OpenLLM-France/wikimedia huggingface dataset:
# Ante-Nicene Fathers/Volume IX/Apology of Aristides/Title Page

The Apology
of
Aristides the Philosopher
Translated from the Greek and from the Syriac Version
in
Parallel Columns.
by
D. M. Kay, B.Sc., B.D.,
Assistant to the Professor of Semitic Languages in the University of Edinburgh.
# Ante-Nicene Fathers/Volume IV/Title Pages

The Writings of the Fathers Down to A.D. 325
ANTE-NICENE FATHERS
VOLUME 4.
Tertullian, Part Fourth; Minucius Felix; Commodian; Origen, Parts First and Second.
Chronologically arranged, with brief notes and prefaces, by
A. Cleveland Coxe, D.D.
T&T CLARK
EDINBURGH
__________________________________________________
WM. B. EERDMANS PUBLISHING COMPANY
GRAND RAPIDS, MICHIGAN
Fathers of the Third Century:
Tertullian, Part Fourth; Minucius Felix; Commodian; Origen, Parts First and Second.
AMERICAN EDITION.
Chronologically arranged, with brief notes and prefaces, by
A. Cleveland Coxe, D.D.
Τὰ ἀρχαῖα ἔθη κρατείτω.
The Nicene Council
# Ante-Nicene Fathers/Volume IX/Apology of Aristides
## Contents

* Title Page
* Introduction
* In the history of Barlaam and Josaphat
* Translated from the Syriac
# Ante-Nicene Fathers/Volume IX

See Ante-Nicene Fathers for details of authorship.

## Contents

* Title Page
* Preface
* The Gospel of Peter
** Introduction
** The Gospel According to Peter
** Synoptical Table
* The Diatessaron of Tatian
** Introduction
** Introductory Notes
** The Diatessaron
** Subscriptions
* The Apocalypse of Peter
** Introduction
** The Apocalypse of Peter
** Fragments of the Apocalypse of Peter
* The Vision of Paul
** Introduction
** The Vision of Paul
* The Apocalypse of the Virgin
** Introduction
** The Apocalypse of the Holy Mother of God Concerning the Chastisements
* The Apocalypse of Sedrach
** Introduction
** The Apocalypse of Sedrach
* The Testament of Abraham
** Title Page
** Introduction
** The Testament of Abraham
* The Acts of Xanthippe and Polyxena
** Introduction
** Life and Conduct of the Holy Women, Xanthippe, Polyxena, and Rebecca
* The Narrative of Zosimus
** Introduction
** The Narrative of Zosimus Concerning the Life of the Blessed
* The Epistles of Clement
** Title Page
** Introductory Notice to 1st Clement
** Additional Introduction
** The First Epistle of Clement to the Corinthians
** Introductory Notice to 2nd Clement
** The Second Epistle of Clement
* Apology of Aristides
** Title Page
** Introduction
** In the history of Barlaam and Josaphat
** Translated from the Syriac
* The Passion of the Scillitan Martyrs
** Title Page
** Introduction
** The Passion of the Scillitan Martyrs
* Origen on John
** Introduction
** Letter of Origen to Gregory
** Origen's Commentary on the Gospel of John
* Origen on Matthew
** Introduction
** Origen's Commentary on Matthew
* Indexes [not included]
# Ante-Nicene Fathers/Volume IX/Origen on John

Epistle to Gregory
and
Origen’s Commentary
on the
Gospel of John.
by
Allan Menzies, D.D.

## Contents

* Introduction
* Letter of Origen to Gregory
* Origen's Commentary on the Gospel of John
# Anecdotes of Great Musicians/Anecdote 70

70.—ROSSINI HEARING THE IMPOSSIBLE.
The modern flute as perfected by Böhm is a very different instrument from that used prior to 1835. The flute of former days, like the harp of olden time, was effective only in certain keys; but, while the harp could be tuned so as to reach other keys, the flute was more limited in this respect. In fact, there were some scales that were so difficult to play on the flute that they were practicably impossible to conquer. In certain other keys there were trills and other ornaments that no sane composer would have thought of writing, as they certainly would not have been played.
Böhm invented a system of keys and an arrangement of fingering which made all scales, trills, runs, and arpeggios possible, and not only possible, but brought them all to a practically equal degree of difficulty. Böhm ​made journeys to London and Paris to introduce his improvements; and it was at the latter place that he sought to obtain the patronage of Rossini, who was then one of the prominent figures of the musical world.
As Rossini was in his dressing-room shaving himself, Böhm was instructed to remain in an adjoining room. Thinking to predispose the master in favor of his instrument, he proceeded to play all manner of scales, arpeggios, trills, and roulades in various keys, with an agility which was almost unheard of; but not content with this he suddenly dashed into the key of D flat, in which key it had been impossible to play with such agility and brilliancy. Rossini could stand it no longer, but rushed out of his dressing room, wigless, and his face covered with lather, and cried in great excitement:—
"You cannot play that!"
"But I am playing it," responded the inventor calmly.
"I don't care if you are," retorted the composer furiously, "it is utterly impossible."
But Rossini was finally convinced, and the Böhm flute is the one now used by virtuosi the world over.
# Anecdotes of Great Musicians/Anecdote 7

7.—BERLIOZ AND PAGANINI.
Berlioz was no exception to the majority of composers in the matter of finances. In fact, it was a continual struggle for him to keep the pot boiling, and he could only do so by his literary work. But his genius and need were recognized in other quarters. He gave a concert in which he conducted his great "Childe ​Harold" Symphony and achieved much success. After the concert, when the composer had sat down to rest, there came to him a tall, dark man, thin as a skeleton, and, kneeling down before the whole orchestra, he kissed Berlioz's hand. It was Paganini!
The next morning Paganini's son brought to Berlioz a letter, saying, "Papa wants you not to read this letter until you are alone," and then the little fellow vanished. When Berlioz opened the letter he found it to be from Paganini, saying that, Beethoven being dead, Berlioz alone could revive him, and asked Berlioz to accept the enclosure as Paganini's homage to his greatness. The enclosure was an order on the firm of Rothschild for 20,000 francs. Berlioz was delighted with this princely gift, and wrote and tore up four letters before he could get one that would sufficiently express his thanks. The eight hundred pounds served him a good turn, even if he never found out that it was not out of Paganini's pocket-book. He had the money and the violinist the credit of giving it.
# Anecdotes of Great Musicians/Anecdote 71

71.—MANUSCRIPT FOR KETTLES.
Beethoven had a hard time of it with his landladies and servants. Evidently these necessary personages were not easier to get along with in his day than in ours. One of the latter class caused him a deal of trouble once upon a time.
Beethoven was working upon the great mass in D. He began the work in 1819, and was to have had it ready for the celebration of the appointment of his friend, Archduke Rudolph, to the archbishopric of Olmutz, which was to take place the next year. But the mass grew in magnitude as Beethoven grew more interested in it, and when it was finally completed the celebration had been over for two years.
During its progress the composer missed certain sheets ​of his manuscript. He searched high and low, but nowhere could he find them. He called in the servant, but she was as ignorant as he of their whereabouts. Finally, when he had given up the search and was about to sit down to rewrite the Kyrie, the missing part, some loose papers with notes on them were discovered in the kitchen. They were brought up to his room, and there, begrimed by soot and dust, was the missing music.
The servant had removed them from his room one day when "clearing up," and had used the precious sheets to wrap some superannuated pots and kettles! As to Beethoven's words on this interesting occasion, deponent sayeth not.
# Anecdotes of Great Musicians/Anecdote 66

66.—OPERATIC SORE THROAT.
Opera singers have the name of being capricious people. While, on the whole, they undoubtedly average up about the same as the rest of humanity in this regard, that still leaves a margin for a good deal of caprice and unaccountable ideas.
Impossible colds and suspicious illness on the part of his singers are some of the most perplexing features an operatic manager encounters. The following incident gives a fair example of one kind of "operatic cold."
Ronconi and his wife were singing in the same troupe, and when the lady was irritated by being cast to sing ​with some one she did not like, or by being entirely omitted from the cast, peculiar as it may seem, this circumstance had an immediate effect on Ronconi's throat,—it would be impossible for him to sing.
On one occasion the manager, after receiving a note to the effect that it would be impossible for the singer to appear, took a physician with him and called on the invalid. Ronconi expressed his regrets in a hollow whisper; but the impresario, knowing the tenor's consummate powers as an actor, doubted the genuineness of this whispering performance. So he simply expressed his sympathy and proceeded to converse on certain topics that he knew would interest the singer.
In a few moments Ronconi forgot his assumption of vocal inability, and was talking in his full natural voice. When his attention was called to the fact he ascribed his wonderful recovery to the mere presence of so excellent a physician. He sang that night and with more than usual energy.
# Anecdotes of Great Musicians/Anecdote 72

72.—A PATTI RECEPTION THAT SHE DIDN'T RECEIVE.
There was once a glorious reception for Adelina Patti which did not come off as per programme. She was expected to arrive in New York on a certain steamer, and her manager, in order to stir up public interest in her appearance, chartered sixteen huge tugboats. These, covered with bunting, were to range themselves on each side of her vessel as it steamed into the harbor, and by means of their steam whistles and military bands which they were to carry, such a racket was to be raised as to leave no one in doubt that Patti had arrived.
Besides this there was to be a salute of twenty-one guns at Sandy Hook, and the opera chorus was to sing a cantata which Arditi had written for the occasion.
But as luck would have it, owing to the fog, the ocean steamer was not perceived until it had arrived almost at its anchorage. Patti disembarked unobserved and took a cab for her hotel "as happy as though twenty boats had come down the bay to meet me," she said.
# Anecdotes of Great Musicians/Anecdote 73

73.—THE ENCORE FIEND.
An English writer speaks as follows of the people who insist upon encore numbers being given at all times and places. We might remark, parenthetically, that this genus is not confined to Great Britain. We have some of him—and her—on this side of the water. But to quote his pertinent remarks:—
"There are two, if not more, ways of showing regard for those we admire and esteem, one which is agreeable and another which is disagreeable. Unfortunately, of these two the latter has by far the most patrons. In their zeal to show respect, three out of every four persons are obtrusive, not to say offensive.
"Thus the British public have a weakness for encores which at times almost approaches lunacy. They insist upon a concert singer giving three or four songs when he is paid for two—apart from the questions of the singer's own feelings in the matter and the state of his voice.
"Then again the prima donna of the opera is vociferously applauded in the most touching and thrilling scenes. She must acknowledge it all; so that not unfrequently we see such absurd sights as a mad lady suddenly becoming herself again for a few bouquets and some applause, only as quickly to be transformed back to her distracted state.
"Instrumentalists, too, suffer the same fate. After a magnificent performance of some finale, dashed off at a surprising speed and at the cost of much mental and nervous force to the performer, three-fourths of every audience have the 'nerve' to demand a repetition of it!
"If the popular enthusiasm does not take this form in the acknowledgment of an artist's merit, there are others equally unpleasant."
Few artists have the nerve to quell a superabundance of applause in the method used by Hans von Bülow. ​On one occasion the encore was so persistent as to arouse his ire; and, vexed by the applause, which was loud and continuous, he came to the front of the stage and said sharply:—
"If you do not stop this applause I will play all of Bach's forty-eight Preludes and Fugues from beginning to end."
The audience knew that he was able to keep his word, and if he took the notion he would undertake the task so they laughed, and did not insist on an encore.
# Anecdotes of Great Musicians/Anecdote 69

69.—ANOTHER WAY.
Equally satisfactory in its results was the method of voice production applied by a band of Mexican freebooters to Garcia, another great tenor, but of modern times. One of the semi-annual revolutions taking place during Garcia's concert tour in Mexico, he was making his way toward the coast to sail for more peaceful climes. But before he could reach Vera Cruz he was attacked by a wandering band of Mexicans and relieved of his impedimenta even to the most of his wardrobe. The search for valuables in his baggage soon revealed a quantity of music, and it came to light that the captive was a singer.
Not satisfied with their tangible booty, the robbers demanded a song. Garcia respectfully declined. More demands, this time with fervor, con spirito, as it were. Garcia absolutely refused. But repeated encores being ​accompanied by threatening gestures, a knowledge that his audience would not hesitate to put their threats into execution led the great tenor to accede to their wishes. The brigands gave him an elevated position and gathered around ready to pass judgment on his performance. It is well known to musicians that a free audience always considers itself most free to criticize a performance. So it was in this case; each auditor had, as it were, a complimentary ticket.
Garcia, on first trial, was perhaps justified in feeling somewhat of stage fright, so much, in fact, that his song was an abject failure. Even these rough Mexicans hissed him. This was unusual treatment for the tenor. He was used to rapturous applause, not hisses. Spurred by the insult he burst forth in such a vocal effort as might have graced the best concert hall. Derision had conquered where threats had failed. Charmed by his voice and his use of it, the robbers not only returned money and clothing, but escorted him far on his journey that he might be saved a repetition of this experience.
# Anecdotes of Great Musicians/Anecdote 67

67.—LEONCAVALLO'S WHIMSICAL OPINION CONCERNING HIS "CLOWNS."
Composers are not always keen to tell stories at their own expense or at that of their compositions, but the following related by Leoncavallo, the prominent young composer of the modern Italian school, he deemed too good to keep, though at the time it put him in the light of a first-class plagiarist.
Being one day in the town of Forli, he heard that his opera "Paggliacci," that work which has given him so much fame, was to be produced, and he decided to hear it incognito. That the rising young composer was in town, was not generally known.
At the opera his seat was beside a bright-eyed and enthusiastic young lady, who, when she saw the composer did not join in the general applause, but remained quiet, turned to him with the question:—
​"Why do you not applaud? Does it not suit you?"
The composer, much amused, replied: "No, on the contrary, it displeases me. It is the work of a mere beginner, not to call him anything worse."
"Then you are ignorant of music," she said.
"Oh, no," replied the composer.
Then he proceeded to enlighten her on the subject, proving the music worthless and entirely without originality.
"See," said he, "this motive is ——," and he hummed lightly a short melody; "this aria is stolen from Bizet, and that is from Beethoven." In short, he tore the whole opera into pieces.
His neighbor sat in silence, but with an air of pity on her countenance. At the close, she turned to him and said: "Is what you have said to me your honest opinion?"
"Entirely so," was the reply.
"Good," said she, and with a malicious gleam in her eyes left the theater.
Next morning, glancing over the paper, his eye fell upon the heading, "Leoncavallo on his 'Paggliacci;'" and reading further, was somewhat startled to find the conversation of the evening before fully reported and accredited to the proper source. He had, unfortunately, played his little joke on a lady reporter, who had proved too smart for him.
Leoncavallo swore off from making disparaging remarks concerning his own works to vivacious young ladies, no matter how handsome or how enthusiastic they might be.
# Anecdotes of Great Musicians/Anecdote 68

68.—HOW TO MAKE A SINGER SING.
There are various ways of making a stubborn singer exhibit his abilities. John Abell, a celebrated tenor of the time of Charles the Second, experienced one of these methods. Being a spendthrift by nature, he once ​took a journey through Europe to restore his depleted finances. On arrival at Warsaw, his fame having preceded him, he was ordered to appear before the king and sing for the enjoyment of his majesty and the court. Abell, blind to his own interests, refused.
The king then ordered him to appear the next day, under pain of imprisonment. The singer made a virtue of necessity and at the appointed time went to the Palace and was shown to a chair in the center of a large hall. By some mechanical contrivance, and without warning to Abell, the chair was drawn up quite a distance from the floor. In a short time the king and some of his courtiers came out into a gallery and simultaneously several bears were let loose in the room below. Our tenor was then given his choice; it was either sing or be lowered among the beasts. It is needless to add that Abell chose to sing, and to sing in a way that would have made his fortune had he a more kindly disposed audience.
# Anecdotes of Great Musicians/Anecdote 65

65.—MOZART'S ACKNOWLEDGMENT.
True genius is not averse to taking a hint from whatever quarter it may come. An ordinary person may occasionally give a very gifted one a valuable point.
In Mozart's "Nozze di Figaro" one of the characters is a stuttering judge. Mozart desired Kelly, who was singing that part, to stutter all through the opera save in one number, a sextet, a favorite number with the composer. In that he feared to spoil the music. But Kelly protested that he should stutter in that piece also and thus preserve the unity of the character throughout. He apologized for presuming to set his judgment against Mozart's, but declared he would sing it that way or not at all. Finally, Mozart gave in. Kelly sang it as he promised, and the result was a tumult of applause, the Emperor himself crying "Bravo, bravo!"
Mozart rushed on the stage, and taking Kelly by the hand, said: "Young man, I feel obliged to you, and acknowledge you were right and I wrong."
This amende honorable was worthy of the true gentleman Mozart always showed himself to be.
# Anecdotes of Great Musicians/Anecdote 86

86.—PLAYING ON A SHOE.
The following story places Paganini in a better light than this musical miser was accustomed to appear. And really one is led to wonder which is the true Paganini—the miser or the kind artist giving his talent to assist a poor servant girl. One morning the maid who waited on him in Paris came to him, weeping, and told how her lover had been conscripted and sent away to the war, and she, of course, was too poor to buy a substitute for him.
Paganini resolved to aid the girl and took a unique way to do it. He procured a wooden shoe and so fashioned it that it could be strung up and played like a fiddle. Then he advertised that he would give a concert and play five pieces on the violin and five on a wooden shoe. Of course, this strange announcement drew a good house. The violinist had given the girl tickets to the concert, and after it was over he went to her, and pouring twenty thousand francs into her lap, he told her that she could now purchase a substitute for her sweetheart and with the remainder set up housekeeping. He also gave her the wooden shoe that had brought her such good fortune and told her to sell it. Of course, this curious instrument brought her a goodly sum, which she added to the amount which was to bring her domestic happiness.
# Anecdotes of Great Musicians/Anecdote 85

85.—DISPOSING OF AN AUDIENCE.
It is a very interesting experience to see any good orchestral conductor drill his men, and especially so when the leader is an exacting drill-master. But add to this that he has a thousand peculiarities and a fiery temper, and the scene becomes well worth a good price of admission.
Such a conductor was Hans von Bülow. But with all his eccentricities and his manifestations of temper, he was one of the foremost orchestral leaders in the world. There was much curiosity among musicians to see him drill his orchestra, but Bülow had an aversion to spectators and generally managed to get rid of them one way or other.
Several ladies once obtained entrance to the hall when he was to conduct an orchestral rehearsal, and prepared themselves to hear quite a treat and to see quite a performance.
When Bülow arrived he saw them seated in the house and at once turned to the orchestra, saying: "We will have a rehearsal of the fagott parts first." Now the fagotts (i. e., bassoons) had not a note until after thirty-two measures of rests, but he gravely beat the time for the thirty-two measures. The fagott players sounded a few notes and then came sixty-four measures of silence, Bülow all the while beating the time. Before the end of this passage of quietness rather than music, the audience had had enough, and taken its flight. When the whimsical conductor saw this he stopped practicing rests and set his orchestra to work.
After the experience of these ladies as a self-invited rehearsal audience had become noised abroad, Bülow was not frequently disturbed in that manner.
# Anecdotes of Great Musicians/Anecdote 84

84.—WAGNER'S MELODIES AND CHORDS.
Wagner's music has been much ridiculed for its close harmonies and mammoth combinations of tones. But even in the last twenty years ridicule has subsided and a degree of appreciation has come to prevail, which, although it is only partial, augurs well for our musical advancement and educational possibilities. Some have called Wagner's music tuneless, while the fact probably is that it is too tuneful for their ears, that is, it has, in some cases, too many melodies progressing at the same time,—is too polyphonic in character.
Liszt used to call Wagner's melodic combinations "seven-storied melodies." It is hard for a one-storied musical education to appreciate a seven-storied composition. These heavy harmonic combinations do not make things any easier for the singers in Wagner's operas. One cannot come from an Italian opera where everything is plain sailing and the orchestral accompaniment is a continual aid, and expect such a "calm sea and prosperous voyage" under the German composer. Northern weather is not so peaceful and serene as southern. So with the harmonic barometer.
At many times the singers and the orchestra seem to be pursuing each their own path, and the orchestral tones are not always a guide to what the singers' tones are to be. But from this seeming confusion the master's hand has evolved a higher harmony than the periwigged classicists ever dreamed of.
Whitney, the great bass singer, in speaking of Wagner's huge chords, said that composer generally used about seven notes of the scale on the opening chord, and all the singer had to do was to find the other note and "blaze away on that"—an interesting figure of speech, but with a decided tendency toward hyperbole.