prayer

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Prayer

The request contained in a bill in Equity that the court will grant the process, aid, or relief that the complainant desires.

In addition, the term prayer is applied to that segment of the bill that contains this request.

West's Encyclopedia of American Law, edition 2. Copyright 2008 The Gale Group, Inc. All rights reserved.

prayer

n. the specific request for judgment, relief and/or damages at the conclusion of a complaint or petition. A typical prayer would read: "The plaintiff prays for: 1) special damages in the sum of $17,500; 2) general damages according to proof [proved in trial]; 3) reasonable attorney's fees; 4) costs of suit; and 5) such other and further relief as the court shall deem proper." A prayer gives the judge an idea of what is sought, and may become the basis of a judgment if the defendant defaults (fails to file an answer). Sometimes a plaintiff will inflate damages in the prayer for publicity or intimidation purposes, or because the plaintiff believes that a gigantic demand will be a better starting point in negotiations. However, the ridiculous multi-million prayers in smaller cases make plaintiffs look foolish and unrealistic. (See: complaint, default judgment)

Copyright © 1981-2005 by Gerald N. Hill and Kathleen T. Hill. All Right reserved.

prayer

a request contained in a petition to a court for the relief sought by the petitioner.
Collins Dictionary of Law © W.J. Stewart, 2006

PRAYER, chanc. pleadings. That part of a bill which asks for relief.
     2. The skill of the solicitor is to be exercised in framing this part of the bill. An accurate specification of the matters to be decreed in complicated cases, requires great discernment and experience; Coop. Eq. Pl. 13; it is varied as the case is made out, concluding always with a prayer of general relief, at the discretion of the court. Mitf. Pl. 45.

A Law Dictionary, Adapted to the Constitution and Laws of the United States. By John Bouvier. Published 1856.
References in periodicals archive ?
'Gloomy Eyes' was a jointly produced by HTC VIVE ORIGINALS and French studio Atlas V, while 'Inori' was a collaboration between HTC VIVE ORIGINALS, contemporary Japanese artist Miwa Komatsu, and music producer Kay Huang.
Mantra and Inori are compositions in which Stockhausen developed the method of formula composition.
Tetsuichiro Miyaki, trans.; Inori Fukuda Trant, touch-up art & lettering; Shawn Carrico, design; Nancy Thistlethwaite, ed.
The superformula for Licht has much more content than the formulas of Mantra, Sirius, or Inori. The richness and concentration of this formula allows unlimited possibilities for unfolding, which always preserves the coherence-creating relationship to the formula.
The first works which establish the fundamental principles of formula composition are: Mantra (1970) for two pianists, where a simple formula is used, Inori (1973-74/1977), adorations for one or two soloists and orchestra, where the series of the prayer gestures is also set out in thirteen steps, and Sirius (1975-77), electronic music with trumpet, soprano, bass clarinet, and bass, which was worked out with four formulas.
"When this [principle] is extended to the large form (as in Inori), such a duration can be a minute or more, inasmuch as the large form reflects the small formula as an expansion." [20]
[21] We are at the beginning of a period of intensive reevaluation of the way of writing and are already on the path to musical theater, of which Inori constitutes a first step forward.
This question may seem odd, as their aesthetics differ so much, but we think to have recognized in our analysis of Inori some aspects which are reminiscent of the technique of the "work in progress." Stockhausen's career explains for him only the reference to the notions of microcosm and macrocosm, which makes all the more interesting the observation of some likenesses between his methods and those of the Irish writer.
The Inori formula consists of thirteen different pitches, plus two pitches which are repeated at the end.
Yet it is clear that in the years preceding that announcement, "music theater" of one sort or another had become a virtual obsession for Stockhausen, whether it was a matter of the orchestral piece Trans, with its string players seated on sharply raised daises behind a purple-lit gauze curtain, the rustic tumbling in the leaves in Herbstmusik, the praying mime in Inori, the ritual actions of the Indianerlieder (and indeed the whole of Alphabet f[ddot{u}]r Li[grave{e}]ge, of which they form a part), Musik im Bauch and Atmen gibt das Leben, or the astral visitations of Sirius.
an orchestral dynamic scale (for Inori; Stockhausen 1978, 215, 226--29, 232--33, and 586 [1975]), a pitchtempo scale (for the first time in Stockhausen 1963, 99--139 [1956]), and a tone-to-noise scale (for many compositions).