OpenLLM-France/wikimedia huggingface dataset:
# Anglo-Saxon Chronicle

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A collection of annals in Old English chronicling the history of the Anglo-Saxons. Nine versions of the Chronicle, some of which vary greatly, are extant.

## Manuscripts

* Anglo-Saxon Chronicle (A) (Winchester or Parker Chronicle)
* Anglo-Saxon Chronicle (B) (Abingdon Chronicle I)
* Anglo-Saxon Chronicle (C) (Abingdon Chronicle II)
* Anglo-Saxon Chronicle (D) (Worcester Chronicle)
* Anglo-Saxon Chronicle (E) (Peterborough or Laud Chronicle)
* Anglo-Saxon Chronicle (F) (Bilingual Canterbury Epitome)
* Anglo-Saxon Chronicle (G) (burned copy of the Winchester Chronicle (MS. A))
* Anglo-Saxon Chronicle (H) (Cottonian Fragment)
* Anglo-Saxon Chronicle (I) (An Easter Table Chronicle)

## Published editions

* Benjamin Thorpe, The Anglo-Saxon Chronicle (1861, 2 vols.) (transcription volumes: 1, 2); MS. A–F, G, and translation

## Translations

* The Anglo-Saxon Chronicle, translated by James Ingram (1823)
* The Anglo-Saxon Chronicle, translated by J. A. Giles (1914, first published in 1847)

## About the Chronicle

* "Anglo-Saxon Chronicle" in the Encyclopædia Britannica (1911)
# An Indiana Girl

Preface
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
# Anecdotes of Great Musicians/Anecdote 77

77.—THE RIGHT KIND OF A PATRON.
Piccinni, that composer who came so near taking the palm from Gluck in the race the two ran for the favor of musical Paris, at the end of the last century, had a happy experience when, as a young man, he essayed to enter the arena of composition. He had presented his first opera to a manager just after he graduated from the Naples Conservatoire. Like many another first attempt, it was refused. Prince Vintimilla, learning this, called upon the manager and asked, "How much would you lose if you presented Piccinni's opera and it turned out a failure?"
"Fifteen hundred dollars," was the reply.
"Here it is. If the opera fails you may keep the money; if not, you can return it to me."
The opera was brought out and proved a great success. This brought Piccinni to the notice of the musical world and gave him a reputation which remained bright until he met his Waterloo in the competition with Gluck at Paris.
# Anecdotes of Great Musicians/Anecdote 74

74.—HÄNDEL'S ESCAPE.
In the early days Handel learned that the post of organist at Lübeck was vacant, and went on foot to that town to make application for the place. But he found an unusual stipulation attached to the vacancy. Whoever obtained the position was required to marry the deceased organist's daughter. Händel immediately retraced his steps without making application. Had the girl been prettier and Händel's pocketbook heavier, the result might have been different and his whole career changed—for the worse.
The musical world should be thankful that this young German musician was not attracted by the flaxen-haired daughter of that old organist. Had it been otherwise, Händel might have settled down to an honorable obscurity in that ancient German town and been diverted from that wonderful career of composition which has left the world so much his debtor.
# Anecdotes of Great Musicians/Anecdote 81

81.—MALIBRAN'S GENEROSITY.
That beautiful songstress, Maria Garcia, better known as Madame Malibran, had a varied experience. Her father, a man of fiery temper, was her instructor; after her childhood was passed, she was for some years on the stage with him. Neither her years of childhood nor the time she spent singing in opera with her father were particularly pleasant years, owing to his tyrannical exactions and their fluctuating fortunes. America was the scene of their operatic performances.
Later, when M. Malibran appeared on the scene and posed as a wealthy banker, Maria married him to escape the unpleasant scenes of her early years. But Malibran turned out to be a rascal, to have little money and to be dependent on his wife's exertions. So this great singer was followed by more misfortune. It was not until this marriage was annulled by a French court and she had some time later been married to the great violinist, De Beriot, that her life became one of peace and happiness.
The disposition of this great songstress was one heartily to be admired. Says one biographer: "Living among ​the sons and daughters of pleasure, her only luxury was the luxury of doing good, and in the midst of wealth her only profusion consisted in beneficence." It is a pleasure to find such words as these spoken concerning a prima donna. The records so many of them leave of their personality speak only of selfishness, avarice, sharp temper, and whimsicality, varied now and then by an ostentatious bit of charity.
As an illustration of Malibran's kind-heartedness we may cite the following incident: Only about a year before her death she was engaged by an Italian professor to sing at a concert he was giving, and at her regular terms of twenty guineas. For some reason the concert was a financial failure. The teacher called on her the next day to explain this, and to see if Malibran would be content with a smaller sum. But no, she declared she must have the full amount.
The Italian slowly counted out twenty pounds and then looked up and asked if that would do.
"No, another sovereign," she said, "my terms are twenty guineas, not pounds."
So he put down another pound, sighing to himself as he did so, "My poor wife and children." Then Malibran took up the money and pretended to depart, but turned around and put it all back in the hands of the astonished professor, saying:—
"I insisted on having the full amount that the sum might be all the larger for your acceptance."
# Anecdotes of Great Musicians/Anecdote 75

75.—A HATFUL OF PEARLS.
Jenny Lind was the recipient of many handsome compliments, and none was more worthy of them than she. Some of her admirers were rather extravagant in their praise, and these she liked to joke when opportunity offered.
​Lablache, the great bass singer, when he first heard her, could think of nothing more expressive of his admiration than to say "every note was a pearl."
Some time afterward, when they were both at a rehearsal, the young prima donna asked him to lend her his hat. He very politely did so, though not without secret wonder at her request.
She took it, and stepping to another part of the stage, placed the edge of the hat to her lips and sang several strains of melody; then returning to Lablache, she ordered him to fall on his knees and receive a royal present she had for him. He could do nothing but comply with the whim of the fair songstress.
She then told him that she was bestowing on him untold wealth, for, by his own saying, she was presenting him with a hatful of pearls.
# Anecdotes of Great Musicians/Anecdote 76

76.—MENDELSSOHN COMPOSING FOR FUN.
There is a great deal of mechanical as well as mental labor about musical composition. But musicians who compose a great deal become as expert in the quick transfer of their ideas to paper as do those who deal in words rather than notes. When spurred by necessity, remarkable speed in composition has been developed. Mendelssohn once had his pride slightly wounded, and the result was the composition of an overture in two days' time.
He had expected to write a romance and an overture for a performance of "Ruy Blas," but owing to other duties had only completed the romance. The music was to be played for the benefit of a charitable society. After sending the committee the romance music they soon called on him to express their thanks, and said "it was a great pity he had not written the overture, though they understood it could not be done in a hurry, and next year, if they might be allowed, they would give him longer notice."
​Mendelssohn felt the inference was that he could not write the overture without much time for consideration, and owned to being "rather nettled" by their remarks. But in two days he had completed the overture; and they were not two days of uninterrupted work on it, either, for in that time he had rehearsals to attend and a concert to give. But with all this he declared that the composition of this overture gave him more fun than anything he ever did.
# Anecdotes of Great Musicians/Anecdote 78

78.—AN EPISODE IN THE LIFE OF AN ARTIST.
Carl von Weber, after passing through many trials and hardships during his youthful years of theatrical wandering with his ill-tempered old father, finally settled down as private secretary to the brother of the king, ​Frederic of Wirtemberg. Now, the Duke was considerable of a spendthrift, and when he got "hard up" it was Weber's duty as secretary to go to the king and try to secure the reckless Duke Ludwig another appropriation. Not a very enviable mission was this, as the king was a man of coarse manners and violent temper, of which the poor secretary got the full benefit.
One day, after some particularly insulting treatment at this unworthy monarch's hands, Weber left the room in a white heat, declaring he would never go back. As he went out into the passage way he met a dilapidated old woman who asked him to direct her to the royal washerwoman. Weber, still boiling with the rage which policy compelled him to conceal in the king's presence, pointed to the door of the king's private apartment, saying, "There."
So in walked the old dame; and, not recognizing the monarch, she told him the young man outside had said she would find the washer-woman there. This so enraged the king that he poured forth a torrent of abuse on her, and summoning an officer, ordered Weber thrown into prison.
In a short time he was released, but the king's wrath followed him. Some time afterward, just as Weber was about to bring out his opera of "St. Sylvana," and as he was on the eve of a gratifying success, this royal rascal had both Weber and his father imprisoned. After a farce of a trial at which the king presided, sentence of banishment was pronounced on them. Weber gladly left Wirtemberg, and after this unpleasant "episode in the life of an artist" gave himself up to composition and the production of those romantic operas which have made his name famous.
# Anecdotes of Great Musicians/Anecdote 79

79.—EARNING A VIOLIN EASILY.
Paganini's exceedingly great perseverance and practice in his early life gave him such a command over his instrument in later years that he needed no practice other than his frequent concerts gave him. His knowledge of music was so great and his perceptions so quick, that he was reported to be able to play at sight any music written for his instrument.
There was once an artist at Parina who disbelieved these stories of Paganini's wonderful powers. He told the violinist one day that he was the owner of a fine Stradivarius violin, and he would make him a present of it, if Paganini could read at sight a concerto he had in manuscript. "Then prepare to part with your fiddle," said Paganini, and taking the music, he played it at once, and walked off the possessor of a "Strad" worth perhaps £700 or £800.
# Anecdotes of Great Musicians/Anecdote 80

80.—SCHUBERT'S SERENADE.
Franz Schubert, like Beethoven, was accustomed to carry with him a note-book in which he could jot down musical ideas as they happened to occur to him. Many a beautiful theme would have been lost had it not been for this practical habit of these great composers. There are times when the muse is asleep, when the ideas will not come; then it is that such a note-book becomes valuable and the inspirations of other times may rouse the dormant muse.
Wherever Schubert happened to be, in the city or the fields, in the tavern or the beer garden, did a valuable idea occur to him, out came the note-book and it was hastily scratched down for further treatment. When he was seized by an idea it must go down on the first scrap of paper that came to hand. This was the manner in which that beautiful and well-known "Ständchen" first appeared, though it is also told of "Hark, the Lark."
​One Sunday, during the summer of 1826, Schubert, with several friends, was strolling about among the suburban villages in the vicinity of Vienna. As was their custom, they stopped at a beer garden where they sat chatting and enjoying the good company they found. Schubert picked up a book of poetry one of his acquaintances had laid down, and, after turning over the leaves, suddenly stopped, and pointing out a poem exclaimed: "Such a delicious melody has just come into my head; if I but had a sheet of music paper with me!"
One of his companions hastily drew a few staves on the back of a bill of fare and passed it to him, and in the midst of the hubbub of a German beer garden Schubert wrote out that beautiful melody that has pleased such a multitude of music lovers since his day.
# Anecdotes of Great Musicians/Anecdote 8

8.—HISTORY REPEATS ITSELF.
This old saying is particularly true of musical anecdote and story. Of course, it must be that history really does repeat itself, for certainly no one could be so heartless as to charge the enterprising manager or the penny-a-liner, sadly in need of copy, with hunting among old tales for one to apply to modern favorites. Munsey's Magazine for December ('93) gives the following incident:—
"A touching incident is recorded among the experiences of Madame Melba (now singing in New York) last year at Palermo. It was during a performance of 'Lucia.' The diva was changing her costume between the acts, when a lady appeared in her dressing-room. After complimenting her on her singing, the stranger took up in one hand some strands of Madame Melba's hair, which was flowing loose over her shoulders, and asked:—
​"'Is this all your own?'
"Upon being satisfied on this point the visitor continued:—
"'Allow me, Madame Melba, since I have no wreath of flowers to offer you, to twine you one with your own beautiful tresses.'
"This she did, trilling a bar or two of music meanwhile, for the visitor was none other than Christine Nilsson."
It seemed to me that the above incident had about it the flavor of antiquity, and turning to an English work published several years ago, I find the following: "On the occasion of her second visit to Naples in 1835, an incident occurred which afforded Madame Persiani deep gratification. During the representation of 'Lucia' she was one evening changing her costume between the acts, when a lady entered her dressing-room, and after a few general compliments on her singing, took in her hands the long, fair tresses which floated in wild profusion over the shoulders of the cantatrice, asking if they were really her own.
"Madame Persiani laughingly invited her to satisfy herself on this point, when the visitor said with a smile, 'Allow me, Signora, since I have no wreath of flowers to offer you, to twine you one with your own beautiful tresses,' and she did so.
"Madame Persiani's heart beat with pride and joy, for it was Malibran, 'the greatest singer of the day,' who spoke."
# Anecdotes of Great Musicians/Anecdote 82

82.—HOW BERLIOZ FOOLED THE CRITICS.
It is very easy to criticize, especially to make adverse criticism. A critic may tear to tatters in ten minutes a composition which represents a composer's best thought for ten years. Many of the so-called musical critics have not a tithe of the learning or natural ability of the men whose works they deride. This being the state of ​affairs, it behooves a composer to be able to defend himself with his pen as well as with a music score.
A few of the greater lights have been quite able to take their own part in an argument. Berlioz and Wagner were especially given to polemics. Berlioz was particularly caustic in his writings, and Wagner was well able to defend his position in the musical and even in the political world. It is not often that we find a great composer and a prominent critic and musical writer in the same person. But Berlioz was a critic and liked to make fun of the lesser critics, like a big fish would worry the smaller fry.
One of his plans to prove the incompetence of his brother critics was, to say the least, original. He wrote a work of much value and interest, called the "Flight into Egypt," and put it on a programme as the work of one "Pierre Ducre," who was stated to have lived in the seventeenth century. The composition was, of course, in the antique style of that day. The critics gave glowing articles concerning the valuable work Berlioz had unearthed, and went so far as to give historical details of the life of the composer and to speak of hunting up more works from his pen. When the admiration was at its height, Berlioz stepped in and claimed the work as his own composition and showed such a personage as Ducre to have existed only in imagination.
The critics could then hardly withdraw their unanimous approbation. So Berlioz had his work favorably criticized and brought prominently before the public, getting a share of public attention that it would not have received were it not for its supposed antiquity.
# An Etymological Dictionary of the German Language/Annotated/Schwester

| This annotated version expands the abbreviations in the original entry Schwester. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwester, feminine, ‘sister,’ from Middle High German swëster, Old High German swëster, feminine; a common Teutonic and also primitively Aryan word. Compare Gothic swistar, Old Icelandic syster, Anglo-Saxon sweostor, English sister, Dutch zuster, Old Saxon swëstar. The common Teutonic stem swestr-, originated in Aryan swesr- (compare Strom for the insertion of t in sr), nominative singular swésô; compare Sanscrit svasr-, nominative singular svasâ, Latin soror for *swesô-r, Old Slovenian sestra, Lithuanian sesů (for *swesô). The originally meaning of the cognates, as in the case of Bruder, Aryan bhrãtõ (brãhtṛ), cannot be discovered; yet Schwäher, Schwieger, and Schwager (Aryan swekuros, swekrũ, swékrós) are similar in sound, so too Old Icelandic swiljar, ‘husbands of two sisters,’ Old Saxon swiri, ‘nephew, sister's child’ (Aryan swesjo-?), &c., whose common component swe- signified ‘own, his,’ according to Sanscrit sva, Latin suus; Compare sein. For the Aryan terms of consanguinity compare Vater, Mutter, &c.
# An Etymological Dictionary of the German Language/Annotated/Schwelle

| This annotated version expands the abbreviations in the original entry Schwelle. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwelle, feminine, ‘threshold, sill,’ from Middle High German swęlle, feminine and neuter, ‘beam, threshold.’ Old High German swęlli, masculine, ‘threshold’; Gothic *swalli, ​‘threshold,’ is wanting. Compare Anglo-Saxon syll, feminine, English sill, and the equivalent Old Icelandic syll, svill, feminine; allied to Gothic ga-suljan, ‘to establish,’ root swol, sū̆l, ‘to establish’; con Latin solea (for *svolea)?. Akin also to Old High German sûl, ‘pillar’?.
# An Etymological Dictionary of the German Language/Annotated/Schwengel

| This annotated version expands the abbreviations in the original entry Schwengel. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwengel, masculine, ‘pendulum, clapper, beam,’ from Middle High German swęngel, swęnkel, masculine, ‘that which swings, pendulum.’ See the following word and schwingen.
# An Etymological Dictionary of the German Language/Annotated/Schweiß

| This annotated version expands the abbreviations in the original entry Schweiß. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schweiß, masculine, ‘sweat, perspiration,’ from the equivalent Middle High German and Old High German sweiȥ, masculine; Middle High German also ‘blood,’ a meaning still current among sportsmen (so too schweißen, ‘to bleed’); Old Saxon swêt, ‘sweat,’ Anglo-Saxon swât, ‘sweat, blood,’ English sweat, Dutch zweet. For the Teutonic root swī̆t, swait, Aryan swoid, swī̆d, see under schwißen; compare Sanscrit svẽda-s, masculine, Latin sudor (from *svoidos), ‘sweat.’ To this is allied schweißen, verb, ‘to begin to melt, weld,’ from Middle High German sweiȥen, sweitzen, ‘to weld, Old High German sweiȥen, ‘to roast, broil.’
# An Etymological Dictionary of the German Language/Annotated/Schwert

| This annotated version expands the abbreviations in the original entry Schwert. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwert, neuter, ‘sword,’ from the equivalent Middle High German and Old High German swërt, neuter; a common Teutonic term; compare the equivalent Old Saxon swerd, Dutch zwaard, Anglo-Saxon sweord, English sword, Old Icelandic sverð. Gothic *swaírda-, neuter, is wanting, haírus being used. This latter term is the earliest recorded in Teutonic; it is preserved in old West Teutonic, almost exclusively in old compounds, and is connected with Sanscrit çáru, masculine, ‘missile, spear.’ The later Old Teutonic term *swerda- has no correspondences in the non-Teutonic languages.
# An Etymological Dictionary of the German Language/Annotated/Schwertel

| This annotated version expands the abbreviations in the original entry Schwertel. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwertel, neuter, ‘sword-lily, fleur-de-luce, iris,’ from Middle High German swërtele, Old High German swërtala, feminine, a derivative of Schwert, in imitation of Latin gladiolus.
# An Etymological Dictionary of the German Language/Annotated/Schwefel

| This annotated version expands the abbreviations in the original entry Schwefel. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schwefel, masculine, ‘brimstone, sulphur,’ from the equivalent Middle High German swëvel, swëbel, Old High German swëval, swëbal, masculine; the f of the Modern High German form can only be explained by the influence of Low German, as is shown by the double forms in Middle High German and Old High German. A common Teutonic word; compare Dutch zwavel, Anglo-Saxon swefl, Swedish swafvel, Gothic swibls, ‘sulphur.’ Latin sulpur (for *suplur?) is probably not allied. If the Old Teutonic swebloz, ‘sulphur,’ is a primitive loan-word, it may perhaps be connected with the old Aryan root swep, ‘to sleep’ (Sanscrit svápnas, Latin somnus, Greek ὕπνος, Anglo-Saxon swëfn); compare Anglo-Saxon swębban, ‘to kill,’ Old Icelandic svœ́fa, ‘to kill, lull to sleep’; Schwefel may then be literally ‘stifling, killing, soporific stuff.’
# An Etymological Dictionary of the German Language/Annotated/Schweif

| This annotated version expands the abbreviations in the original entry Schweif. | Random word Special:RandomInCategory/Annotated entries in Kluge's Etymological Dictionary of the German Language |
​ Schweif, masculine, ‘tail, train, suite,’ from Middle High German sweif, masculine, ‘rotation, encircling band, trimming of a garment, tail,’ Old High German sweif, Old Icelandic sveipr, ‘encircling band’; allied to Old High German sweifan, ‘to cause to rotate, turn.’ With the Teutonic root swaip, Greek σόβη, ‘horsetail,’ cannot be connected. See the following word.