shall I travel round and give concerts? In the first place,

RV 342 (342)


text:
Page:The chemistry of paints and painting.djvu/51

Rh Ivory which has become yellowish through age and seclusion from light may be safely bleached by contact with an ethereal solution of hydrogen peroxide. The treatment is best carried out in a wide-mouthed stoppered bottle, care being taken to immerse the sheets of ivory wholly in the liquid, and not to allow them to touch each other.

Much care is necessary in selecting tinted and coarse coloured papers for water-colour work. The tints of the former are often obtained by the introduction of fugitive pigments into the pulp; the latter are often made of inferior and mixed fibres, and sometimes contain lead-white and other injurious fillings. 'Turner' paper, for example, owes its grey-blue tint to the presence of indigo, while 'Varley' paper contains about 20 per cent, of 'mechanical' wood-pulp, a material which steadily darkens into brown after but a short exposure to light. ' Sugar ' paper, whatever its hue, should be avoided. Mill-board is often made of wood-pulp, oakum and straw-pulp : its surface is primed for oil-painting in the same way as canvas.


text:
Page:Clermont - Roche (1798, volume 2).djvu/192

CHAP. IX.

her letter to her father, Madeline carefully guarded against dropping any hint of the event which had accelerated the Countess's death, well knowing that, if she gave the most distant intimation of it, she should prompt inquiries from him, which it would be difficult for her to evade. The news of the Countess's decease soon spread throughout the neighbourhood, and several of her


text: The Crowne of All Homers Workes/To Diana (2)


text:
Page:Clermont - Roche (1798, volume 2).djvu/193

 acquaintance sent to the castle to learn the particulars of it; how Mademoiselle Clermont was, and whether Madame D'Alembert was expected?

The respect of the servants to the commands of their lady did not expire with her; and, in conformity to the last she had issued, they answered the inquiries concerning the cause of her death, by saying that it was owing to a severe cold.

A dead calm now reigned throughout the castle; the domestics had nothing to do but to lament, and Madeline passed her time in wandering about the castle, like a ghost round the scene of its former happiness, or in watching by the pale remains of her friend, alternately wishing, alternately fearing the arrival of Madame D'Alembert. Ere she came, Father Bertrand determined to have the body of the Countess secured within its coffin, trusting by this measure to conceal for ever the injury it had suffered;


text:
Page:Clermont - Roche (1798, volume 2).djvu/194

 convinced, from the strong affection Madame D'Alembert bore her mother, that to let her know the real cause of her death, would be upon the "quarry of that murdered deer," to add the death of her.

Eight days elapsed without any tidings of Madame D'Alembert; and before their expiration, the remains of the Countess were consigned to the coffin, and hid for ever from every mortal eye. At the end of that period, a messenger came post one morning to the castle to announce the near approach of Madame D'Alembert, who came, he said, merely attended by a few domestics. Madeline was astonished to hear she was unaccompanied by Monsieur D'Alembert; but Agatha, to whom she expressed that astonishment, replied, that Monsieur was of a gay disposition, and did not, she supposed, choose to come to the castle till the grief of his lady had a little abated.


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/353

RV 343 (BUDDENBROOKS) they wouldn’t let me; and in the second place, I should never really know enough. I can play very little. I can only improvise a little when I am alone. And then, the travelling about must be dreadful, I imagine. It is different with you. You have more courage. You go about laughing at it all—you have something to set against it. You want to write, to tell wonderful stories. Well, that is something. You will surely become famous, you are so clever. The thing is, you are so much livelier. Sometimes in class we look at each other, the way we did when Petersen got marked because he read out of a crib, when all the rest of us did the same. The same thought is in both our minds—but you know how to make a face and let it pass. I can’t. I get so tired of things. I’d like to sleep and never wake up. I’d like to die, Kai! No, I am no good. I can’t want anything. I don’t even want to be famous. I’m afraid of it, just as much as if it were a wrong thing to do. Nothing can come of me, that is perfectly sure. One day, after confirmation-class, I heard Pastor Pringsheim tell somebody that one must just give me up, because I come of a decayed family.”

“Did he say that?” Kai asked with deep interest.

“Yes; he meant my Uncle Christian, in the institution in Hamburg. One must just give me up—oh, I’d be so happy if they would! I have so many worries; everything is so hard for me. If I give myself a little cut or bruise anywhere, and make a wound that would heal in a week with anybody else, it takes a month with me. It gets inflamed and infected and makes me all sorts of trouble. Herr Brecht told me lately that all my teeth are in a dreadful condition—not to mention the ones that have been pulled already. If they are like that now, what will they be when I am thirty or forty years old? I am completely discouraged.”

“Oh, come,” Kai said, and struck into a livelier gait. “Now you must tell me something about your playing. I want to write something marvellous—perhaps I’ll begin it to-day, in drawing period. Will you play this afternoon?” RV 343 (343)


text:
Page:Clermont - Roche (1798, volume 2).djvu/195

 "But who (cried Madeline) so able to support her under the pressure of that grief as an affectionate husband."

Agatha shook her head, but did not answer; and Madeline descended to the hall (from the dressing-room of her departed friend, where she had been sitting) to receive Madame D'Alembert, whose carriage at that instant was heard. In the hall Madeline found Father Bertrand and most of the servants assembled, whom the good priest earnestly besought to command their feelings, in order, if possible, to prevent letting Madame D'Alembert know the melancholy event which had happened, until a little prepared for it.

In a few minutes Madame D'Alembert entered, leaning on her woman—a female figure so interesting Madeline had never before seen. To that dignity which excites involuntary respect, she united that light elegance, that harmony of form, which inspires the beholder with mingled pleasure


text:
Page:Clermont - Roche (1798, volume 2).djvu/196

 and admiration; she seemed not yet to have attained the prime of her days, and though the rose upon her cheek was pale, and the lustre of her fine blue eyes was fled, her countenance still retained an expression so animated, that language was scarcely necessary to develop her feelings.

She advanced to the middle of the hall; then paused, as if involuntarily, and casting a look around at the old domestics who were ranged on each side, exclaimed, in a tremulous voice, "Am I come too late? Have I arrived in time to receive the last blessing of my mother?"—The servants, instead of answering, hung their heads in mournful silence. Madeline, who had hitherto stood at a distance, pale and trembling, now stepped forward, followed by Father Bertrand; but the moment she had reached Madame D'Alembert, the fortitude she had struggled to assume forsook her; and dropping on her knees, she clasped her arms about her, and burst into tears.


text:
Page:The chemistry of paints and painting.djvu/52

PLASTER, GESSO, STONE, SLATE, ETC.

The painting-grounds to be considered in this chapter consist mainly of mineral substances. However their constituents may be varied, in accordance with the process to be used in painting upon them, the wall or backing upon which they are spread should fulfil certain conditions. It must be naturally dry, free from soluble saline matters, and not very porous. A damp-proof course above the level of the ground is necessary, and the wall should be well-built, and free from tremors. A double wall well-bonded has been recommended: in this case the air enclosed between its two divisions should not be stagnant.

Before being plastered, the wall, whether its surface be of stone, bricks and mortar, roughened slate, or tiles, must be thoroughly wetted with lime or baryta-water. The plaster is applied in two or more coats, the coarsest and thickest first. In the case of a ground for fresco the two ingredients usually employed are (or rather were) pure slaked lime, and clean sharp silicious sand. The sand must be uniform in grain, white, and free from soluble salts. The slaked lime is so important an ingredient in the majority of plasters, that it is expedient to describe its preparation once for all. Before doing so we may state the relations subsisting between the three compounds known generally as carbonate of lime (chalk), or mild lime,


text:
Page:Clermont - Roche (1798, volume 2).djvu/197

 "I see (said Madame D'Alembert, in the hollow voice of despair, and raising her hands towards heaven) I see that all is over—she is gone, and it is a stroke too heavy for me to bear."

She tottered, and would have fallen, had not some of the attendants timely caught her; they conveyed her into an adjoining apartment, but it was many minutes ere she showed any signs of returning sense. When recovered, instead of heeding Father Bertrand, who hung over her, like the delegate of heaven, to administer compassion, instead of regarding Madeline, who knelt beside her, and whose tears evinced her sympathy in her distress, or the domestics who surrounded her with looks of love and pity: she wildly started up, and demanded whether they had yet interred her mother. When answered in the negative, she insisted on going to her chamber: any opposition Father Bertrand was convinced, would


text:
Page:Clermont - Roche (1798, volume 2).djvu/198

 be not only fruitless, but an aggravation of her grief.

He knew the violence of sorrow must, like that of the mountain torrent, have way, ere it can subside. Followed by him and Madeline, she ascended to the chamber, but when she reached the door, she stopped, or rather shrunk back, from a sensation of horror at only beholding the coffin, before which rows of tapers burned, every ray of day-light being excluded. In speechless agonies she leaned a minute upon the shoulders of Madeline, then raising her head, she looked at Father Bertrand; "had you the cruelty (she cried) to intend I never more should behold my mother?—never! never, will I acquiesce in such an intention. I command! (advancing into the room) I insist! nay, I entreat! (she continued, and tears, the first she had shed, began to steal down her cheeks) that the coffin may be opened; cold and inanimate as is the form it contains, it will sooth my sad heart once more to behold it. Oh, suffer


text:
Page:The chemistry of paints and painting.djvu/53

Rh burnt lime, or quicklime, and slaked lime. The first of these is neutral and nearly insoluble in pure water, the second and third are alkaline and caustic. When burnt lime unites with water to form slaked lime it becomes slightly soluble in pure water. In chemical language these three compounds are called respectively calcium carbonate, calcium oxide, calcium hydrate (or hydroxide). From the first substance the others are readily obtained. If calcium carbonate, often called carbonate of lime, be heated to a sufficient temperature, it is decomposed, being resolved into carbon dioxide (carbonic acid gas) which escapes, and calcium oxide (lime) which remains: from 100 parts by weight of the carbonate 56 parts of lime, that is, burnt lime, are obtained. Placed in water or exposed to moist air this burnt lime combines with water, 56 parts of it uniting with 18 parts of water to yield 74 parts of slaked lime, calcium hydrate. In the ordinary country atmosphere, which contains no more than 3 measures of carbonic acid gas per 10,000, slaked lime or calcium hydrate loses its combined water, slowly becoming once more the carbonate from which it was originally produced: 74 parts of hydrate lose 18 parts of water and combine with 44 parts of carbonic acid, and yield 100 parts of carbonate. Thus mild lime is formed once more from caustic lime. By this change, if it be effected in the presence of a sufficiency of free water—that is, if the hydrate of lime be in the state of a firm paste—the whole substance becomes a hard crystalline solid, like an opaque marble. Advantage may be taken of this hardening or cementing process to firmly incorporate other substances with the lime, Silicious sand, infusorial earth, pumice, marble powder, and many other mineral substances, may be thus introduced. Such of these materials as are silicious may


text: The Crowne of All Homers Workes/To Pallas (2)


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/354

RV 344 (BUDDENBROOKS) Hanno was silent a moment. A flush came upon his face, and a painful, confused look.

“Yes, I’ll play—I suppose—though I ought not. I ought to practise my sonatas and etudes and theh stop. But I suppose I’ll play; I cannot help it, though it only makes everything worse.”

“Worse?”

Hanno was silent.

“I know what you mean,” said Kai after a bit, and then neither of the lads spoke again.

They were both at the same difficult age. Kai’s face burned, and he cast down his eyes. Hanno looked pale and serious; his eyes had clouded over, and he kept giving sideways glances. Then the bell rang, and they went up.

The geography period came next, and an important test on the kingdom of Hesse-Nassau. A man with a red beard and brown tail-coat came in. His face was pale, and his hands were very full of pores, but without a single hair. This was “the clever one,” Dr. Mühsam. He suffered from occasional haemorrhages, and always spoke in an ironic tone, because it was his pose to be considered as witty as he was ailing. He possessed a Heine collection, a quantity of papers and objects connected with that cynical and sickly poet. He proceeded to mark the boundaries of Hesse-Nassau on the map that hung on the wall, and then asked, with a melancholy, mocking smile, if the gentlemen would indicate in their books the important features of the country. It was as though he meant to make game of the class and of Hesse-Nassau as well; yet this was an important test, and much dreaded by the entire form.

Hanno Buddenbrook knew next to nothing about Hesse-Nassau. He tried to look on Adolf Todtenhaupt’s book; but Heinrich Heine, who had a penetrating observation despite his suffering, melancholy air, pounced on him at once and said: “Herr Buddenbrook, I am tempted to ask you to close your book, but that I suspect you would be glad to have me do so. Go on with your work.” RV 344 (344)


text:
Page:Alumni Oxonienses (1500-1714) volume 2.djvu/214

 Hakewill, William, s. William, of Wendover, Bucks, arm. ., matric. 28 Nov., 1634, aged 16; bar.-at-law of Lincoln's Inn 1641. See Foster's Judges and Barristers.

Hale, See also Hele.

Hale, Alexander, of Berks, pleb. ., matric. 16 June, 1610, aged 19; chorister 1609-11 (as Hales), B.A. 4 Nov., 1611, vicar of Wootton, Beds, 1638. See Bloxam, i. 33; & Foster's Index Ecclesiasticus.

Hale, Anthony, of Oxon, pleb. ., matric. entry under date 20 March, 1578-9, aged 20.

Hale, Edward, s. Rich., of Ledwiche, Salop, pleb. , matric. 28 May, 1666, aged 16; B.A. from. 8 Feb., 1669-70. [],

Hale, Edward, s. Joh., of Kinver, co. Stafford, gent. ., matric. 16 Feb., 1699-1700, aged 18; B.A. from 1703.

Hale, Gabriel (Hayle), B.A. from. 6 June, 1614.

Hale, Gabriel, s. Rob., of co. Gloucester, arm. ., matric. 23 Nov., 1688, aged 18; a student of Lincoln's Inn 1689 (his father of Alderley); born 22 Dec., 1669, died 1718; brother of Matthew 1684. See Foster's Inns of Court Reg.

Hale, George, of Cheshire, pleb. ., matric. entry under date 8 Dec., 1578, aged 23.

Hale, George, of Oxon, pleb. , matric. entry under date 15 April, 1580, aged 19; B.A. 6 Feb., 1582-3. [],

Hale, George, of co. Lancaster, pleb. ., matric. 14 June, 1594, aged 18, called "Hayle" in ''Mat. Reg''.

Hale, Griffin (Hayle), of Oxon, cler. fil. , matric. 8 June, 1604, aged 17, "pauper scholaris.",

Hale, Henry, s. Richard, of Beckenham, Kent, gent. ., matric. 7 June, 1689, aged 17; B.A. 1693, fellow, M.A. 1696, B.D. 13 March, 1704-5; will at Oxford proved 7 Nov., 1707; brother of Richard same date.

Hale, John, of Wilts, arm. , matric. entry under date 20 July, 1578, aged 12.

Hale, John, of co. Gloucester, pleb. , matric. 23 Nov., 1581, aged 17. [],

Hale, John, s. Richard, of Tewin, Herts, gent. ., matric. 9 Dec., 1631, aged 18; B.A. 29 March, 1634 (as Thomas Hallett), M.A. 9 Nov., 1637, a student of Lincoln's Inn 1632. See Foster's Inns of Court Reg.

Hale, (Sir) Matthew, 1s. Robert, of Alderley, co. Gloucester, arm. , matric. 20 Oct., 1626, aged 16; bar.-at-law, of Lincoln's Inn, 1636, bencher 1649, serjeant-at-law 1654, M.P. co. Gloucester 1654-5 and 1660, Oxford University 1659-60, justice common pleas 1654-8, chief baron 1660-71, knighted 30 Jan., 1661, chief justice king's bench 1671, until his death 25 Dec., 1676, aged 67. See Foss' Judges; Foster's Parliamentary Dictionary; Ath. iii. 1090; & D.N.B.

Hale, Matthew, 2s. M(atthew), of Alderly, co. Gloucester, equitis. , matric. 22 May, 1663, aged 17; bar.-at-law, of Lincoln's Inn, 1669 (his father chief baron of the exchequer); died 25 June, 1675; brother of Thomas same date. See Foster's Judges and Barristers.

Hale, Matthew, s. Rob., of Alderly, co. Gloucester, arm. ., matric. 12 Nov., 1684, aged 15; student of Lincoln's Inn 1688; born 23 Dec., 1668. See Foster's Inns of Court Reg.

Hale, Nicholas, pleb. , matric. 22 May, 1590, aged 15. [],

Hale, Richard, fellow of ., 1521-31 from St. Martin's, city of London, B.C.L. 14 June, 1529, perhaps rector of Turvey, Beds, 1534-6. See O.H.S. i. 324.

Hale, Richard, of Sussex, pleb. , matric. 11 Oct., 1583, aged 20.

Hale, Richard, s. Richard, of Beckenham, Kent, gent. ., matric. 7 June, 1689, aged 18; B.A. 1693, M.A. 4 Feb., 1695-6, B.Med. 11 Feb., 1697-8, D.Med. 1701, fellow college of physicians 1716, practiced in Oxford, physician to Bridewell and Bethlehem hospitals 1708, declined a baronetcy and post of physician to George I.; died at Hampstead 26 Sept., 1728; buried at New Windsor, Berks; brother of Henry same date. See Rawl. i. 284; iv. 324; Munk's Roll, ii. 48, Hearne, ii. 130; & D.N.B.

Hale, Robert (Hall), B.A. (sup. 29 Jan.), 1507-8, fellow of. 1511, M.A. 1 Feb., 1513-14, perhaps rector of Lee, Kent, 1526-67, signed the renunciation of the pope's supremacy temp. Henry VIII. See Drake's Blackheath, 229.

Hale, Robert, of co. Gloucester, pleb. , matric. entry under date 28 April, 1580, aged 17; of Alderley, co. Gloucester; bar.-at-law, Lincoln's Inn, 1594; father of Matthew 1626. See Foster's Judges and Barristers. [],

Hale, Robert, s. Matthew, of Alderley, co. Gloucester. arm. , matric. 14 Nov. 1661; aged 18; of Alderley, student of Lincoln's Inn 1661; father of Matthew 1684, and of Gabriel 1688. See Foster's Inns of Court Reg.

Hale, Thomas, B.A. from. 21 Feb., 1576-7 (incorporated at Cambridge, 1578), M.A. (sup. 4 May), 1579, fellow 1579-83; perhaps M.A. Cambridge, incorporated at Oxford 11 July, 1585, rector of St. Olave, Hart Street, London, 1583-90, and of Beaumont, Essex, 1591-9. See Foster's Index Eccl.; O.H.S. xii. 66; & Boase, 47.

Hale, Thomas, 3s. M(atthew), of Alderly, co. Gloucester, equitis. , matric. 22 May, 1663, aged 16; bar.-at-law of Lincoln's Inn, 1669; licenced 30 Dec., 1674, to marry Rebecca Lebrune, granddaughter of Philip Leman, of Thames Ditton, Surrey, spinster; died about May, 1676; brother of Matthew same date. See Foster's Judges and Barristers; & London Marriage Licenees, ed. Foster.

Hale, William, B.C.L. (disp. 6 Feb.), 1505-6.

Hale, William (Hayle), of Salop, pleb. ., matric. 16 June, 1610, aged 17; sup. for B.A. 26 May, 1614. [],

Hale, William, s. Ric., of "Waden," Surrey, arm. ., matric. 30 Sept., 1702, aged 16; M.P. Bramber, Jan., 1709, St. Albans, 1713 (unseated April, 1714), 1715, until his death 2 Oct., 1717. See Foster's Parliamentary Dictionary.

Hales. See also.

Hales (Sir), Bartholomew, of co. Warwick. ., matric. entry under date 9 Nov., 1579, aged 14 (as gent.); student of Gray's Inn 1592 (as cousin to Charles Hale, reader of that society, and next-named); of Snitterfield, co. Warwick (s. Bartholomew), knighted 21 Aug., 1619, in which year he died; brother of Thomas same date. See Foster's Gray's Inn Reg.

Hales, Charles (Hayles), B.A. 13 Feb., 1565-6; possibly Sir Charles Hales, bar.-at-law, Gray's Inn, 1576, bencher 1593, serjt.-at-law, and of the council of the north; licenced 23 July, 1575, to marry Elizabeth Fysshe, spinster, of St. Antholin; died 2 Feb., 1618; father of John 1601, and of Stephen 1593. See Foster's Judges and Barristers; & London Marriage Licences, ed. Foster. [ 641 ]


text:
Page:Clermont - Roche (1798, volume 2).djvu/199

 the eyes of a child again to gaze upon an idolized parent! Oh let her tears of unutterable sorrow be shed over the dear, the lamented cause of them!"

"Impossible! impossible! (said Father Bertrand); the remains of my honoured friend must not be disturbed."

Madame D'Alembert, with a distracted air, now flung back the pall which was thrown over the coffin, as if she hoped herself to effect what she wished; but when the ghastly head of death, curiously engraved upon the lid, with the name and age of her parent, met her eye, she shivered, groaned, and sinking upon it, fainted away. They seized this opportunity to convey her to her chamber, where she was undressed and put to bed, which the female attendants declared was the properest place for her, as she had never stopped to rest from the commencement of her journey.


text:
Page:Clermont - Roche (1798, volume 2).djvu/200

 Father Bertrand now determined that the funeral of the Countess should take place that night, well knowing that, while her remains continued in the house, the feelings of her daughter would not subside, and accordingly issued the necessary orders for that purpose. Madeline staid by the bedside of Madame D'Alembert till the hour fixed on for the removal of the body, though, like every other person, she was totally unnoticed by her: the weakness she had been seized with, rendering her as unable, as from affliction she was unwilling to converse with any one. An express was sent for the surgeon who had attended the Countess, and he quieted the apprehensions of the family about her, by saying, that he trusted attention and time would restore her to her usual state of health. Madeline continued by her, as I have already said, till the hour for the funeral drew nigh; she then resigned her seat to Madame D'Alembert's woman, and descended to the hall, which was again lit up with all its usual splendour; but


text:
Page:Clermont - Roche (1798, volume 2).djvu/201

 alas! how melancholy a scene did that light now display! in the centre lay the coffin, surrounded by a numerous body of monks from the neighbouring monastery, and the weeping domestics.

Madeline leaned, weeping, against a distant pillar, nor had power to move till the procession began; she then took a long mourning veil from Agatha, which she, knowing her intention of following the remains of her lady to the grave, had brought for her as soon as she entered the hall, and wrapping it round her, followed with the housekeeper.

The solemn requiem chanted by the monks, as they preceded the body, the glimmering light of the torches, carried by the servants, which as it fell in partial directions upon the old trees that canopied the garden walk through which they past to the valley, produced a thousand quivering and grotesque shadows; the melancholy notes of


text:
Page:Clermont - Roche (1798, volume 2).djvu/202

 the birds, who, deceived by the light, started from their nests, and the low murmurs of the wind amongst the branches, altogether produced an effect upon Madeline that wrought her feelings up to agony.

Yet was that agony, if possible, increased when she entered the valley;—horror then seized her soul; and she shuddered as she thought she might, at that very moment perhaps, be treading in the steps of the Countess's murderers. The chapel was lighted up, but the light which gleamed from its windows, by rendering the decay and desolation of the building more conspicuous, served rather to increase than diminish its horrors; from its shattered towers the owls now hooted, and the ravens croaked amidst the surrounding trees, as if singing their nightly song of death, o'er the mouldering bodies which lay beneath them.

Father Bertrand met the procession as it entered the chapel; calmness and resignation in his look, but a more than usual paleness


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/355

RV 345 (BUDDENBROOKS) The remark contained two witticisms. First, that Dr. Mühsam addressed Hanno as Herr Buddenbrook, and, second, that about the copy-book. Hanno continued to brood over his book, and handed it in almost empty when he went out with Kai.

The dificulties were now over with for the day. The fortunate ones who had come through without marks, had light and easy consciences, and life seemed like play to them as they betook themselves to the large well-lighted room where they might sit and draw under the supervision of Herr Drägemüller. Plaster casts from the antique stood about the room, and there was a great cupboard containing divers pieces of wood and doll-furniture which served as models. Herr Drägemüller was a thick-set man with a full round beard and a smooth, cheap brown wig which stood out in the back of the neck and betrayed itself. He possessed two wigs, one with longer hair, the other with shorter; if he had had his beard cut he would don the shorter wig as well. He was a man with some droll peculiarities of speech. For instance, he called a lead pencil a “lead.” He gave out an oily-alcoholic odour; and it was said of him that he drank petroleum. It always delighted him to have an opportunity to take a class in something besides drawing. On such occasions he would lecture on the policy of Bismarck, accompanying himself with impressive spiral gestures from his nose to his shoulder. Social democracy was his bugbear—he spoke of it with fear and loathing. “We must keep together,” he used to say to refractory pupils, pinching them on the arm. “Social democracy is at the door!” He was possessed by a sort of spasmodic activity: would sit down next a pupil, exhaling a strong spirituous odour, tap him on the forehead with his seal ring, shoot out certain isolated words and phrases like “Perspective! Light and shade! The lead! Social democracy! Stick together!”—and then dash off again.

Kai worked at his new literary project during this period, and Hanno occupied himself with conducting, in fancy, an

RV 345 (345)


text: The Crowne of All Homers Workes/To Vesta, and Mercurie


text:
Page:Clermont - Roche (1798, volume 2).djvu/203

 upon his cheek, on which Madeline also thought she could discover the traces of a tear. After meeting, he turned, and preceded the body to the grave, which was directly before the altar, and near those of the Count and his two sons. Madeline's heart felt bursting, and it was with difficulty she could prevent herself from breaking into lamentations; but when the solemn service begun—when she saw the coffin raised—when she saw it, by degrees, lowering into its last receptacle, she could no longer command herself, and a deep groan burst from her.—Father Bertrand paused in the sentence he was uttering over the body, and looked steadily at her; she instantly recollected herself, drew her veil entirely over her face, and buried her sobs in her bosom. He would then have proceeded, but as he attempted to speak, his voice faltered, the muscles of his face began to work, and a tear dropped from him into the grave of his benefactress; the weakness, however, which had overcome him was but momentary, and he re-


text:
Page:Clermont - Roche (1798, volume 2).djvu/204

 sumed and finished the service with his usual steadiness; a solemn mass was then again said, for the soul of the departed, after which Father Bertrand pronounced a short and pathetic eulogium on her:—"The loss, my friends (said he, as he concluded it) which you have sustained by the death of this truly good woman, is indeed great; but man is born to suffer, and continually liable to such deprivations as you have experienced; murmur not therefore at the common lot, but, by patient resignation to the will of the Almighty, strive to deserve a continuance of your remaining blessings: instead of quitting this place with a vain sorrow, quit it with a noble resolution to perform your allotted parts, and to pursue, as far as lies in your power, the example of your lamented benefactress. So may you hope, at the last day, to ascend with her to life immortal."

The lights in the chapel, and the torches were now extinguished, and the monks re-


text: The Crowne of All Homers Workes/To Earth the Mother of All


text:
Page:Clermont - Roche (1798, volume 2).djvu/205

 paired immediately from it to their convent, and Madeline and the servants returned to the castle. Agatha cried bitterly all the way back; " 'twas a grievous thing (she said to Madeline) to see the death of one's best, one's only friend; little did I imagine (she said) that I should ever have beheld the funeral of my lady—I who, when she was a nice prattling little girl, have often and often carried her about in my arms."

The moment Madeline re-entered the castle, she retired to her chamber, to give vent to that grief, which by being so long suppressed, had almost swelled her heart to bursting. When somewhat relieved by the tears she shed, she knelt down and implored heaven to strengthen her fortitude, that she might be enabled, not only to submit with patience to its divine will, but to pay proper attentions to the daughter of her lamented friend. "Regard not! (she cried with fervour) Oh, regard not! thou, from whom misery and


text:
Page:Clermont - Roche (1798, volume 2).djvu/206

 happiness alike proceed, with any degree of displeasure, the sorrow of a weak creature, impressed with the sad idea of the world's being unable to make her any recompense for what she has lost."

In a short time she was sufficiently composed to be able to repair to the chamber of Madame D'Alembert, where she determined to pass the night. During that night, Madame D'Alembert continued almost in a state of insensibility, but on the morrow she appeared better, and again spoke. She asked, whether the interment of her mother had taken place? Father Bertrand desired, if such a question was asked, that he should be sent for to answer it, and for that purpose remained in the house; he was now called, and without hesitation informed her of the truth. The violence of her grief seemed renewed at this, and she reproached him with cruelty in not deferring the funeral till she was able to have attended it. He bore her reproaches with patience, with composure, and seized


text:
Page:Clermont - Roche (1798, volume 2).djvu/207

 the first interval of silence to reason with her.

"For what purpose (cried he) would the interment have been delayed; merely to feed your grief, and continue your family in an unsettled state. Prove your affection to your departed parent, by striving to adhere to the precepts she always gave, to the example she always set you; with a sensibility as exquisite as your's, recall to mind the fortitude with which she bore the death of an idolized husband and two lovely sons, the darlings of her heart, the expected supporters of her noble house: instead of sinking into the supineness of sorrow, instead of withdrawing her cares from life, because that life had lost its brightest charms, she exerted herself to fulfil its incumbent duties; let the remembrance of those exertions inspire you to make similar ones; let it raise you from the bed of languor, let it rouse you from the torpor of affliction, let it animate you to perform your proper part, by tracing


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/356

RV 346 (BUDDENBROOKS) overture with full orchestra. Then school was over, they fetched down their things, the gate was opened, they were free to pass, and they went home.

Hanno and Kai went the same road together as far as the little red villa, their books under their arms. Young Count Mölln had a good distance farther to go alone before he reached the paternal dwelling. He never wore an overcoat.

The morning’s fog had turned to snow, which came down in great white flocks and rapidly became slush. They parted at the Buddenbrook gate; but when Hanno was half-way up the garden Kai came back to put his arm about his neck. “Don’t give up—better not play!” he said gently. Then his slender, careless figure disappeared in the whirling snow.

Hanno put down his books on the bear’s tray in the corridor and went into the living room to see his mother. She sat on the sofa reading a book with a yellow paper cover, and looked up as he crossed the room. She gazed at him with her brown, close-set, blue-shadowed eyes; as he stood before her, she took his head in both her hands and kissed him on the brow.

He went upstairs, where Fräulein Clementine had some luncheon ready for him, washed, and ate. When he was done he took out of his desk a packet of little biting Russian cigarettes and began to smoke. He was no stranger to their use by now. Then he sat down at the harmonium and played something from Bach; something very severe and difficult, in fugue form. At length he clasped his hands behind his head and looked out the window at the snow noiselessly tumbling down. Nothing else was to be seen; for there was no longer a charming little garden with a plashing fountain beneath his window. The view was cut off by the grey side-wall of the neighbouring villa.

Dinner was at four o’clock, and Hanno, his mother, and Fräulein Clementine sat down to it. Afterward Hanno saw that there were preparations for music in the salon, and awaited his mother at the piano. They played the Sonata Opus 24 of Beethoven. In the adagio the violin sang like an

RV 346 (346)


text:
Page:Clermont - Roche (1798, volume 2).djvu/208

 her steps; by doing as she has done, you will more truly prove your love, your reverence for her, than by passing years in fruitless lamentations over her tomb. Like her then, I again repeat, exert yourself; let the smile of your countenance again gladden the hearts of your friends, and your ear be again open to the voice of cheerfulness."

"She set me a glorious example indeed, (said Madame D'Alembert, on whom the language of the venerable man appeared to have made a deep impression); and in future I will strive to follow it."

"Do, (cried Father Bertrand) if you wish to retain your present blessings."

"My blessings!" repeated she mournfully.

"Yes, (resumed he) the many blessings you still possess."—Madame D'Alembert sighed deeply at those words, and shook her head with an air that seemed to imply a doubt of what he asserted.

"Amongst the least of these blessings


text:
Page:Clermont - Roche (1798, volume 2).djvu/209

 (continued he, glancing at Madeline who sat beside the bed) I shall not rank the friend who now sighs to be presented to you."

"You would be wrong, I am sure, if you did," said Madame D'Alembert, raising herself a little upon her pillow, and extending her white hand, as if to receive Madeline's. Father Bertrand took it, and instantly put it into her's.—"You have both (said he, in a softened voice) lost a mother; be ye therefore as sisters to each other, a mutual comfort and support."

"I have long (cried Madame D'Alembert, turning her soft blue eyes on Madeline, and pressing her hand between her's) been prepared to love and to admire you; and she who prepared me to do so, I hoped would have introduced us to each other; but that hope, like many others, was indulged but to be disappointed." Madeline knelt down, and pressed her hand to her lips; Madame D'Alembert gently disengaged it, and throw-


text: The Crowne of All Homers Workes/To the Sun


text:
Page:Clermont - Roche (1798, volume 2).djvu/210

 ing her arm round her neck, clasped her to a heart, whose strong emotions, for a few moments, overpowered her utterance. "Believe me (she cried, as soon as she had recovered her voice) when I declare, that the chief pleasure I look forward to, is that which I shall receive from your society; she who was beloved by my mother, and who loved her, must on these accounts, even if not possessed of half your powers of pleasing, be dear and precious to me; with the truest gratitude I now thank you for all your kind attentions to her."

"Ah Madam! (said Madeline, melting into tears) you surely must be ignorant of my great obligations to her, or you never could speak to me in this manner; did you know them, you would certainly think as I do, that I never did, never could do any thing adequate to the gratitude they excited; she was the only person from whom I ever received the tenderness of a mother, and as daughters must, I imagine, love their mothers, I loved her."


text:
Page:Clermont - Roche (1798, volume 2).djvu/211

 By degrees Madame D'Alembert grew composed, and the conversation then turned upon her deep regret at not arriving in time to behold her mother;—from Madeline, who, she understood, had attended her in her last moments, she entreated to hear the particulars of the disorder which had terminated so fatally. Father Bertrand, who had seated himself at the foot of the bed, now interposed his authority; he knew it would scarcely be possible for Madeline, if she complied with this entreaty, to avoid giving a too faithful narrative, and he therefore declared, that except she and Madame D'Alembert promised to converse no longer on the melancholy subject, they should be separated. "Why (said he, to the latter) do you feed your own grief, and augment her's, by dwelling on it?"

"I promise what you desire, (cried Madame D'Alembert) but Oh! let me be indulged by hearing, whether in her last moments my mother remembered her unhappy Viola!"


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/357

RV 347 (BUDDENBROOKS) angel; but Gerda took the instrument from her chin with a dissatisfied air, looked at it in irritation, and said it was not in tune. She played no more, but went up to rest.

Hanno remained in the salon. He went to the glass door that led out on the small verandah and looked into the drenched garden. But suddenly he took a step back and jerked the cream-coloured curtains across the door, so that the room lay in a soft yellow twilight. Then he went to the piano. He stood for a while, and his gaze, directed fixed and unseeing upon a distant point, altered slowly, grew blurred and vague and shadowy. He sat down at the instrument and began to improvise.

It was a simple motif which he employed—a mere trifle, an unfinished fragment of melody in one bar and a half. He brought it out first, with unsuspected power, in the bass, as a single voice: indicating it as the source and fount of all that was to come, and announcing it, with a commanding entry, by a burst of trumpets. It was not quite easy to grasp his intention; but when he repeated and harmonized it in the treble, with a timbre like dull silver, it proved to consist essentially of a single resolution, a yearning and painful melting of one tone into another—a short-winded, pitiful invention, which nevertheless gained a strange, mysterious, and significant value precisely by means of the meticulous and solemn precision with which it was defined and produced. And now there began more lively passages, a restless coming and going of syncopated sound, seeking, wandering, torn by shrieks like a soul in unrest and tormented by some knowledge it possesses and cannot conceal, but must repeat in ever different harmonies, questioning, complaining, protesting, demanding, dying away. The syncopation increased, grew more pronounced, driven hither and thither by scampering triplets; the shrieks of fear recurred, they took form and became melody. There was a moment when they dominated, in a mounting, imploring chorus of wind-instruments that conquered the endlessly thronging, welling, wandering,

RV 347 (347)


text:
Page:Clermont - Roche (1798, volume 2).djvu/212

 "Remembered! (repeated Madeline emphatically) Oh, Madam! after heaven you were her first consideration." She then, as far as it concerned Madame D'Alembert, related the conversation which had passed between the Countess and her the evening preceding her death.

"You will be my friend, my consoler then! (exclaimed Madame D'Alembert, from whom the relation drew floods of tears, extending her hand to Madeline as she spoke); I open my heart to receive your consolations; my mother wished me to do so, and as I perform what she wished, so do I hope that the blessing she left me, may draw another down."—Madeline sighed, and laid her face upon the hand she held, to conceal the feelings, which, for a few minutes stopped her utterance; fervently, though silently, she prayed for the fortitude which she now wanted, to perform the task enjoined her by her lamented friend. Yet, alas! she said to herself, as she had done in her letter to her


text:
Page:Copyright Office Compendium 3rd Edition - Full.djvu/20

, Third Edition In some circumstances, the Office will issue certified copies of applications, correspondence, deposit copy(ies), documents, and other materials submitted to the Office in connection with copyright registrations and recorded documents. In addition, the Office has a reference search service that provides search reports regarding the facts of registration and recordation contained in the Office’s files. For a discussion of these services, see of this Compendium.
 * Mandatory deposit: The U.S. Copyright Office administers Section 407 of the Copyright Act, which requires copyright owners to deposit certain published works with the Library of Congress for its collections. In this role, the Office may facilitate, demand, negotiate, or exempt the provision of copies or phonorecords. Absent a special exemption, the law requires that one or two copies of the of every copyrightable work published in the United States be sent to the Office within three months of publication, regardless of whether a claim in the work is registered. 17 U.S.C. § 407(a). For a detailed discussion of mandatory deposit, see  of this Compendium.
 * Service provider directory: The Office of Public Records and Repositories administers a directory of service provider agents to receive notifications of claims of infringement as provided under Section 512(c) of the Copyright Act.
 * Mask works: The U.S. Copyright Office examines and registers claims to mask works fixed in semiconductor chip products filed under the Semiconductor Chip Protection Act of 1984, title III of Pub. L. No. 98-620, 98 Stat. 3335, 3347 (codified as amended at 17 U.S.C. §§ 901–914). of this Compendium discusses the examination of claims in mask works.
 * Vessel designs: The U.S. Copyright Office examines and registers claims in vessel designs filed under the Vessel Hull Design Protection Act, title V of the Digital Millennium Copyright Act, Pub. L. No. 105-304, 112 Stat. 2860, 2905 (1998) (codified as amended at 17 U.S.C. §§ 1301–1332). of this Compendium discusses the examination of claims in vessel designs.

101.3(B) Regulatory Work

The U.S. Copyright Office promulgates regulations regarding its policies and procedures pursuant to the provisions of Title 17, which authorizes the Register of Copyrights “to establish regulations not inconsistent with law for the administration of the functions and duties made the responsibility of the Register under this title.” 17 U.S.C. § 702. These regulations are subject to the approval of the Librarian of Congress, who is the agency head. See id.

Congress expressly made the Register’s actions under Title 17 subject to the provisions of the Administrative Procedure Act of June 11, 1946, as amended. 17 U.S.C. § 701(e).

101.3(C) Advising Congress and Intergovernmental Work

The Register advises Congress on national and international copyright issues. The U.S. Copyright Office also works closely with the federal departments and agencies discussed in above. 17 U.S.C. § 701. Among other things, the Office provides expert Chapter 100 : 11


text: The Crowne of All Homers Workes/To the Moone


text:
Page:Clermont - Roche (1798, volume 2).djvu/213

 father, how can I give to others that consolation which I want myself? Her evident inability to do so, rendered her, perhaps, a more soothing companion to Madame D'Alembert, than if the case had been reversed; it proved her deep and poignant sorrow more than any words could have done; and nothing perhaps attaches the heart of a mourner so soon, so truly, as a keen participation in its griefs. Madame D'Alembert eagerly enquired, whether she would not continue with her while she herself remained at the chateau? and whether she would not always accompany her to it, whenever she visited it alone? Madeline said, she believed she might promise to do so, as she was pretty certain her father would never refuse a request made by his honoured and lamented friend, or her daughter.

"How long Madam, (asked Father Bertrand), do you propose staying at the chateau?"

"About two months, (replied Madame D'Alembert); I shall then be obliged to re-


text:
Page:Clermont - Roche (1798, volume 2).djvu/214

 turn to Paris, where Monsieur D'Alembert proposes spending the winter."

"And how soon do you expect him here?" still interrogated Bertrand.

"I do not expect him at all, (answered Madame D'Alembert); he told me, just before we parted, that he was convinced some particular business, which prevented his accompanying me at the present melancholy juncture, would not be finished in time to permit him to follow me."

In two months then, thought Madeline, I shall be restored to the arms of my father; ah! how many distressing scenes have I gone through since I left them!

Father Bertrand now withdrew, but Madeline continued the remainder of the day with her friend, who, though unable at times to converse with her, seemed to derive pleasure from even looking at her. The following day, the exertions which Father


text:
Page:Clermont - Roche (1798, volume 2).djvu/215

 Bertrand had animated her to make, enabled her to rise; and in two days more, the gentleman who attended her took his leave, declaring that time was the only physician whose aid she now required; but though health returned, cheerfulness still continued absent, nor had it more completely forsaken her breast than it had that of Madeline's.

The death of her benefactress, together with the disappointment she had experienced prior to it, left an impression of sadness upon her mind which she could not conquer;—had her efforts for doing so been aided by any external circumstance, they might perhaps, in some degree, have been successful; but her present companion and abode were gloomy in the extreme, and of themselves sufficient to have lowered even animated spirits.

Madame D'Alembert declined seeing any company; she received no visits but from


text:
Page:Clermont - Roche (1798, volume 2).djvu/216

 Father Bertrand; and in answer to the compliments of condolence which she received from the neighbouring families, and which they anxiously wished to pay in person, she declared her utter inability of seeing them at present.

No more the feast of mirth and hospitality was spread within the hall of the chateau—no more its lofty roof re-echoed sounds of melody—no more the peasants danced upon the lawn, while Benevolence sat by in the form of the Countess, and smiled upon their sports. Solitude encompassed, and silence reigned within it; and the old domestics, whose grief for their lady knew no diminution, scrupled not to say, that the glory, the happiness of her house had, with her, forsaken it for ever.

So congenial was its gloom to the present feelings of Madame D'Alembert, that she never talked of quitting it without the


text: The Crowne of All Homers Workes/To Castor and Pollux


text:
Page:Buddenbrooks vol 2 - Mann (IA buddenbrooks0002mann).pdf/358

RV 348 (BUDDENBROOKS) vanishing harmonies, and swelled out in unmistakable simple rhythms—a crushed, childlike, imposing, imploring chorale. This concluded with a sort of ecclesiastical cadence. A fermatefermata [sic] followed, a silence. And then, quite softly, in a timbre of dull silver, there came the first motif again, the paltry invention, a figure either tiresome or obscure, a sweet, sentimental dying-away of one tone into another. This was followed by a tremendous uproar, a wild activity, punctuated by notes like fanfares, expressive of violent resolve. What was coming? Then came horns again, sounding the march; there was an assembling, a concentrating, firm, consolidated rhythms; and a new figure began, a bold improvisation, a sort of lively, stormy hunting song. There was no joy in this hunting song; its note was one of defiant despair. Signals sounded through it; yet they were not only signals but cries of fear; while throughout, winding through it all, through all the writhen, bizarre harmonies, came again that mysterious first motif, wandering in despair, torturingly sweet. And now began a ceaseless hurry of events whose sense and meaning could not be guessed, a restless flood of sound-adventures, rhythms, harmonies, welling up uncontrolled from the keyboard, as they shaped themselves under Hanno’s labouring fingers, He experienced them, as it were; he did not know them beforehand. He sat a little bent over the keys, with parted lips and deep, far gaze, his brown hair covering his forehead with its soft curls. What was the meaning of what he played? Were these images of fearful difficulties surmounted flames passed through and torrents swum, castles stormed and dragons slain? But always—now like a yelling laugh, now like an ineffably sweet promise—the original motif wound through it all, the pitiful phrase with its notes melting into one another! Now the music seemed to rouse itself to new and gigantic efforts: wild runs in octaves followed, sounding like shrieks; an irresistible mounting, a chromatic upward struggle, a wild relentless longing, abruptly broken by startling, arresting pianissimi which gave a sensa-

RV 348 (348)


text:
Page:Clermont - Roche (1798, volume 2).djvu/217

 deepest regret; exclusive of the above consideration, she was also attached to it from its having been the favourite residence of her parents, the place where the blossoms of her youth had blown. Here she wished to pass the remainder of her days—here, where she could be free from that restraint—that state—those tiresome ceremonies, which in a public situation the etiquette of the world obliged her to observe. Like the poet, she might have said,

From words which sometimes dropped from Madame D'Alembert, Madeline was more than once led to imagine, that besides the death of her mother, she had another cause for sorrow; but whenever she reflected on her situation, that idea vanished, and she


text:
Page:Clermont - Roche (1798, volume 2).djvu/218

 wondered how she could for a moment have harboured it; knowing, as she did, that Madame D'Alembert possessed those blessings, which in general are supposed to render life estimable—the affections of the man of her choice (for such Madeline always understood M. D'Alembert to be), friends who adored her, and even a superabundance of riches.

Those attentions, which pity for the afflicted Viola, and reverence for the commands of her benefactress, first prompted her to pay, Madeline now continued from affection.

Madame D'Alembert was a woman, whose temper and disposition, upon an intimacy, captivated the heart, as much as her beauty and elegance, at first sight, charmed the eye: besides, she treated Madeline exactly as a tender sister would have done, ordered the same mourning for her as for


text:
Page:Clermont - Roche (1798, volume 2).djvu/219

 herself, nor suffered the servants to make any distinction between them.

In the course of the conversation Madeline discovered that Madame D'Alembert knew nothing of her or her father prior to her introduction at the chateau; and she felt from this circumstance more firmly convinced than ever that the private history of her father must be dreadful, when the Countess would not impart it even to her daughter.

A month elapsed without Madame D'Alembert's solitude being in the least interrupted, during which she and Madeline paid many visits to the grave of the Countess, which the latter could never approach without shuddering.

At the expiration of that period, as they sat at breakfast one morning, a letter was brought to Madame D'Alembert by her