Chapter I · Chapter 1

used before a singular noun to mean one of a group, when it is not a particular one

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

on the subject of; concerning

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

recognized or made known or admitted

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the performance of a part or role in a drama

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

later than; following

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

(quantifier) used with either mass or count nouns to indicate the whole number or amount of or every one of a class

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

Having no one else present.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

at all times; all the time and on every occasion

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

the form of “a” used before a word that begins with a vowel sound

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

used to join words or parts of a sentence that go together

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

clearly revealed to the mind or the senses or judgment

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

formal attendance (in court or at a hearing) of a party in an action

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the form of “be” used with you, we, they, or a plural noun

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

an old form of “are”, used with “thou”

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

studies intended to provide general knowledge and intellectual skills (rather than occupational or professional skills)

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

at the same time that; because; in the way that

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

used with a past participle to form the passive, or with -ing for continuous tenses

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “beauty” — the qualities that give pleasure to the senses

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

earlier than; in front of

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

see with attention

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

marked by strong resentment or cynicism

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Bound written or printed works.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

that part of the central nervous system that includes all the higher nervous centers; enclosed within the skull; continuous with the spinal cord

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

showing who or what does the action

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

United States sculptor who first created mobiles and stabiles (1898-1976)

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

put an end to a state or an activity

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a possibility due to a favorable combination of circumstances

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

cause to change; make different; cause a transformation

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a person who is in charge

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

wearing or provided with clothing; sometimes used in combination

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

lacking definite form or limits

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

an institution created to conduct business

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

a courteous or respectful or considerate act

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the human act of creating

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

a living organism characterized by voluntary movement

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

utter a sudden loud cry

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

plural of “decoration” — something used to beautify

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

represented in words especially with sharpness and detail

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

an event (or a course of events) that will inevitably happen in the future

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

used to form questions and negatives, and to give emphasis

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “dream” — a series of mental images and emotions occurring during sleep

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

plural of “drive” — the act of applying force to propel something

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

a systematic interpretation or explanation (usually written) of a specific topic

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the front of the human head from the forehead to the chin and ear to ear

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a small being, human in form, playful and having magical powers

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a flaw or weak point

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

free from favoritism or self-interest or bias or deception; conforming with established standards or rules

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the state or quality of being widely honored and acclaimed

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “fear” — an emotion experienced in anticipation of some specific pain or danger (usually accompanied by a desire to flee or fight)

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

undergo an emotional sensation or be in a particular state of mind

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

intended to be given to, or used by, somebody

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

plural of “form” — the phonological or orthographic sound or appearance of a word that can be used to describe or identify something

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

showing where something starts, or who sent it

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

containing as much or as many as is possible or normal

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

uselessness as a consequence of having no practical result

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

a metric unit of weight equal to one thousandth of a kilogram

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

clothing of a distinctive style or for a particular occasion

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

plural of “garner” — a storehouse for threshed grain or animal feed

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a relatively small granular particle of a substance

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

-ing form of “grant” — let have

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

with appreciation; in a grateful manner

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the (prehensile) extremity of the superior limb

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the form of “have” used with he, she, it, or a singular noun

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used with a past participle to form the perfect tenses

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

perceive (sound) via the auditory sense

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

greater than normal in degree or intensity or amount

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

cause to continue in a certain state, position, or activity; e.g., “keep clean”

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a period of time equal to 1/24th of a day

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

unusually great in size or amount or degree or especially extent or scope

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the person speaking or writing, as the subject of the verb

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

inside something, or within a place, period, or state

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

inborn pattern of behavior often responsive to specific stimuli

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

concerning or belonging to all or at least two or more nations

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the act of beginning something new

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the form of “be” used with he, she, it, or a singular noun

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

prefer or wish to do something

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

be an inhabitant of or reside in

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

perceive with attention; direct one's gaze towards

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a strong positive emotion of regard and affection

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

any art that invokes supernatural powers

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used to say something is possible, or to give permission

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

The faculty by which the mind stores and remembers information and knowledge.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “mind” — that which is responsible for one's thoughts, feelings, and conscious brain functions; the seat of the faculty of reason

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

(comparative of “much” used with mass nouns) a quantifier meaning greater in size or amount or extent or degree

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a painting that is applied to a wall surface

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

belonging to the person speaking

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

of an obscure nature

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

a common nonmetallic element that is normally a colorless odorless tasteless inert diatomic gas; constitutes 78 percent of the atmosphere by volume; a constituent of all living tissues

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the condition of being essential or indispensable

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

not ever; at no time in the past or future

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

possessive form of “night” — the time after sunset and before sunrise while it is dark outside

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the state of nonexistence

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

belonging to, or connected with, somebody or something

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

having official authority or sanction

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

touching and supported by a surface

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

belonging to the speaker and others

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

final product; the things produced

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

a writing implement with a point from which ink flows

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

approval to do something

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

United States philosopher (1876-1957)

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

never-ceasing

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

third-person singular of “persist” — continue to exist

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

plural of “photographer” — someone who takes photographs professionally

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

plural of “photograph” — a representation of a person or scene in the form of a print or transparent slide or in digital format

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

pertaining to or consisting of pictures

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

possession of controlling influence

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

serving as an essential component

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

intellectually productive

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

established beyond doubt

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

characterized by an absence or near absence of agitation or activity

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

vigorous and enthusiastic enjoyment

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

make a copy or equivalent of

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

possessing material wealth

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a relationship between two lovers

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

1/60 of a minute; the basic unit of time adopted under the Systeme International d'Unites

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

a three-dimensional work of plastic art

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the act of choosing or selecting

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

plural of “shadow” — shade within clear boundaries

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used with I and we for the future, or to offer and suggest

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the land along the edge of a body of water

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

fall or descend to a lower place or level

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “sky” — the atmosphere and outer space as viewed from the earth

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

the unlimited expanse in which everything is located

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

express in speech

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

be standing; be upright

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

at a steady rate or pace

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

United States minimalist painter (born in 1936)

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

in a striking manner

From this reading The persistent necessity for creation is strikingly proved by the prolific output of the Arts.

a detailed critical inspection

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

plural of “symbol” — an arbitrary sign (written or printed) that has acquired a conventional significance

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

abundantly filled with especially living things

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used to introduce what somebody said, thought, or felt

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

used before a noun that is already known, already mentioned, or the only one of its kind

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

an old word for “you”, as the object, speaking to one person

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

belonging to the people or things already mentioned

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

subsequently or soon afterward (often used as sentence connectors)

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

judge or regard; look upon; judge

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used for a person or thing that is near, or that has just been mentioned

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the plural of “that”: the people or things further away, or already known

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

from one end or side of something to the other

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

up to a particular time

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

used before the base form of a verb to make the infinitive

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

a just detectable amount

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

plural of “tree” — a tall perennial woody plant having a main trunk and branches forming a distinct elevated crown; includes both gymnosperms and angiosperms

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

not deterred

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

Dictionary entry pending editorial verification. Tap Listen to hear the word.

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a formal word for “on”

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

the speaker and others, as the object of a verb or preposition

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

an unexpected and inexplicable change in something (in a situation or a person's behavior, etc.)

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

a mental image that is similar to a visual perception

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

the distinctive quality or pitch or condition of a person's speech

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

the amount of 3-dimensional space occupied by an object

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

the speaker together with one or more other people

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

wanting in physical strength

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

be dressed in

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

at the time that

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

in or at the place that

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

turn in a twisting or spinning motion

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.

which person or people

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

having great (or a certain) extent from one side to the other

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

in the company of; together with

From this reading The Sculpture and Mural Decorations of the Exposition A Pictorial Survey of the Art of the Panama-Pacific International Exposition Described by Stella G. S. Perry With an Introduction by A. Stirling Calder, N. A. Acting Chief of Sculpture of the Exposition The courtesy of the Cardinell-Vincent Company, official photographers of the Panama-Pacific International Exposition, of granting permission to reproduce the selection of official photographs appearing in this volume, is gratefully acknowledged.

inside; before a period of time has passed

From this reading "In this fair world of dreams and vagary, Where all is weak and clothed in failing forms, Where skies and trees and beauties speak of change, And always wear a garb that's like our minds, We hear a cry from those who are about And from within we hear a quiet voice That drives us on to do, and do, and do."

everything that exists anywhere

From this reading To the Memory of Karl Bitter When I have fears that I may cease to be Before my pen has glean'd my teeming brain, Before high-piled books, in charactery, Hold like rich garners the full ripen'd grain; When I behold, upon the night's starr'd face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows, with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love; then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink.

a period of time containing 365 (or 366) days

From this reading Year after year, as we whirl through space on our mysterious destiny, undeterred by apparent futility, the primal instinct for the visualization of dreams steadily persists.