OpenLLM-France/wikimedia huggingface dataset:
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Carolina, (Wilhelmina Dorothea)

Was so much admired for her beauty and fine endowments throughout the empire, that she was solicited to marry Charles III. king of Spain, afterwards emperor of Germany. To bring about this match, she was persuaded to change her religion, but to no purpose; and this was the chief motive which induced the elector of ​Hanover, (George I.) to chuse her for the wife of his son, the electoral prince, a match which occasioned universal joy among all the protestants, not only of the empire, but of Europe.
She was crowned with her husband, in 1727; and had great political influence in this kingdom; governing his mind by an entire submission to his will, and prompt attention to his comfort or wishes, even at the expence of her own health.—The character given of this princess by the baron de Pollnitz, in the second volume of his memoirs, is as follows:
"The queen is a princess, in whom every thing that challenges respect, at the same time commands affection. Her presence is majestic, but accompanied with modesty and good nature; her behaviour courteous, and her wit both solid and sparkling. She always looked upon trifling amusements with disdain, and never affected ornament in dress. The reading of choice authors was always one of her greatest pleasures; and she might be said to be one of the most learned princesses in Europe. Having lost her father when very young, and her mother, the princess of Saxe–Eysnach, marrying again to George IV. elector of Saxony, she was left under the guardianship of Frederick, elector of Brandenburg, afterwards king of Prussia, by which means she spent part of her early days at the court of Berlin, where the electress, sister to the late king, George I. gave her a tincture of her own politeness and noble sentiments. Not many years after her marriage, she saw her father-in-law and her husband called to the possession of one of the chief thrones in the world. I was then at Hanover, and will venture to assure you, that the whole electoral family heard of this new addition to their greatness, with a moderation that rendered them worthy of their ​fortune; and the princess in particular demonstrated, that she was thoroughly satisfied in her mind, and could be happy without a crown. When she became princess of Wales, she was so prudent as to keep fair with both the parties, which then divided the royal family. George I. her father-in-law, had a sincere esteem for her; she in return paid him very great respect; and when she became queen, contributed all in her power to make her subjects happy. The king let her into a share of affairs, and left her regent of the kingdom in his absence."
To a large compass of knowledge, and great reach of thought, she joined a polite address, the most easy and elegant manner of adducing the sentiments of others, or conveying her own: she not only studied books, but the nature and reason of things; and was a great proficient in the science, or wisdom of life, both public and private, knowing how to subdue her own passions, and guide those of others.
Female Worthies, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Carriera, (Rosalba)

CARRIERA, (ROSALBA) a Venetian Fainter in Crayons and Miniature, Died at Venice, 1757, or 1761, aged 85.
From her residence in France, is ranked with the painters of that kingdom. She is thus mentioned in the Letters on the French Nation. Rosalba, "At present better known than any of the preceding. What pity that her pieces should not be everlasting! The finest piece in Crayons, that ever issued from mortal hands, is the Venus in M. Pompadour's collection. The piece she drew for her reception into the French academy, in 1720, was a woman holding a crown of laurels, most ​elegantly done. Rosalba being attached to crayons and miniatures, carried them to so high a degree of merit, that she has seldom been equalled, never surpassed—extreme correctness, and most profound knowledge of design, not being so absolutely essential in those kinds as in history; she attained the end she proposed by the beauty of her colours, the purity and freshness of the tones, and the harmonious delicacy of her touch. The grace as well as the largeness of her manner equals that of the greatest masters." She was born at Venice in 1678, and learnt design of the Chevalier Diamantini, whom she soon surpassed, and acquired so great a reputation, that all the academies in Europe were eager to admit her as one of their members. She was passionately fond of music; played in a superior style on the harpsichord, and travelled into France and Germany. She is said also to have had a genius for poetry. Her merit procured her riches. She chiefly painted portraits, and spent the last twenty years of her life in her native country.
Abec. Pitt. Madame Genlis, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Carcas

CARCAS, (Widow of Balahac,) who had caused himself to be crowned King of Carcassone, and died at the siege of that City,
Was a woman of Uncommon courage.—"A representation of her," says Mr. Gaillard, "is still to be seen over the gate of the city, with this inscription: Carcas sum; the corruption of which has undoubtedly given name to the place. She undertook to avenge her husband's death; and sustained the siege with so much bravery, that Charlemagne left her in possession of the sovereignty and jurisdiction of the city. Afterwards the Saracens came, and insulted the Countess of Carcassone under her own walls; jesting at the idea of a female warrior, and recommending her to spin rather than to fight. Arming herself therefore with a lance, to which she affixed, as to a distaff, a quantity of hemp, leaving only the point bare; she set fire to it, and rushed into the midst of the enemy, whom she filled with terror, ​and put to flight. Her shield and victorious lance are yet shewn at Carcassone; the government of which, joined to her personal glory, induced the handsomest and bravest knights of the time to solicit her hand, which she bestowed on a young Frenchman, of the name of Roger.
Madame Genlis.
# A History of the University of Pennsylvania from Its Foundation to A. D. 1770/Errata

| Page 9, | line 6 | Life of, by, | and not | Life of. |
| 32 | 30 | associators | " | associations |
| 37 | 31 | studium | " | studiam |
| 53 | 9 | Fourth | " | Tenth |
| 81 | 33 | Parton | " | Paxton |
| 118 | 29 | Lawrence | " | Laurence |
| 126 | 1 | Rowning | " | Bowning |
| " | 23 | do | " | Bonning |
| 208 | 20 | viri | " | vivi. |
| " | 34 | visitor | " | writer |
| 393 | 38 | 1 July 1690 o. s. | " | 1 July 1690 n.s. |
# A History of the University of Pennsylvania from Its Foundation to A. D. 1770/Preface

Some years ago the late Provost, Dr. Pepper, sought my interest in writing a History of the University of Pennsylvania from its beginning to the present generation, and asked me to undertake it. The honor of his urgency in the matter was so flattering that I eventually agreed to respond to his call, and soon made preparations for the work, which was to be carried on within my own time and opportunities. The progress of this was a great pleasure to me, and its course proved both entertaining and instructive as the material for its compilation was both rich and ample.
My labors had to be carries on in the interval hours of a busy life, but in a year of two its claims seemed to press; and finally, even after some weeks respite abroad, I found myself unable to proceed by the year 1769, when health dictated by arresting the work there.
Complete as it is to this point I now submit it to he friends of the University. These early years of its operations here set forth in full illustrate its formative period, which is the most instructive in its life. The detail it is hoped, truly portrays the Men and Movements of the ante-Revolutionary period in the Province of Pennsylvania: and as the Movements of that colonial period, all in some degree, shed their light on the colony's greatest educational undertaking; so the Men concerned in it were the representatives of the contemporary thought, and moved with influence in those circles which shaped the destinies of the Province, as well also those of the Nation that was then approaching its adult years.
If this picture of those times (for the University was necessarily a part of them) will serve to enlighten and interest its Alumni, and form any inspiration to its Matriculates, in the ​personal portrayals of the men who built the foundations upon which the present great superstructure rests, the writer will be gratified.
Having been himself at one time a pupil in the old Academy building, his interest has been enhanced in the course of the present work by the memory of his attendance on tuition in the venerable birthplace, now no more, of the great educational institution whose continuing years have left a record of such great interest, and which to-day holds out such enlarging promises, the fruitage of the seed laid there in 1749 by the "voluntary society of founders," as the Trustees were termed by the first Provost.
Thos. H. Montgomery.
Ardrossan, 23 February, 1900.
# A Dictionary of Music and Musicians/Solomon

[ G. ]
# A Dictionary of Music and Musicians/Solo

​SOLO (Ital. 'alone '). A piece or passage executed by one voice or performer. Airs are solos; a pianoforte piece for 2 hands is a pianoforte solo. A violin solo, strictly speaking, is a piece for the violin alone, like Bach's unaccompanied sonatas; but the term is often used loosely for a concerto or other piece in which the solo instrument is accompanied by the band, the pianoforte, etc.
[ G. ]
# A Dictionary of Music and Musicians/Solo Organ

​SOLO ORGAN, a manual or clavier of an organ having stops associated with it which for the most part are intended for use solo, that is, in single notes as opposed to chords. The solo organ is generally a fourth manual placed above that of the swell; but it occasionally supersedes the choir organ, and is then placed below the ​'Great' manual. The stops in a solo organ are most frequently (1) Flutes of 8 ft. and 4 ft.; (2) A stop of clarinet-tone; (3) a stop of oboe-tone (orchestral oboe); (4) Reeds of 8 ft. and 4 ft. of trumpet-tone (tromba, tuba, etc.). Larger solo organs contain also stops imitative of the violin, horn, piccolo, and other instruments; perhaps also an open diapason, and, in a few cases, a carillon or glockenspiel. The solo trumpet-stops are most frequently on a heavy pressure of wind, and in order to obtain special brilliancy are sometimes 'harmonic,' as are also the flutes; that is, they have tubes of twice the ordinary length, pierced with a small hole at their half length. Some of the stops of a solo organ are often used in chords, such for instance as flutes and reeds. This is most commonly done by means of a coupler 'Solo to Great,' by which the diapason or flute tones of the solo organ can be used as a valuable reinforcement of the foundation stops of the Great manual; and the tone of the full Great organ can be similarly enriched by coupling the solo reeds. In instruments which contain a Vox humana, that stop is perhaps more often found associated with the Swell-manual than with the Solo-manual; but when placed on the solo organ its pipes are generally shut up in a separate box with Venetian shutters worked by a second swell-pedal. When composition-pedals are made to act upon the Swell, Great, and Choir organs, it is evidently wise to make the combinations they produce proceed as gradually as possible from piano to fortissimo. But this simple principle is not applicable to the combinations or rather selections of solo stops which are made by means of composition-pedals or pistons. The difficulty seems however to be overcome by a method suggested some years ago by the writer of this article; namely, to arrange them in the order in which the instruments are found in a modern full-score. Thus, six combination-pedals would act on the solo-stops in the following system:—
(1) Stops of Flute-tone. (2) Stops of Oboe-tone. (3) Stops of Clarinet and Bassoon tones. (4) Stops of Horn-tone. (5) Stops of Trumpet and Trombone tones. (6) Stops of Violin and Viola tones.
This method, which is at once simple and exhaustive, might be indefinitely extended; thus for example, a carillon, drum, or triangle, would be produced by a composition-pedal or piston lying between the trumpet stops and violin stops; and a vox humana would naturally follow after stops of the violin-tone. Smaller solo organs would probably be easily brought under control by combination-pedals or pistons acting on
(1) Flute. (2) Oboe. (3) Clarinet. (4) Trumpet.
[ J.S. ]
# A Dictionary of Music and Musicians/Solo Stop

[ J. S. ]
# A Dictionary of Music and Musicians/Somis, Giovanni

[ P.D. ]
# A Dictionary of Music and Musicians/Sommerophone

[ W. H. S. ]
# A Dictionary of Music and Musicians/Sombrée

[ G. ]
# A Dictionary of Music and Musicians/Son and Stranger, The

​SON AND STRANGER, THE. The title of the English version, by H. F. Chorley, of ​Mendelssohn's 'Heimkehr aus der Fremde' (Return from abroad), produced at the Haymarket Theatre, London, July 7, 1851.
[ G. ]
# A Hundred and Seventy Chinese Poems/Tell me now

TELL ME NOW
By Wang Chi [circa A. D. 700]
"Tell me now, what should a man want
But to sit alone, sipping his cup of wine?"
I should like to have visitors come and discuss philosophy And not to have the tax-collector coming to collect taxes:
My three sons married into good families And my five daughters wedded to steady husbands. Then I could jog through a happy five-score years
And, at the end, need no Paradise.
# A Hundred and Seventy Chinese Poems/The Autumn Wind

THE AUTUMN WIND
By Wu-ti [157–87 B. C.], sixth emperor of the Han dynasty. He came to the throne when he was only sixteen. In this poem he regrets that he is obliged to go on an official journey, leaving his mistress behind in the capital. He is seated in his state barge surrounded by his ministers.
Autumn wind rises: white clouds fly.
Grass and trees wither: geese go south.
Orchids all in bloom: chrysanthemums smell sweet.
I think of my lovely lady: I never can forget.
Floating-pagoda boat crosses Fēn River.
Across the mid-stream white waves rise;
Flute and drum keep time to sound of the rowers' song;
Amidst revel and feasting, sad thoughts come;
Youth's years how few! Age how sure!
# A Hundred and Seventy Chinese Poems/Taoist Song

TAOIST SONG
By Chi K'ang [A. D. 223–262]
I will cast out Wisdom and reject Learning. My thoughts shall wander in the Great Void (bis) Always repenting of wrongs done Will never bring my heart to rest. I cast my hook in a single stream; But my joy is as though I possessed a Kingdom. I loose my hair and go singing; To the four frontiers men join in my refrain. This is the purport of my song: "My thoughts shall wander in the Great Void."
# A Hundred and Seventy Chinese Poems/Tchirek Song

​TCHIREK SONG
Altun [486–566 A. D.] was a Tartar employed by the Chinese in drilling their troops "after the manner of the Huns." He could not read or write. The "Yo Fu Kuang T'i" says: Kao Huan attacked Pi, king of Chou, but lost nearly half his men. Kao Huan fell ill of sadness and Pi, to taunt him, sent out a proclamation, which said:
Kao Huan, that son of a mouse Dared to attack King Pi.
But at the first stroke of sword and bow, The aggressor's plot recoiled on himself.
When this reached Kao Huan's ears, he sat up in bed and tried to comfort his officers. All the nobles were summoned to his room, and Altun was asked to sing them a song about Tchirek, his native land. He sang:
Tchirek River Lies under the Dark Mountains:
Where the sky is like the sides of a tent
Stretched down over the Great Steppe.
The sky is gray, gray:
And the steppe wide, wide:
Over grass that the wind has battered low
Sheep and oxen roam.
​"Altun" means "gold" in Tartar. No one could teach him to write the Chinese character for gold, till at last some one said: "Draw the roof of your house and then put a few strokes underneath" He thus learnt, in a rough fashion, to write his own name.
# A Hundred and Seventy Chinese Poems/Taoism and Buddhism

TAOISM AND BUDDHISM
Written shortly before his death
A traveller came from across the seas Telling of strange sights. "In a deep fold of the sea-hills I saw a terrace and a tower. In the midst there stood a Fairy Temple With one niche empty. They all told me this was waiting For Lo-t'ien to come."
Traveller, I have studied the Empty Gate; I am no disciple of Fairies. The story you have just told Is nothing but an idle tale. The hills of ocean shall never be Lo-t'ien's home. When I leave the earth it will be to go To the Heaven of Bliss Fulfilled.
* ↑ Buddhism. The poem is quite frivolous, as is shown by his claim to Bodhisattva-hood.
* ↑ The "tushita" Heaven, where Bodhisattvas wait till it is time for them to appear on earth as Buddhas.
# A Critical Exposition of the Popular 'Jihád'/Chapter 12/122

[Sidenote: 122. The IXth Sura of the Koran.]
It is a great misrepresentation on the part of Major Osborn to assert that "the ninth Sura is that which contains the Prophet's proclamation of war against the votaries of all creeds other than that of Islam." No statement could be farther from truth than this of his. The ninth Sura, or, more correctly, the beginning or opening verses of it, contain the Prophet's proclamation of war against those of the Meccan idolaters, who, in violation of the treaty of Hodeibia, had attacked the Moslems.—(Sura IX, 4, 8, 10, 12 & 13, vide pages 23-25.) They were allowed four months' time (IX, 2, 5) to make terms. They submitted, and Mecca was taken by compromise, in consequence of which the threatened war was never waged. Those who had not broken their treaties were especially mentioned, with whom the proclamation or the period allowed for peace had no connection.—(Vide Sura IX, 4, 7, quoted above, pages 23-24.) Thus it is quite clear that the proclamation of war was only against the violators and aggressors, and not against the votaries of all creeds other than that of Islam. I have further discussed the ninth Sura in para. 40 of this work. The other verses of this Sura refer to the expedition of Tabúk, which was purely defensive in its nature as has been described in para. 33 of this book. (See also para. 42.)
# A Critical Exposition of the Popular 'Jihád'/Chapter 12/123

[Sidenote: 123. The Reverend Wherry quoted.]
The Reverend E.M. Wherry, M.A., in his note on Sale's Preliminary Discourse, says:—
"Though Muhammad undoubtedly took Moses as his pattern, and supposed himself following in his footsteps when he gave the command to fight against the infidels, yet there is no comparison between them whatever so far as warring against infidels is concerned. The Israelites were commanded to slay the Canaanites as divinely ordained instruments of destruction; but Muhammad inaugurated war as a means of proselytism. The Israelite was not permitted to proselytize from among the Canaanites, (Exod. XXIII. 27-33), but Muslims are required to proselytize by sword-power."
Mohammad never had said that he did follow the footsteps of Moses in giving the command of fighting in self-defence, and in repelling force by force. There could be no comparison whatsoever between the wars of Moses, which were merely wars of conquest, aggression, extermination, and expatriation, and those of Mohammad waged only in self-defence. Mohammad did not inaugurate his career by prosecuting war as a means of proselytism, and never did proselytized any one by the sheer strength of the sword. Mr. T.H. Horne, M.A., writes regarding the extirpation of the Canaanites:—
"After the time of God's forbearance was expired, they had still the alternative, either to flee elsewhere, as in fact, many of them did, or to surrender themselves, renounce their idolatries, and serve the God of Israel. Compare Deut. XX. 10-17." This was certainly compulsory conversion and proselytizing at the point of the sword.

## Footnotes

* ↑ A Comprehensive Commentary on the Qurán; comprising Sale's Translation and Preliminary Discourse, with additional Notes and Emendations, by the Revd. E.M. Wherry, M.A., page 220; London: Trübner & Co., 1882.
* ↑ An Introduction to the Critical Study and Knowledge of the Holy Scripture, by Thomas Hartwell Horne, Esq., M.A. Vol. II, page 524; London. 1828.
# A Critical Exposition of the Popular 'Jihád'/Chapter 12/124

[Sidenote: 124. Example cited from the Jewish history.]
There is only one instance in the Koran in which an example is cited for the war of defence by Mohammad, from the Jewish History. It is the asking of the children of Israel their prophet Samuel to raise up a king for them to fight in their defence against the Philistines, who had very much oppressed the Israelites. Saul was appointed king over the Israelites, and David killed Goliath, called Jálut in the Koran, which was in defence of the Israelites. I have quoted the verses relating to the above subject from the Koran (Sura II, 247 and 252) in page 19th of this work.
"Hast thou not considered the assembly of the children of Israel after the death of Moses, when they said to a prophet of theirs,—'Raise up for us a king; we will do battle for the cause of God?' He said, 'May it not be that when fighting is ordained you, ye would not fight?' They said, 'And why should we not fight in the cause of God, since we are driven forth from our dwellings and our children?"....
This shows that what the Koran or Mohammad took as an example from the history of the Jews was only their defensive war.
# A Critical Exposition of the Popular 'Jihád'/Chapter 12/125

[Sidenote: 125. Mosaic injunctions.]
It is very unfair of the Christians to make too much of the wars of Mohammad, which were purely of a defensive nature, and offer apologies for the most cruel wars of conquest and extermination by Moses, Joshua and other Jewish worthies under the express commands of God.—(Vide Numbers XXXI; Deut. XXI, &c.) But see what Mr. Wherry says. He writes in his comments on the 191 verse of the second Sura of the Koran.
"(191). Kill them, &c. Much is made of expressions like this, by some Christian apologists, to show the cruel character of the Arabian prophet, and the inference is thence drawn that he was an impostor and his Qurán a fraud. Without denying that Muhammad was cruel, we think this mode of assault to be very unsatisfactory to say the least, as it is capable of being turned against the Old Testament Scriptures. If the claim of Muhammad to have received a divine command to exterminate idolatry by the slaughter of all impenitent idolaters be admitted, I can see no objection to his practice. The question at issue is this. Did God command such slaughter of idolaters, as he commanded the destruction of the Canaanites or of the Amalekites? Taking the stand of the Muslim, that God did so command Muhammad and his followers, his morality in this respect may be defended on precisely the same ground that the morality of Moses and Joshua is defended by the Christian."

## Footnotes

* ↑ Commentary on the Qurán by the Revd. Wherry, page 358.