| Part of Speech | Definition | |
| Verb Present Tense | 1. Present tense conjugation of the verb heddle.[Eve - graph theoretic] | |
| Verb Base (heddle) | 1. To draw (the warp thread) through the heddle-eyes, in weaving.[Websters]. 2. Base verb from the following inflections: heddling, heddled, heddles, heddler, heddlers, heddlingly and heddledly.[Eve - graph theoretic] | |
Sources: compiled from various sources, (under license) copyright 2008. | Top | |
Date "HEDDLES" was first used in popular English literature: sometime before 1914. (references) |
Specialty Definition: heddle
| Domain | Definition | ||
| Meteorology & Standards | Small loom combing a number of light loops; it raises the warp threads which are inserted in the loops in order to permit forming of various weaves. Source: European Union. (references) | ||
Source: compiled by the editor from various references; see credits. | Top | ||
Common Expressions: heddle
| Expressions | Definition | ||
| Heddle Nash | Heddle Nash (1894 - 1961) had a reputation as one of England’s finest ever tenors was born in the South London suburb of Deptford on 14 June 1894. His musical studies were interrupted by the First World War, during which he fought in Palestine, Gallipoli and France, and was wounded. He later married the girl who nursed him. After the war he studied with Marie Brema at the Blackheath Conservatory and then with the famous Italian dramatic tenor Giuseppe Borgatti in Italy. He made his debut at the Teatro Carcano in Milan when Nash replaced an indisposed tenor in the role of Almaviva in Il Barbiere di Siviglia. It was a great success. He returned to London in 1925 and was engaged by the Old Vic Company under Lilian Baylis to sing lyric tenor roles in English. Heddle Nash was what the Italians call a ‘tenore di grazia’; with a light, lyrical voice, flexible ,stylish and graceful, with good breath control and excellent diction. In 1929 he made his first appearance at Covent Garden as Don Ottavio in the British National Opera Company’s International Season. He sang to great acclaim and he became a favourite artist there, much admired as Don Ottavio, Tamino, Rodolfo, David in Die Meistersinger von Nürnberg, the Duke in Rigoletto, Almaviva, Roméo and in other roles. He made the first of many records in the Twenties, mostly for the (British) Columbia label and later for HMV. In general they were well-received, though there were those that preferred the full-throated, vigorous Italian tenor voice, and considered Nash’s voice too bland, his style too refined and well-mannered - a criticism often leveled at English singers, particularly tenors. The practice at the time of singing opera in English did not help; the English language versions of well-known Italian or French arias often verging on the ludicrous. In the United States the Metropolitan Opera had a policy of singing opera in the original language and the record companies followed suit. Many British record collectors preferred American originated recordings with international opera stars, to what they considered second-rate, home-grown versions. In 1934 Heddle Nash was engaged to sing the role of Ferrando in Mozart’s Così Fan Tutte in the opening season at the new Glyndebourne opera house, singing in Italian with an international cast conducted by Fritz Busch. Later that year Columbia recorded the opera with the same cast. These records showed Nash to be an excellent singer in Italian, with superb diction. A view supported by Sir Thomas Beecham who chose Nash to sing Rodolfo in a complete recording of La Boheme, also in Italian, made in 1935. Heddle Nash’s career wasn’t restricted to opera; he gave many song recitals and radio broadcasts and he sang in concerts and oratorios all over Britain. In 1931 Nash was chosen by Sir Edward Elgar to give the first performance of the title role in his oratorio The Dream of Gerontius, conducted by the composer and he became particularly associated with this role. The recording he made of Gerontius in 1951 under Malcolm Sargent is still regarded by many critics as unsurpassed. In 1938 he was one of the sixteen singers chosen by Ralph Vaughan-Williams to perform his Serenade to Music. He sang regularly in Handel’s Messiah (it was said that no Christmas went by without Nash singing the Messiah somewhere or other), as well as other Handel oratorios. In his later years he was appointed Professor of Singing at The Royal College of Music. Heddle Nash gave his last operatic performance on his Silver Wedding Anniversary on 7 April 1957 and sang his last Messiah a few months before his death from lung cancer on 14 August 1961. (references) | ||
| Matthew Forster Heddle | Matthew Forster Heddle (April 28, 1828 - November 19, 1897), Scottish mineralogist, was born at Hoy in Orkney. (references) | ||
Source: compiled by the editor from various references; see credits. | Top | ||
Specialty Expressions: HEDDLES
| Expressions | Domain | Definition | |
| Heddles tier, jacquard loom | Occupations | Attaches harness parts to head of $T3Jacquard loom$T1 to prepare pattern control mechanism for weaving process: Ties neck (tail or tug) cords to hooks in head of loom or connects cords with wire link. Draws neck cords through bottom board (holed board) to prevent tangling, and ties neck cords to harness cords which have been threaded through comber board. Places leveling board on loom and reties harness cords to heddles to align heddle eyes. Brushes varnish on cord knots to prevent slipping and clips ends of cord close to knots, using scissors. May draw harness cords through comber board holes in specified order, gathering ends of harness cords in bunches and tying heddles and lingos (small weights) to other ends of cords. May place $T3drop wires$T1 on warp threads [DROP-WIRE HANGER (textile)]. (references) | |
Source: compiled by the editor from various references; see credits. | Top | ||
Topics by Level of Interest: heddle | ||||
| Topics sorted by level of Interest | Level (1=low, 600=high) | Topics sorted Alphabetically | Level (1=low, 600=high) | |
| Heddle | 19 | Heddle | 19 | |
| Heddle Nash | 9 | Heddle Nash | 9 | |
| Kathleen Heddle | 4 | John Heddle | 4 | |
| Matthew Forster Heddle | 4 | Kathleen Heddle | 4 | |
| John Heddle | 4 | Matthew Forster Heddle | 4 | |
Source: the editor, created by/for EVE to gauge likely levels of human interest in linguistically triggered topics (compiled across various sources, such as Wikipedia and specialty expression glosses). | ||||
