OpenLLM-France/wikimedia huggingface dataset:
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/65

The intended Execution of the Prisoners of Badr.
[Sidenote: 63. The wrong version of Sir W. Muir.]
Sir W. Muir writes: "It would even seem to have been contemplated at the close of the battle to kill all the prisoners. Mahomet is represented by tradition as himself directing this course." In a foot-note he says, "Thus Mahomet said: 'Tell not Saîd of his brother's death'" (Mábad, a prisoner, see above, page 110 note); "but kill ye every man his prisoner."—(Wâckidi, 100.) Again: "Take not any man his brother prisoner, but rather kill him" (page 101). "I would not, however, lay too much stress on these traditions. I am inclined rather to view them as called into existence by the passages quoted below from the Coran." The contemplated execution of the prisoners is not borne out by the traditions which Sir W. Muir himself looks upon as fabricated ones. The true translation of the passages in Wackidi referred to above is as follows:—
"First passage."—"Tell not Said of his brother's killing (i.e., being killed), so he will kill every prisoner in your hands."—(Wackidi, page 100.) This obviously means, that do not let Saeed know that his brother Wáhid, who was made prisoner and killed by Omar or Abu Barda, was killed. If you do so, he will, being enraged, kill every prisoner now in your hands. It is very strange that Sir W. Muir translates the sentence to mean "kill ye every man his prisoner!"
Second passage.—"No body must take his brother's prisoner, so that he may be killed," meaning none of you should seize other person's prisoner. If you do so, perhaps, the other person may kill the prisoner in the contest. Sir W. Muir has quite misunderstood the sentence.

## Footnotes

* ↑ Ibid, p. 117.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/68

The Execution of the Bani Koreiza.
[Sidenote: 68. High treason of the Bani Koreiza against Medina, and their execution.]
The Bani Koreiza, a Jewish tribe living in the vicinity of Mecca had entered into an alliance with the Moslem Commonwealth to defend the city of Medina from the attack of the aggressors. While Medina was besieged by the ten thousand Koreish and other Bedouin tribes in A.H. 6, they (the Koreiza), instead of co-operating with the Moslems, defected from their allegiance and entered into negotiations with the besieging foe. After the cessation of the siege, they were besieged in their turn, and a fearful example was made of them, not by Mohammad, but by an arbiter chosen and appointed by themselves. The execution of some of them was not on account of their being prisoners of war; they were war-traitors and rebels, and deserved death according to the international law. Their crime was high treason against Medina while it was blockaded. There had no actual fighting taken place between the Bani Koreiza and the Moslems, after the former had thrown off their allegiance to the latter and had aided and abetted the enemies of the realm. They were besieged by the Moslems to punish them for their high treason, and consequently they were not prisoners of war. Even such prisoners of war suffer for high treason.
"Treating, in the field, the rebellious enemy according to the law and usages of war, has never prevented the legitimate Government from trying the leaders of the rebellion, or chief rebels for high treason, and from treating them accordingly, unless they are included in a general amnesty."

## Footnotes

* ↑ Miscellaneous Writings of Francis Lieber, Vol. II. Contributions to Political Science, p. 273, Philadelphia, 1881.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/61

[Sidenote: 61. Free liberty granted to Ozza, a prisoner of war.]
Abul Ozza, one of the prisoners of Badr, and who was one of the persecutors of the Moslems at Mecca, had besought Mohammad to release him by way of compassion for his five daughters. Mohammad granted him his life and his liberty. This directly points to the universal generosity of the Prophet, and from this it will appear that the story of Okba's execution runs contrary to his general character and conduct. On these grounds the execution of Okba might be rejected as a fiction.

## Footnotes

* ↑ Wackidi, 105. Insán-ul Oyoon or Sírat Halabí, Vol. II, p. 464.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/66

[Sidenote: 66. Mohammad never blamed in the Koran for relieving prisoners.]
There are some fictitious traditions on the subject that Mohammad was reprimanded in the Koran (Sura, viii, 68, 69) for releasing the prisoners of Badr, meaning that he ought to have executed them. The verse is translated thus:—
"It is not for a Prophet to take prisoners until (hatta) he hath slaughtered in the land. Ye wish to have the goods of this world, but God wishes for the next, for God is Mighty, Wise! Were it not for a book from God that had gone before, there would have touched you, for which ye took, a mighty punishment."
The verse 68, if it is rightly translated, will mean that prisoners should not be executed. The word '"hatta"' means 'until,' and is also used as a causative word. I prefer the latter, and translate—
"It is not for any Prophet that prisoners may be brought to him in order that he may make slaughter in the land," which means, that it is not proper for a Prophet to take prisoners of war in order to slaughter them. This meaning is in consonance with the other passage in the Koran (xlvii, 4), which restricts the treatment of the prisoners of war to either free dismissal or ransom.
In the first place, the verse rather reprimanded those who wished to kill the prisoners; and in the second, those who desired to exact ransom for their liberty. They ought to have set them at liberty without any pecuniary advantage, if they knew any good in their deserving free liberty.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/69

[Sidenote: 69. The whole of the Bani Koreiza was never executed.]
The whole tribe of the Bani Koreiza was not executed, nor all the male prisoners were put to the sword. The number slain was comparatively very small. That they were not executed at the commands of Mohammad, nor all of them were killed, nor a divine sanction was alleged for it, is shown by the following verse of the Koran:
"And he caused those of the people of the Book (the Jews) who had aided the confederates to come down of their fortresses, and cast dismay into their hearts: some ye slew; others ye took prisoners."—Sura, xxxiii, 26.
The slaying and taking of prisoners is attributed to them to whom the verse is addressed as their own act.

## Footnotes

* ↑ Some of the Koreizites were released, among whom we hear of Zobeir Ibn Batá, and Rifáa. They were pardoned by Mohammad.
# A Critical Exposition of the Popular 'Jihád'/Chapter 10/60

2.—Okba-bin-Mueit.
[Sidenote: 60. The execution of Okba.]
Another prisoner, named Okba, was executed after the battle of Badr for a crime similar to that of Nazr. It is related that while he was going to be executed, he asked who would take care of his little girl. Mohammad replied, "Hell-fire!" This is altogether an apocryphal story, and owes its origin to the relation of Okba to the tribe of Banunnar, or the "children of fire." Wackidi does not give his authorities for the story, and Ibn Is-hak gives only one immediately before him, which is cut short of another intervening link of authorities up to the scene of occurrence. Abu Daood narrates it from Masrook, who gave it on the authority of Abdullah-bin-Mas-ood, who does not say he was present at the scene or he heard it directly or indirectly from Mohammad. Besides the circumstances under which Masrook gave out this story are very suspicious, and show that calumny was at work. Masrook was proposed by Zohak to be entrusted with the administration of a certain district. Ommara, the son of Okba, objected to this, as Masrook was one of the murderers of Osman, the third Khalif. Masrook in reply said to Ommara, on the authority of Ibn Masood, that "when thy father was being executed, he had asked the Prophet, who will take care of his little girl." The Prophet replied, "Hell-fire." Therefore, I am satisfied for thee with what the Prophet had chosen for thy father.
There is a discrepancy in the mode of Okba's execution as well as about the person who executed him. Ibn Is-hak says, that it was Asim who killed him, and Ibn Hisham, that it was Ali. Ibrahim is of opinion, that Okba was executed at Taimee, and Mohammad-bin-Khobeib Hashimi, that he was crucified, from which others differ and say that he was beheaded. I have no belief in Okba's execution at all.

## Footnotes

* ↑ Abu Daood as before.
* ↑ Zorkánee, Vol. II, p. 541.
* ↑ Sírat Halabi, Vol. II, p. 371.
# A Dictionary of Music and Musicians/Halle, Charles

From volume 1 of the work.
​HALLE, Charles (originally Carl), born April 11, 1819, at Hagen, near Elberfeldt, where his father was Capellmeister. Began to play very early; in 1835 studied under Rink at Darmstadt. In the latter part of 1836 went to Paris, and remained there for 12 years in constant intercourse with Cherubini, Chopin, Liszt, Berton, Kalkbrenner, and other musicians. In 1841 he married. In 1846 he, Alard, and Franchomme, started chamber concerts in the small room of the Conservatoire. These, though very successful, were rudely interrupted by the revolution of Feb. 1848, which burst out after the second concert of the third series. Halle left for England, and has ever since been permanently settled here [Appendix p.662 "he had visited England before 1848, the date on which he took up his residence here"]. His first appearance was at the orchestral Concerts at Covent Garden (May 12, 48) in the E♭ concerto of Beethoven. He played that season and several subsequent ones at the Musical Union; and at the Philharmonic made the first of many appearances March 15, 52. His connexion with Manchester began soon after his arrival here, and in 1857 he started his orchestral subscription concerts there, which are now so justly famed.
[ G. ]
# A Dictionary of Music and Musicians/Hallelujah

From volume 1 of the work.
​HALLELUJAH. A Hebrew term (hallelu-Jah, 'praise Jehovah') which, like Amen, Selah, Hosanna, etc., has been preserved untranslated in our Bibles. In the Latin Church the Alleluia is sung in the ordinary service, except during Lent. It is omitted from the Anglican Liturgy and Communion Service, but has revenged itself by keeping a place in the popular Easter hymn 'Jesus Christ is risen to-day,' which the writer remembers to have heard sung at Vespers by the French nuns at the Trinita de' Monti.
The Hallelujah Chorus in the Messiah is known to every one. Handel is reported to have said that when he wrote it 'he thought he saw Heaven opened, and the great God Himself.' The phrase 'For the Lord God omnipotent reigneth' is almost identical with that to 'I will sing … unto the Lord' in Israel in Egypt. He has written other Hallelujahs or Allelujahs—though none to compare with this—in Judas Maccabeus, the Occasional Oratorio, and the ​Coronation Anthems one of which was afterwards employed in Deborah. For the custom of standing during the performance of the Hallelujah Chorus see Handel, p. 651b.
In his 114th Psalm Mendelssohn has accented
[ G. ]
# A Dictionary of Music and Musicians/Hamboys, John

From volume 1 of the work.
[ W. H. H.]
[ A. H.-H. ]
# A Dictionary of Music and Musicians/Hamerton, William

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Hall, William

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Hamlet

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Hammer

From volume 1 of the work.
​HAMMER (Fr. Marteau; Ital. Martello; Germ. Hammer). The sound of a pianoforte is produced by hammers. In this the pianoforte resembles the dulcimer, from which we may regard it as developed by contrivance of keys and intermediate mechanism, rendering the pianoforte a sensitive instrument of touch, instead of one of mere percussion, incapable of refinement or expression. The pianoforte hammer consists of head and shank like any other hammer; the shank is either glued into a butt that forms its axis, or is widened out and centred or hinged with the same intention; and the blow is given and controlled by leverage more or less ingenious, and varying with the shape of the instrument and the ideas of the makers.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Halling

​HALLING. The most characteristic dance of Norway, deriving its origin and name from the Hallingdal, between Christiania and Bergen. It is thus described in Frederika Bremer's 'Strid og Frid' ('Strife and Peace') as translated by Mary Howitt: 'Perhaps there is no dance which expresses more than the Halling the temper of the people who originated it. It begins, as it were, upon the ground, amid jogging little hops, accompanied by movements of the arms, in which, as it were, a great strength plays negligently. It is somewhat bear-like, indolent, clumsy, half-dreaming. But it wakes, it becomes earnest. Then the dancers rise up and dance, and display themselves in expressions of power, in which strength and dexterity seem to divert themselves by playing with indolence and clumsiness, or to ​overcome them. The same person who just before seemed fettered to the earth, springs aloft, throws himself around in the air as though he had wings. Then, after many break-neck movements and evolutions, before which the unaccustomed spectator grows dizzy, the dance suddenly assumes again its first quiet, careless, somewhat heavy character, closes as it begun, sunk upon the earth.'
The Halling is generally danced by single dancers, or at most by two or three dancing in competition. It is accompanied on the Hardanger fiddle ('Hardangerfelen'), a violin strung with four stopped and four sympathetic strings. The music is generally written in 2-4 time, in a major key, and is played allegretto or allegro moderate, but a few examples are found in triple time. Many of the most popular Halling tunes were composed by Maliser-Knud, a celebrated performer on the Hardangerfelen who flourished about 1840. The following is a traditional and characteristic example:—
[ W. B. S. ]
# A Dictionary of Music and Musicians/Hamilton, James Alexander

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Esser, Heinrich

From volume 1 of the work.
​ESSER, Heinrich, born at Mannheim 1818, appointed concert-meister 1838, and then musical director in the court-theatre at Mannheim; was for some years conductor of the 'Liedertafel' at Mayence, and in 1847 succeeded O. Nicolai as Capellmeister of the Imperial Opera, Vienna, where he was honoured as an artist and beloved as a man. In November 1869, shortly after becoming art-member of the board of direction of the Opera, he was compelled by ill-health to resign, and retired on a considerable pension to Salzburg, where he died June 3, 1872. The Emperor honoured his memory by granting an annuity to his widow and two young children. Esser's character was elevated, refined, and singularly free from pretension, and his compositions bear the same stamp, especially his melodious and thoughtful 4-part songs for men's voices. As a conductor he was admirable—conscientious, indefatigable, and in thorough sympathy with his orchestra, by whom he was adored. Wagner showed his appreciation by entrusting him with the arrangement of his 'Meistersinger' for the piano. Esser was the first to discern the merit of Hans Richter, whom, while a member of his band, he recommended to Wagner as a copyist and arranger, and who ultimately justified the choice by succeeding Esser at the Opera in May 1875.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Este, Michael

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Estwick, Sampson

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Eulenstein, Charles

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Este (dukedom)

From volume 1 of the work.
[ C. M. P. ]
# A Dictionary of Music and Musicians/Esther

From volume 1 of the work.
​ESTHER. Handel's first English oratorio; words by S. Humphreys, founded on Racine's Esther. Written for the Duke of Chandos, who paid Handel £1000 for it, and first performed at Cannons Aug. 29, 1720. Performed again, in action, under Bernard Gates—in private Feb. 23, 1732, and in public at the King's Theatre, Haymarket, May 2, 32, with 'additions' not specified. It was occasionally performed up to 1757 (when 'My heart is inditing' and 'Zadok the Priest' were interpolated into the performance), and then, lay on the shelf till Nov. 6, 1875, when it was revived at the Alexandra Palace. The overture was for long played annually at the 'Festival of the Sons of the Clergy' at St. Paul's.
# A Dictionary of Music and Musicians/Etoile du Nord, L'

From volume 1 of the work.
​ETOILE DU NORD, L', opera in 3 acts, principal characters Peter the Great and Catherine; words by Scribe, music by Meyerbeer, comprising many numbers from his 'Feldlager in Schlesien.' Produced at the Opéra Comique Feb. 16, 1854; and in England, as La Stella del Nord, at Covent Garden, July 19, 1855.
# A Dictionary of Music and Musicians/Euphonium

From volume 1 of the work.
​EUPHONIUM. A name given to the bass instrument of the Saxhorn family, usually tuned in B♭ or C. It only differs from the barytone Saxhorn in the larger diameter of its bore, which thus produces a louder and somewhat deeper quality of tone. It is usually furnished with four valves, sometimes even with five, the first three worked by the fingers of the right hand, and severally depressing the pitch by a semitone, a tone, and a minor third; the fourth by the left hand applied to a different part of the instrument, and lowering the pitch by two tones and a semitone.
From the gradual disuse of the Serpent and Ophicleide, the Euphonium is becoming the chief representative of the eight-foot octave among the brass instruments; with the exception of the few notes attainable on the French horn in that register. In quality it is however less sympathetic than its forerunners, and less able to blend with the stringed instruments. It therefore serves chiefly as a solo instrument, in which capacity it affords considerable support to the brass or military band. It possesses the usual harmonic series of open notes. Its compass is to a considerable degree dependent on the lip of the individual player. The fundamental note is obviously C or B♭ according to the pitch of the instrument, and the gap between this and the next harmonic above is more or less bridged over according to the number of the valves. The valves also admit of being used, together or separately, as integral parts of the tube, thus lowering the fundamental tone obtained, even to the extent of an octave.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Essipoff, Annette

[ M. ]
# A Dictionary of Music and Musicians/Aria

From volume 1 of the work.
​ARIA, Italian for Air.
# A Dictionary of Music and Musicians/Aria di Bravura

From volume 1 of the work.
[ J. H. ]
# A Dictionary of Music and Musicians/Aria Parlante

From volume 1 of the work.
​ARIA PARLANTE. See Arioso.
# A Dictionary of Music and Musicians/Arietta

From volume 1 of the work.
[ J. H. ]
# A Dictionary of Music and Musicians/Ariosti, Attilio

From volume 1 of the work.
​ARIOSTI, Attilio, a Dominican monk and an operatic composer; was born about the year 1660. Under a papal dispensation he gave up his ecclesiastical profession for that of music, of which he had from his youth been a regular student. His first opera was 'Dafne,' written to the words of Apostolo Zeno. It was brought out at Venice in 1686. Its success was sufficient to determine the direction of his talent, for thenceforth, with the exception of one oratorio and some cantate to be hereafter mentioned, he wrote only for the stage. In 1690 he became either private composer or Maestro di Cappella to the Electress of Brandenburg; and he remained a member of her household until 1716, when, at the invitation of the managers of the Italian opera in London, he came to England. This interval, however, he does not seem to have spent altogether at Berlin. Apparently he had paid one visit at least to Italy, and one to Austria, bringing out his 'Nabucodonosor' at Venice, his 'La più gloriosa fatica d' Ercole' at Bologna, and his 'Amor tra Nemici' at Venice. His first appearance in London was at the representation of Handel's 'Amadis,' at which he played a solo on the then little- known instrument the viole d'amour. In 1720 the directors of the opera made formal engagements for a term with Ariosti, Bononcini and Handel to write operas in turn for the theatre. It was arranged that the first to be produced, which was 'Mucius Scævola,' should be the joint work of the three authors, Ariosti writing the first act. The stipulations of this engagement were rigidly adhered to without the slightest tinge of jealousy or ill-feeling ever having marred the relations of the rival composers. But not the less was it inevitable that the genius of Handel should assert itself, and at the close of the season of 1727 Ariosti and Bononcini were honourably dismissed. Bononcini was subsequently supported by the Marlborough family, but Ariosti, finding himself without a patron, quitted England in 1728, and passed the rest of his life in an obscurity which no biographer has been able to pierce. Fétis says that on the eve of his departure from England he published a volume of Cantate by subscription, and that they realised £1000. It may be hoped that this is a fact, and that the destitution hinted at by other writers was not the absolute condition of his old age.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Arne, Michael

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Arioso

From volume 1 of the work.
[ J. H. ]
# A Dictionary of Music and Musicians/Armide

From volume 1 of the work.
​ARMIDE. One of Gluck's greatest operas, produced (in his sixty-fourth year) on Sept. 23, 1777, at the Académie royale. The libretto is by Quinault, the same which was set by Lulli in 1686. 'Armide' followed 'Alceste' (1776) and preceded 'Iphigenie in Tauris' (1779). Comparing it with 'Alceste.' Gluck himself says, 'The two operas are so different that you will hardly believe them to be by the same composer. … I have endeavoured to be more of the painter and the poet and less of the musician, and I confess that I should like to finish my career with this opera. … In Armide there is a delicate quality which is wanting in Alceste, for I have discovered the method of making the characters express themselves so that you will know at once whether it is Armida who is speaking or one of her followers.' The overture was originally written 27 years before for 'Telemacco.'
# A Dictionary of Music and Musicians/Armourer of Nantes, The

From volume 1 of the work.
​ARMOURER OF NANTES, THE, an opera in three acts, founded on Victor Hugo's 'Mary Tudor'; words by J. V. Bridgman, music by Balfe; produced at Covent Garden, under the Pyne and Harrison management, Feb. 12, 1863.
# A Course in Miracles/Workbook for Students/I will not fear to look within today

I will not fear to look within today.
Within me is eternal innocence, because it is God's Will that it be there forever and forever. I, His Son, whose will is limitless as is His Own, can will no change in this. For to deny my Father's Will is to deny my own. To look within is but to find my will as God created it, and as it is. I fear to look within because I think I made another will that is not true, and made it real. Yet it has no effects. Within me is the Holiness of God. Within me is the memory of Him.
The step I take today, my Father, is my sure release from idle dreams of sin. Your altar stands serene and undefiled. It is the holy altar to my Self, and there I find my true Identity.