OpenLLM-France/wikimedia huggingface dataset:
# Appleton's Cyclopedia of American Biography/Frelinghuysen, John

This is actually a part of the article on Frelinghuysen, Theodorus Jacobus.
General Frederick's eldest son, John Frelinghuysen, lawyer, born near Millstone, Somerset County, New Jersey on March 21, 1776; died there, April 10, 1833, was graduated from Queen's College (now Rutgers) in 1792, and admitted to the bar in 1797. By reason of his great aversion to public speaking he figured but little in the courts, but as an office lawyer enjoyed an extensive practice. For many years he was a member of the state council, and for three consecutive terms, of five years each was surrogate of his County. Inheriting from his father, General Frederick Theodore Frelinghuysen, a great fondness for military life, he promptly offered his services at the beginning of the second war with Great Britain and was for many months encamped with a regiment of New Jersey militia, which he commanded, at Sandy Hook, with a view to preventing the enemy's vessels from passing up the bay to attack New York. At the close of the war he was made a brigadier general. He was a man of profound piety, and while on duty at Sandy Hook frequently conducted public services at the head of his regiment. So tenderly did he care for his soldiers that the sick among them were sheltered in his own tent, and made to eat at his own table. He freely used his own means to relieve their wants, even going so far as to embarrass his estate for this purpose.
# Australian Legendary Tales/Deereeree the Wagtail, and the Rainbow

Deereeree the Wagtail, and the Rainbow
Deereeree was a widow and lived in a camp alone with her four little girls. One day Bibbee came and made a camp not far from hers. Deereeree was frightened of him, too frightened to go to sleep. All night she used to watch his camp, and if she heard a sound she would cry aloud: "Deereeree, wyah, wyah, Deereeree." Sometimes she would be calling out nearly all night.
In the morning, Bibbee would come over to her camp and ask her what was the matter that she had called out so in the night. She told him that she thought she heard some one walking about and was afraid, for she was alone with her four little girls.
He told her she ought not to be afraid with all her children round her. But night after night she sat up crying: "Wyah, wyah, Deereeree, Deereeree."
At last Bibbee said: "If you are so frightened, marry me and live in my camp. I will take care of you." But Deereeree said she did not want to marry. So night after night was to be heard her plaintive cry of "Wyah, wyah, ​Deereeree, Deereeree." And again and again Bibbee pressed her to share his camp and marry him. But she always refused. The more she refused the more he wished to marry her. And he used to wonder how he could induce her to change her mind.
At last he thought of a plan of surprising her into giving her consent. He set to work and made a beautiful and many coloured arch, which, when it was made, he called Euloowirree, and he placed it right across the sky, reaching from one side of the earth to the other. When the rainbow was firmly placed in the sky and showing out in all its brilliancy of many colours, as a roadway from the earth to the stars, Bibbee went into his camp to wait. When Deereeree looked up at the sky and saw the wonderful rainbow, she thought something dreadful must be going to happen. She was terribly frightened, and called aloud: "Wyah, wyah." In her fear she gathered her children together, and fled with them to Bibbee's camp for protection.
Bibbee proudly told her that he had made the rainbow, just to show how strong he was and how safe she would be if she married him. But if she would not, she would see what terrible things he would make to come on the earth, not just a harmless and beautiful roadway across the heavens, but things that would burst from the earth and destroy it.
So by working on her mixed feelings of fear of his prowess, and admiration of his skill, Bibbee gained his desire and Deereeree married him. And when long afterwards they died, Deereeree was changed into the little willy wagtail who may be heard through the stillness of the summer nights, crying her plaintive wail of "Deereeree, wyah, wyah, Deereeree."
​And Bibbee was changed into the woodpecker, or climbing tree bird, who is always running up trees as if he wanted to be building other ways to the sky than the famous roadway of his Euloowirree, the building of which had won him his wife.
# Ante-Nicene Fathers/Volume IV/Tertullian: Part Fourth/On the Veiling of Virgins/Chapter 6

Chapter VI.—The Parallel Case of Mary Considered.
Let us now see whether the apostle withal observes the norm of this name in accordance with Genesis, attributing it to the sex; calling the virgin Mary a woman, just as Genesis (does) Eve. For, writing to the Galatians, “God,” he says, “sent His own Son, made of a woman,” who, of course, is admitted to have been a virgin, albeit Hebion resist (that doctrine). I recognise, too, the angel Gabriel as having been sent to “a virgin.” But when he is blessing her, it is “among women,” not among virgins, that he ranks her: “Blessed (be) thou among women.” The angel withal knew that even a virgin is called a woman.
But to these two (arguments), again, there is one who appears to himself to have made an ingenious answer; (to the effect that) inasmuch as Mary was “betrothed,” therefore it is that both by angel and apostle she is pronounced a woman; for a “betrothed” is in some sense a “bride.”  Still, between “in some sense” and “truth” there is difference enough, at all events in the present place:  for elsewhere, we grant, we must thus hold. Now, however, it is not as being already wedded that they have pronounced Mary a woman, but as being none the less a female even if she had not been espoused; as having been called by this (name) from the beginning: for that must necessarily have a prejudicating force from which the normal type has descended. Else, as far as relates to the present passage, if Mary is here put on a level with a “betrothed,” so that she is called a woman not on the ground of being a female, but on the ground of being assigned to a husband, it immediately follows that Christ was not born of a virgin, because (born) of one “betrothed,” who by this fact will have ceased to be a virgin. Whereas, if He was born of a virgin—albeit withal “betrothed,” yet intact—acknowledge that even a virgin, even an intact one, is called a woman.  Here, at all events, there can be no semblance of speaking prophetically, as if the apostle should have named a future woman, that is, bride, in saying “made of a woman.” For he could not be naming a posterior woman, from whom Christ had not to be born—that is, one who had known a man; but she who was then present, who was a virgin, was withal called a woman in consequence of the propriety of this name,—vindicated, in accordance with the primordial norm, (as belonging) to a virgin, and thus to the universal class of women.

## Footnotes

* ↑ Gal. iv. 4.
* ↑ [i.e., Ebion, founder of the Ebionites.]
* ↑ Luke i. 26, 27.
# Ante-Nicene Fathers/Volume IV/Tertullian: Part Fourth/On the Veiling of Virgins/Chapter 9

Chapter IX.—Veiling Consistent with the Other Rules of Discipline Observed by Virgins and Women in General.
Let us now see whether, as we have shown the arguments drawn from nature and the matter itself to be applicable to the virgin as well (as to other females), so likewise the precepts of ecclesiastical discipline concerning women have an eye to the virgin.
It is not permitted to a woman to speak in the church; but neither (is it permitted her) to teach, nor to baptize, nor to offer, nor to claim to herself a lot in any manly function, not to say (in any) sacerdotal office. Let us inquire whether any of these be lawful to a virgin. If it is not lawful to a virgin, but she is subjected on the self-same terms (as the woman), and the necessity for humility is assigned her together with the woman, whence will this one thing be lawful to her which is not lawful to any and every female? If any is a virgin, and has proposed to sanctify her flesh, what prerogative does she (thereby) earn adverse to her own condition? Is the reason why it is granted her to dispense with the veil, that she may be notable and marked as she enters the church? that she may display the honour of sanctity in the liberty of her head? More worthy distinction could have been conferred on her by according her some prerogative of manly rank or office! I know plainly, that in a certain place a virgin of less than twenty years of age has been placed in the order of widows! whereas if the bishop had been bound to accord her any relief, he might, of course, have done it in some other way without detriment to the respect due to discipline; that such a miracle, not to say monster, should not be pointed at in the church, a virgin-widow! the more portentous indeed, that not even as a widow did she veil her head; denying herself either way; both as virgin, in that she is counted a widow, and as widow, in that she is styled a virgin. But the authority which licenses her sitting in that seat uncovered is the same which allows her to sit there as a virgin: a seat to which (besides the “sixty years” not merely “single-husbanded” (women)—that is, married women—are at length elected, but “mothers” to boot, yes, and “educators of children;” in order, forsooth, that their experimental training in all the affections may, on the one hand, have rendered them capable of readily aiding all others with counsel and comfort, and that, on the other, they may none the less have travelled down the whole course of probation whereby a female can be tested. So true is it, that, on the ground of her position, nothing in the way of public honour is permitted to a virgin.

## Footnotes

* ↑ 1 Cor. xiv. 34, 35; 1 Tim. ii. 11, 12.
* ↑ 1 Tim. v. 9.
# Ante-Nicene Fathers/Volume IV/Tertullian: Part Fourth/On the Veiling of Virgins/Elucidations

Elucidations.
I.
(Vicar of the Lord, p. 27.)
The recurrence of this emphatic expression in our author is worthy of special note. He knew of no other “Vicar of Christ” than the promised Paraclete, who should bring all Christ’s words to remembrance, and be “another Comforter.” Let me quote from Dr. Scott a very striking passage in illustration: “The Holy Ghost, after Christ’s departure from the world, acted immediately under Christ as the supreme vicegerent of his kingdom; for next, and immediately under Christ, He authorized the bishops and governors of the Church, and constituted them overseers of the flock (Acts xx. 28). It was He that chose their persons, and appointed their work, and gave them their several orders and directions: in all which, it is evident that He acted under Christ as His supreme substitute. Accordingly, by Tertullian he is styled ‘the Vicarious Virtue, or Power,’ as He was the Supreme Vicar and substitute of Christ in mediating for God with men.”
II.
(She shall be called woman, p. 31.)
The Vulgate reads, preserving something of the original epigrammatic force, “Vocabitur Vir-ago, quoniam de Vir-o sumpta est.” The late revised English gives us, in the margin, Isshah and Ish, which marks the play upon words in the Hebrew,—“She shall be called Isshah because she was taken out of Ish.” This Epithalamium is the earliest poem, and Adam was the first poet.
As to the argument of our author, it is quite enough to say, that, whatever we may think of his refinements upon St. Paul, he sticks to the inspired text, and enforces God’s Law in the Gospel. Let us reflect, moreover, upon the awful immodesty of heathen manners (see Martial, passim), and the necessity of enforcing a radical reform. All that adorns the sex among Christians has sprung out of these severe and caustic criticisms of the Gentile world and its customs. And let us reflect that there is a growing licence in our age, which makes it important to revert to first principles, and to renew the apostolic injunctions, if not as Tertullian did, still as best we may, in our own times and ways.
III.
(These crimes, p. 36.)
The iniquity here pointed at has become of frightful magnitude in the United States of America. We shall hear of it again when we come to Hippolytus.  May the American editor be pardoned for referring to his own commonitory to his countrywomen on this awful form of murder, in Moral Reforms, a little book upon practical subjects, addressed to his own diocese.
Hippolytus speaks of the crime which had shocked Tertullian as assuming terrible proportions at Rome in the time of Callistus and under his patronage, circa A.D. 220. But in this case it was not so much the novelty of the evil which attracted the rebuke of the Christian moralist, but the fact that it was licensed by a bishop.

## Footnotes

* ↑ The Christian Life, vol. iii. p. 64.
* ↑ Tertullian speaks of the heathen as “decimated by abortions.” See ad Uxor., p. 41, infra.
* ↑ Lippincotts, Philadelphia, 1868.
* ↑ Bunsen, vol. i. p. 134.
# Ante-Nicene Fathers/Volume IV/Tertullian: Part Fourth/Title Page

Tertullian.
Part Fourth.
# Appletons' Cyclopædia of American Biography/Mociño, José

Edition of 1900.
​MOCIÑO, José (mo-theen'-yo), Mexican naturalist, b. in Temascaltepec about 1760; d. in Barcelona, Spain, 12 June, 1819. He studied in the Seminary Tridentino of Mexico, devoting himself especially to physics, mathematics, botany, and chemistry. In 1791 he accompanied Sesse on a scientific expedition to California and Nootka, and from 1795 till 1804, by order of Charles IV., they made several journeys to examine the natural productions of Mexico. They travelled more than 3,000 leagues and formed a valuable collection, including a considerable herbarium and a great number of sketches, which they carried to Spain. After the death of Sesse, on account of the political disturbances, Mociño was obliged to take refuge in Montpellier. There he met Decandolle, director of the botanical garden, showed him his collection of manuscripts for a “Flora Mexicana,” and intrusted them to him, fearing that he himself would never return to his own country. Afterward he returned to Spain, and in April, 1817, asked Decandolle, then in Geneva, to return his collection, which was copied by the latter. Mociño's manuscript is in the botanical garden of Madrid, as well as a “Flora de Guatemala.” He also wrote “Descripción del Volcan Jorullo en versos latinos” (Mexico, 1801), and “Observaciones sobre la resina del hule,” published in the “Anales de Ciencias Naturales” (Madrid, 1804).
# Appletons' Cyclopædia of American Biography/Minor, Robert Crannell

Edition of 1900.
​MINOR, Robert Crannell, artist, b. in New York city, 30 April, 1840. He studied six years in Belgium, France, and Italy, and in 1874 was ​vice-president of the Société artistique et littéraire of Antwerp. On his return to the United States he opened a studio in New York, where he has since resided. He is a member of the Society of American artists, and has exhibited in New York, Brooklyn, Chicago, and elsewhere in this country, as well as in the Royal academy of London and the salons of Paris and Antwerp. His works include “Evening”; “Dawn”; “Studio of Corot”; and “Under the Oaks” (1878). Among those of his later paintings that he has shown at the National academy are “The Wold of Kent, England” (1884); “The Cradle of the Hudson” (1885); “The Close of Day” (1886); and “A Mountain Path” (1887).
# Appletons' Cyclopædia of American Biography/Molly, Captain

Edition of 1900. Supplement.
MOLLY, Captain, b. about 1756; d. near West Point, N. Y., about 1789. She was the wife of a cannonier, and was at Fort Clinton when it was captured by the British in October, 1777. As the enemy scaled the parapet, her husband dropped his port-fire and fled, but Molly caught it up and discharged the last gun fired by the Americans on that occasion. She was also conspicuous at the battle of Monmouth, 28 June, 1778, where she carried water from a neighboring spring to her husband while he was serving a gun. A shot killed him at his post, and Molly seized the rammer and filled his place at the gun. After the battle, covered with dirt and blood, she was presented by Gen. Nathanael Greene to Washington, who commended her bravery and made her a sergeant. On his recommendation her name was placed upon the list of half-pay officers for life. She continued with the army, and after the war resided at Buttermilk Falls, N. Y. Mrs. Alexander Hamilton describes her as “a stout, red-haired, freckle-faced young Irish woman, with a handsome, piercing eye.” She was a favorite with the army, and generally wore an artilleryman's coat over her dress and a cocked hat. Captain Molly has been erroneously called Moll Pitcher.
# Appletons' Cyclopædia of American Biography/Mirabeau, Boniface Riquetti, Vicomte de

Edition of 1900.
​MIRABEAU, Boniface Riquetti, Vicomte de, French soldier, b. in 1754; d. in Friburg in October, 1792. He was a younger brother of the celebrated orator. He entered the French army, and served under Rochambeau in the war of American independence as colonel of the Touraine regiment. On his return he opposed the French revolution, emigrated in 1790, and joined the Royalist army on the Rhine. He was a man of wit and courage, but so addicted to drink that he was given the name of “Barrel Mirabeau.”
# Appletons' Cyclopædia of American Biography/Modjeska, Helena

Edition of 1900.
MODJESKA, Helena (mod-yes'-ka), actress, b. in Cracow, Poland, 12 Oct., 1844. She is the daughter of Michael Opido, a man of fine musical culture, who gave instruction in that branch in Cracow, where his home was the meeting-place of all musicians and artists that came to the old capital. Her early aspirations were toward the stage, but that career seemed impossible on account of family opposition. Finally, after her marriage with Modrzejewski (abbreviated in English to Modjeska), she made her first appearance in September, 1861, in an amateur performance in the little town of Bochnia, Austrian Poland. Her success was such that her husband organized a small company with which she travelled through all the towns of Galicia, and during the latter part of 1862 she was engaged at the government theatre in Lemberg for three months. She then managed a theatre of her own in Czernowice, playing prominent parts herself and assisted by her two half-brothers and her younger sister. In 1865 she returned to Cracow and there became the leading lady in the local theatre. Her fame soon extended throughout Poland and into France and Germany. She received proposals to act from European managers, and the younger Dumas invited her to come to Paris and play Marguerite Gautier in his “Dame aux Camélias.” These offers she steadily refused, determining to remain true to the Polish stage. After her first husband's death she married, in September, 1868, Charles Bozenta Chlapowski, now (1888) a naturalized citizen of the United States, and a year later settled in Warsaw, where she played the principal female parts in the standard pieces of Shakespeare, Goethe, Schiller, and Molière, and also new plays of Polish origin. For seven years she continued in Warsaw, and her repertory in her native language includes 284 parts. Failing health, worry over the Russian censorship, and other difficulties induced her to leave the stage in 1876 and come to the United States, where she settled on a ranch near Los Angeles, Cal., hoping to ​found a Polish colony there. In the spring of 1877 she went to San Francisco, and, after studying English for a little more than four months, made her first appearance in the California theatre as Adrienne Lecouvreur. Her success was immediate, and thenceforth her record as an American actress has been one of continual triumph. She has made six tours through the country, and has acted for several seasons in London and the English provinces, with three short tours in Poland. Madame Modjeska has acted in twenty-five parts since she first appeared on the American stage, principally in the Shakesperian roles of Beatrice, Imogen, Juliet, and Rosalind, also Mary Stuart and Camille. She has also made adaptations for the Polish stage of Shakespeare's “As You Like It” and “Twelfth Night.”
# Appletons' Cyclopædia of American Biography/Moeller, Louis Charles

Edition of 1900.
​MOELLER, Louis Charles, artist, b. in New York city, 5 Aug., 1856. He is the son of a decorative painter. After serving a three years' apprenticeship with his father, he began to study painting, and subsequently visited Munich for that purpose. To the influence of Feodor Dietz, who was one of his masters there, Moeller attributes his best work. Slender resources compelled his return to his home, where he again devoted himself to decorative painting until he was enabled to send his first picture, “A Girl in a Snow-Storm,” to the National academy of design. His second work, “Puzzled,” gained him the Hallgarten prize, and an election as associate of that institution in 1884. Moeller is a pleasing genre painter. Among his other pictures are “Morning News,” “Stubborn,” “Bluffing,” “A Doubtful Investment,” and “A Siesta.”
# Appletons' Cyclopædia of American Biography/Moise, Penina

Edition of 1900.
​MOISE, Penina, poet, b. in Charleston, S. C., 23 April, 1797; d. there, 13 Sept., 1880. She was the child of French parents of the Jewish faith, who came to Charleston from the island of St. Eustatius in 1791. She was the author of hymns used in the Hebrew worship, contributed verses to the “Home Journal,” the Washington “Union,” and other publications, and published “Fancy's Sketch-Book,” poems (Charleston, 1833).
# Appletons' Cyclopædia of American Biography/Mills, Sebastian Bach

Edition of 1900. Supplement.
MILLS, Sebastian Bach, pianist, b. at Cirencester, England, 13 March, 1839; d. in Wiesbaden, 21 Dec., 1898. He began to appear in concerts at an early age, and in 1856 went to Germany for study. He came to the United States in 1859 and settled as a teacher of the piano in New York city. He frequently appeared in concerts in the United States and in Europe, and was one of the best known of American pianists. Among his numerous compositions are three “Tarantelles” (1863, 1865, and 1888); “Murmuring Fountain” (1865); “Polonaise” (1866); “Fairy Fingers” and “Recollections of Home” (1867); “Saltarello” (1874); and two “Études de Concert” (1880).