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# Ante-Nicene Fathers/Volume IX/Origen on John/Origen's Commentary on the Gospel of John/Book II/Chapter 27

27. Significance of the Names of John and of His Parents.
The force that is in names may be applied in many matters, and it may be worth our while to ask at this point what is the significance of the names John and Zacharias. The relatives wish, as the giving of a name is a thing not to be lightly disposed of, to call the child Zacharias, and are surprised that Elisabeth should want him to be called John.  Zacharias then writes, “His name is John,” and is at once freed from his troublesome silence. On examining the names, then, we find “Joannes” to be “Joa” without the “nes.” The New Testament gives Hebrew names a Greek form and treats them as Greek words; Jacob is changed into Jacobus, Symeon into Simon, and Joannes is the same as Joa. Zacharias is said to be memory, and Elisabeth “oath of my God,” or “strength of my God.” John then came into the world from grace of God (=Joa=Joannes), and his parents were Memory (about God) and the Oath of our God, about the fathers. Thus was he born to make ready for the Lord a people fit for Him, at the end of the Covenant now grown old, which is the end of the Sabbatic period.  Hence it is not possible that the rest after the Sabbath should have come into existence from the seventh of our God; on the contrary, it is our Saviour who, after the pattern of His own rest, caused us to be made in the likeness of His death, and hence also of His resurrection.

## Footnotes

* ↑ Origen appears to be pointing to the fact that the Christian rest which is connected in its origin with the resurrection of Christ is not held as the Jewish Sabbath rest on the seventh but on the first day of the week.  John marking the end of the old period is the son of Elisabeth the oath, or seventh, of God, and is thus connected with the seventh day; but not so Jesus.
# Ante-Nicene Fathers/Volume IX/Origen on John/Origen's Commentary on the Gospel of John/Book II/Chapter 26

26. John is Voice, Jesus is Speech. Relation of These Two to Each Other.
Now we know voice and speech to be different things. The voice can be produced without any meaning and with no speech in it, and similarly speech can be reported to the mind without voice, as when we make mental excursions, within ourselves. And thus the Saviour is, in one view of Him, speech, and John differs from Him; for as the Saviour is speech, John is voice. John himself invites me to take this view of him, for to those who asked who he was, he answered, “I am the voice of one crying in the wilderness, Prepare the way of the Lord! make His paths straight!” This explains, perhaps, how it was that Zacharias lost his voice at the birth of the voice which points out the Word of God, and only recovered it when the voice, forerunner of the Word, was born. A voice must be perceived with the ears if the mind is afterwards to receive the speech which the voice indicates. Hence, John is, in point of his birth, a little older than Christ, for our voice comes to us before our speech. But John also points to Christ; for speech is brought forward by the voice. And Christ is baptized by John, though John declares himself to have need to be baptized by Christ; for with men speech is purified by voice, though the natural way is that speech should purify the voice which indicates it. In a word, when John points out Christ, it is man pointing out God, the Saviour incorporeal, the voice pointing out the Word.
# An Etymological Dictionary of the German Language/Genick

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​ Genick, m., ‘back of the neck, nape,’ from the equiv. MidHG. genic, genicke, n.; akin to Nacken, AS. hnëcca.
# An Etymological Dictionary of the German Language/Gelte

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Gelte | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Gelte, f., ‘pail, bucket, vessel,’ from MidHG. gęlte, OHG. gęllita, f., ‘vessel for liquids’; adopted in the OHG. period from MidLat. galêta, with which are also connected the Romance cognates — Fr. jale, ‘pail,’ Ital. galea, galeotta, Fr. galiasse, galion, applied to different kinds of ships. The ultimate source of the cognates is obscure.
# An Etymological Dictionary of the German Language/Gemüll

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​ Gemüll, see malmen; Gemüse, see Mus; gemut and Gemüt, see Mut.
# An Etymological Dictionary of the German Language/Gelichter

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​ Gelichter, n., ‘likeness, cast, stamp,’ lit. ‘class of people of like manners’; in this sense glihter and its derivatives occur even in late MidHG. (MidG.); derived from MidHG. gelich, gleich (see the latter). Yet the UpG. form glifter points to a blending with another word, Goth. *gahliftrja, ‘thief's accomplice’ (akin to Goth. hlifan, ‘to steal,’ primit. allied to Gr. κλέπτω). For HG. ft, equiv. to LG. ht, see sacht, ruchbar, Gerücht.
# An Etymological Dictionary of the German Language/Gemse

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Gemse | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Gemse, f., ‘chamois,’ from the equiv. MidHG. gęmeȥe, gamȥ, OHG. *gamuȥ (gamȥ), m.; although a corresponding word is wanting in the other Teut. languages, there is no sufficient reason for regarding OHG. *gamiȥa, f., as borrowed (formed like OHG. hiruȥ, see Hirsch; AS. ganot, ‘waterfowl’; MidHG. krebeȥ, see Krebs). The Romance cognates (Ital. camozza, Fr. chamois) which are equiv. in sound tell rather in favour of their own foreign origin than that of the G. word (in Lat. the term was rupicapra). Perhaps Span. and Port. gamo, ‘stag,’ is based upon a Goth. *gama, allied to Gemse (E. game has probably no connection with the word?).
# An Etymological Dictionary of the German Language/Gemahl

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Gemahl | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Gemahl, m. and n., ‘consort, spouse,’ from MidHG. gemahele, m., ‘betrothed, husband,’ and gemahele, f. (very rarely n., which is first found in Luther specially), ‘betrothed, wife’ (the fem. form Gemahlin is wanting in MidHG.); OHG. gimahalo, m., ‘betrothed, husband,’ gimahala (gimâla), ‘betrothed, wife.’ Simply a G. form from a common Teut. subst. maþla- (whence mahla-), ‘public assembly, negotiation’; comp. Goth. maþl, ‘assembly, market’ (akin to maþljan, ‘to make a speech’), OIc., mál, ‘speech’ (mœ̂la, ‘to make a speech), AS. meðel, ‘assembly’ (maðolian, mœ̂lan, ‘to make a speech’), OHG. mahal, ‘assembly, contract, marriage contract.’ Hence the subst. upon which the word is based has assumed in G. only, the special reference to the act of betrothal in the public assembly before the community.
# An Etymological Dictionary of the German Language/Gelze

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​ Gelze, f., ‘gelded sow,’ from the equiv. ​MidHG. gęlze (galze), OHG. gęlza (galza). See gelt.
# An Etymological Dictionary of the German Language/Geländer

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Geländer | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Geländer, n. ‘railing, banister, from the equiv. late MidHG. gelender (15th cent.), allied to MidHG. lander, ‘stake, fence,’ which may be regarded as a nasalised variant of Latte (Teut. laþ-).
# An Etymological Dictionary of the German Language/Gemach

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Gemach | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Gemach, n., ‘chamber, apartment; comfort, rest,’ from MidHG. gemach, m., n., ‘rest, comfort, case, nursing, place where one is nursed, room,’ OHG. gimah(hh), ‘ease, advantage’; the ModHG. meaning is not found until the classical period of MidHG.; the ModHG. adj. gemach, ‘comfortable,’ preserves the earlier meaning, MidHG. gemach, OHG. gimah(hh), ‘comfortable, suitable’; prop., ‘suitable to one another’ (comp. OIc. makr, ‘suitable’; see machen). Akin to gemächlich, MidHG. gemechlîch, OHG. gimahlîhho, adv.
# An Etymological Dictionary of the German Language/Gemächt

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Gemächt | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Gemächt, n., ‘genitals; handiwork,’ from MidHG. gemaht (plur., gemęhte), OHG. gimaht, f., ‘testicles’; akin to ModHG. Macht (comp. Du. gemacht).
# Anecdotes of Great Musicians/Anecdote 146

146.—A SHARP REJOINDER.
Many of the great musicians have been the recipients of the bounty of royalty. While some of the great composers have been allowed to live in obscurity and to suffer in penury, others have, for a time at least, enjoyed the good graces of kings, queens, and princes. To the bounty of Prince Esterhazy we are beholden for much of the work of Haydn; and from that day to the period when Wagner was surrounded by royal patronage, we find the appreciation of the genius of the great composers continually increasing.
While in some cases, that of Haydn, for example, servility to royalty is the result, in others the musician has retained his native independence of spirit. Of the latter, Mozart was one. This is instanced in a reply he made to Austrian Emperor, Joseph II, when that royal personage criticized his opera, "Il Seraglio," on the first appearance.
"My dear Mozart," said he, "this is too fine for our ears; there are too many notes."
"I beg your majesty's pardon," Mozart sharply replied, "there are just sufficient notes," a rejoinder which did not add to the esteem in which Mozart was held by the court.
# Anecdotes of Great Musicians/Anecdote 147

147.—TWO KINDS OF BILLS.
Musicians occasionally have streaks of good luck, but these bits of good fortune are so rare as to deserve especial mention at the hands of the historian. That incident of Paganini's gift to Berlioz has been told and ​retold with a gusto that would prove its unique position. Some musicians (but very few) are born rich; some achieve riches, and some—still less in number than those who are born to wealth—have riches thrust upon them.
We wonder how many of the fraternity would use the riches thrust upon them as did the composer Balfe, when, once upon a time, fortune smiled on him.
Balfe was about to set out from Paris for Italy. His carriage had arrived; he stepped into it; and just as he was about to give the word to start, a gentleman hastily drove up, and, asking for the composer, handed him a small packet, with the request that he accept it, but that it be not opened till he was well on his journey. Balfe, though greatly surprised at the request, murmured his acceptance, and hardly had the stranger left till his curiosity prevailed, and he tore open the packet.
Out dropped a letter and with it a thousand-franc note. The missive declared that the writer had been charmed by Balfe's talent, and that, wishing to serve the young composer, he risked sending the enclosed bank note, hoping it might be of use. As Balfe's exchequer was about depleted at this time, he considered himself to have certainly met a streak of good luck.
While he was thus congratulating himself up came another stranger and handed him a second communication,—this time asking that it be given immediate attention. Balfe complied and opened the letter, feeling that he would not now be surprised at a shower of bills. And, true to his guess, out dropped a bill—for over six hundred francs, and with it a request that the account be immediately paid. The bill was of a different kind from that brought by the first messenger. With a sigh he handed over his thousand-franc note and pocketed his change.
Our composer then hastily set out on his journey, fearing other notes and bills,—not of the first kind, however. He had the satisfaction of knowing that, had he ​restrained his curiosity a few minutes longer, he might have honestly said he could not pay the account presented, and later found himself possessed of a thousand francs.
# Anecdotes of Great Musicians/Anecdote 151

151.—HÄNDEL'S DUEL.
Not many of the great composers have gone down in history as having taken part as one of the principals in a duel. Among them, perhaps this honor must be awarded solely to Händel. The cause of this affair was to be found in one of the curious customs of his day.
In the early part of the last century it was the custom for the director of an opera to play the accompaniments on a harpsichord which had its place on the stage. Distinguished personages who were present often claimed a seat on the stage and felt free to interpose a running fire of audible conversation and comment. This is now relegated to that part of the audience who have little musical understanding and less of good manners.
In the early part of Handel's career he was associated with a composer named Matheson, a man of talent, but of no great depth, but from whose writings we may catch some enjoyable glimpse of the customs of his time. On the occasion in question, in Matheson's opera of "Cleopatra," the composer was acting the part of Antony, and Händel was seated at the harpsichord. When Antony died, early in the opera, Matheson came into the orchestra and desired to take Handel's seat as director. There was some excuse for this wish as Matheson had been the regular director of the opera.
But Händel, with that irritability which characterized him later in life, crustily refused to give up his place, whereupon a violent quarrel ensued, and as they were leaving the theater Matheson gave him a hearty slap in the face. Händel drew his sword, Matheson defended himself, and a duel was fought then and there. Luckily, ​perhaps, for our musical literature, Matheson's sword was broken against a metal button on his opponent's coat, and the honor of each was vindicated! Soon after, the two composers were at peace and hearty good friends again. This was a good example of a discord, prepared and resolved.
# Anecdotes of Great Musicians/Anecdote 149

149.—LIND'S FIRST ENGAGEMENT.
There never was on the stage a sweeter or more lovable disposition than that of Jenny Lind. Like the rest of mankind, Miss Lind had her troubles, and serious ones, but they never affected her serenity of temper or her kindness of heart.
The circumstances of her wedding to Otto Goldschmidt, whom she met on her American tour in 1851, are well known. Lind was under the management of P. T. Barnum, and for a time Goldschmidt was the pianist of the company.
But her narrow escape from a marriage with a less enjoyable personage is not so well known. Not long before her trip to this country she became acquainted with a certain Claudius Harris, an officer in the English army, and the result of this acquaintance was their engagement. Now Harris was a very religious fellow and quite bigoted. He kept urging her to leave the stage; and in fact his family thought she could not do better than spend the rest of her life in atoning for her theatrical career. Finally, she was persuaded, and gave a series of six farewell operatic presentations. No one thought at that time that this would be her permanent farewell to the opera, but it proved to be such.
When it came to making the arrangements for her wedding, Harris wished a promise inserted in the wedding contract to the effect that she was never to go on the operatic stage again, and he objected to her having full control of her earnings, saying that it was unscriptural.
So the engagement was nearly broken off. Harris ​terrified her by threats of torment here and hereafter if she broke her word. She became reconciled to the engagement. After their reconciliation, she sat at the piano singing to him, but, turning around she found him asleep! Finally Harris became more and more repugnant to her and the engagement was broken. Not long after she found a worthier man in Mr. Goldschmidt, and married him in 1852, after a year's acquaintance.
# Anecdotes of Great Musicians/Anecdote 152

152.—PAGANINI'S GENEROUS DEED.
In the later years of Paganini's life his avarice grew apace with his fame. He was the wizard of the violin world. People fought for admission to his concerts, and raved over his playing. All the while a golden stream was flowing into his coffers; but with it his passion for wealth, instead of being satisfied by his large income, grew stronger, and at the end was, next to his love for music, his ruling passion.
While his skill made him a millionaire, yet he lived as though stricken with poverty. In order to save some of his precious gold he would limit the amount of his food to an insufficiency.
When sick he would refuse to have a doctor called in. He would quarrel with the druggist, and if the medicine seemed to him expensive he would take only one-half or one-third as much as ordered.
When Paganini reached the summit of his fame he lost all the generosity that his miserly nature ever contained. He even refused to play at the charity concerts given in Paris and Marseilles; by this lack of humanity, so opposite to the generosity of great musicians generally, he aroused the contempt of the people to such a degree as to be hooted on the streets.
The friends of the great violinist, knowing that he was publicly charged with great avarice, thought to allay these stories by having him get the credit for doing a notable deed of generosity. At that time the composer, Berlioz, who gave rich promise for the future, and who ​even then had composed some effective works, was suffering from a sad lack of funds.
So these friends arranged that Paganini was to present Berlioz in his hour of need with twenty thousand francs, and it was to be ostentatiously heralded as a fine piece of generosity. Knowing, however, that the violinist would not consent to part with even twenty francs to be thought generous, they raised the twenty thousand among themselves, and only besought Paganini to allow the use of his name, to which he obligingly consented.
Berlioz thinking the gift came from a brother musician who wished by it to recognize his merit and his struggles, accepted it and blessed the hand that bestowed it; and even the music histories and biographies of to-day praise this act of brotherly kindness and generosity on the part of that great artist, Paganini.
# Anecdotes of Great Musicians/Anecdote 154

154.—ART BEFORE BUSINESS.
Beethoven was accustomed to spend the summer months in the country; and there, in the open air, in the woods and fields, his genius seemed to have the freest fancy. He once took lodgings in the village of Modling, that he might enjoy the beautiful scenery of that neighborhood. A four-horse luggage wagon was to transport his furniture and music, and it was piled high with the composer's lares et penates.
Beethoven walked on before. But no sooner were they outside of the city than the beauties of nature awoke his creative spirit, and he became oblivious of the reason of the journey. Musical ideas crowded thick upon him; he jotted them down, selected and arranged them, and all the while the wagon and its contents were forgotten. Finally, he bethought himself of his goods and hastened to his journey's end.
When he arrived there, tired and dusty, he found his belongings scattered around the market place. The driver of the caravan had arrived at his journey's end, and, after awaiting his employer for two hours, had dumped down his freight in the market place and returned home. It is needless to say that Beethoven had paid the man in advance for his services, or he would not have left in such a hurry. Of course, Beethoven was angry at this state of affairs, but he soon saw the ludicrous side of the matter, and securing help, was able to get his goqds under cover by midnight.
# Anecdotes of Great Musicians/Anecdote 148

148.—VON BÜLOW AS A POLITICAL SPEAKER.
Von Bülow was an inveterate speech maker. At his recitals and orchestral concerts he frequently took opportunity to express his sentiments on various affairs, and he did not always confine himself to things musical, but occasionally ventured into a political harangue, but not always with credit or safety to himself.
On one occasion he could not forbear to slur the Emperor and to express his disgust at the dismissal that royal personage had given to Prince Bismarck, whom Bülow heartily admired. Two years before Bülow's death he made his final appearance as leader of the Philharmonic concerts in Berlin. The programme closed with Beethoven's "Heroic" symphony. The eccentric leader could not resist this opportunity for making a speech.
After reproaching the Germans for lacking the necessary spirit to move in the matter of erecting a monument to Beethoven and making it necessary for Liszt, a Hungarian, to do so, he then said that all knew of the dedication of the Heroic symphony to Napoleon, and then after that general had disappointed Beethoven, how he changed his dedication to an Austrian prince.
"We musicians," he continued, "know well what hero would receive the dedication if the composer were living to-day—namely the man that has done the greatest things for us Germans, that Beethoven of politics, Prince Bismarck!"
Then, after eulogizing Bismarck, he took his handkerchief from his pocket and, dusting his shoes with it, left the stage. This peculiar action was a slur at the Emperor, who had recently dismissed Bismarck from ​the chancellorship and had publicly declared that any one who did not like his policy could shake the dust of Germany from his shoes and take his departure.
Even the Emperor of Germany had no terrors for Bülow.
# Anecdotes of Great Musicians/Anecdote 15

15.—OUTSPOKEN ADMIRATION.
Here is a case of admiration of one artist for another that deserves mention. When the English musician, Rosengrave, was in Italy, at an evening company, a quiet and unassuming young man, who was present, was asked to play. "When he began," writes Rosengrave, "I thought ten hundred devils were at the instrument, for never had I heard such passages and effects before. So far did he surpass my own playing that had I but had a knife within my reach I would have cut off my fingers. So ashamed was I, that I declare I could not touch an instrument for a month afterward."
The quiet young Italian was Scarlatti, the celebrated Italian composer and performer.