OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Seidl, Anton

See also Anton Seidl on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
SEIDL, ANTON (1850-1898), Hungarian operatic conductor, was born at Budapest on the 7th of May 1850. He entered the Leipzig Conservatorium in October 1870, and remained there until 1872, when he was summoned to Bayreuth as one of Wagner's copyists. There he assisted to make the first fair copy of Der Ring des Nibelungen. Thoroughly imbued with the Wagnerian spirit, it was natural that he should take a part in the first Bayreuth Festival in 1876. His chance as a conductor came when, on Wagner's recommendation, he was appointed to the Leipzig Stadt-Theater, where he remained until, in 1882, he went on tour with Angelo Neumann's Nibelungen Ring company. To his conducting the critics attributed much of such
artistic success as attended the production of the Trilogy at Her Majesty's Theatre in London in June of that year. In 1883 Seidl went with Neumann to Bremen, but two years later was appointed successor to Leopold Damrosch as conductor of the German Opera in New York, and in the same year he married Fräulein Kraus, the distinguished singer. In America Seidl's orchestra became famous. In 1886 he was one of the conductors at Bayreuth, and in 1897 at Covent Garden, London. He died in New York on the 28th of March 1898.
See the memorial volume prepared by H. T. Finck, H. E. Krehbiel and others (New York, 1899).
# A Dictionary of Music and Musicians/Dotzauer, Justus

From volume 1 of the work.
​DOTZAUER, Justus Johann Friedrich, one of the greatest composers, players, and teachers of the violoncello; born at Hildburghausen, Jan. 20, 1783 [App. p.618 "June"]. His teachers were Henschkel, Gleichmann, and Rüttinger—a pupil of Kittl's, and therefore only two removes from J. S. Bach. For the cello he had Kriegk of Meiningen, a famous virtuoso and teacher. He began his career in the Meiningen court band, in 1801, and remained there till 1805. He then went by way of Leipzig to Berlin, where he found and profited by B. Romberg. In 1811 he entered the King's band at Dresden, and remained there till his death, March 9 [App. p.618 "6"], 1860, playing, composing, editing, and, above all, teaching. His principal pupils were Kummer, Drechsler, C. Schuberth, and his own son, C. Ludwig. His works comprise an opera ('Graziosa,' 1841), a mass, a symphony, several overtures, 9 quartets, 12 concertos for cello and orchestra, sonatas, variations, and exercises for the cello. He edited Bach's 6 sonatas for cello solo, and left an excellent Method for his instrument.
# A Dictionary of Music and Musicians/Dorus-Gras, Julie

From volume 1 of the work.
​DORUS-GRAS, Julie Aimée. See Gras.
# A Dictionary of Music and Musicians/Dotti, Anna

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Donna del Lago, La

From volume 1 of the work.
​DONNA DEL LAGO, LA, opera in 2 acts, founded on 'The Lady of the Lake'; libretto by Tottola, music by Rossini. Produced at San Carlo, Naples, Oct. 4, 1819; in London, King's Theatre, Feb. 18, 1823.
# A Dictionary of Music and Musicians/Dorn, Heinrich

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Donzelli, Domenico

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

From volume 1 of the work.
​DOPPIO, Italian for double. 'Canone doppio,' double canon, 4 in 2. 'Doppio movimento,' double the speed of the preceding. 'Pedale doppio,' two parts in the pedals (organ music), etc.
# A Dictionary of Music and Musicians/Dorian

From volume 1 of the work.
​DORIAN, or DORIC, the first of the authentic" church modes or tones, from D to D, with its dominant A—
It resembles D minor, but with B♮ and no C♯. Many of the old German chorales were written in this mode, such as 'Vater unser'; ​'Wir glauben all'; 'Christ unser Herr zum Jordan kam'; 'Christ lag in Todesbanden.' For longer compositions see Orlando Lasso's 5-part motet 'Animam meam,' in Commer's 'Musica sacra,' viii. No. 20, and the fugue in Bach's well-known Toccata (Dörffel, No. 818), marked 'Dorisch.'
# A Dictionary of Music and Musicians/Dorset Garden Theatre

[ W. H. H. ]
# A Course in Miracles/Workbook for Students/There is nothing my holiness cannot do

There is nothing my holiness cannot do.
Your holiness reverses all the laws of the world. It is beyond every restriction of time, space, distance and limits of any kind. Your holiness is totally unlimited in its power because it establishes you as a Son of God, at one with the Mind of his Creator.
Through your holiness the power of God is made manifest. Through your holiness the power of God is made available. And there is nothing the power of God cannot do. Your holiness, then, can remove all pain, can end all sorrow, and can solve all problems. It can do so in connection with yourself and with anyone else. It is equal in its power to help anyone because it is equal in its power to save anyone.
If you are holy, so is everything God created. You are holy because all things He created are holy. And all things He created are holy because you are. In today's exercises, we will apply the power of your holiness to all problems, difficulties or suffering in any form that you happen to think of, in yourself or in someone else. We will make no distinctions because there are no distinctions.
In the four longer practice periods, each preferably to last a full five minutes, repeat the idea for today, close your eyes, and then search your mind for any sense of loss or unhappiness of any kind as you see it. Try to make as little distinction as possible between a situation that is difficult for you, and one that is difficult for someone else. Identify the situation specifically, and also the name of the person concerned. Use this form in applying the idea for today:
    In the situation involving ______ in which I see myself,
    there is nothing that my holiness cannot do.
    In the situation involving ______ in which ______ sees himself,
    there is nothing my holiness cannot do.
From time to time you may want to vary this procedure, and add some relevant thoughts of your own. You might like, for example, to include thoughts such as:
    There is nothing my holiness cannot do because the power of God lies in it.
Introduce whatever variations appeal to you, but keep the exercises focused on the theme, "There is nothing my holiness cannot do." The purpose of today's exercises is to begin to instill in you a sense that you have dominion over all things because of what you are.
In the frequent shorter applications, apply the idea in its original form unless a specific problem concerning you or someone else arises, or comes to mind. In that event, use the more specific form in applying the idea to it.
# A Course in Miracles/Workbook for Students/These thoughts do not mean anything

These thoughts do not mean anything. They are like the things I see in this room [on this street, from this window, in this place].
Unlike the preceding ones, these exercises do not begin with the idea for the day. In these practice periods, begin with noting the thoughts that are crossing your mind for about a minute. Then apply the idea to them. If you are already aware of unhappy thoughts, use them as subjects for the idea. Do not, however, select only the thoughts you think are "bad." You will find, if you train yourself to look at your thoughts, that they represent such a mixture that, in a sense, none of them can be called "good" or "bad." This is why they do not mean anything.
In selecting the subjects for the application of today's idea, the usual specificity is required. Do not be afraid to use "good" thoughts as well as "bad." None of them represents your real thoughts, which are being covered up by them. The "good" ones are but shadows of what lies beyond, and shadows make sight difficult. The "bad" ones are blocks to sight, and make seeing impossible. You do not want either.
This is a major exercise, and will be repeated from time to time in somewhat different form. The aim here is to train you in the first steps toward the goal of separating the meaningless from the meaningful. It is a first attempt in the long-range purpose of learning to see the meaningless as outside you, and the meaningful within. It is also the beginning of training your mind to recognize what is the same and what is different.
In using your thoughts for application of the idea for today, identify each thought by the central figure or event it contains; for example:
    This thought about _______ does not mean anything.
    It is like the things I see in this room [on this street, and so on].
You can also use the idea for a particular thought that you recognize as harmful. This practice is useful, but is not a substitute for the more random procedures to be followed for the exercises. Do not, however, examine your mind for more than a minute or so. You are too inexperienced as yet to avoid a tendency to become pointlessly preoccupied.
Further, since these exercises are the first of their kind, you may find the suspension of judgment in connection with thoughts particularly difficult. Do not repeat these exercises more than three or four times during the day. We will return to them later.
# A Course in Miracles/Workbook for Students/There is no end to all the peace and joy

Lesson 355
There is no end to all the peace and joy,
And all the miracles that I will give,
When I accept God's Word. Why not today?
Why should I wait, my Father, for the joy You promised me? For You will keep Your Word You gave Your Son in exile. I am sure my treasure waits for me, and I need but reach out my hand to find it. Even now my fingers touch it. It is very close. I need not wait an instant more to be at peace forever. It is You I choose, and my Identity along with You. Your Son would be Himself, and know You as his Father and Creator, and his Love.
# A Course in Miracles/Workbook for Students/There is nothing to fear

There is nothing to fear.
The idea for today simply states a fact. It is not a fact to those who believe in illusions, but illusions are not facts. In truth there is nothing to fear. It is very easy to recognize this. But it is very difficult to recognize it for those who want illusions to be true.
Today's practice periods will be very short, very simple and very frequent. Merely repeat the idea as often as possible. You can use it with your eyes open at any time and in any situation. It is strongly recommended, however, that you take a minute or so whenever possible to close your eyes and repeat the idea slowly to yourself several times. It is particularly important that you use the idea immediately, should anything disturb your peace of mind.
The presence of fear is a sure sign that you are trusting in your own strength. The awareness that there is nothing to fear shows that somewhere in your mind, though not necessarily in a place you recognize as yet, you have remembered God, and let His strength take the place of your weakness. The instant you are willing to do this there is indeed nothing to fear.
# A Course in Miracles/Workbook for Students/There is no will but God's

There is no will but God's.
The idea for today can be regarded as the central thought toward which all our exercises are directed. God's is the only Will. When you have recognized this, you have recognized that your will is His. The belief that conflict is possible has gone. Peace has replaced the strange idea that you are torn by conflicting goals. As an expression of the Will of God, you have no goal but His.
There is great peace in today's idea, and the exercises for today are directed towards finding it. The idea itself is wholly true. Therefore it cannot give rise to illusions. Without illusions conflict is impossible. Let us try to recognize this today, and experience the peace this recognition brings.
Begin the longer practice periods by repeating these thoughts several times, slowly and with firm determination to understand what they mean, and to hold them in mind:
    There is no will but God's. I cannot be in conflict.
Then spend several minutes in adding some related thoughts, such as:
    I am at peace.
    Nothing can disturb me. My will is God's.
    My will and God's are one.
    God wills peace for His Son.
During this introductory phase, be sure to deal quickly with any conflict thoughts that may cross your mind. Tell yourself immediately:
    There is no will but God's.
    These conflict thoughts are meaningless.
If there is one conflict area that seems particularly difficult to resolve, single it out for special consideration. Think about it briefly but very specifically, identify the particular person or persons and the situation or situations involved, and tell yourself:
    There is no will but God's. I share it with Him.
    My conflicts about ______ cannot be real.
After you have cleared your mind in this way, close your eyes and try to experience the peace to which your reality entitles you. Sink into it and feel it closing around you. There may be some temptation to mistake these attempts for withdrawal, but the difference is easily detected. If you are succeeding, you will feel a deep sense of joy and an increased alertness, rather than a feeling of drowsiness and enervation.
Joy characterizes peace. By this experience will you recognize that you have reached it. If you feel yourself slipping off into withdrawal, quickly repeat the idea for today and try again. Do this as often as necessary. There is definite gain in refusing to allow retreat into withdrawal, even if you do not experience the peace you seek.
In the shorter periods, which should be undertaken at regular and predetermined intervals today, say to yourself:
    There is no will but God's.
    I seek His peace today.
Then try to find what you are seeking. A minute or two every half an hour, with eyes closed if possible, would be well spent on this today.
# A Cyclopaedia of Female Biography/Bertrade

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BERTRADE,
Laughter or the Count of Montfort, married the Count of Anjon, from whom she was divorced to unite herself to Philip the First, King of France, 1092. This union was opposed by the clergy, but the love of the monarch triumphed over his respect for religion. Bertrade was ambitious, and not always faithful to her husband. After the king's death she pretended sanctity, and was buried in a convent which she herself founded.
# A Cyclopaedia of Female Biography/Bethmann, Frederica

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BETHMANN, FREDERICA,
One of the first ornaments of the Berlin National Theatre, was born in 1760, at Gotha, where her father, whose name was Flittner, had an income by. a respectable office. After his death, her mother married the well-known director Grossmann. He visited, with his family, the cities on the Rhine, Cologne, Bonn, Mentis, etc., where Frederica was married to Mr. Unselmann, who enjoyed great popularity for his rich comic talent, and she then made her first appearance on the stage. Her agreeable voice induced her to appear at the opera. She soon acquired by her singing and acting, in naïf as well as in sentimental parts the undivided approbation of the public; and was called, with her husband, to Berlin, where she became one of the first actresses that Germany has produced, both in tragedy and comedy. In 1803 she was divorced from her husband, to marry the renowned Mr. Bethmann. She died in 1814. A truly creative fancy, deep and tender feeling, and an acute understanding, were united in her with a graceful, slender figure, an expressive countenance, and a voice, which, from its flexibility and melodiousness, was fit to touch the deepest chords of the heart, and to mark with rare perfection the nicest shades of thought and feeling.
# A Cyclopaedia of Female Biography/Bilderjik, Katharine Wilhelmina

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BILDERJIK, KATHARINE WILHELMINA,
Wife of the celebrated poet of Holland, died at Haarlaem, in 1831. She was herself distinguished for her poetic abilities; and, in 1816, obtained a prize offered at Ghent for the best poem on the battle of Waterloo.
# A Cyclopaedia of Female Biography/Bertana, Lucia

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BERTANA, LUCIA.
In the sixteenth century the literary annals of Italy shone with illustrious names, and among these may be found many women assiduously cultivating poetry and science, and attaining no mean proficiency in these elevated pursuits. Naples boasted Vittoria Colonna, and a few years afterwards, Laura Terracina. Padua possessed Gaspara Stampa; Brescia, Veronica Gambara; and Modena, Tarquenia Molza. At Bologna, among many poetesses at that time, we find Ippolita Paleotti writing elegant verses in Greek and in Latin; the nun Febronia Pannolini, remarkable for her choice prose, and flowing hymns, as well in Latin as in Italian; and Valeria Miani, who achieved that difficulty some male sceptics arrogantly refuse to feminine capacity—a successful tragedy. But among all the Bolognese women, the crown must be yielded to Lucia Bertana. Not only contemporary authorities award her this praise, but Maffei, in his "History of Italian literature," gives her the third place among the most admirable poetesses of the sixteenth century, preferring only Vittoria Colonna and Veronica Gambara. She was born at Bologna, of the family Dall'Oro, in 1521; and became the wife of Gerone Bertana, a gentleman of Modena, where she resided after her marriage. She was not only celebrated for her poetry, but possessed a vigorous and polished prose style. She cultivated music and painting, and turned her attention to what was at that time a respectable and sensible object of study—astrology. Besides these accomplishments, Lucia was gifted with all the virtues of her sex. She was amiable and gentle, and her excellent disposition was manifested in an attempt she most earnestly made to effect a reconciliation between two rival men of letters, Caro and Castelvetro. She conducted the matter with the utmost delicacy and good sense—appealed to the better feelings of each—and tried to show how ​unworthy of their superior abilities, and solid reputation, was this unmeaning bickering.
She died at Rome in 1567. Her remains were interred in the church of St. Sabina, where her husband elevated a superb monument to her memory. The estimation of various learned societies endeavoured to immortalize her by other means—medals were struck to her fame, which may yet be found in Italian Museums.
# A Cyclopaedia of Female Biography/Bertha, daughter of Caribert, King of Paris

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BERTHA.
Daughter of Caribert, King of Paris. She married Ethelbert, King of Kent, who succeeded to the throne about the year 660. Ethelbert was a pagan, but Bertha was a Christian, and in the marriage treaty had stipulated for the free exercise of her religion, and taken with her a French bishop. By her influence Christianity was introduced into England; for so exemplary in every respect were her life and conduct, that she inspired the king and his court with a high respect for her person, and the religion by which she was influenced. The Pope taking advantage of this, sent forty monks, among whom was St. Augustine, to preach the gospel. Under the protection of the queen they soon found means of communication with the king, who finally submitted to public baptism. Christianity proved the means of promoting knowledge and civilization in England; and this convert king enacted a body of laws which was the first written code promulgated by the northern conquerors. Thus was the influence of this pious Queen Bertha the means of redeeming England from paganism: and moreover to her belongs the glory of planting the first Christian Church in Canterbury, called the church of St. Martin; here she was buried: her epitaph, preserved by Leland, may be thus translated—"Adorned with virtues here lies the blessed Queen Bertha, who was in favour with God and greatly beloved by mankind."
# A Cyclopaedia of Female Biography/Bibi Jand

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BIBI JAND,
Queen of Dekan in Hindostan, in the sixteenth century, was a wise and able princess. She maintained her dominions in peace and prosperity, and repulsed with success the attacks of the Moguls, who wished to subjugate her.
# A Cyclopaedia of Female Biography/Bertha, or Betrade

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BERTHA, or BETRADE,
Wife of Pepin and mother of Charlemagne, Emperor of France, was a woman of great natural excellences, both of mind and heart. Charlemagne always showed her most profound respect and veneration, and there was never the slightest difficulty between them excepting when he divorced the daughter of Didier, King of the Lombards, whom he had married by her advice, to espouse Emergarde. Bertha died in 783. Her name has come down to posterity irradiated by the glory which surrounds that of her son; it is a borrowed light, but it shines upon a worthy object.
# A Cyclopaedia of Female Biography/Bertha, widow of Eudes, Count de Blois

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BERTHA,
Widow of Eudes, Count de Blois, married Robert the Pious, King of France. She was a relation of his, and he had been godfather to one of her children. These obstacles, then very powerful, did not prevent the king from marrying her. A council assembled at Rome in 998, and ordered Robert to repudiate Bertha, which he refused to do; the terrible sentence of excommunication was pronounced against him, and he was at length obliged to yield. Bertha retired to an abbey and devoted herself to pious works. Her title of queen was always given to her, and the king continued to show her constant proofs of affection and respect.
# A Cyclopaedia of Female Biography/Bigne

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BIGNE.
Grace de la, a French poetess of Bayeaux, accompanied King John to England, after the battle of Poictiers, and died in 1374.
# A Cyclopaedia of Female Biography/Billington, Elizabeth

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BILLINGTON, ELIZABETH,
The most celebrated English singer of her day, was born in 1770. She was the daughter of Mr. Weichsell, a German. At the age of fourteen she made her first appearance as a singer, at Oxford; and two years afterwards married Mr. Billington, whom she accompanied to Dublin. Here she made her début in the opera of "Orpheus and ​Eurydice." On returning to Tendon, she appeared at Covent Garden with great success, and rapidly acquired a high reputation. She afterwards visited the continent to avail herself of the instructions of the masters of the art in Paris and Italy. In 1796, she appeared at Venice and at Rome, receiving everywhere the loudest expressions of applause. In 1801, she returned to the London stage, and astonished the whole world by her Mandane, a performance that has hardly ever been equalled in English opera. The last exhibition of her powers was for the benefit of a charity at Whitehall chapel; the queen, the prince-regent, and most of the branches of the royal family, being present. She left England in 1817, and died soon after at an estate she had purchased in the Venetian territories. Her character as a private individual was very bad.