OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Freischütz, Der

From volume 1 of the work.
​FREISCHÜTZ, DER. Romantic opera in 3 acts, words by Kind, music by Weber (his 8th opera); completed, as 'Die Jägersbraut,' May 13, 1820. Produced at Berlin June 18, 1821; at Paris as 'Robin des Bois,' with new libretto by Castile Blaze and Sauvage, and many changes, at Odéon, Dec. 7, 1824, but with accurate translation by Pacini, and recitatives by Berlioz, at Académie royale, June 7, 1841, as 'Le Franc Archer.' In London, as 'Der Freischütz, or the seventh bullet,' by Hawes, at English Opera-house, with many ballads inserted, July 22, [App. p.640 "July 23"] 1824; in Italian as 'Il Franco arciero,' at Covent Garden, March 16, 1850 (recitatives by Costa, not by Berlioz) ; in German, at King's Theatre, May 9, 1832. [App. p.640 "given at Astley's Theater, with a new libretto by Oxenford, April 2, 1866."]
* ↑ Frei-schütz, say the dictionaries, = free-marksman, one who shoots with charmed bullets. There is no equivalent English term.
* ↑ 'Assassiné' is Berlioz's word for this outrageous proceeding (no singularity in France, nor indeed in London, half a century ago), by which he states that Castile Blaze made more than 100,000 francs (Mémoires de Berlioz, 57, 61). There were Divertissements made up of the Dance music in Preciosa and Oberon, and of the Invitation to the Waltz scored by Berlioz for the purpose.
# A Dictionary of Music and Musicians/Fraschini, Gaetano

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

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

From volume 1 of the work.
​FRENCH SIXTH. The name formerly used for the chord of the Augmented or extreme sixth, when accompanied by the third and augmented fourth of its bass.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Frederic the Great

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

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

From volume 1 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Marchesi, Mathilde

From volume 2 of the work.
[ B. T. ]
# A Dictionary of Music and Musicians/Marchesini

From volume 2 of the work.
​MARCHESINI. [See Lucchesina and Marchesi, Luigi.]
# A Dictionary of Music and Musicians/Maria di Rohan

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Marchesi, Salvatore

From volume 2 of the work.
[ B. T. ]
# A Dictionary of Music and Musicians/Marchisio, The Sisters

[ A. C. ]
# A Dictionary of Music and Musicians/Margarita

From volume 2 of the work.
​MARGARITA. [See Epine.]
# A Dictionary of Music and Musicians/Marimon, Marie

[ A. C. ]
# A Brief Enquiry into the Nature and Character of our Federal Government

Upshur's Brief Enquiry (1840) critiques Joseph Story's highly esteemed Commentaries on the Constitution of the United States and its support of strong centralized government. Upshur instead describes the Constitution as a compact created by a confederation of individual, sovereign states, each possessing the power to interpose on behalf of its citizens against the federal government and, if necessary, to withdraw from it.
The work was originally published without chapter breaks, but a 1868 edition added them. The text included here is from an 1863 reprint of the original (page scans are available), and both viewing options are presented—the complete work on one page, as in the original, and the work separated into chapters.
The page numbers match the original 1840 edition.
* Introductory Notice
* Preface
* Complete work
** Chapter I
** Chapter II
** Chapter III
** Chapter IV
** Chapter V
** Chapter VI
** Chapter VII
** Chapter VIII
** Chapter IX
** Chapter X
# A Course in Miracles/Workbook for Students/I am sustained by the Love of God

I am sustained by the Love of God.
Here is the answer to every problem that will confront you, today and tomorrow and throughout time. In this world, you believe you are sustained by everything but God. Your faith is placed in the most trivial and insane symbols; pills, money, "protective" clothing, influence, prestige, being liked, knowing the "right" people, and an endless list of forms of nothingness that you endow with magical powers.
All these things are your replacements for the Love of God. All these things are cherished to ensure a body identification. They are songs of praise to the ego. Do not put your faith in the worthless. It will not sustain you.
Only the Love of God will protect you in all circumstances. It will lift you out of every trial, and raise you high above all the perceived dangers of this world into a climate of perfect peace and safety. It will transport you into a state of mind that nothing can threaten, nothing can disturb, and where nothing can intrude upon the eternal calm of the Son of God.
Put not your faith in illusions. They will fail you. Put all your faith in the Love of God within you; eternal, changeless and forever unfailing. This is the answer to whatever confronts you today. Through the Love of God within you, you can resolve all seeming difficulties without effort and in sure confidence. Tell yourself this often today. It is a declaration of release from the belief in idols. It is your acknowledgment of the truth about yourself.
For ten minutes, twice today, morning and evening, let the idea for today sink deep into your consciousness. Repeat it, think about it, let related thoughts come to help you recognize its truth, and allow peace to flow over you like a blanket of protection and surety. Let no idle and foolish thoughts enter to disturb the holy mind of the Son of God. Such is the Kingdom of Heaven. Such is the resting place where your Father has placed you forever.
# A Course in Miracles/Workbook for Students/I am not the victim of the world I see

I am not the victim of the world I see.
Today's idea is the introduction to your declaration of release. Again, the idea should be applied to both the world you see without and the world you see within. In applying the idea, we will use a form of practice which will be used more and more, with changes as indicated. Generally speaking, the form includes two aspects, one in which you apply the idea on a more sustained basis, and the other consisting of frequent applications of the idea throughout the day.
Two longer periods of practice with the idea for today are needed, one in the morning and one at night. Three to five minutes for each of these are recommended. During that time, look about you slowly while repeating the idea two or three times. Then close your eyes, and apply the same idea to your inner world. You will escape from both together, for the inner is the cause of the outer.
As you survey your inner world, merely let whatever thoughts cross your mind come into your awareness, each to be considered for a moment, and then replaced by the next. Try not to establish any kind of hierarchy among them. Watch them come and go as dispassionately as possible. Do not dwell on any one in particular, but try to let the stream move on evenly and calmly, without any special investment on your part. As you sit and quietly watch your thoughts, repeat today's idea to yourself as often as you care to, but with no sense of hurry.
In addition, repeat the idea for today as often as possible during the day. Remind yourself that you are making a declaration of independence in the name of your own freedom. And in your freedom lies the freedom of the world.
The idea for today is also a particularly useful one to use as a response to any form of temptation that may arise. It is a declaration that you will not yield to it, and put yourself in bondage.
# A Course in Miracles/Workbook for Students/I am surrounded by the Love of God

I am surrounded by the Love of God.
Father, You stand before me and behind, beside me, in the place I see myself, and everywhere I go. You are in all the things I look upon, the sounds I hear, and every hand that reaches for my own. In You time disappears, and place becomes a meaningless belief. For what surrounds Your Son and keeps him safe is Love itself. There is no source but this, and nothing is that does not share its holiness; that stands beyond Your one creation, or without the Love which holds all things within itself. Father, Your Son is like Yourself. We come to You in Your Own Name today, to be at peace within Your everlasting Love.
My brothers, join with me in this today. This is salvation's prayer. Must we not join in what will save the world, along with us?
# A Course in Miracles/Workbook for Students/I am the light of the world

I am the light of the world.
Who is the light of the world except God's Son? This, then, is merely a statement of the truth about yourself. It is the opposite of a statement of pride, of arrogance, or of self-deception. It does not describe the self-concept you have made. It does not refer to any of the characteristics with which you have endowed your idols. It refers to you as you were created by God. It simply states the truth.
To the ego, today's idea is the epitome of self-glorification. But the ego does not understand humility, mistaking it for self-debasement. Humility consists of accepting your role in salvation and in taking no other. It is not humility to insist you cannot be the light of the world if that is the function God assigned to you. It is only arrogance that would assert this function cannot be for you, and arrogance is always of the ego.
True humility requires that you accept today's idea because it is God's Voice which tells you it is true. This is a beginning step in accepting your real function on earth. It is a giant stride toward taking your rightful place in salvation. It is a positive assertion of your right to be saved, and an acknowledgment of the power that is given you to save others.
You will want to think about this idea as often as possible today. It is the perfect answer to all illusions, and therefore to all temptation. It brings all the images you have made about yourself to the truth, and helps you depart in peace, unburdened and certain of your purpose.
As many practice periods as possible should be undertaken today, although each one need not exceed a minute or two. They should begin with telling yourself:
    I am the light of the world.
    That is my only function.
    That is why I am here.
Then think about these statements for a short while, preferably with your eyes closed if the situation permits. Let a few related thoughts come to you, and repeat the idea to yourself if your mind wanders away from the central thought.
Be sure both to begin and end the day with a practice period. Thus you will awaken with an acknowledgment of the truth about yourself, reinforce it throughout the day, and turn to sleep as you reaffirm your function and your only purpose here. These two practice periods may be longer than the rest, if you find them helpful and want to extend them.
Today's idea goes far beyond the ego's petty views of what you are and what your purpose is. As a bringer of salvation, this is obviously necessary. This is the first of a number of giant steps we will take in the next few weeks. Try today to begin to build a firm foundation for these advances. You are the light of the world. God has built His plan for the salvation of His Son on you.
# A Course in Miracles/Workbook for Students/I am not asked to make a sacrifice

Lesson 343
I am not asked to make a sacrifice
To find the mercy and the peace of God.
The end of suffering can not be loss. The gift of everything can be but gain. You only give. You never take away. And You created me to be like You, so sacrifice becomes impossible for me as well as You. I, too, must give. And so all things are given unto me forever and forever. As I was created I remain. Your Son can make no sacrifice, for he must be complete, having the function of completing You. I am complete because I am Your Son. I cannot lose, for I can only give, and everything is mine eternally.
The mercy and the peace of God are free. Salvation has no cost. It is a gift that must be freely given and received. And it is this that we would learn today.
# A Course in Miracles/Workbook for Students/I am upset because I see a meaningless world

I am upset because I see a meaningless world.
The importance of this idea lies in the fact that it contains a correction for a major perceptual distortion. You think that what upsets you is a frightening world, or a sad world, or a violent world, or an insane world. All these attributes are given it by you. The world is meaningless in itself.
These exercises are done with eyes open. Look around you, this time quite slowly. Try to pace yourself so that the slow shifting of your glance from one thing to another involves a fairly constant time interval. Do not allow the time of the shift to become markedly longer or shorter, but try, instead, to keep a measured, even tempo throughout. What you see does not matter. You teach yourself this as you give whatever your glance rests on equal attention and equal time. This is a beginning step in learning to give them all equal value.
As you look about you, say to yourself:
    I think I see a fearful world, a dangerous world, a hostile world, a sad world, a wicked world,
    a crazy world,
and so on, using whatever descriptive terms happen to occur to you. If terms which seem positive rather than negative occur to you, include them. For example, you might think of "a good world," or "a satisfying world." If such terms occur to you, use them along with the rest. You may not yet understand why these "nice" adjectives belong in these exercises but remember that a "good world" implies a "bad" one, and a "satisfying world" implies an "unsatisfying" one. All terms which cross your mind are suitable subjects for today's exercises. Their seeming quality does not matter.
Be sure that you do not alter the time intervals between applying today's idea to what you think is pleasant and what you think is unpleasant. For the purposes of these exercises, there is no difference between them. At the end of the practice period, add:
    But I am upset because I see a meaningless world.
What is meaningless is neither good nor bad. Why, then, should a meaningless world upset you? If you could accept the world as meaningless and let the truth be written upon it for you, it would make you indescribably happy. But because it is meaningless, you are impelled to write upon it what you would have it be. It is this you see in it. It is this that is meaningless in truth. Beneath your words is written the Word of God. The truth upsets you now, but when your words have been erased, you will see His. That is the ultimate purpose of these exercises.
Three or four times is enough for practicing the idea for today. Nor should the practice periods exceed a minute. You may find even this too long. Terminate the exercises whenever you experience a sense of strain.
# A Dictionary of Music and Musicians/Harold en Italie

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

​HARP-LUTE. See Dital Harp, vol. i.
# A Dictionary of Music and Musicians/Harper, Thomas

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

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

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

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rodwell, George

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rogers, Benjamin

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Roger, Gustave

From volume 3 of the work.
​ROGER, Gustave Hippolite, eminent French singer, born Dec. 17, 1815, at La Chapelle-Saint-Denis, Paris. He was brought up by an uncle, and educated at the Lycée Charlemagne for the legal profession, but his studies were so neglected for an amateur theatre of which he was the leading tenor and self-constituted manager, that he was at length allowed to follow his real vocation. He entered the Conservatoire in 1836, and after studying for a year under Martin carried off the first prizes both for singing and opéra-comique. He obtained an immediate engagement, and made his début at the Opéra Comique, Feb. 16, 1838, as Georges in 'L'Eclair.' To a charming voice and distinguished appearance he added great intelligence and stage tact, qualities which soon made him the favourite tenor of the Parisian world, and one of the best comedians of the day. Ambroise Thomas composed for him 'Le Perruquier de la Régence' and 'Mina,' Halévy gave him capital parts in 'Les Mousquetaires de la Reine' and 'Le Guitarrero,' and Auber, always partial to gentlemanlike actors, secured him for 'Le Domino Noir,' 'La Part du Diable,' 'La Sirene,' and 'Haydée.' Clapisson too owed to him the success of his 'Gibby la cornemuse.' In 'Haydée' the tenor of the Théâtre Favart so distinguished himself as Lorédan that Meyerbeer declared him to be the only French artist capable of creating the part of John of Leyden. In consequence, after ten years of uninterrupted ​success, Roger left the Opéra Comique for the Académie, where on April 16, 1849, he created an immense sensation with Mme. Viardot, in 'Le Prophète.' His acting was quite as good in tragedy as it had been in comedy, but his voice could not stand the wear and tear of the fatiguing répertoire he had now to undertake. During the next ten years however he was invaluable at the Opéra, creating new parts in the 'Enfant prodigue,' the 'Juif errant,' and many more. His best creation after John of Leyden, and his last part at the Opéra, was Helios in David's 'Herculanum' (March 4, 1859). In the following autumn he lost his right arm while shooting, by the bursting of a gun; he reappeared with a false one, but with all his skill and bravery he could not conceal his misfortune, and found himself compelled to bid farewell to the Académie and to Paris.
He went once more to Germany, which he had been in the habit of visiting since 1850, and where he was invariably successful, partly owing to his unusual command of the language. After this he sang in the principal provincial theatres of France, and in 1861 reappeared at the Opéra Comique in his best parts, especially that of Georges Brown in 'La Dame Blanche,' but it was evident that the time for his retirement had arrived. He then took pupils for singing, and in 1868 accepted a professorship at the Conservatoire, which he held till his death, Sept. 12, 1879.
[ G. C. ]
# A Dictionary of Music and Musicians/Rogers, John

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rogers, John Leman

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Roeckel, Joseph

From volume 3 of the work.
​ROECKEL, Professor Joseph Augustus, was born Aug. 28, 1783, at Neumburg vorm Wald, in the Upper Palatinate. He was originally intended for the church, but in 1803 entered the diplomatic service of the Elector of Bavaria as Private Secretary to the Bavarian Chargé d'Affaires at Salzburg. On the recall of the Salzburg Legation in 1804, he accepted an engagement to sing at the An-der-Wien Theatre at Vienna, where, March 29, 1806, he appeared as Florestan in the revival of Beethoven's 'Fidelio.' In 1823 Roeckel was appointed Professor of Singing at the Imperial Opera; in 1828 he undertook the direction of the opera at Aix-la-Chapelle, and in the following year made the bold experiment of producing German operas in Paris with a complete German company. Encouraged by the success of this venture, Professor Roeckel remained in Paris until 1832, when he brought his company to ​London, and produced 'Fidelio,' 'Der Freischütz,' and other masterpieces of the German school, at the King's Theatre; the principal artists being Schröder-Devrient and Haitzinger, with Hummel (Roeckel's brother-in-law) as conductor. In 1835 he retired from operatic life, and in 1853 finally returned to Germany, where he died, at Anhalt-Cöthen, in September, 1870.
Augustus, the eldest son of the above, was born Dec. 1, 1814, at Gratz. He was joint Kapellmeister at the Dresden Opera with Richard Wagner, but being, like the latter, involved in the Revolution of 1848, he abandoned music and devoted himself entirely to politics. He died at Buda Pesth on June 18, 1876.
Edward, the second son of Professor Roeckel, was born at Trèves on Nov. 20, 1816, and received his musical education from his uncle J. N. Hummel. He came to London in 1835, and gave his first concert in 1836 at the King's Theatre. He subsequently went on a concert-tour in Germany, and performed with great success at the courts of Prussia, Saxony, Saxe-Weimar, Anhalt-Dessau, etc. In 1848 Mr. Roeckel settled in England, and resides at Bath, where he succeeded the late Henry Field. He is known as the composer of a considerable quantity of pianoforte music, and is otherwise much esteemed.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Rogel, Jose

From volume 3 of the work.
[ G. ]
# A Cyclopaedia of Female Biography/Farren, Miss

Layout 2
FARREN, MISS,
A highly accomplished actress, and an excellent and beautiful woman, was born in 1759. Her father was a surgeon at Cork, in Ireland, but his habits were so irregular, that his family were often in great want. Miss Farren was driven to exertions for her own support, and made her first appearance at Liverpool in 1773. She was very well received. In 1777 she went to London, where she met with much applause. She excelled principally In high comedy. April 7th., 1797, Miss Farren retired from the stage; and in May ​she married the Earl of Derby, who had been long attached to her, but who had been unable to offer his hand during the life of the Countess of Derby, from whom he had long been separated. The new countess was esteemed and respected by all who knew her; and died, deeply regretted, April 23rd., 1829.
# A Cyclopaedia of Female Biography/Faustina, Flavia Maximiana

Layout 2
FAUSTINA, FLAVIA MAXIMIANA,
Was the second wife of Constantine the Great. She was the daughter of Maximian Hercules, and sister to Maxentius. Her ​father having received the title of Augustus in 306; took her into Gaul, where he gave her in marriage to the Emperor Constantine. She was for a long time a most exemplary wife and mother, and a strenuous advocate with the emperor for all acts of indulgence and liberality to the people. She even sacrificed her father's life to her husband, by discovering to Constantine a plot tor his destruction. She has been accused of staining the last years of her life by the commission of many crimes; among others, that of causing the death of Crispus, the son of Constantine by a former wife, by false accusations; and, it is said, that the emperor revenged his honour, and his son's death, by causing her to be suffocated in a warm bath, in 327. The truth of these latter circumstances has been much doubted.
# A Cyclopaedia of Female Biography/Farrar, Mrs.

Layout 2
FARRAR, MRS.,
Wife of Professor Farrar, of Harvard University, America, has written several works of merit. Warmly interested in the cause of human improvement, she has prepared her books for the young, and chiefly for those of her own sex. "The Life of Lafayette," "The Life of Howard," "Youth's Letter Writer," "The Children's Robinson Crusoe," and a number of others, well known to the children of New England are her works. But her most important production is "The Young Lady's Friend," published in 1837, one of the best manuals of its kind extant. The work has been lately revised, the first set of stereotype plates having been worn out, which is a sure proof of the popularity of this excellent book.