OpenLLM-France/wikimedia huggingface dataset:
# Ante-Nicene Fathers/Volume V/Hippolytus/Appendix to the Works of Hippolytus
## Contents

* Discourse on Eschatology
* Hippolytus on the Twelve Apostles
* Hippolytus on the Seventy Apostles
* Heads of the Canons of Abulide or Hippolytus
* Canons of the Church of Alexandria
* Elucidations
# Ante-Nicene Fathers/Volume V/Hippolytus/Appendix to the Works of Hippolytus/Discourse on Eschatology/Section V

V.
Mark the agreement of prophet with prophet.  Acquaint yourself also with another prophet who expresses himself in like manner. For Amos prophesied of the same things in a manner quite in accordance: “Thus saith the Lord, Forasmuch therefore as ye have beaten the poor with the fist, and taken choice gifts from him: ye have built houses, but ye shall not dwell in them:  ye have planted pleasant vineyards, but ye shall not drink wine of them. For I know your manifold transgressions, in trampling justice beneath your foot, and taking a bribe, and turning aside the poor in the gate from their right. Therefore the prudent shall keep silence in that time, for it is an evil time.” Learn, beloved, the wickedness of the men of that time, how they spoil houses and fields, and take even justice from the just; for when these things come to pass, ye may know that it is the end. For this reason art thou instructed in the wisdom of the prophet, and the revelation that is to be in those days. And all the prophets, as we have already said, have clearly signified the things that are to come to pass in the last times, just as they also have declared things of old.
* ↑ κατηγκονδυλίσετε in the text, for which read κατεκονδυλίσατε.
* ↑ Amos v. 11, 12, 13.
# Ante-Nicene Fathers/Volume V/Hippolytus/Appendix to the Works of Hippolytus/Discourse on Eschatology/Section VI

VI.
But not to expend our argument entirely in going over the words of all the prophets, after citing one other, let us revert to the matter in hand. What is it, then, that Micah says in his prophecy? “Thus saith the Lord concerning the prophets that make my people err, that bite with their teeth, and cry to him, Peace; and if it was not put into their mouth, they prepared war against him. Therefore night shall be unto you, that ye shall not have a vision; and it shall be dark unto you, that ye shall not divine; and the sun shall not go down over the prophets, and the day shall be dark over them. And the seers shall be ashamed, and the diviners confounded.” These things we have recounted beforehand, in order that ye may know the pain that is to be in the last times, and the perturbation, and the manner of life on the part of all men toward each other, and their envy, and hate, and strife, and the negligence of the shepherds toward the sheep, and the unruly disposition of the people toward the priests.
* ↑ Manuscript E gives the better reading, λόγον ἅπαντα τοῖς τῶν προφητῶν ῥήμασι, “our whole argument on the words of the prophets.”
* ↑ εἰ οὐκ ἐδόθη. Manuscript B omits εἰ = and it was not put into their mouth.
* ↑ The text reads ἡγίασαν.  Manuscript B reads ἤγγισαν. Migne suggests ἤγειραν.
* ↑ ἐξ ὁράσεως.
* ↑ Mic. iii. 5–7.
* ↑ For τὴν πρὸς ἀλλήλους ἀναστροφήν, Codex B reads διαστροφὴν καὶ φθοράν.
* ↑ For ἀνυπότακτον διάθεσιν, Codex B reads ἀταξίαν = unruliness, and adds, καὶ γονεῖς τὰ τέκνα μισήσουσι , καὶ τέκνα τοῖς γονεῦσιν ἐπιβάλλονται χεῖρας, “and parents shall hate their children and children lay hands on their parents.”
# Ante-Nicene Fathers/Volume VII/Lactantius/A Treatise on the Anger of God Addressed to Donatus

A Treatise on the Anger of God
Addressed to Donatus.

## Contents

* Chap. I
* Chap. II
* Chap. III
* Chap. IV
* Chap. V
* Chap. VI
* Chap. VII
* Chap. VIII
* Chap. IX
* Chap. X
* Chap. XI
* Chap. XII
* Chap. XIII
* Chap. XIV
* Chap. XV
* Chap. XVI
* Chap. XVII
* Chap. XVIII
* Chap. XIX
* Chap. XX
* Chap. XXI
* Chap. XXII
* Chap. XXIII

## Footnotes

* ↑ [Of this Donatus, see (On the Persecutors) cap. 16, infra; also cap. 35. He was a confessor and sore sufferer under Diocletian.]
# Ante-Nicene Fathers/Volume VII/Early Liturgies

Early Liturgies.

## Contents

* Introductory Notice
* The Divine Liturgy of James the Holy Apostle and Brother of the Lord
* The Divine Liturgy of the Holy Apostle and Evangelist Mark, The Disciple of the Holy Peter
* The Liturgy of the Blessed Apostles
* Elucidations
# Ante-Nicene Fathers/Volume VII/Lactantius/A Treatise on the Anger of God Addressed to Donatus/Chap. I

Chap. I.—Of Divine and Human Wisdom.
I have often observed, Donatus, that many persons hold this opinion, which some philosophers also have maintained, that God is not subject to anger; since the divine nature is either altogether beneficent, and that it is inconsistent with His surpassing and excellent power to do injury to any one; or, at any rate, He takes no notice of us at all, so that no advantage comes to us from His goodness, and no evil from His ill-will. But the error of these men, because it is very great, and tends to overthrow the condition of human life, must be refuted by us, lest you yourself also should be deceived, being incited by the authority of men who deem themselves wise. Nor, however, are we so arrogant as to boast that the truth is comprehended by our intellect; but we follow the teaching of God, who alone is able to know and to reveal secret things. But the philosophers, being destitute of this teaching, have imagined that the nature of things can be ascertained by conjecture. But this is impossible; because the mind of man, enclosed in the dark abode of the body, is far removed from the perception of truth: and in this the divine nature differs from the human, that ignorance is the property of the human, knowledge of the divine nature.
On which account we have need of some light to dispel the darkness by which the reflection of man is overspread, since, while we live in mortal flesh, we are unable to divine by our senses. But the light of the human mind is God, and he who has known and admitted Him into his breast will acknowledge the mystery of the truth with an enlightened heart; but when God and heavenly instruction are removed, all things are full of errors. And Socrates, though he was the most learned of all the philosophers, yet, that he might prove the ignorance of the others, who thought that they possessed something, rightly said that he knew nothing, except one thing—that he knew nothing. For he understood that that learning had nothing certain, nothing true in itself; nor, as some imagine, did he pretend to learning that he might refute others, but he saw the truth in some measure. And he testified even on his trial (as is related by Plato) that there was no human wisdom. He so despised, derided, and cast aside the learning in which the philosophers then boasted, that he professed that very thing as the greatest learning, that he had learnt that he knew nothing. If, therefore, there is no human wisdom, as Socrates taught, as Plato handed down, it is evident that the knowledge of the truth is divine, and belongs to no other than to God. Therefore God must be known, in whom alone is the truth. He is the Parent of the world, and the Framer of all things; who is not seen with the eyes, and is scarcely distinguished by the mind; whose religion is accustomed to be attacked in many ways by those who have neither been able to attain true wisdom, nor to comprehend the system of the great and heavenly secret.

## Footnotes

* ↑ Simulavit: others read “dissimulavit,” concealed his knowledge.
# Anecdotes of Great Musicians/Anecdote 199

199.—"THE DEVIL ON TWO STICKS."
The following story of Haydn rests on a rather insecure foundation for truthfulness; but we give it for what it is worth.
There was, in Vienna, an actor named Kurtz. This man, wanting the music arranged for a certain farce or light opera, called on Haydn to see if he could do the work satisfactorily. Haydn declined the commission. But Kurtz insisted that he should try. Said he, "Sit down at the piano and play an accompaniment to my actions." Then Kurtz imitated the motions of a swimmer, throwing himself on a chair for support; suddenly he called out, "I am sinking! save me! I shall be drowned!" Meanwhile Haydn played music fitting to the situation and delighted the comic actor with the result. At last Haydn consented to write out the music he had played and set it to the opera. This was the origin of "The Devil on Two Sticks."
# Anecdotes of Great Musicians/Anecdote 2

2.—THE BACH REVIVAL.
One of Mendelssohn's ardent friends in his youthful days was Edward Devrient, a thorough musician and an excellent singer. These friends used to delve into the music of "Old Bach" and revel in the learning displayed there. One day they resolved to take up the old cantor's "Passion Music," which had not been heard for a hundred years and which was, even to such good musicians as they, known by name only.
They became enchanted with the beauties of this lofty masterpiece, and Devrient enthusiastically declared it ought to be given in public. Mendelssohn at first ridiculed the suggestion, saying the public would not give it a cordial reception and that it was sure to be a failure. But after talking it over, Mendelssohn became as enthusiastic on the subject as was his friend. So the two young fellows—for Mendelssohn was then only eighteen—went to see Zelter, Mendelssohn's teacher, the most influential musician in Berlin.
After considerable argument, they convinced Zelter of the feasibility of their plan, and, securing his promise of co-operation, went home to begin the arduous labors that such a performance entails on manager and conductor. They had to secure the soloists, the double chorus, and the double orchestra demanded by the score. ​Devrient himself sang the part allotted to "Christ," and Mendelssohn conducted.
It is needless to say that the performance (given in 1829) was a success. A repetition was demanded; and not Berlin alone, but the whole musical world began to realize that in Sebastian Bach's great works there was a mine of wealth that would be unexhausted for ages. And it was to these young men, Mendelssohn especially, that we owe our knowledge and appreciation of the Leipzig cantor's masterwork of sacred music.
But Mendelssohn did not stop with this. Through his efforts there was erected a fine monument to Bach's memory, which perpetuates the face and figure of this fountain head of modern music. It was erected in 1842, in front of the "Thomas Schule" in which Bach taught, and facing the windows of his study.
# Anecdotes of Great Musicians/Anecdote 194

194.—A PYROTECHNIC VIOLONCELLO.
In the "good old times," each player in the orchestra used to have his candlestick fastened to his music desk. We read of one of the old masters who, at a certain place in one composition, had the violinists stop playing and rap the tin shades of their candlesticks with their violin bows, then go on playing as if nothing had happened. And we may remember how old "Papa" Haydn, when his patron prince had a fit of retrenchment and was about to discharge his orchestra, had each one of the players, one at a time, in the progress of the "Farewell" symphony, to rise, blow out his candle, and take his departure, until only the leader was left. This ruse secured the continuation of the orchestra's existence.
It was told by an English clergyman, who was quite a good player on the violoncello, that when his candle began to get dim he would, if a few bars of rest offered opportunity, hastily snuff his candle with his fingers; and, not to spoil the carpet, he would quickly thrust the burnt wick into the sound holes of his 'cello and continue his performance. This was all right, if he wished to make an ash-box of his instrument. But once a wag, observing his peculiar trick, determined to have some fun at his expense, and, just before the playing began, managed to interview the parson's 'cello.
Shortly after the music was well under way, our friend spotted a favorable rest and took occasion to snuff his candle, and deposited the results in his favorite place, when bang! went the 'cello into uncountable pieces, and the good parson sprawled on the floor. Down went 'cello, parson, and all. A 'cello ne'er made so much noise before. Doubtless he treated his next instrument to a better fate than that of an ash-bin.
# Anecdotes of Great Musicians/Anecdote 195

195.—MISDIRECTED AND REPRESSED TALENT.
Perhaps more talent than the world has ever known, more genius than it has ever recognized, has been repressed and coffined by the obstinacy, stupidity, or prejudice of parents. Many a child, born to astonish the world in some line of art, has been pushed into some uncongenial occupation and its talents lost to humanity.
But in some cases chance, a strong will, or Providence has overruled the plans of the parents, and genius has run its course. There are enough of these cases in music alone to warrant our previous statement that in many instances where the parents' will has prevailed the world has been the loser.
We have only to mention that Händel's parents had arranged that he was to be a lawyer; that Tartini was to be moulded into a priest; that Schubert was compelled to teach school for many a day at a mere pittance; that Schumann could hardly escape from the court room, following his parents' will, to his congenial music; that Weber was kept for some time from his chosen profession; that Zelter was apprenticed to a stone-mason; that Berlioz' parents were determined to make a poor doctor where a great musician was the result; that Bülow became a doctor of law ere he realized that music was his life work,—we have only to realize all these instances and to partially grasp what these men have been to the world to believe that but a part of the talent and genius that the race is endowed with comes to the surface. We can never know the number of cases in which it is repressed, stifled, murdered beyond resurrection in this life.
# Anecdotes of Great Musicians/Anecdote 197

197.—A LONG ENCORE NUMBER.
Many audiences contain a certain proportion of people who are unappreciative of the fitness of things, and who proceed to show their enjoyment of singing and playing at the wrong time and in a very obnoxious manner.
The effect of many a fine solo in oratorio or dramatic passage in opera has been utterly spoiled by some of these enthusiastic people whose zeal exceeds their good judgment. The end of a scene or act is the proper place for one to give vent to his enthusiasm.
Ordinary people can frequently get a repetition of some favorite number or occasionally a whole scene; but few can encore the whole opera and have it all over again.
When Cimarosa's "Secret Marriage" was first performed, it was before the Emperor of Austria and his Court. This august personage was delighted with the performance and at the conclusion invited all the singers to a royal feast. Compliments were numerous and the wine flowed liberally. Finally the Emperor desired to hear the opera repeated, and so they one and all went back to the opera house and the whole opera was given again. Imagine this done with one of Wagner's music dramas!
# Anecdotes of Great Musicians/Anecdote 192

192.—MUSIC VS. COMMERCE.
We seldom hear of professional musicians leaving the field of music for that of commerce; or, in this country, of combining commercial business with the profession of music. There can be no serious objection urged to such a combination, however. When one is used to seeing the sign, "John Smith, Teacher of Music and Mender of Kettles," it loses its oddity, and surely no one can object if John teaches his music properly and does not punch another hole in his kettles for each one he mends.
The commercial and the professional instincts are not necessarily opposed to each other, but frequently where one is well developed the other lies dormant. The reason is that it takes years of apprenticeship to develop either, and that which is first developed generally remains the ruling passion.
Mozart had a pupil who, in spite of the greatness of ​the teacher, could only be brought to a fair standing as a vocalist and a third or fourth-rate position as a composer. Now, as a general thing a man most admires in himself those abilities which he is least successful in handling. And so it was that Michael Kelly thought more of his abilities as a composer than as a singer.
But after some years of professional life, Kelly found that his income was not satisfactory, and went into the wine business. As a wine importer he prospered. His friends joked him about the change of occupation, and Sheridan, the wit, declared his sign should read: "Michael Kelly, Composer of Wine and Importer of Music."
# Anecdotes of Great Musicians/Anecdote 193

193.—A NARROW ESCAPE.
The favorite compositions of the public are frequently not the favorite ones of their composers. And very frequent is it that works to which the composer has given the most time, labor and thought find less favor in the eyes of the public than others which are not so satisfactory to the writers.
An example of this is seen in Beethoven's well-known song, "Adelaide." Just as he finished writing this song a friend of his, a Herr Barth, called on him and found him with the manuscript, still wet from the pen, in his hands.
"Here," said Beethoven, holding out the score to his visitor, "look at that; I have just written it and don't like it. There is hardly enough fire in the stove to burn it, but I will try," and he was about to commit it to the flames, when Barth got his permission to try the song. Barth sang it, and liking it very much, persuaded Beethoven not to destroy it. "Adelaide" is now perhaps the most well-known of all Beethoven's songs.
# Anecdotes of Great Musicians/Anecdote 191

191.—IL TROVATORE.
If the following story of Verdi is true, it speaks better for his discernment as to the popular musical taste than it does for his care for the artistic standard of his works. But it probably should be taken cum grano salis. At any rate, the Verdi of to-day is not the Verdi of "Il Trovatore."
It is related that when Verdi was putting the finishing touches to his "Il Trovatore" he was one day visited by a friend, an able and conscientious musical critic. Verdi played him several portions of the work and asked him ​his opinion of them. First came the "Anvil Chorus." "What do you think of that?" asked the composer.
"Trash!" laconically answered the critic.
Verdi chuckled to himself and said, "Now look at this, and this, and this," at the same time showing other numbers.
"Rubbish!" came the answer.
Verdi showed his delight at these answers to such a degree that his friend demanded to know what he meant by such conduct, when the master replied:—
"My dear friend, I have been composing a popular opera. In it I resolved to please everybody save the great critics and classicists like you. Had I pleased them I should have pleased no one else. What you say assures me of success. In three months 'Il Trovatore' will be sung, and roared, and whistled, and barrel-organed all over Italy.
And such proved to be the case.
# Anecdotes of Great Musicians/Anecdote 198

198.—"ENGLYSHE MEETRE."
Dr. Christopher Tye, a prominent musician of the time of "good Queen Bess" once undertook to set to music the Acts of the Apostles. This was no slight task; but the good old doctor plodded through fourteen chapters and then gave it up. His reasons for undertaking ​such an endless and thankless task is told on the title page as follows:—
"The Actes of the Apotles, tranflated into Englyſhe meetre, and dedicated to the kynge's moft excellente majeſtye, by Criſtfer Tye, doctor in musyke, and one of the gentylmen of hys grace's moſte honourable chapell, wyth notes to eche chapter, to ſynge, and alſo to playe upon the flute, very neceſſary for ſtudentes after their ſtudye, to ſyte theyr wyttes and alſoe for all Chriſtians that cannot ſynge, to reade the good and godlye ſtoryes of the lives of Chriſt and his apoſtles."
One verse will suffice to show the improvements that were made on the usual reading in order to get the Scripture into "Englyſhe meetre." It reminds one of the arrangements of the Psalms in the books of certain Psalm-singing sects. The verse quoted is the first of the fourteenth chapter.
"It chanced in Iconium, As they oft tymes dyd uſe, Together they into dyd come The ſynagogue of Jues; Where they dyd preache and only ſeke God's grace then to atcheve, That they so spake to Jue and Greke That manye dyd beleve."
Composers now-a-days think they must have words that furnish some inspiration. What would they do if confined to such a libretto as the above sample?
But those were the days of counterpoint, of the mathematical in music; and the composer wrote his vocal fugue without reference to the sentiment of the words. Though Händel wrote much that was expressive of feeling, we defy one to find much sentiment in some of his works. Take the "Amen," "All We Like Sheep," and "For Unto Us," choruses in the "Messiah," for example. They are simply fugues, set to words, to be sure, but essentially instrumental in character. No one would think of writing that style of vocal music now-a-days. ​The day of writing instrumental music for voices is past. Our time demands true sentiment in words and a corresponding sentiment in the music.
# An Etymological Dictionary of the German Language/Kabliau

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Kabliau | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Kabliau, Kabeljau, m., ‘cod-fish,’ first occurs in early ModHG., recorded in LG. from the 15th cent. and adopted by the literary language; from Du. kabeljaauw; Swed. kabeljo, Dan. kabeljau, E. cabliau; also, with a curious transposition of consonants (see Essig, kitzeln, Kitze), Du. bakeljauw, which is based upon Basque baccallaóa. The Basques were the first cod-fishers (espec. on the coast of Newfoundland, the chief fishing-place). See Labberdan.
# An Etymological Dictionary of the German Language/Kaffer

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Kaffer | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Kaffer, ‘uneducated person,’ prop. a student's term, from Arab. kâfîr, ‘unbeliever.’
# An Etymological Dictionary of the German Language/Kajüte

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Kajüte | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Kajüte, f., ‘cabin,’ early ModHG., from LG. kajüte, Du. kajuit, Fr. cajute. The origin of the group is obscure, but is hardly to be assigned to Teut.
# An Etymological Dictionary of the German Language/Kabuse

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Kabuse | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Kabuse, f., ‘small hut, partition, caboose,’ ModHG. only, from MidLG. kabhûse; comp. E. caboose, which was probably introduced as a naval term into Du., kabuys, and into Fr., cambuse. The stem of the E. word is probably the same as in E. cabin, and hence is Kelt.; E. cabin and the cognate Fr. cabane, cabinet, are based upon W. kaban. The cognates also suggest ModHG. Käster, ‘small chamber,’ and OHG. chafterî, ‘beehive,’ the origin of which is obscure.
# An Etymological Dictionary of the German Language/Kachel

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Kachel | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Kachel, f., ‘earthen vessel, stove-tile,’ from MidHG. kachel, kachele, f., ‘earthen vessel, earthenware, stove-tile, lid of a pot,’ OHG. chahhala. In E. the word became obsolete at an early period. In Du., kachel, borrowed from HG., is still current (in MidDu. kakele).