OpenLLM-France/wikimedia huggingface dataset:
# A Course in Miracles/Workbook for Students/The stillness of the peace of God is mine

The stillness of the peace of God is mine.
Perhaps we are now ready for a day of undisturbed tranquility. If this is not yet feasible, we are content and even more than satisfied to learn how such a day can be achieved. If we give way to a disturbance, let us learn how to dismiss it and return to peace. We need but tell our minds, with certainty, "The stillness of the peace of God is mine," and nothing can intrude upon the peace that God Himself has given to His Son.
Father, Your peace is mine. What need have I to fear that anything can rob me of what You would have me keep? I cannot lose Your gifts to me. And so the peace You gave Your Son is with me still, in quietness and in my own eternal love for You.
# 1911 Encyclopædia Britannica/Spit

See also Rotisserie on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SPIT, a rotating bar for roasting meat, game or poultry. A spit usually has one or more prongs to which the meat is fixed; in the case of a basket-spit it is enclosed in an oblong basket of iron wire. The old form of spit was fixed on hooks or upon rachets on the fire-dogs; at one end of the bar is a grooved wheel for a chain connected with a smoke-jack in the chimney, or some similar contrivance for turning the spit so that every surface of the meat is exposed to the fire in turn. The jack was sometimes turned by a boy or a small dog trained for the purpose, the boy and the dog were equally known as turn-spits. The spits, when not in use, were placed in a spit-rack over the fireplace. These primitive arrangements eventually gave place to a combined spit and mechanical roasting-jack, which was fixed to a small crane projecting from the mantelpiece. The jack, which was largely of brass, rotated when wound up, and the meat was hung below it immediately in front of the fire, and the gravy and dripping were caught in a large shallow metal pan with a high screen to prevent the diffusion of heat. The almost universal employment in England of closed kitcheners has thrown all forms of spits and jacks into disuse, but in old-fashioned kitchens they are still sometimes seen. The more ancient forms of roasting apparatus are now much sought after by collectors.
# 1911 Encyclopædia Britannica/Spitalfields

See also Spitalfields on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SPITALFIELDS, a district of London, England, in the western part of the metropolitan borough of Stepney. The name is derived from the fact that the land belonged to a priory of St Mary Spital, founded in 1197. Excavations have revealed a Roman burial-place here. The name is well known in connexion with the silk industry established here by French refugees after the revocation of the Edict of Nantes, in 1685.
# 1911 Encyclopædia Britannica/Spithead

See also Spithead on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SPITHEAD, a strait of the English Channel, between the mainland (the coast of Hampshire, England) and the north-eastern coast of the Isle of Wight, forming the eastern entrance to Southampton Water, the Solent being the western. Its length is about 12 m., and its general breadth about 4 m., though the distance between Ryde and Gilkicker Point is almost exactly 3 m. The Spit Sand, extending south-east from this promontory, gives name to the strait. On the north side opens the narrow entry to Portsmouth Harbour, with the towns of Portsmouth and Gosport east and west of it. On the south the coast of Wight rises sharply though to no great elevation; it is well wooded, and studded with country residences. Here is also the favourite watering-place of Ryde. Spithead, which as an anchorage is exposed only to the south-east, shares in the fortifications of Portsmouth Harbour, the principal station of the British navy. In this connexion the strait has been the scene of many splendid naval pageants, such as those attendant upon the jubilee in 1897, and the funeral in 1901 of Queen Victoria, and that which celebrated the coronation of King Edward VII. on the 16th of August 1902.
# 1911 Encyclopædia Britannica/Spitta, Friedrich

See also Friedrich Spitta on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SPITTA, FRIEDRICH (1852–), German Protestant theologian, was born at Wittingen on the 10th of January 1852. His father, Karl Johann Philipp (1801–1859), well known as a hymn-writer (see Lyra domestica, 1st series, London, 1860; 2nd series, 1864), was superintendent at Burgdorf near Hanover. Friedrich studied at Göttingen and Erlangen, and in course of time became (1887) professor ordinarius and university preacher at Strassburg. In 1896 he became joint-editor with J. Smend of the Monatschrift für Gottesdienst und kirchliche Kunst, and he is widely known as the author of a work on the Acts of the Apostles (Die Apostelgeschichte, ihre Quellen und deren geschichtlicher Wert (1891).
His other works include: Der Knabe Jesus, eine biblische Geschichte und ihre apokryphischen Entstellungen (1883), Die Offenbarung des Johannes (1889), Zur Reform des evang. Kultus (1891), and Zur Geschichte und Litteratur des Urchristentums (3 vols., 1893–1901).
# 1911 Encyclopædia Britannica/Spiti

See also Spiti Valley on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SPITI, an extensive minor division of Kangra district in the Punjab, India. Area, 2155 sq. m., the population (1901) being only 3231, all Buddhists. It consists of an outlying Tibetan valley among the external ranges of the Himalayas, which has a mean elevation of 12,981 ft. and contains on its borders many peaks over 20,000 ft. and one in the outer Himalayas of 23,064 ft. in altitude. Spiti originally formed part of the kingdom of Ladakh, and came into the hands of the British in 1846. The river Spiti rises at the converging angle of the Kamzam and outer Himalayan ranges at a height of 20,073 ft., drains the whole valley of Spiti, and falls into the Sutlej after a course of 120 m.
# 1911 Encyclopædia Britannica/Spleen

See also spleen on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
SPLEEN (Gr. σπλήν), a vascular organ situated on the left side of the abdomen (see Ductless Glands). It was supposed in olden times to be the seat of ill-humour and melancholy, whence such phrases as "to have the spleen," to be out of temper, sulky, morose, "splenetic."
# A Chinese Biographical Dictionary/Ch'ang-sun Wu-chi

​142 Ch'ang-sun Wu-chi 長孫無忌 (T. 輔幾). Died A.D. 659. A native of Lo-yang, and comrade in arms in early youth of Li Shih-min, who married his sister. When Li Shih-min came to the throne in 627 as second Emperor of the T'ang dynasty, Chiang-sun was made President of the Board of Civil Office, and was entrusted with revision of the criminal code. In 633 he was appointed to the Board of Works, and in 643 was made Senior Preceptor to his nephew, the Heir Apparent, whose guardian he became, conjointly with Ch'u Sui-liang, upon the Emperor's death in 649. In 654 he refused offers of heavy bribes to aid in the elevation of the Empress Wu Hou; the result being that in 659 he was accused of treason, stripped of his honours, banished to confinement in Ssŭch'uan, and ere long put to death and his family exterminated.
# A Chinese Biographical Dictionary/Ch'ai Shao

​17Ch'ai Shao 柴紹 (T. 嗣昌). 7th cent. A.D. A military leader who married the Princess P'ing-yang, a daughter of the Emperor Kao Tsu, founder of the T'ang dynasty, and distinguished himself as a general against the Turkic invaders. On one occasion, ​when he was attacking the Turkic forces which then threatened the frontier, his army was almost overwhelmed by a dense shower of arrows from the enemy's bows. But Ch'ai Shao sent forward some girls to play and dance to the Tartar guitar, which so fascinated the Tartar soldiers that they desisted from the fight to watch. Meanwhile Ch'ai Shao, by a rapid strategic movement, succeeded in surrounding them, and the whole force was cut to pieces. He aided the second Emperor, T'ai Tsung, to consolidate the empire, and in 628 was Governor of Hua-chou in Shensi. Canonised as 襄.
# A Chinese Biographical Dictionary/Ch'ang Chü

​138 Ch'ang Chü 長沮. A man who was working in the fields on one occasion when Confucius, passing by, wished to find out the whereabouts of a ford. Tzŭ Lu was sent to enquire of him; whereupon the man pointed significantly towards the Master and said, "He knows the ford." See Chieh Ni.
# A Chinese Biographical Dictionary/Ch'ang O

​140 Ch'ang O 嫦娥. The wife of Hou I, who is said to have stolen from her husband the drug of immortality and to have fled with it to the moon, where she was changed into a toad. This toad, which answers to our "man in the moon," is believed to swallow the moon during an eclipse. Ch'ang 0's name was originally 恒 ​(or 姮) Hêng, in reference to the line 如月之恒 "like the waxing moon" in the Odes; but as the Emperors Mu Tsung and Chên Tsung of the T'ang dynasty both had Hêng for their personal names, it was therefore changed to Ch'ang.
# A Chinese Biographical Dictionary/Ch'ao Fu

​200 Ch'ao Fu 巢父 or 巢居子. A recluse who lived in the ​time of the Emperor Yao, B.C. 2357. As he grew old he began to seek shelter among the branches of trees, and removed still farther from contact with the world. Yao offered him the throne, but he declined, and immediately went and washed his ears to free them from the defilement of such worldly contamination. Another story runs that when the throne was offered to Hsü Yu, and the latter washed his ears in a brook, Ch'ao Fu would not even let his calves drink of the water.
# A Chinese Biographical Dictionary/Ch'ao Kung-so

​201 Ch'ao Kung-so 晁公遡 (T. 子四). A celebrated poet of the 12th cent. A.D. He graduated as chin shih in 1138, and rose to high rank in the public service. See Ch'ao Kung-wu.
# A Chinese Biographical Dictionary/Ch'ang-sun Shun-tê

​141 Ch'ang-sun Shun-tê 長孫順德. An official under the Emperor T'ai Tsung of the T'ang dynasty, A.D. 627-650, who took some silk as a bribe. The Emperor, instead of punishing him, sent him a number of pieces of silk as a present, and thus put him to shame.
# A Chinese Biographical Dictionary/Ch'ang Yü-ch'un

​143 Ch'ang Yü-ch'un 常遇春 (T. 伯仁). A.D. 1330—1369. Originally a bandit of 懷遠 Huai-yüan, he joined Chu Yüan-ch'ang in 1355, and by extraordinary acts of valour won a place second only to Hsü Ta. On several occasions during the struggle to gain the empire, he turned defeat into victory, and more than once he saved the lives of his master and Hsü Ta. Made a State Counsellor and a Duke, he shared in the victorious northward campaign of 1368—69. Brave to a fault, he treated his men with ​kindness. A good strategist, though no scholar, he was never defeated; and from his frequent boast that with 100,000 men he could sweep the empire, he was nicknamed 常十萬 Hundred Thousand Ch'ang. His statue ranked second in the Temple of Men of Merit, and he received a place in the Imperial Temple. Posthumously ennobled as Prince, and canonised as 忠武.
# A Chinese Biographical Dictionary/Ch'ang Ling

​139 Ch'ang Ling 長齡 (T. 懋亭). A.D. 1758-1838. A celebrated official, of Mongolian descent. He began life in 1775 as a secretary of the Grand Council, after taking the hsiu ts'ai degree at the Manchu examination. In 1787 he fought in Formosa, and in 1792—95 against Nepaul. In 1800 he was in command of the expeditionary force sent against insurgent bands in Hupeh, and subsequently in various operations undertaken from time to time against disturbances caused by the evil influence of secret societies. He became successively Governor of Anhui and Shantung, and in 1807 Governor General of Shensi and Kansuh. In 1808 he was impeached on several charges and stripped of his rank, and then banished to Ili. A few months later he was once more employed, and gradually rose again to the highest posts. In 1825 he was Viceroy of Ili. In 1826, when the rebel 張格爾 Jehangir crossed the frontier and began his depredations, capturing Kashgar, Yingishar, Yarkand and Khoten, he was appointed Generalissimo; and by the end of 1827 had captured Jehangir and put an end to the rebellion. The prisoner was sent to Peking in a cage, and brained in the presence of the Emperor, who conferred on Chiang Ling a triple-eyed peacock's feather. Canonised as 文襄, and admitted into the Temple of Worthies.
# A Chinese Biographical Dictionary/Ch'ang Chien

​137 Ch'ang Chien 常建. 8th cent A.D. A poet of the T'ang dynasty. He graduated as chin shih in A.D. 727 and entered upon an official career, but ultimately retired to the mountains and lived as a hermit, devoting himself to the cult of Tao.
# A Defective Santa Claus

* information about this edition.
* sister projects: Commons category, Wikidata item.
The Bobbs-Merrill Company
DEDICATION
To
HEWITT HANSON HOWLAND
WITH HALEST CHRISTMAS GREETINGS AND FRATERNAL
Little Boy! Halloo!--halloo!  Can't you hear me calling you?--  Little Boy that used to be,  Come in here and play with me.

## Contents

* Part I.
* Part II.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Deed knocks first at Thought

* "Deed" in Poems: Second Series (1891)
* "A deed knocks first at thought" in The Complete Poems of Emily Dickinson (1924)
# A Dictionary of Music and Musicians/Berggeist, Der

From volume 1 of the work.
​BERGGEIST, DER, a romantic opera in 3 acts; the story from Musäus' 'Rubezahl'; words by Döring; music by Spohr (op. 73). Produced at Cassel, March 24, 1825.
# A Dictionary of Music and Musicians/Beringer, Oscar

[ W. B. S. ]
# A Dictionary of Music and Musicians/Bergonzi, Carlo

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Bernasconi, Antonia

From volume 1 of the work.
​BERNASCONI, Antonia, was the daughter of a valet-de-chambre of the Prince of Würtemburg, whose widow married Andrea Bernasconi, ​a music-master and composer. From him Antonia received such instruction as sufficed to develope her remarkable talents. She made her first appearance at Vienna, 1764, in 'Alceste,' which Gluck had written expressly for her. She afterwards sang at various Italian theatres, and in 1778 she appeared with Pacchierotti in 'Demofoonte,' a pasticcio, at the Opera in London. She was then a good musician, and a correct and skilful singer; but her voice was not powerful, and she was past her prime. She was a good actress, with but an indifferent figure. In the next season she remained, condescending, as it was then esteemed, to take the part of 'first woman' in the comic opera, which she performed admirably. In 1770—71 she had sung at Milan the part of Aspasia in Mozart's early opera 'Mitridate.' She distrusted the powers of the boy to compose the airs for her, and requested to see what she was to sing, to which he instantly acceded. She made trial of a piece, and was charmed with it. Mozart then, piqued at her want of confidence, gave her another, and a third, leaving Bernasconi quite confounded with so rare a talent and so rich an imagination at years so tender. Shortly afterwards an enemy (Gasparini of Turin) called on her with the words of the libretto set to different music, and endeavoured to persuade her not to sing the music of the young Mozart. 'She absolutely refused this wicked person, being quite over-joyed at the airs the young maestro had written for her, in which he consulted her inclination.' The opera had a prodigious success.
[ J. M. ]
# A Dictionary of Music and Musicians/Berggreen, Andreas

[ L. M. M. ]
# A Dictionary of Music and Musicians/Bermudo, Juan

From volume 1 of the work.
​BERMUDO, Juan, born near Astorga in Spain about 1510, a Franciscan monk, author of 'Libro de la declaracion de instrumentos.' Volume I. only has been printed (Ossuna, 1549). Soriano-Fuertes ('Historia de la Musica española') states that the original in four volumes is among the MSS. in the National Library at Madrid.
# A Dictionary of Music and Musicians/Bernacchi, Antonio

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Bernard (il Tedesco)

From volume 1 of the work.
​BERNARD, surnamed il tedesco, 'the German,' is said to have been organist at the church of St. Mark at Venice in the last half of the 15th century, and to have invented organ pedals. The catalogue of the organists of St. Mark—given in von Winterfeld's 'Gabrieli'—contains the name of 'Bernardo di Stefanino Murer,' as having held the post from April 15, 1445, to Sept. 22, 1459.
# A Dictionary of Music and Musicians/Bergonzi, Benedetto

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

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

From volume 1 of the work.
​FRANCŒUR, François, violinist and composer, born at Paris in 1698. He entered the band of the Opera in 1710, was for many years a member of the king's private band, and for some time, conjointly with Rébel, manager of the Opera. He died at Paris in 1787. He published two sets of sonatas, which, according to Wasielewsky, show considerable progress in form and in treatment of the instrument, when compared with similar works by Rébel and other French composers of the period. It is worth mentioning as a peculiarity of his, that he occasionally employs the thumb of the left hand on the fingerboard for taking the bass note of a chord a proceeding hardly in accordance with legitimate treatment. He also composed a number of operas conjointly with Rébel, which however do not rise above the level of the period.
[ P. D. ]
# A Dictionary of Music and Musicians/Franchomme, August

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

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Franklin, Benjamin

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Franck, César

​FRANCK, César Auguste Jean Guillaume Hubert, pianist, organist, and composer, became a naturalized Frenchman in 1873, having been born at Liège, Dec. 10, 1822. He began his musical studies at the Conservatoire at his native place, and at the age of fifteen was admitted to the Conservatoire at Paris, where in 1838 he gained a first prize for piano under Zimmermann, in 1839 and 1840 a second and first prize for counterpoint and fugue under Leborne, and in 1841 a second prize for organ, under Benoist. He did not compete for the Prix de Rome, owing to his father's wish that he should devote himself to the organ and piano. Having completed his musical education, Franck settled in Paris, devoting himself entirely to teaching and composition; in 1846 he produced at the Conservatoire his oratorio 'Ruth,' which passed unnoticed at the time, but which, twenty-five years later, served to bring his name before the public. The career of this modest and enthusiastic artist has been one of assiduous work and of attention to his profession of organist, first at St. Jean St. François and afterwards at Ste. Clotilde, where he was appointed maître de chapelle in 1858 and organist in 1860, and where he has since remained. In 1872 his nomination as professor of the organ at the Conservatoire in place of his master Benoist, who had retired after fifty years' service, gave him naturally more importance and enabled him to exercise considerable influence over music in France. He became the centre of a group of young composers who ​were anxious to study orchestral composition without passing through the Conservatoire, where no attention was paid to the symphonic style, care being only given to operatic composition. By his serious character both as a man and an artist, and by the weight of his learning and the lofty style of his works, Franck seemed especially fitted to hold a position then little sought after, and thus by degrees he acquired great influence over his disciples, initiating them into the musical life, and encouraging them by example and advice. This position has greatly enlarged Franck's sphere of influence during the last fifteen years, and the French government has recognized his services and his merits by conferring upon him in August 1885, the title of Chevalier of the Légion d'honneur.
[ A. J. ]
# A Dictionary of Music and Musicians/Frank, Melchior

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

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

From volume 3 of the work.
​RECITAL, a term which has come into use in England to signify a performance of solo music by one instrument and one performer. It was probably first used by Liszt at his performance at the Hanover Square Rooms, June 9, 1840, though as applying to the separate pieces and not to the whole performance. The advertisement of the concert in question says that 'M. Liszt will give Recitals on the Pianoforte of the following pieces.' The name has since been adopted by Mr. Charles Halle and others.
[ G. ]
# A Dictionary of Music and Musicians/Reciting-Note

From volume 3 of the work.
​RECITING-NOTE (Lat. Repercussio, Nota dominans). A name sometimes given to that important note, in a Gregorian Tone, on which the greater portion of every Verse of a Psalm, or Canticle, is continuously recited.
As this particular note invariably corresponds with the Dominant of the Mode in which the Psalm-Tone is written, the terms, Dominant, and Reciting-Note, are frequently treated as interchangeable. [See Modes, the Ecclesiastical, vol. ii. p. 342.] The Reciting-Notes of the first eight Tones, therefore, will be A, F, C, A, C, A, D, and C, respectively.
The Reciting-Note makes its appearance twice, in the course of every Tone: first, as the initial member of the Intonation, and, afterwards, as that of the Ending; as shewn in the following example, in which it is written, each time, in the form of a Large.
The only exception to the general rule is to be found in the Tonus Peregrinus (or Irregularis), in which the true Dominant of the Ninth Mode (E) is used for the first Reciting-Note, and D for the second.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Rebel, Jean

From volume 3 of the work.
​REBEL, Jean Ferry, born in Paris, 1669. After a precocious childhood entered the Opera as a violinist, speedily became accompanyist, and then leader. In 1703 he produced 'Ulysse,' opera in 5 acts with prologue, containing a pas seul for Françoise Prévôt, to an air called 'Le Caprice,' for violin solo. The opera failed, but the Caprice remained for years the test-piece of the ballerine at the Opéra. After this success, Rebel composed violin solos for various other ballets, such as 'La Boutade,' 'Les Caracteres de la Danse,' 'Terpsichore,' 'La Fantaisie,' 'Les Plaisirs Champêtres,' and 'Les Eléments.' Several of these were engraved, as were his sonatas for the violin. Rebel was one of the '24 violons,' and 'compositeur de la chambre' to the King. He died in Paris, 1747. His son,
François, born in Paris, June 19, 1701, at 13 played the violin in the Opéra orchestra. He thus became intimate with François Francœur, and the two composed conjointly, and produced at the Académie, the following operas: 'Pyrame et Thisbé' (1726); 'Tarsis et Zélie' (1728); 'Scanderbeg' (1735); 'Ballet de la Paix' (1738); 'Les Augustales' and 'Le Retour du Roi' (1744); 'Zelindor,' 'Le Trophée' (in honour of Fontenoy, 1745); 'Ismène' (1750); 'Les Génies tutélaires' (1751); and 'Le Prince de Noisy' (1760); most of which were composed for court fêtes or public rejoicings.
From 1733 to 44 Rebel and Francœur were joint leaders of the Académie orchestra, and in 1753 were appointed managers. They soon however retired in disgust at the petty vexations they were called upon to endure. Louis XV. made them surintendants of his music, with the order of St. Michel. In March 1757 these inseparable friends obtained the privilege of the Opéra, and directed it for ten years on their own account, with great administrative ability.
[ G. C. ]