OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Souslik

See also Spermophilus on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SOUSLIK, or Suslik, the vernacular name of a European burrowing rodent mammal, nearly allied to the marmots, but of much smaller size and of more slender and squirrel-like build (see Rodentia). The species, Spermophilus (or Citillus) citillus, is rather smaller than an ordinary squirrel, with minute ears, and the tail reduced to a stump of less than an inch in length. The general colour of the upper parts is yellowish grey, with or without a rusty tinge, which is, however, always noticeable on the head; while the underparts are lighter. The range of this species embraces south-east Europe, from southern Germany, Austria and Hungary to the south of Russia. Farther east it is replaced by more or less nearly allied species; while other species extend the range of the genus across central and northern Asia, and thence, on the other side of Bering Strait, all through North America, where these rodents are commonly known as gophers. Many of the species have medium or even long tails, while some are nearly double the size of the typical representative of the group. All, however, have large cheek-pouches, whence the name of pouched marmots, by which they are sometimes called; and they have the first front-toe rudimentary, as in marmots. They are divided into several sub generic groups. One of the most striking American species is the striped gopher, S. (Ictidomys) tridecemlineatus, which is marked on each side with seven yellow stripes, between which are rows of yellow spots on a dark ground. The common souslik lives in dry, treeless plains, especially on sandy or clayey soil, and is never found either in forests or on swampy ground. It forms burrows, often 6 or 8 ft. deep, in which food is stored up and the winter sleep takes place. Each burrow has but one entrance, which is closed up when winter approaches; a second hole, however, being previously driven from the sleeping place to within a short distance of the surface of the ground. This second hole is opened the next year, and used as the ordinary entrance, so that the number of closed up holes round a burrow gives an indication of the length of time that it has been occupied. Sousliks feed on roots, seeds and berries, and occasionally on animal food, preying on eggs, small birds and mice. They bring forth in the spring from four to eight young ones, which, if taken early, may be easily tamed. Sousliks are eaten by the inhabitants of the Russian steppes, who consider their flesh an especial delicacy.  (R. L.*)
# 1911 Encyclopædia Britannica/South Amboy

See also South Amboy, New Jersey on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​South Amboy, a city of Middlesex county, New Jersey, U.S.A., on Raritan Bay at the mouth of the Raritan river, about 27 m. S.W. of New York City. Pop. (1900) 6349 (1700 foreign-born); (1910) 7007. It is served by the Pennsylvania, the Central of New Jersey, and the Raritan River railways. A railway drawbridge and a traffic bridge across the river connect the city with Perth Amboy. South Amboy is an important point for shipments of coal from the Pennsylvania mines. The Pennsylvania Railroad Company and the Susquehanna Coal Company have coal docks here and the latter has great storage yards. Among the city’s industries are the mining of clay and sand, and the manufacture of terra cotta. South Amboy, originally a part of South Amboy township (incorporated in 1798), was laid out in 1835, was incorporated as a borough in 1888, and became a city under a general state law in 1908.
# 1911 Encyclopædia Britannica/Soutane

See also Cassock on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SOUTANE, the French term adopted into English for a cassock especially used for the general daily dress worn by the secular Roman clergy in France, Italy, Spain and Portugal. The Med. Lat. subtaneus, adapted in O. Fr. as sotane, in Span. and Ital. as sotana, and Port. as sotaina, meant an under-skirt, and is formed from subtus, beneath, sub, under. (See Cassock.)
# A Course in Miracles/Text

This is a course in miracles. It is a required course. Only the time you take it is voluntary. Free will does not mean that you can establish the curriculum. It means only that you can elect what you want to take at a given time. The course does not aim at teaching the meaning of love, for that is beyond what can be taught. It does aim, however, at removing the blocks to the awareness of love's presence, which is your natural inheritance. The opposite of love is fear, but what is all-encompassing can have no opposite.
This course can therefore be summed up very simply in this way:
   Nothing real can be threatened. Nothing unreal exists.
   Herein lies the peace of God

## Chapters

    1. The Meaning of Miracles
    2. The Separation and the Atonement
    3. The Innocent Perception
    4. The Illusions of the Ego
    5. Healing and Wholeness
    6. The Lessons of Love
    7. The Gifts of the Kingdom
    8. The Journey Back
    9. The Acceptance of the Atonement
    10. The Idols of Sickness
    11. God or the Ego
    12. The Holy Spirit's Curriculum
    13. The Guiltless World
    14. Teaching for Truth
    15. The Holy Instant
    16. The Forgiveness of Illusions
    17. Forgiveness and the Holy Relationship
    18. The Passing of the Dream
    19. The Attainment of Peace
    20. The Vision of Holiness
    21. Reason and Perception
    22. Salvation and the Holy Relationship
    23. The War Against Yourself
    24. The Goal of Specialness
    25. The Justice of God
    26. The Transition
    27. The Healing of the Dream
    28. The Undoing of Fear
    29. The Awakening
    30. The New Beginning
    31. The Final Vision
       Download the entire text
# A Dictionary of Music and Musicians/Chorton

[ M. ]
# A Dictionary of Music and Musicians/Choral Harmonic Society

From volume 1 of the work.
[ C. M. ]
# A Dictionary of Music and Musicians/Choral Harmonists' Society

From volume 1 of the work.
​CHORAL HARMONISTS' SOCIETY. An association of amateurs devoted to the performance of great choral works with orchestral accompaniments; held its first meeting at the New London Hotel, Bridge Street, Blackfriars, Jan. 2, 1833, and the subsequent ones at the London Tavern until the last Concert, April 4, 1851, twelve months after which the Society was dissolved. It had a full band (containing, in 1838, 14 violins, 6 violas, 3 cellos, 3 basses, with complete wind) and chorus. The solo singers were professionals—Clara Novello, Miss Birch, Miss Dolby, Mr. J. A. Novello, etc. Its conductors were Messrs. V. Novello, Lucas, Neate, and Westrop; leader Mr. Dando. The programmes were excellent. Among the works performed were Beethoven's Mass in D (April 1, 1839, and again April 1, 1844), Haydn's Seasons, Mendelssohn's Walpurgisnight, etc.
[ C. M. ]
# A Dictionary of Music and Musicians/Choral Fantasia

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

From volume 1 of the work.
​CHORAL SYMPHONY. The ordinary English title for Beethoven's 9th Symphony (op. 125) in D minor, the Finale of which is a chain of variations for solos and chorus. Fr. 'Symphonie avec Choeurs.' Beethoven's own title is 'Sinfonie mit Schluss-Chor über Schiller's Ode An die Freude.' The idea of composing Schiller's Ode to Joy 'verse by verse,' occurred to Beethoven as early as 1792 (see p. 166 a); but no traces remain of music to it at that date. In 1811 we find a sketch for an 'Ouverture Schiller,' with the opening words of the ode set to notes (Thayer, Chr. Verz. no. 238), but no further mention of it has been discovered till 1822. The first allusion to the Symphony in D minor is as the third of three which he projected while writing nos. 7 and 8 in 1812 (p. 186 b). The first practical beginning was made in 1817, when large portions of the first movement and the Scherzo are found in the sketch-books. The Finale was settled to be choral, but Schiller's Ode is not named till after the revival of Fidelio, in Nov. 1822. It then appears in the sketch-books. After inventing with infinite pains and repetitions the melody of the Finale, and apparently the variations, a mode had to be discovered of connecting them with the three preceding movements. The task was one of very great difficulty. The first solution of it was to make the bass voice sing a recitative, 'Let us sing the song of the immortal Schiller.' This was afterwards changed to 'friends not these tones' (i. e. not the tremendous discords of the Presto 3-4—which follows the Adagio—and of the Allegro assai), 'Let us sing something pleasanter and fuller of joy,' and this is immediately followed by the Chorus 'Freude, Freude.' The whole of this process of hesitation and invention and final success is depicted in the most unmistakeable manner in the music which now intervenes between the Adagio and the choral portion of the work, to which the reader must be referred.
The Symphony was commissioned by the Philharmonic Society (Nov. 10, 1822), for £50, and they have a MS. with an autograph inscription, 'Grosse Sinfonie geschrieben fur die Philharmonische Gesellschaft in London von Ludwig van Beethoven.' But it was performed in Vienna long before it reached the Society, and the printed score is dedicated (by Beethoven) to Frederic William III, King of Prussia. The autograph of the first 3 movements is at Berlin, with a copy of the whole carefully corrected by Beethoven.
[ G. ]
# A Dictionary of Music and Musicians/Chord

From volume 1 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Choron, Alexandre

From volume 1 of the work.
​CHORON, Alexandre Etienne, born at Caen October 21, 1771, died at Paris June 29, 1834. He was a good scholar before becoming a musician. He began the study of music without assistance, but afterwards received lessons from Roze, Bonesi, and other Italian professors. Highly gifted by nature, he soon acquired great knowledge in mathematics, languages, and every branch of music, and published his 'Principes d'accompagnement des écoles d'ltalie' (Paris, 1804). In 1808 he gave his 'Principes de composition des écoles d'ltalie' (3 vols.), in which he introduced Sala's practical exercises on fugue and counterpoint, Marpurg's treatise on fugue, many exercises from Padre Martini's ' Esemplare,' and a new system of harmony of his own—a work which cost him much time and money. He next became a music publisher, and published many fine works of the best Italian and German ​masters. In conjunction with Fayolle he then undertook the publication of his 'Dictionnaire des Musiciens' (2 vols., 8vo., Paris, 1810–11). Though devoted to his scientific studies and hampered with an unsuccessful business, Choron could not resist the temptation of trying his powers as a composer, and gave to the public 'La Sentinelle,' a song still popular, and introduced in many French plays. But his great scheme was his 'Introduction a l'étude générale et raisonnée de la Musique,' a capital book, which he left unfinished, because his necessities obliged him to devote his time to teaching music and to accept the situation of 'Directeur de la musique des fêtes publiques' from 1812 to the fall of Napoleon. He was appointed director of the Académie royale de Musique (Opera) in January 1816, but the appointment having been rudely revoked in 1817 he founded a school for the study of music, which was supported by the government from 1824 to 1830 under the title of 'Institution royale de Musique classique et religieuse,' but declined rapidly when deprived of external aid. Amongst the musicians educated by Choron in this famous school we shall mention only the composers Dietsch, Monpou, Boulanger-Kunzé, G. Duprez, Scudo, Jansenne, and Nicou-Choron; the lady singers Clara Novello, Rosine Stolz, and Hébert-Massy.
[ G. C. ]
# A Dictionary of Music and Musicians/Chorus

From volume 1 of the work.
​CHORUS. 1. The body of singers at an opera, oratorio, or concert, by whom the choruses are sung.
2. Compositions intended to be sung by a considerable body of voices—not like glees, which are written for a single voice to each part, or like part-songs, which may be sung indifferently by single voices or larger numbers. Choruses may be written for any number of parts, from unison (Bach, No. 5, in 'Ein' feste Burg'; Mendelssohn, parts of No. 7 in 'Lauda Sion') and two parts (Haydn, Credo of Mass No. 3; Mendelssohn, No. 2 of 95th Psalm) to 40 or 50; but the common number is from 4 to 8. Handel mostly writes for 4, though occasionally, as in 'Acis and Galatea,' for 5, and, in 'Israel in Egypt,' for 8, divided into two choirs. In the latter days of the Italian school, Gabrielli, Pitoni, etc., wrote masses and motets for as many as 10 and 12 choirs of 4 voices each. Tallis left a chorus in 40 independent parts, called his '40-part song.' Choruses for 2 choirs are called double choruses; those in Handel's 'Israel in Egypt' and Bach's 'Matthew Passion' are the finest in the world. The two choirs answer one another, and the effect is quite different from that of 8 real parts, such as Palestrina's 'Confitebor,' 'Laudate,' or 'Domine in virtute' (see De Witt's ed. ii. 132, etc.), Gibbons's 'O clap your hands,' or Mendelssohn's 'When Israel out of Egypt came.' Handel often begins with massive chords and plain harmony, and then goes off into fugal treatment. In the 'Darkness' chorus in 'Israel,' he introduces choral recitative; and Mendelssohn does something similar in the chorus in 'St. Paul,' 'Far be it from thy path.' In his 'Kirchen Cantaten' Bach's choruses are often grounded on a chorale worked among all the parts, or sung by one of them, with independent imitative counterpoint in the rest. But for these varieties see the article Form.
In the opera the chorus has existed from the first, as is natural from the fact that opera began by an attempt to imitate the form of Greek plays, in which the chorus filled an all-important part. Till Gluck's time the chorus was ranged in two rows, and however stirring the words or music they betrayed no emotion. It was he who made them mix in the action of the piece. In modern operas the choruses are absolutely realistic, and represent the peasants, prisoners, fishermen, etc., who form part of the dramatis personæ of the play.
[ G. ]
# A Dictionary of Music and Musicians/Chorley, Henry

From volume 1 of the work.
[ J. M. ]
# A Dictionary of All Religions and Religious Denominations/Dursians

*DURSIANS or Duruzians, a fierce people inhabiting the wilds of mount Libanus, and in the eleventh century engaged in the holy war. There is evidence, that they embraced the general profession of Christianity; but their peculiar tenets were kept so secret, that they cannot now be ascertained with certainty; it is probable however that they were Manicheans.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 270.
# A Dictionary of All Religions and Religious Denominations/Eclectics

ECLETICS, a name given to certain ancient philosophers, who endeavoured to form a system of opinions by selecting from every sect those doctrines, which seemed to approach nearest to the truth. Hence their denomination, derived from $\epsilon \kappa \lambda \epsilon \gamma \omega$, "I choose," may be considered as referring either to "one who chooses," or one which may be chosen.
The eclectic philosophy was in a flourishing state at Alexandria, when our Saviour was upon earth. Its founders wished to be considered as chiefly followers of Plato, whose philosophy they made the foundation of their system. But they did not scruple to join with his doctrines, whatever they thought conformable to reason in the tenets of other philosophers, Potamon, a Platonist, appears to have been the projector of this plan. The eclectic system was brought to perfection by Ammonius Saccas, who blended Christianity with his philosophy, and founded the sect of the Ammonians, or New Platonists, in the second century. See Ammonians,
The moral doctrine of the Alexandrian school was as follows: --The mind of man, originally a portion of the divine Being, having fallen into a state of darkness and defilement by its union with the body, is to be gradually emancipated from the chains of matter, and rise by contemplation to the knowledge and vision of God. The end philosophy, therefore, is the liberation of the soul from its corporeal imprisonment. For this purpose the Eclectic philosophy recommends abstinence, with other voluntary mortifications, and religious exercises.
In the infancy of the Alexandrian school, not a few of the professors of Christianity were led, by the pretentions of the eclectic sect, to imagine that a coalition might, with great advantage, be formed between its system and that of Christianity. This union appeared the more desirable, when several philosophers of this sect became converts to the the christian faith. the consequence was, that pagan ideas and opinions were by degrees mixed with the pure and simple doctrines of the gospel.

## Original footnotes

* ↑ Enfield's Philos. Edinburgh Ency. Mosheim, vol. i. p.37, 171
# A Dictionary of All Religions and Religious Denominations/Eclesaites

ECLESAITES, the followers of Elxai (or Elcesia,) a sectary of the second century, whether Jew or Christian is uncertain; but he held the doctrine of two principles, and other points of Manicheanism. He was succeeded by Saturninus.

## Original footnotes

* ↑ Mosheim, vol. i. p. 216, new ed.
# A Dictionary of All Religions and Religious Denominations/Encratites

ENCRATITES, or Continents, a sect in the second or third century, who condemned marriage; forbade the eating of flesh, or the drinking of wine; rejected all the comforts and conveniences of life, and practised great mortification of the body. They appear to have been a branch of the Manicheans.

## Original footnotes

* ↑ Mosheim, vol. i. 180.
# A Dictionary of All Religions and Religious Denominations/Energici

ENERGICI, sectaries in the sixteenth century, charged with holding that the eucharist was the energy and virtue of Jesus Christ; not his body, nor a mere representation thereof.

## Original footnotes

* ↑ history of Religion, vol. iv.
# A Dictionary of All Religions and Religious Denominations/Eicetae

EICETAE, a sect in the year 680, who affirmed that, in order to make prayer acceptable to God, it should be performed with agitations both of mind and body. See Dancers.

## Original footnotes

* ↑ Dufresnoy's Chronological Tables, vol. i. p. 213.
# A Dictionary of All Religions and Religious Denominations/Ebionites

EBIONITES, a denomination in the first and second centuries; so called from their leader Ebion, or from their poverty, which Ebion signifies in Hebrew. They believed the divine mission of Christ, and, it is said, his participation of a divine nature; yet they regarded him as a man, born of Joseph and Mary, according to the ordinary course of nature. They asserted, that the ceremonial law, instituted by Moses, was not only obligatory upon the Jews, but also upon all others, and that the observance of it was essential to salvation. They observed both the Jewish sabbath and the Lord's day; and in celebrating the eucharist made use of unleavened bread. They abstained from the flesh of animals, and even from milk. They rejected the old testament, and in the new testament received only the gospel of St. Matthew, and a book which they style, "The gospel according to the Hebrews."
Some ancient writers distinguish two kinds of Ebionites; --the one, usually called Nazarenes, and only Judaizing Christians, who mingled the institutions of Moses with those of Christ: (See Nazarenes) and the other, Unitarians, who denied the divinity of Jesus and rejected a part of the scripture.

## Original footnotes

* ↑ Mosheim, vol. i. p. 173, 174. Hearne's Ductor Historicus, vol. ii. pp. 74 Priestley's Enquiry, &c.
# A Dictionary of All Religions and Religious Denominations/Effrontes

EFFRONTES, sectaries, so called from shaving their foreheads till they bled, (which they called the baptism of blood,) and then anointing them with oil; using no other baptism, and denyring the person and deity of the Holy Ghost.

## Original footnotes

* ↑ Ross' View of all Religions, p. 233.
# A Dictionary of All Religions and Religious Denominations/Egyptians

EGYPTIANS, ancient, one of the most renowned of the early nations, who, like the Babylonians, originally worshipped the sun, and afterwards inferiour deities, which they esteemed emanations from it. "They were refined in their superstitions above all nations in the world; and conferred the names and titles of their deities upon vegetables and animals of every species; and not only upon these, but also upon the parts of the human body, and the very passions of the mind. Whatever they deemed salutary, or of great value, they distinguished by the title of sacred, and dedicated it to some god. They had many emblematical personages, set off with the heads of various animals, to represent particular virtues and affections, as well as to denote the various attributes of their gods." Thus they "worshipped the creature more than the Creator;" and were given up to idolatry beyond other countries, becoming the source of superstition to all the eastern nations. They paid particular honours to the serpent and crocodile, and to the Ibis, as a most useful animal. Apis was worshipped in the form of an ox or cow, and Osiris as a goat; and the souls of their superiour deities were supposed to reside in the stars or planets. Some have taken great pains to prove that their idols had originally a reference to the scripture history, and particularly to the patriarch Joseph.

## Original footnotes

* ↑ Bryant's Analysis, vol. i. p. 333.
* ↑ Bellamy's Hist. of all Religions, p. 21, &c.
# A Dictionary of Music and Musicians/Campagnoli, Bartolomeo

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

From volume 1 of the work.
​CAMACHO. See Wedding of Camacho.
# A Dictionary of Music and Musicians/Cambridge

From volume 1 of the work.
​CAMBRIDGE. See Degree; Doctor; Professor.
# A Dictionary of Music and Musicians/Cambridge Quarters

​CAMBRIDGE QUARTERS. The most frequent application in our own country of the principle of Carillons is in the short musical phrases which are used to mark the divisions of the hour. Among these the quarter-chimes of Cambridge or Westminster, and those of Doncaster have become most famous. There is an interesting account of the origin of the Cambridge or Westminster chimes. It is said that Dr. Jowett, Regius Professor of Law, was consulted by the University authorities on the subject of chimes for the clock of St. Mary's, Cambridge, and that he took a pupil of the Regius Professor of Music into his confidence. The pupil, who was no other than the afterwards famous Dr. Crotch, took the fifth bar of the opening symphony of Handel's 'I know that my Redeemer liveth,' and expanded it into the musical chime, which is as follows:—
The old 'Whittington' chimes, famous at one time in London
have apparently become old-fashioned and out of date.
The chimes of the Royal Exchange (London) present the Cambridge arrangement; but with this difference, that bar 2 of the second quarter, and bar 2 of the third quarter, are transposed. It is generally considered that the old arrangement is best.
The Doncaster and Fredericton chimes are arranged to come in upon a set or ring of eight bells, whereas the Cambridge or Royal Exchange chimes need a set or part of a set of ten bells, and as so many churches have an octave of ringing bells the Doncaster arrangement has many advantages for the more general adoption, being arranged thus—
[ S. B. G. ]
# A Dictionary of Music and Musicians/Camera

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

[ A. C. ]
# A Dictionary of Music and Musicians/Cambini, Giovanni

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

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

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

From volume 1 of the work.
[ M. C. C. ]