Lie

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TO LIE. That which is proper, is fit; as, an action on the case lies for an injury committed without force; corporeal hereditaments lie in livery, that is, they pass by livery; incorporeal hereditaments lie in grant, that is, pass by the force of the grant, and without any livery. Vide Lying in grant.

A Law Dictionary, Adapted to the Constitution and Laws of the United States. By John Bouvier. Published 1856.
References in periodicals archive ?
And this is what lies behind proposals to unite the two areas through a single education campus.
Indeed, this idea of scarring and caging would be the hallmark of an Existentialist position less optimistic than Sartre's, less focused on commitment's projects geared toward a future and more on dread, on what Friedrich Nietzsche had called the "wounds of existence" or on what Martin Heidegger would speak of as anxiety, namely, a fear of "the nothing" or the nonbeing that lies behind existence.
A clump of matter can act like an irregularly shaped piece of glass, altering the path of light rays from an object that lies behind it and creating a distorted image.
But Mr Heseltine said: "William should be extremely concerned about what lies behind this Portillo agenda."
In part, this is what lies behind the recent aggressive speeches by KGB Chairman Vladimir Kryuchkov, who viciously attacked the reformist forces in the Soviet Union.
In the 1930s, Albert Einstein predicted that a massive object can act as a lens, intensifying and bending light from a body that lies behind it.
But what caused his own generation to be relatively unmoved, and what undoubtedly lies behind his rejection of painters like Kelly - they are too close to him, and thus unacceptably different - might well be what makes him interesting to contemporary artists.
Residing in the gas cloud known as Bok Globule B335, the infant star lies behind a veil of dust and can't be seen in visible light.
This impulse is most apparent in the two portraits titled The Artist and His Mother, both of which are based on a photograph taken in Van in 1912, but it also lies behind such seemingly abstract compositions as The Sun, The Dervish in the Tree, Water of the Flowery Mill, Scent of the Apricots on the Fields, and How My Mother's Embroidered Apron Unfolds in My Life, all from 1944.
No small irony lies behind Shafrazi's and others' evocation of this idea of community.
The new findings rely on the phenomenon of gravitational lensing, in which a massive foreground object bends and brightens light from an object that lies behind it.