OpenLLM-France/wikimedia huggingface dataset:
# Androcles and the Lion (Shaw)/Preface to Androcles and the Lion/The Importance of Hell in the Salvation Scheme

THE IMPORTANCE OF HELL IN THE SALVATION SCHEME.
The seriousness of throwing over hell whilst still clinging to the Atonement is obvious. If there is no punishment for sin there can be no self-forgiveness for it. If Christ paid our score, and if there is no hell and therefore no chance of our getting into trouble by forgetting the obligation, then we can be as wicked as we like with impunity inside the secular law, even from self-reproach, which becomes mere ingratitude to the Savior. On the other hand, if Christ did not pay our score, it still stands against us; and such debts make us extremely uncomfortable. The drive of evolution, which we call conscience and honor, seizes on such slips, and shames us to the dust for being so low in the scale as to be capable of them. The "saved" thief experiences an ecstatic happiness which can never come to the honest atheist: he is tempted to steal again to repeat the glorious sensation. But if the atheist steals he has no such happiness. He is a thief and knows that he is a thief. Nothing can rub that off him. He may try to sooth his shame by some sort of restitution or equivalent act of benevolence; but that does not alter the fact that he did steal; and his conscience will not be easy until he has conquered his will to steal and changed himself into an honest man by developing that divine spark within him which Jesus insisted on as the everyday reality of what the atheist denies.
Now though the state of the believers in the atonement may thus be the happier, it is most certainly not more desirable from the point of view of the community. The fact that a believer is happier than a sceptic is no more to the point than the fact that a drunken man is happier than a sober one. The happiness of credulity is a cheap and dangerous quality of happiness, and by no means a necessity of life. Whether Socrates got as much happiness out of life as Wesley is an unanswerable question; but a nation of Socrateses would be much safer and happier than a nation of Wesleys; and its individuals would be higher in the evolutionary scale. At all events it is in the Socratic man and not in the Wesleyan that our hope lies now.
# An Etymological Dictionary of the German Language/da

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/da | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ da, adv., ‘there, then, since,’ from the equiv. MidHG. dâr, dâ, OHG. dâr; the loss of the final r (dar still remained in ModHG.; see dar) is seen also in other advs.: MidHG. sâ, from OHG. sâ, sâr, ‘soon, at once’ (cognate with E. soon), comp. wo. AS. þœ̂r, E. there, corresponds to OHG. dâr; Goth. þar (instead of the expected form *þêr). The adv. is formed from the OTeut. demonstr. pron. þa-, Gr. το-, described under der; the r of OHG. dâr and Goth. þar appears in OInd. tárhi, ‘at that time’ (hi is an enclitic particle like Gr. γέ); comp. also Sans. kárhi, ‘when,’ under wo. As to the variation of demonst. and relat. meanings in da, see der.
# An Etymological Dictionary of the German Language/bägern

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bägern | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bägern, ‘to torment, plague,’ prob. allied to OHG. bâgan, MidHG. bâgen, str. vb., ‘to contend, quarrel.’ Akin to Ir. bágim, ‘I contend,’ bág, ‘combat’; hence the Aryan root is bhêgh, bhôgh.
# An Etymological Dictionary of the German Language/bätzen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bätzen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bätzen, ‘to yelp,’ derivative of bäffen.
# An Etymological Dictionary of the German Language/bäumen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bäumen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bäumen, vb., ‘to rear,’ ModHG. only, lit. ‘to lift oneself up like a tree.’
# An Etymological Dictionary of the German Language/bündig

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bündig | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bündig, adj., ‘binding, valid, terse,’ not from MidHG. bündec, ‘firmly bound,’ but formed from Du. bondig, ‘binding, firm’; the latter word is akin to binden.
# An Etymological Dictionary of the German Language/burzeln

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/burzeln | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ burzeln, vb., ‘to tumble head over heels,’ from the equiv. MidHG. bürzen, burzeln; the word cannot be traced farther back.
# An Etymological Dictionary of the German Language/bähen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bähen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bähen, vb., ‘to warm by poultices, foment, toast (bread),’ from the equiv. MidHG. bœn, bœjen, OHG. bâjan, bâan. The Teut. root is bê, from pre-Teut. bhê, to which ba- of the OTeut. words for Bad is related by gradation. The orig. sense of the primit. stem bhê, by gradation bha, was probably ‘to make warm by washing, bathing.’
# An Etymological Dictionary of the German Language/bändigen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bändigen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bändigen, vb., ‘to restrain, tame,’ from bändig, ordinarily only in the compound unbändig; MidHG. bendec, ‘tightly bound, fettered,’ hence bändigen, ‘to put in fetters.’
# An Etymological Dictionary of the German Language/böse

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/böse | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ böse, adj., from the equiv. MidHG. bœse, OHG. bôsi, ‘bad, useless, slanderous.’ A word peculiar to Germ., not found in the other dialects; the primary meaning, judging from OHG. bôsa, ‘buffoonery,’ bôsân, ‘to vilify,’ was probably ‘speaking malevolently.’ If -si- were regarded us a suffix, Gr. φαῦλος (perhaps for φαῦσ-λος), with the evolution of meaning ‘trifling, bad, wicked,’ would be connected with böse.
# An Etymological Dictionary of the German Language/bölken

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/bölken | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ bölken, vb., ‘to roar, bleat,’ ModHG. only, and perhaps cognate with bellen, which had formerly a wider signification than in ModHG.; comp. Du. bulken, ‘to bellow, bleat.’
# Anecdotes of Great Musicians/Anecdote 295

205.—HÄNDEL—BUONONCINI.
Musical history furnishes some notable instances of contest for public favor. Such rivalries have not been confined to the petted favorites of the footlights, the operatic stars; we find the strongest antagonisms between some of the prominent composers, or rather, their followers; the principals did not, as a general thing, share in the anger and denunciations of their partisans.
The first notable rivalry in the history of modern music was that between Händel and Buononcini, in 1720. The latter was an Italian composer, who had been invited to England to give prestige to the Royal Academy of Music, of which Händel was at the head. Händel was patronized by King George I, and for this reason ​his rival was taken up and supported by the titled houses of England; for the German Elector who had inherited the British throne did not meet a warm reception at the hands of the English aristocracy. Though the nobility favored Buononcini, the people favored him who gave them the best music, and in spite of the titled opposition, Händel was for some time in the ascendancy.
Finally it was arranged that these two composers, together with a third, Ariosti, should conjointly compose an opera, and from it the public was to decide which was the greater composer. As it happened Händel had met both of his opponents before, when he was a mere boy. At that time, Buononcini, fearing a dangerous rival in the talented youth, had treated him with supercilious contempt; but Ariosti had warmly recognized his genius and had extended to him the courtesies that one artist should award another.
In this competition each wrote one act and an overture. Händel was on all sides proclaimed the victor. But he had, by his independence, made so many enemies among the aristocracy and even among his own adherents, that, some years later, popular tide had turned against him so completely as to drive him into bankruptcy. Many were the squibs and lampoons that were issued during this rivalry. One of the epigrammatic verses ran as follows:—
"Some say, compared to Buononcini, That Mynheer Händel's but a Ninny; Others aver that he to Händel Is scarcely fit to hold a Candle; Strange all this Difference should be 'Twixt Tweedle-dum and Tweedle-dee!"
# Anecdotes of Great Musicians/Anecdote 298

298.—SONTAG—MALIBRAN.
Another rivalry between vocalists of note was that which for some years existed between the prima donnas, Sontag and Malibran. It was hard to determine which of these ladies was the greater artist, so equally were they matched. Sontag possessed thei greater power of vocalization, but Malibran gave to her singing a passionate warmth that touched the hearts of her auditors more than the perfect execution of her rival. Although the antagonism between them was personal as well as artistic, they did not descend to the vulgar displays of temper and envy that characterized the Bordoni—Cuzzoni feud.
It seemed that Sontag had fallen in love with and become engaged to, a scion of French royalty, a Count Rossi; but in spite of this, her hand was sought by De Beriot, the great violinist. It is needless to say that he was rejected. At this turn of affairs, De Beriot became much depressed and sought solace at the side of Malibran, who was a captivating brunette. Her quick sympathy caused a recovery from the Sontag rejection, and his affections naturally became centered on this consoling angel to such an extent that Madam Malibran afterwards became Madam De Beriot.
The rivalry that took place between Sontag and Malibran at the time we mention, was thought to have much of its origin in the fact that the Spanish brunette never forgave the fair German for having been the first loved of the French violinist. This quarrel was amicably settled, however, when, in 1828, they met in London and appeared in public together in several operas that required prime donne of great power and scope of voice. They then declared great admiration for each other's abilities and professed mutual friendship.
# Anecdotes of Great Musicians/Anecdote 297

297.—CUZZONI—BORDONI.
The animosities of the public's vocal favorites have been more numerous than those of the composers. And while not of so serious a nature as these latter, they are certainly ornamented with a wealth of striking detail. Händel's time of life was fraught with musical dispute, one of the most prominent battles being fought between Francesca Cuzzoni and Faustina Bordini, afterward wife ​of the composer, Hasse. Both of these singers were brought to England by Händel, Cuzzoni being first on the ground. Although she was lacking in beauty of face and form, and was of a capricious and obstinate temper, she was flattered and petted until she developed a remarkable amount of conceit and insolence.
When Händel brought over Faustina, Cuzzoni found in her a dangerous rival; for this latter importation was fair of figure and face, intelligent and amiable. Cuzzoni excelled in the expressiveness of her singing and Faustina in skill and agility. As might have been expected, Cuzzoni's fiery temper and envious jealousy would not allow her to keep the peace with her rival, and soon there was open warfare.
The attendants on the theater sided with one or the other of the ladies, and quickly those in high places began to take part. The Countess of Pembroke headed the faction of Cuzzoni and the Countess of Burlington, that of Faustina. The fair songstresses even came to blows on several occasions; while their followers wrote epigrams, libels, and fought duels to their hearts' content. A contemporary of Händel's wrote, "These costly canary birds contaminate the whole body of our music-loving public with their virulent bickerings. Ladies refuse to receive visits from friends who belong to the opposite musical party. Caesar and Pompey did not excite the Romans to more violent partisanship than these contentious women." The culmination of the affair was at a concert where both cantatrices took part. Their followers kept up an uproar of shouts, cat-calls, shrieking and stamping, fair ladies taking part in the melee with the sterner sex. A performance was almost impossible. Soon after this, the directors of the opera house permitted Cuzzoni to break her engagement, and she quickly left London and the field to her rival.
# Anecdotes of Great Musicians/Anecdote 294

294.—TO A PAUPER'S GRAVE.
Poor Mozart! In life pushed from pillar to post; in sickness working to the last moment to bring bread to his family; in death occupying an unknown grave!
After Mozart's death, that night of December 4, 1791, the little house on Roughstone Lane, in Vienna, was almost deserted. Only two or three callers came. The men who made money by the dead master's genius stayed away. The widow was left almost destitute, as Mozart's fortune amounted to five pounds in money and his effects were valued at about twenty-six pounds more. A heavy draft on this was made by the undertaker's and doctor's bills, which amounted to perhaps twenty pounds.
The cold rain and sleet pounded down, that gloomy day when the little group left the house. After the services at the church the mourners dropped off, and when the hearse reached the cemetery no one followed the remains of the composer of "Don Juan" and the "Jupiter" symphony.
Two paupers had been buried that day; and, as it was ​late, Mozart's coffin was hastily thrust into the pauper's grave—being the last for the day it was uppermost,—the earth was hastily thrown in, and the great composer lay at rest in a pauper's grave.
But a stranger thing happened. After some years the grave was opened to receive more bodies of the unfortunate poor. The grave-digger remembered which was Mozart's grave and, having been an admirer of Mozart's music, he preserved the great composer's skull. This man sold it to a certain official, who in after years bequeathed it to his brother, and it was he who made known to the world the fact of this gruesome possession.
Be this as it may, Germany can by no admiration for Mozart's works at this day atone for her neglect of their author at the time of his need and distress. It will always be a blot on the good name of Vienna and the Fatherland.
# Anecdotes of Great Musicians/Anecdote 293

293.—ROSSINI'S ARROGANCE.
Royal patrons have often been overbearing, but, on the other hand, the patronized musician has frequently proved himself an insufferable bore.
​The following incident would probably not have occurred had not music already broken away from royal patronage and become, as we might say, self-supporting.
Rossini was once the principal musical figure at a party given by King George IV, at St. James Palace, London. During the evening the king paid particular attention to the Italian composer, and was much pleased with his compositions. As the company was about to break up His Majesty said: "Now, Rossini, before, we stop, let us have one piece more, and that shall be the finale."
But Rossini, insensible to the honors that had been bestowed upon him, arrogantly replied, "I think, Sire, we have had enough music for one night," and took his departure.
# Anecdotes of Great Musicians/Anecdote 292

292.—BEETHOVEN'S FORGETFULNESS.
Numerous stories are told of Beethoven offending those with whom he came into contact by his gruffness; but their number is almost equaled by the records of his seeking pardon from the people he had unintentionally offended. While he was forgetful in most matters of a non-musical nature, it was rarely that he was led into such a blunder as is here related.
When he brought out his Fantasia for the first time with an orchestra and chorus, he directed, at the usual hasty rehearsal, that the second variation should be played through without repeat. In the evening, however, completely absorbed in his own creation, he forgot the order he had given, and repeated the first part, while the orchestra accompanied the last, a combination not productive of the best effect.
At last, when it was too late, the composer suddenly stopped, looked up in amazement at his bewildered band, and said dryly, "Over again;" the leader unwillingly asked, "With the repeat?" "Yes," was echoed back, and this time things reached a happy conclusion.
That Beethoven had, to a certain degree, affronted these excellent musicians by his irregular proceeding, he would not at first allow; he contended that it was a duty to repair any previous error, and the public had a right to expect a perfect performance for their money. Nevertheless, he readily begged pardon of his orchestra for the unintentional offence, and was generous enough himself to spread the story abroad, and to lay the blame upon his own abstraction.
# Anecdotes of Great Musicians/Anecdote 296

296.—GLUCK—PICCINNI.
Another contest in which the competitors were more evenly matched, was that which took place in Paris, about 1780, between Gluck and Piccinni (or Piccini). Gluck had as his patroness no less a personage than Marie Antoinette, who had been his pupil in Vienna. ​He was introduced into Paris under the best auspices and received a warm welcome; but the very excellencies of his operas, his dramatic truth and rugged harmonies, grated harshly on ears used to the pleasant and flowing French and Italian tunes; and soon Piccinni, an able Italian composer, was imported and pitted against the progressive Gluck. Then the battle waxed hot; and every person of any consequence took sides either with Gluck or Piccinni. The operas of each were greeted with much success and it was not until the subject, "Iphigenie en Tauride," was given to them, to which each wrote an opera, that the conflict was decided in Gluck's favor. The Italian was conservative and dealt more with graces and ornaments than with dramatic proprieties; the German was progressive, was the Wagner of his day; in fact, it was on his reforms that many of Wagner's innovations are based.
Meanwhile, all Paris was in a ferment over the rival schools of composition; pamphlets and lampoons by the score were published. One was met on all sides with the question. "Are you a Gluckist or a Piccinnist?" Society was divided and friends estranged over the all important question, until it was finally decided by the triumph of progress over conservatism. This was undoubtedly the foremost rivalry in musical history, when we consider, not only the intensity of the partisanship displayed, but also its far reaching results in the field of operatic composition.
# Anecdotes of Great Musicians/Anecdote 291

291.—A CHARITABLE TRIO.
One night near the middle of this century, three lively young students were strolling along a Paris boulevard in quest of exercise and recreation. In the course of their walk they came across an old man who was trying to play a violin he was almost too feeble to manage. The generous young fellows went down in their pockets, but the whole trio could only raise a few cents and a piece of rosin.
Thereupon one of them proposed to take the old man's violin and accompany the voices of his companions. No sooner said than done. Commencing with a solo upon the theme of the Carnival of Venice, a large concourse of listeners was soon attracted. Then came a favorite cavatina from "La Dame Blanche," sung in such a manner as to keep the audience spell-bound; and yet again the trio from "Guillaume Tell." By this time the poor old man was galvanized into life and activity by the artistic performance. He stood erect, and with his stick directed the concert with the authority of a practiced leader. Meanwhile contributions of silver and even gold rained into the old man's hat.
To his astonished and grateful demand to know who were his benefactors, he received from the first the name of Faith, and from the others the response of Hope and Charity. "And I," said the poor old fellow, "used to direct the opera at Strasburg. You have saved my life, for I can now go back to my native place, where I shall be able to teach what I can no longer perform."
The young violinist was Adolph Hermann, the tenor was Gustav Roger, and the originator of this charitable scheme was Charles Gounod.
# Androcles and the Lion (Shaw)/Preface to Androcles and the Lion/The Touch of Parisian Romance

THE TOUCH OF PARISIAN ROMANCE.
Luke's romantic shrinking from unpleasantness, and his sentimentality, are illustrated by his version of the woman with the ointment. Matthew and Mark describe it as taking place in the house of Simon the Leper, where it is objected to as a waste of money. In Luke's version the leper becomes a rich Pharisee; the woman becomes a Dame aux Camellias; and nothing is said about money and the poor. The woman washes the feet of Jesus with her tears and dries them with her hair; and he is reproached for suffering a sinful woman to touch him. It is almost an adaptation of the unromantic Matthew to the Parisian stage. There is a distinct attempt to increase the feminine interest all through. The slight lead given by Mark is taken up and developed. More is said about Jesus's mother and her feelings. Christ's following of women, just mentioned by Mark to account for their presence at his tomb, is introduced earlier; and some of the women are named; so that we are introduced to Joanna the wife of Chuza, Herod's steward, and Susanna. There is the quaint little domestic episode between Mary and Martha. There is the parable of the Prodigal Son, appealing to the indulgence romance has always shown to Charles Surface and Des Grieux. Women follow Jesus to the cross; and he makes them a speech beginning "Daughters of Jerusalem." Slight as these changes may seem, they make a great change in the atmosphere. The Christ of Matthew could never have become what is vulgarly called a woman's hero (though the truth is that the popular demand for sentiment, as far as it is not simply human, is more manly than womanly); but the Christ of Luke has made possible those pictures which now hang in many ladies' chambers, in which Jesus is represented exactly as he is represented in the Lourdes cinematograph, by a handsome actor. The only touch of realism which Luke does not instinctively suppress for the sake of producing this kind of amenity is the reproach addressed to Jesus for sitting down to table without washing his hands; and that is retained because an interesting discourse hangs on it.