OpenLLM-France/wikimedia huggingface dataset:
# A Hundred and Seventy Chinese Poems/Stone Fish Lake

​STONE FISH LAKE
By Yüan Chieh [flourished circa A. D. 740–770].
Yüan Chieh, a contemporay of Li Po, has not hitherto been mentioned in any European book. "His subjects were always original, but his poems are seldom worth quoting," is a Chinese opinion of him.
I Loved you dearly. Stone Fish Lake,
With your rock-island shaped like a swimming fish!
On the fish's back is the Wine-cup Hollow
And round the fish,— the flowing waters of the Lake.
The boys on the shore sent little wooden ships.
Each made to carry a single cup of wine.
The island-drinkers emptied the liquor-boats
And set their sails and sent them back for more.
On the shores of the Lake were jutting slabs of rock
And under the rocks there flowed an icy stream.
Heated with wine to rinse our mouths and hands
In those cold waters was a joy beyond compare!
Of gold and jewels I have not any need;
For Caps and Coaches I do not care at all.
But I wish I could sit on the rocky banks of the Lake
For ever and ever staring at the Stone Fish.
# A Hundred and Seventy Chinese Poems/South of the Great Sea

SOUTH OF THE GREAT SEA
My love is living
To the south of the Great Sea.
What shall I send to greet him?
Two pearls and a comb of tortoise-shell:
I'll send them to him packed in a box of jade.
They tell me he is not true:
They tell me he dashed my box to the ground,
Dashed it to the ground and burnt it
And scattered its ashes to the wind.
From this day to the ends of time
I must never think of him.
Never again think of him.
The cocks are crowing.
And the dogs are barking —
My brother and his wife will soon know. The autumn wind is blowing;
The morning wind is sighing.
In a moment the sun will rise in the east
And then it too will know.
# A Hundred and Seventy Chinese Poems/Stopping the Night at Jung-yang

STOPPING THE NIGHT AT JUNG-YANG
I grew up at Jung-yang;
I was still young when I left. On and on,— forty years passed
Till again I stayed for the night at Jung-yang. When I went away, I was only eleven or twelve;
This year I am turned fifty-six. Yet thinking back to the times of my childish games,
Whole and undimmed, still they rise before me. The old houses have all disappeared;
Down in the village none of my people are left. It is not only that streets and buildings have changed;
But steep is level and level changed to steep! Alone unchanged, the waters of Ch'iu and Yu
Passionless,— flow in their old course.
# A Hundred and Seventy Chinese Poems/Song (1)

SONG
By Sung Tzŭ-hou [second century A. D.]
On the Eastern Way at the city of Lo-yang
At the edge of the road peach-trees and plum-trees grow;
On the two sides,— flower matched by flower;
Across the road,— leaf touching leaf.
A spring wind rises from the north-east;
Flowers and leaves gently nod and sway.
Up the road somebody's daughter comes
Carrying a basket, to gather silkworms' food.
[She sees the fruit trees in blossom and, forgetting about her silkworms, begins to pluck the branches.]
With her slender hand she breaks a branch from the tree;
The flowers fall, tossed and scattered in the wind.
The tree says:
Why should you hate me and do me injury?"
The lady answers:
When the white dew changes to hoar-frost, At the year's end the wind would have lashed your boughs,
Your sweet fragrance could not have lasted long.
Though in the autumn your leaves patter to the ground,
When spring comes, your gay bloom returns.
But in men's lives when their bright youth is spent
Joy and love never come back again.
# A Hundred and Seventy Chinese Poems/Song (2)

SONG
By Tsang Chih [sixth century]
I was brought up under the Stone Castle: My window opened on to the castle tower.
In the castle were beautiful young men
Who waved to me as they went in and out.
# A Hundred and Seventy Chinese Poems/Satire on Paying Calls in August

CHAPTER TWO
SATIRE ON PAYING CALLS IN AUGUST
By Ch'ēng Hsiao [circa A. D. 250]
When I was young, throughout the hot season
There were no carriages driving about the roads,
People shut their doors and lay down in the cool:
Or if they went out, it was not to pay calls.
Nowadays — ill-bred, ignorant fellows, When they feel the heat, make for a friend's house.
The unfortunate host, when he hears someone coming
Scowls and frowns, but can think of no escape.
"There's nothing for it but to rise and go to the door," And in his comfortable seat he groans and sighs.
The conversation does not end quickly:
Prattling and babbling, what a lot he says!
Only when one is almost dead with fatigue
He asks at last if one isn't finding him tiring.
[One's arm is almost in half with continual fanning:
The sweat is pouring down one's neck in streams.] Do not say that this is a small matter:
I consider the practice a blot on our social life. I therefore caution all wise men
That August visitors should not be admitted.
# A Hundred and Seventy Chinese Poems/Song of Snow-white Heads

SONG OF SNOW-WHITE HEADS
Ssŭ-ma Hsiang-ju was a young poet who had lost his position at court owing to ill-health. One day Cho Wēn-chün, a rich man's daughter, heard him singing at a feast given by her father. She eloped with him that night, and they set up a wine-shop together. After a time Hsiang-ju became famous as a poet, but his character was marred by love of money. He sold love-poems, which the ladies of the palace sent to the emperor in order to win his favour. Finally, he gave presents to the "ladies of Mo-ling," hoping to secure a concubine. It was this step that induced his mistress, Cho Wēn-chün, to write the following poem.
Our love was pure
As the snow on the mountains:
White as a moon
Between the clouds —
They're telling me
Your thoughts are double:
That's why I've come
To break it off.
To-day we'll drink
A cup of wine.
To-morrow we'll part
Beside the Canal:
Walking about, Beside the Canal,
Where its branches divide
East and west. Alas and alas, And again alas.
So must a girl
Cry when she's married, If she find not a man
Of single heart,
Who will not leave her
Till her hair is white.
# A Hundred and Seventy Chinese Poems/Song of the Men of Chin-ling

SONG OF THE MEN OF CHIN-LING
[MARCHING BACK INTO THE CAPITAL]
By Hsieh T'iao [fifth century A. D.]
Chiang-nan is a glorious and beautiful land, And Chin-ling an exalted and kingly province!
The green canals of the city stretch on and on
And its high towers stretch up and up.
Flying gables lean over the bridle-road:
Drooping willows cover the Royal Aqueduct. Shrill flutes sing by the coach's awning,
And reiterated drums bang near its painted wheels.
The names of the deserving shall be carved on the Cloud Terrace. And for those who have done valiantly rich reward awaits.
# A Moral Alphabet/A for Archibald

A STANDS FOR ARCHIBALD
who told no lies,
And got this lovely volume for a prize.
The Upper School had combed and oiled their hair,
And all the Parents of the Boys were there.
In words that ring like thunder through the Hall,
Draw tears from some and loud applause from all,—
The Pedagogue, with Pardonable Joy,
Bestows the Gift upon the Radiant Boy:
"Accept the Noblest Work produced as yet"
(Says he) "upon the English Alphabet;
"Next term I shall examine you, to find
"If you have read it thoroughly. So mind!"
And while the Boys and Parents cheered so loud,
That out of doors a large and anxious crowd
Had gathered and was blocking up the street,
The admirable child resumed his seat.
MORAL:
Learn from this justly irritating Youth,
To brush your Hair and Teeth and tell the Truth.
# A Moral Alphabet/D for Dreadful

The Dreadful Dinotherium, he
Will have to do his best for D
The early world observed with awe
His back, indented like a saw.
His look was gay, his voice was strong;
His tail was neither short nor long;
His trunk, or elongated nose,
Was not so large as some suppose;
His teeth, as all the world allows,
Were graminivorous, like a cow's.
He therefore should have wished to pass
Long peaceful nights upon the Grass,
But being mad the brute preferred
To roost in branches, like a bird.
(We have good reason to suppose
He did so, from his claw-like toes.)
A creature heavier than a whale,
You see at once, could hardly fail
To suffer badly when he slid
And tumbled (as he always did).
His fossil, therefore, comes to light
All broken up: and serve him right.
MORAL:
If you were born to walk the ground,
Remain there; do not fool around.
# A Moral Alphabet/C for Cobra

C STANDS FOR COBRA;
when the Cobra bites,
An Indian Judge, the Judge spends restless nights.
MORAL:
This creature, though disgusting and appalling,
Conveys no kind of Moral worth recalling.
# A Moral Alphabet/B for Bear

B STANDS FOR BEAR.
When Bears are seen Approaching in the distance,
Make up your mind at once between Retreat and Armed Resistance.
A Gentleman remained to fight—With what result for him?
The Bear, with ill-concealed delight, Devoured him, Limb by Limb.
Another Person turned and ran; He ran extremely hard:
The Bear was faster than the Man, And beat him by a yard.
MORAL:
Decisive action in the hour of need
Denotes the Hero, but does not succeed.
# A Mood

* Search for titles containing or beginning with: "A Mood."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* A Mood, a poem by Otokar Březina
* A Mood, a poem by Olive Custance
* A Mood, a poem by Isaac Rosenberg
# A Mood (Březina)

English-language translations of Nálada include:
* "A Mood" in Anthology of Modern Slavonic Literature in Prose and Verse (1919).
* "A mood" in Modern Czech Poetry (1920).
# A Dictionary of Music and Musicians/Straniera, La

[ G. ]
# A Dictionary of Music and Musicians/Straus, Ludwig

​STRAUS, Ludwig, an excellent violin-player, was born at Pressburg, March 28, 1835; entered the Vienna Conservatoire in 1843, and remained there till the revolution in 1848; was pupil of Böhm for the violin, and Preyer and Nottebohm for counterpoint; made his first appearance (at the same time with Fraulein Csillag) in a concert at the hall of the Musikverein, Vienna, in June 1850. During the next few years he made various public appearances, besides playing in the private concerts of several patrons of music, especially Prince Czartoryski [App. p.797 "for Prince Czartoryski read Ober-Finanzrath Baron von Heintl"], at whose reunions he played second fiddle to Mayseder for three years. At the Mozart Centenary Festival in 1856 he met Liszt, and like many other young artists benefitted by his kindness. Straus's first concert tournée was made in 1855, and extended as far as Venice and Florence. In 1857 he made the acquaintance of Piatti, with whom he took a second tour through Germany and Sweden. In 1860 he was appointed concertmeister of the theatre and of the Museum-concerts in Frankfort, a post which he held for five years, giving also quartet concerts, and leading the subscription concerts in the neighbouring towns. In 1860 he first visited England, played at the Musical Union June 5, etc., and at the Monday Popular Concert of June 18. In 1861 he returned, and appeared twice at the Philharmonic, April 29 and June 24.
[ G. ]
# A Dictionary of Music and Musicians/Streicher, Johann Andreas

[ A. J. H. ]
# A Dictionary of Music and Musicians/Stretto

​STRETTO (Ital.), literally 'close' or 'narrow.' A term used in two ways. Firstly in Fugue, where it designates the following of response to subject at a closer interval of time than at first. This device is usually employed towards the end of a fugue, so as to give some impression of climax. But there are plenty of exceptions to that custom; e.g.
Bach 48, No. 1.
which occurs close to the beginning. Some subjects will bear more than one stretto, in which case the closer naturally comes last; e.g.
from the 'Amen' chorus of Handel's 'Messiah.' (The inner parts are omitted for the sake of clearness.) Still more remarkable instances will be found in the fugue of Bach's Toccata in D minor.
[ F. C. ]
# A Dictionary of Music and Musicians/String

​STRING (Fr. Chord [App. p.797 "Corde"]; Ital. Corda; Germ. Saite). A slender length of gut, silk, or wire, stretched over raised supports called bridges, between which it is free to vibrate. When weighted to resist the drawing power or tension, the rapidity of its transverse vibrations depends upon the tension, the length, and the specific gravity ​of the material; and in exact ratio with this rapidity the ear is sensible of the difference of musical pitch. From the 6th century b.c. the monochord or single string, stretched over a soundboard and measured by moveable bridges, has been the canon of musical intervals, the relative scale of pitch. The string by itself would give but a faint tone in the surrounding air, and a soundboard is necessary to reinforce the tone, and make it sufficiently audible.
Of the materials employed for strings silk has been much used in the East, but in European instruments gut and wire have had the constant preference. Gut (χορδή in Greek, whence the familiar 'chord') was the musical string of the Egyptians, Greeks and Romans; wire was practically unknown to them, since wire-drawing was invented only about a.d. 1350, synchronising with the probable invention of keyed instruments with strings, such as the clavichord, harpsichord or virginal. From that epoch gut and wire have held divided rule, as they do in our own day in the violin and the piano. The general name for gut strings iscat-gut, but it is really made from the intestines of sheep and goats, chiefly the former; the best and strongest being of lambs' gut when the lamb is of a certain age and development, whence it comes that September is the month for fiddle-string making; particularly for first (or E) fiddle-strings, which are the smallest though they have to bear the greatest strain of the four. According to Mr. Hart ('The Violin,' London, 1875) the best catgut strings are the Italian (the Roman par excellence); next rank the German, then the French; last of all, the English. Mr. Hart attributes the superior quality of the Italian to climate, an important part of the process of manufacture being, in Italy, carried on in the open air, which is naturally not always practicable in England. For the deeper toned strings the gut is overlapped with silver, copper or mixed metal. According to J. Rousseau ('Traité de la Viole,' 1687) this loading of the string was introduced in France by Sainte Colombe about a.d. 1675. The tension of the four strings of a violin was stated by Tartini, in 1734, to be 63 lb. Mr. Hart, for the modern high pitch, estimates it at about 90 lb.—a plea for the desired adoption of the French normal A.
[ A. J. H. ]
* ↑ The origin of the term catgut has not yet been traced. It is difficult not to believe it to be a corruption of some similarly sounding Italian term, of probably quite different meaning. [ G. ]
* ↑ Unpublished correspondence of Theobald Böhm, the flautist, shows that Pöhlmann was indebted to him for improving his manufacture.
# A Dictionary of Music and Musicians/Strinasacchi, Regina

[ C. F. P. ]
# A Dictionary of Music and Musicians/Verse

[ J. S. ]
# A Dictionary of Music and Musicians/Vereeniging voor Noord-Nederlands Muziekgeschiedenis

​VEREENIGING VOOR NOORD-NEDERLANDS MUZIEKGESCHIEDENIS (Association for the History of Dutch Music) is the literary branch of the national Society for the Advancement of Music (Maatschappij tot bevordering der Toonkunst). It was separated in 1868–9 for the purpose of collecting and publishing materials for the musical history of the Dutch Netherlands, especially during the period extending from Obrecht (1450) to Sweelinck (1621).
Its publications are as follow:
* Sweelinck's Regina Coeli (ed. H. A. Viotta, 1869).
* Old Dutch Songs, from the lute-book of Adrianus Valerius (ed. A. D. Loman, 1871).
* Organ compositions, by Sweelinck and Scheidt (ed. R. Eitner, 1871).
* Twelve Geuzeliedjes, songs of the Guene during the Spanish oppression (ed. A. D. Loman, 1872).
* Three madrigals by Schuijt, and two chansons by Sweelinck (ed. R. Eitner, 1873).
* Eight Psalms by Sweelinck (ed. R. Eitner), with Life by F. H. L. Tiedeman (1876).
* Chanson by Sweelinck (ed. R. Eitner, 1877).
* Selections from Johannes Wanning's 'LII Sententiae' (ed. R. Eitner, 1878).
* Mass 'Fortuna Desperata,' by Jacob Obrecht (ed. R. Eitner, 1880).
* Old Dutch Dances arranged for piano (4 hands), by J. C. M. van Riemsdijk (1882).
The Vereeniging has also published a volume entitled Musique et Musiciens an XVII$^e$ Siècle. Correspondance et Œuvre musicales de Constantin Huygens publiées par W. J. A. Jonckbloet et J. P. N. Land' (1882). Besides these works, three volumes of transactions have appeared, under the title of 'Bouwsteenen' (issued for members only, 1869–72, 1872–4, and 1874–81). To each is prefixed a short 'chronicle' of the proceedings of the association. The contents are principally (1) materials for a dictionary of Dutch musicians, most valuable for local statistics and bibliography, (2) catalogues of little-known musical collections, (3) particulars respecting the organs, carillons, etc. of Holland, (4) miscellaneous contributions to the antiquities of Dutch music. The 'Bouwsteenen' are now superseded by a regular journal ('Tijdschrift '), of which two numbers have appeared (1882, 1883). The secretary is Dr. H. C. Rogge, university librarian at Amsterdam.
[App. p.811 "The list of publications issued by this society is to be continued as follows:—
11. Const. Huygens, 'Pathodia Sacra et Profana' (ed. W. J. A. Jonckbloet and J. P. N. Land, 1883). 12. Six Psalms by Sweelinck. In 4 parts (ed. R. Eitner, 1884). 13. J. A. Reinken's 'Hortus Musicus' (ed. J. C. M. van Riemsdijk. 1886). 14. J. A. Reinken, 'Partite diverse sopra l'Aria: 'Schweiget mir von Weiber nehmen' (1887). (Without. No.) J. P. Sweelinck, 'O Sacrum Convivium,' 5 part motet. 15. J. P. Sweelinck, Cantio sacra, 'Hodie Christus natus est,' 5 parts.
[ R. L. P. ]
# A Dictionary of Music and Musicians/Verhulst, Johannes

​VERHULST, Johannes Josephus Herman, was born March 19, 1816, at the Hague, and was one of the earliest students at the Royal School of Music there, where he learned violin and theory. He afterwards played in the orchestra of the French Opera under Charles Hanssen, and wrote many pieces, amongst others an Overture in B minor which was published by the Society tot Bevordering der Toonkunst. An allowance from the King enabled him to go first to Cologne, where he studied with Joseph Klein, and then to Leipzig, where he arrived Jan. 12, 1838, and was well received by Mendelssohn, and soon after made Director of the important 'Euterpe' Concerts. There and in Germany he remained till 1842, when he returned to the Hague and was at once decorated by the King, with the order of the Lion and made Director of the Music at Court. Since then he has resided at Rotterdam and the Hague, and at Amsterdam, where for many years he has conducted the Felix Meritis Society, and the Cecilia Concerts, as well as the Diligentia Society at the Hague. As a conductor he is very famous in his own country. His compositions comprise symphonies, overtures, quartets, much church music (amongst other pieces a Requiem for men's voices is much spoken of), songs and part-songs, to Dutch words. Verhulst's music is little known out of his own country. In England the writer only remembers to have heard one piece, an intermezzo for orchestra called 'Gruss aus der Ferne,' performed occasionally at the Crystal Palace. Verhulst's friendship with Schumann was one of the great events of his life. How close and affectionate it was may be judged from the many letters given in Jansen's 'Die Davidsbündler,' and especially the following note written at the end of one of Schumann's visits to Holland:
Dear Verhulst,—Good-bye. It delighted me to find you in your old spirits. Unfortunately you cannot say the same of me. Perhaps my good genious may yet bring me back to my former condition. It delighted me too to find that you have got so dear a wife: in that matter we are both equally fortunate. Give her a nice message from me, and take a hearty greeting and embrace for yourself from your old
Robert Sch.
Schumann's 'Overture, Scherzo, and Finale' (op. 52) is dedicated to Verhulst, who possesses the autograph, with the following inscription.
J. J. Verhulst übergiebt die Partitur des alten Opus mit alten Sympathien.
Rotterdam d. 18 Dec. 1853.R. Schumann.
[ G. ]
# A Dictionary of Music and Musicians/Verlorene Paradies, Das

[ G. ]
# A Dictionary of Music and Musicians/Verschworenen, Die

[ G. ]
# A Dictionary of Music and Musicians/Versicle

​VERSICLE (Lat. Versiculum). A short sentence, in the Offices of the Church, followed by an appropriate Response; as—'V. Domine, in adjutorium meum intende. R. Domine, ad adjuvandum me festina.' 'V. God, make speed to save us. R. O Lord, make haste to help us.'
[ W. S. R. ]
# A Dictionary of Music and Musicians/Vert-Vert

[ G. ]
# A Dictionary of Music and Musicians/Vertical and Horizontal Methods of Composition

​VERTICAL (or PERPENDICULAR) and HORIZONTAL METHODS OF COMPOSITION. Two highly characteristic and expressive terms, used by modern critics for the purpose of distinguishing the method of writing cultivated by modern Composers from that practised by the older Polyphonists.
The modern Composer constructs his passages, for the most part, upon a succession of Fundamental or Inverted Chords, each of which is built perpendicularly upwards, from the bass note which forms its harmonic support, as in the example on p. 520 of the present Appendix.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Vernon, Joseph

[ W. H. H. ]
# A Dictionary of Music and Musicians/Verschiebung

[ F. T. ]
# A Naval Biographical Dictionary/Little, Edward

Layout 4
​LITTLE. (Commander, 1846.)
Edward Little passed his examination in 1832; and on the occasion of his promotion to the rank of Lieutenant, 30 Dec. 1837, was ordered to join the Donegal 78, Capt. John Drake, on the Lisbon station. His appointments have since been – 1 Oct. 1840, to the Britannia 120, flag-ship in the Mediterranean of Sir John Acworth Ommanney – 2 March, 1842, to the Vindictive 50, Capt. John Toup Nicolas, in South America – and 4 March, 1845 (after 18 months of half-pay), to the Terror discovery-ship, Capt. Fras. Eawdon Moira Croaier, now employed on a north-west passage explorative mission. He acquired the rank he now holds 9 Nov. 1846.
# A Naval Biographical Dictionary/Lindsay, Colin William

Layout 4
​LINDSAY. (Lieutenant, 1837.)
Colin William Lindsay passed his examination in 1827; obtained his commission 10 Jan. 1837; and was afterwards appointed – 8 Feb. 1837, to the Russell 74, Capt. Sir Wm. Henry Dillon, employed in the Mediterranean and off Lisbon – 8 April, 1839, to the Curaçoa 24, Capt. Jenkin Jones, fitting for the South American station, whence he returned home and was paid off at the close of 1842 – and, 23 Feb. 1844, to the America 50., Capt. Hon. John Gordon, attached to the force in the Pacific. He left the latter ship on her arrival in England in 1846; and is at present on half-pay.
# A Naval Biographical Dictionary/Lindsey, John

Layout 4
​LINDSEY. (Commander, 1814. f-p., 11; h-p., 33.)
John Lindsey entered the Navy, 1 Nov. 1803, as Fst.-cl. Vol., on board the San Josef 110, Capt. John Tremayne Rodd, hearing the flag in the Channel of Sir Chas. Cotton; and from Dec. 1806 until promoted to the rank of Lieutenant 1 June, 1810, was employed off L’Orient, and on the Lisbon, Cork, and Mediterranean stations, as Midshipman, in the Pallas 32, Capts. Geo. Miller, Henry Manaton Ommanney, and Geo. Fras. Seymour, Hibernia 120, flag-ship of Sir C. Cotton, Virginie 38, Capt. Edw. Brace, and again in the San Josef. He was then appointed to the Achille 74, Capt. Sir Rich. King, and he afterwards joined – 5 Jan. 1811, the Impériuse 38, Capt. Hon. Henry Duncan, also in the Mediterranean – 1 May, 1812 (after an interval of four months), the Coquette 20, Capt. John Simpson, on the West India station – 23 Oct. 1813, the Jason 32, Capt. Hon. Jas. Wm. King, employed off Helvoetsluys – and 22 June, 1814, the Impregnable 104, bearing the flag of H.R.H. the Duke of Clarence, whom he accompanied to Bordeaux. He was advanced to his present rank 27 Aug. following; and has since been on half-pay. Agents – Hallett and Robinson.