OpenLLM-France/wikimedia huggingface dataset:
# An Etymological Dictionary of the German Language/Ernte

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Ernte | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Ernte, f., ‘harvest,’ from the equiv. MidHG. ęrne, f., like ModHG. Hüfte, from the equiv. MidHG. hüffe, plur. of huf; MidHG. erne (Franc. and Alem. ärn), a plur. used as a sing., is related similarly to OHG. aran, ‘harvest,’ which, like Goth. asans, ‘harvest, autumn,’ is connected with a root as, ‘to work in the fields,’ widely diffused in OTeut. Comp. Goth. asneis (OHG. ęsni, AS. ęsne), ‘day-labourer,’ OIc. ǫnn (from *aznu), f., ‘work, season for tillage’; akin to OHG. arnôn, ‘to harvest’ (AS. earnian, equiv. to E. to earn, OIc. árna?), MidHG. asten, ‘to cultivate.’ Probably Lat. annôna (for *asnôna), ‘produce of corn,’ belongs to the Teut. root as.
# An Etymological Dictionary of the German Language/Esel

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Esel | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Esel, m., ‘ass,’ from the equiv. MidHG. ęsel, OHG. ęsil, m.; corresponds to OSax. ęsil, Du. ezel, AS. ęsol, eosol, Goth. asilus (whence OSlov. osĭlŭ), ‘ass.’ It is self-evident that these cognates are related to Lat. asinus. Yet it is remarkable that the Romance languages have not an l, but an n in the suffix; Span. asno, OFr. asne (whence OIc. asne), ModFr. âne, Ital. asino (the Lat. diminutive asellus does not come under consideration, since it is not found in any Romance language; comp. further Assel). For the change of n to l in derivatives, see Himmel, Kümmel, Orgel. The abnormal AS. assa (equiv. to E. ass) may be traced back to OIr. assan, borrowed, with the usual change of sound, from the Lat. Consequently all the cognates come from Italy; no primit. word for ‘ass’ can be sound in any language of the Aryan group. — The term Kelleresel is a late imitation of Ital. asello; the equiv. Assel appears, however, to be unconnected with it.
# Anecdotes of Great Musicians/Anecdote 213

213.—NOT AT FIRST SIGHT.
There are different ways of singing at sight. So Händel found out one time, on a visit to Ireland. He was detained at a certain point for several days, and wishing to prove some copied parts of the "Messiah," he arranged to have several choristers of the town where he was, meet him and study the music with him. But one fellow failed so completely that Händel turned on him in wrath and cried:
"You schountrel! Did you nod dell me dat you could sing at sight?"
"Yis, sorr, Oi did. And Oi can; but not at first soight!"
Very many readers at first sight seem to be blessed with the gift only of "second sight."
# Anecdotes of Great Musicians/Anecdote 216

216.—AN INTERRUPTED STRAIN.
Musicians are sometimes affected in composing by events of the most trivial kind. It was a casual and unimportant matter of this character that accounts for a certain peculiarity in one of Schumann's compositions. In his "Humoreske" the reader may remember that the short section headed "Einfach und Zart" is interrupted by a short theme of entirely different character from the context. A member of the Schumann family gives the following as a reason for this peculiar break in the continuity of the piece:—
"When the master was engaged upon the section referred to, a strolling carol seller came down the road, followed by a crowd of children, and calling attention to his wares by blowing a pipe upon which he could play three notes. With the flow of his sentimental melody arrested by the itinerant and obstreperous music, Schumann at once proceeded to make the pipe theme the motive of an intermezzo, accompanied by a throng of semiquavers to stand for the children. The episode dies away (the man's pipe becomes faint in the distance), and the composer then resumes his interrupted strain."
# Anecdotes of Great Musicians/Anecdote 211

211.—A BURIAL PLACE DENIED.
The incidents connected with Paganini's death and burial were as peculiar as was the life of that very peculiar man.
The great violinist died at Nice, Italy, in 1840. When a priest came to administer the last sacrament, Paganini, not believing that death was so near, postponed this final consolation of the church. The priest departed, ​and in a few hours the violinist died without the presence of a clergyman. This priest reported that Paganini had refused the sacrament; so, when application was made for a burial permit, it was denied by the church. The Governor of the province, and even the King, petitioned the Bishop to allow the body to be interred in sacred soil, but the decree was not altered.
A law suit was entered upon by the heirs, and a waiting room was provided for the corpse, where it could pass the time till sentence was pronounced.
While this law suit was being carried on in a bitter way to secure a good Catholic burial according to the rites of his church, and while Paganini was quietly and patiently awaiting the decision as to where should be his last resting place, a Jew proposed to one of Paganini's friends to purchase the remains, offering 30,000 francs for the embalmed mummy, for the purpose of exhibiting it in England and elsewhere!
The body reposed in a pest house for three years, awaiting interment. Finally a funeral was conceded by the Pope, and in a small boat the remains of the greatest of violinists were carried to Genoa, his birthplace, and in 1845 were interred near Parma, in a splendid tomb erected by his son.
Paganini left to his son a fortune amounting to £80,000. In his will he left a fixed sum for masses which were to be said for the repose of his soul. It is certainly to be hoped that his soul found rest sooner than it was permitted by the church for his body to rest.
His native city of Genoa has preserved Paganini's violin, a valuable Guarnerius, and since his death no hand has touched it save one, that of his pupil Sivori, for whom it was removed from its glass case.
# Anecdotes of Great Musicians/Anecdote 209

209.—ORIGINAL TAPESTRY.
"I was not rich enough to buy good pictures, so I made myself some tapestry such as I am sure every one cannot have." The tapestry in question was truly such as few could have and still fewer could manufacture; for it was Haydn that spoke and the hangings referred to consisted of over forty compositions in canon form, mounted and hung in his bedroom in the way customary for paintings and engravings. Had it been some composers we might think it a monumental exhibition of vanity or pride in their own abilities, but Haydn's nature was hardly of that kind.
# Anecdotes of Great Musicians/Anecdote 214

214.—RESTORING AN ORGAN.
Many of the pipe organs used in our churches are poor affairs. The church committee that is vested with purchasing power seems generally to be chosen, like jurymen, on account of entire absence of knowledge of the subject in hand,—in this case of music in general and organs in particular. The result is that they are at the mercy of the organ builder in matters of construction, though he is at their mercy in the matter of money; for in many cases the main consideration is to expend as little as possible and get in return not the best action, stop combinations, and material,—but the greatest possible quantity of external display.
Consequently we find organs having the tone quality poor, the key action hard and stiff, the stops requiring ​the muscle of a Sandow for manipulation, the swell slamming like a window blind, the tremulant rattling like a wheezy horse, and the balance of pedal and manual registers such as to make the word "balance" a misnomer, to say nothing of the pipes being generally out of tune.
True, these various ills may not often coexist in the same organ; but frequently we find several of them dwelling in—discord together.
The cause of this state of affairs is anxiety, when purchasing, to get quantity rather than quality, and afterward allowing the instrument to go for months and years without proper attention. An organ should be regulated, adjusted, and tuned at least once a year, by a competent man, and not by the "tramp" tuners that leave an instrument in worse condition than they found it.
It is poor economy to try and rebuild or restore an organ. After it reaches a certain age it is best to replace the instrument with a new one, having used in it as many of the old pipes as the builder sees fit. Improvements are constantly being made in mechanism, and the latest and best action should be secured rather than patch up an old one.
Snetzler, an English organ builder, but originally from Germany, once reported to a committee concerning the restoration of an old organ in these words:—
"Gentlemen, your organ be vort von hundert pound just now. Ven you spend von hundert pounds on him to fix him up he will den be vort fifty!"
# Anecdotes of Great Musicians/Anecdote 21

21.—THE YOUTHFUL BEETHOVEN'S TRICK ON A SINGER
Another incident of the necessity of a good understanding with the accompanist is found in the life of Beethoven. He, as a mere boy, held the responsible position of organist in the Electoral Chapel at Bonn. In the choir was a smart singer, who declared he could sing anything, and no accompanist could disconcert him. ​Beethoven made a wager with him that he could succeed in "putting him out." So, in a service in holy week, by an adroit modulation in his accompaniment of this coxcomb, the latter was landed in a key where all he could do was to break down. The singer at once complained to the Elector, who heard the case and reprimanded them both. But we can hardly blame Beethoven; for a boy of fifteen, Beethoven's age at that time, could hardly withstand the temptation to try his skill under such provocation.
# Anecdotes of Great Musicians/Anecdote 210

210.—THE MANUAL LABOR OF COMPOSITION.
It is hard for us to realize the amount of laborious writing and copying there is for a composer to do before he has his manuscript ready for the printer. The manual labor necessary is enough to deter one from composition, even were he gifted with the composing ability. A good way for the student to appreciate this is to try copying, in a clear, exact hand, a few pages of complicated music, or, better still, transposing a few pieces from one key into another.
Beethoven, although averse to details, and though not as profuse with his signs of expression and nuance as some composers, has given us, in his manuscripts, an example of care and exactness, as well as of deep thought and continued study.
In his overture in C, Op. 115 (the manuscript of which, by the way, he sold to a London publisher for £15), besides the labor of writing the mere notes, it was no inconsiderable task to properly indicate the dynamic effects intended. For instance, the sign sf. occurs in this score more than fifteen hundred times, and besides this there are hundreds of other signs such as p., piu., pp., f., ff., fff., sfp., sfpp., cres., dim., etc.
It means something besides God-given genius to be a great composer,—something more than the ability to improvise music. It means days and years of slavish toil.
# Anecdotes of Great Musicians/Anecdote 212

212.—VON BÜLOW'S PECULIARITIES.
Von Bülow was more Gallic than Teutonic in his bright sayings and caustic wit. He was a curious fellow and fascinating despite his peculiarities. With his passage from the stage the musical art of our day lost one of its most representative men.
He was so bothered by admiring ladies who requested his signature that he had his secretary write them, and was greatly bored if this useful personage was absent and he had to pen his name himself. But he recompensed himself by writing as abominably as possible.
At one concert where he played only Beethoven sonatas, he seemed to be very happy over the fact that the audience applauded him most in that sonata, which, as he said, "I played like a pig."
He took a peculiar course toward a conductor who came to his assistance at the last moment, in a certain concert, the musician who should have conducted being intoxicated and unable to appear. At the end of the concert von Bülow went to the one who had volunteered so kindly, and was very effusive to him before the audience, and even embraced him. He was extravagant in testifying his satisfaction, and there was much applause at the scene. Von Bülow, after the concert, said, "Did you see my little scene with the conductor?" When asked why he was so desperately demonstrative, and why he made such a scene, he replied: "Ah! you ask that? I expected you would." But why not? It did me no harm, and it may do him good. Besides, I was so grateful that the conducting was no worse, that I could not restrain myself." After having been recalled three or four times at one concert by deafening cheers, he was prevailed upon, almost by force, to sit down again before the piano and play another piece. Satan knows what deviltry possessed him, but in mad defiance of the public he began the "Marseillaise" and went through it ​with intense energy and feeling, unheeding the auditors, who, after the first moment of incredulous surprise, rose to their feet and attempted to drown the hated strains of the French revolutionary hymn in groans and hisses.
# Anecdotes of Great Musicians/Anecdote 215

215.—AN EXCITING MUSICAL DUEL.
Madame Malibran was a woman of delicate and responsive nervous organization, but with a fiery spirit and an indomitable will. On the occasion of her second marriage, after the ceremony had taken place and the guests assembled at her home, she asked the great pianist Thalberg to play. He did so, but only on ​condition that she should sing. Though tired and nervous from the fatigues of the day, she sang, but in a manner that was hardly like her normal self.
When she had finished she turned to him, saying, "Now it's your turn, Mr. Thalberg." Then a musical duel took place which we will let an eye-witness describe:—
"He had not been married that morning, and the presence of such a listener putting him on his mettle without unduly exciting him, he drew from his instrument all that wealth and suppleness of tone which made it the most harmonious of singers. As he went on, Malibran's face gradually changed, her lack lustre eyes became bright, the mouth gradually expanded, the nostrils began to quiver. When his last note had died away she said: 'Admirable! Now it's my turn.' And forthwith she intones a second piece. But this time there was no appearance of either fatigue or listlessness, and Thalberg, absolutely bewildered, sat watching the transformation without being able to believe in it. It was no longer the same woman, it was no longer the same voice, and all he could do was to say in a low voice, 'Oh, madame, madame!' She had barely finished when he said animatedly, 'Now it's my turn.'
"Only those who heard Thalberg on that evening may perhaps flatter themselves that they have known the 'whole man.' Part of Malibran's genius had communicated itself to his masterly but severe style; he had caught the feverish passion of her soul. Currents of electric fluid ran from his fingers over the keyboard. But he could not finish his piece. At the last bars Malibran burst into violent sobs, she hid her face in her hands, she shivered from head to foot, and we had to carry her into the next room. She did not remain there very long; in a few moments she reappeared, with proud uplifted head and flashing eyes, and, rushing to the piano, she exclaimed: 'Now it's my turn.' She resumed that strange duel, and sang, one after another, ​four pieces, increasing in grandeur as she went, unconscious of everything around her in her growing excitement, until she noticed Thalberg's face bathed in tears as her's had been."
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 3

Chapter III.—Appion Proceeds to Interpret the Myths.
“There was once a time when nothing existed but chaos and a confused mixture of orderless elements, which were as yet simply heaped together. This nature testifies, and great men have been of opinion that it was so. Of these great men I shall bring forward to you him who excelled them all in wisdom, Homer, where he says, with a reference to the original confused mass, ‘But may you all become water and earth;’ implying that from these all things had their origin, and that all things return to their first state, which is chaos, when the watery and earthy substances are separated. And Hesiod in the Theogony says, ‘Assuredly chaos was the very first to come into being.’ Now, by ‘come into being,’ he evidently means that chaos came into being, as having a beginning, and did not always exist, without beginning. And Orpheus likens chaos to an egg, in which was the confused mixture of the primordial elements. This chaos, which Orpheus calls an egg, is taken for granted by Hesiod, having a beginning, produced from infinite matter, and originated in the following way.

## Footnotes

* ↑ [With this discourse and its cosmogony compare the discourse of Clement and his brothers in Recognitions, x. 17–19, 30–34.—R.]
* ↑ Iliad, vii. 99.
* ↑ L. 116.
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 7

Chapter VII.—Poseidon, Zeus, and Metis.
“When, then, they say that this primordial substance, although most filthy and rough, was devoured by Kronos, that is, time, this is to be understood in a physical sense, as meaning that it sank downwards. And the water which flowed together after this first sediment, and floated on the surface of the first substance, they called Poseidon. And then what remained, the purest and noblest of all, for it was translucent fire, they called Zeus, from its glowing (zeousa) nature. Now since fire ascends, this was not swallowed, and made to descend by time or Kronos; but, as I said, the fiery substance, since it has life in it, and naturally ascends, flew right up into the air, which from its purity is very intelligent. By his own proper heat, then, Zeus—that is, the glowing substance—draws up what is left in the underlying moisture, to wit, that very strong and divine spirit which they called Metis.

## Footnotes

* ↑ The Paris ms. has “very fine.”
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 8

Chapter VIII.—Pallas and Hera.
“And this, when it had reached the summit of the æther, was devoured by it (moisture being mixed with heat, so to say); and causing in it that ceaseless palpitation, it begat intelligence, which they call Pallas from this palpitating (pallesthai). And this is artistic wisdom, by which the ætherial artificer wrought out the whole world. And from all-pervading Zeus, that is, from this very hot æther, air (aer) extends all the way to our earth; and this they call Hera. Wherefore, because it has come below the æther, which is the purest substance (just as a woman, as regards purity, is inferior), when the two were compared to see which was the better, she was rightly regarded as the sister of Zeus, in respect of her origin from the same substance, but as his spouse, as being inferior like a wife.

## Footnotes

* ↑ [With chaps. 8–10 compare Recognitions, x. 32, 34.—R.]
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 9

Chapter IX.—Artemis.
“And Hera we understand to be a happy tempering of the atmosphere, and therefore she is very fruitful; but Athena, as they call Pallas, was reckoned a virgin, because on account of the intense heat she could produce nothing. And in a similar fashion Artemis is explained: for her they take as the lowest depth of air, and so they called her a virgin, because she could not bear anything on account of the extreme cold. And that troubled and drunken composition which arises from the upper and lower vapours they called Dionysus, as troubling the intellect. And the water under the earth, which is in nature indeed one, but which flows through all the paths of earth, and is divided into many parts, they called Osiris, as being cut in pieces. And they understand Adonis as favourable seasons, Aphrodite as coition and generation, Demeter as the earth, the Girl (Proserpine) as seeds; and Dionysus some understand as the vine.
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VII
## Contents

* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 4

Chapter IV.—Origin of Chaos.
“This matter, of four kinds, and endowed with life, was an entire infinite abyss, so to speak, in eternal stream, borne about without order, and forming every now and then countless but ineffectual combinations (which therefore it dissolved again from want of order); ripe indeed, but not able to be bound so as to generate a living creature. And once it chanced that this infinite sea, which was thus by its own nature driven about with a natural motion, flowed in an orderly manner from the same to the same (back on itself), like a whirlpool, mixing the substances in such a way that from each there flowed down the middle of the universe (as in the funnel of a mould) precisely that which was most useful and suitable for the generation of a living creature. This was carried down by the all-carrying whirlpool, drew to itself the surrounding spirit, and having been so conceived that it was very fertile, formed a separate substance. For just as a bubble is usually formed in water, so everything round about contributed to the conception of this ball-like globe. Then there came forth to the light, after it had been conceived in itself, and was borne upwards by the divine spirit which surrounded it, perhaps the greatest thing ever born; a piece of workmanship, so to speak, having life in it which had been conceived from that entire infinite abyss, in shape like an egg, and as swift as a bird.

## Footnotes

* ↑ This is the emendation of Davisius. The Greek has ἐξ ἀκουστοῦ; the Latin, “mirum in modum.” Wieseler suggests ἐξακοντιστόν.
* ↑ This is Wieseler’s emendation for “received.”
# Ante-Nicene Fathers/Volume VIII/Pseudo-Clementine Literature/The Clementine Homilies/Homily VI/Chapter 6

Chapter VI.—Phanes and Pluto.
“This egg, then, which was the first substance, growing somewhat hot, was broken by the living creature within, and then there took shape and came forth something; such as Orpheus also speaks of, where he says, ‘when the capacious egg was broken,’ etc. And so by the mighty power of that which appeared (phaneis) and came forth, the globe attained coherency, and maintained order, while it itself took its seat, as it were, on the summit of heaven, there in ineffable mystery diffusing light through endless ages. But the productive matter left inside the globe, separated the substances of all things. For first its lower part, just like the dregs, sank downwards of its own weight; and this they called Pluto from its gravity, and weight, and great quantity (polu) of underlying matter, styling it the king of Hades and the dead.

## Footnotes

* ↑ Wieseler corrects to “some such being,” etc.; and below, “of him who appeared,” etc.; and “he took his seat.”
* ↑ The first word of this quotation gives no sense, and has been omitted in the translation. Lobeck suggests “at its prime;” Hermann, “Heracapeian;” Duentzer, “ancient;” and Wieseler, “white.”
* ↑ [Comp. Recognitions, x. 32.—R.]