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

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/knirren | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ knirren, vb., ‘to creak,’ from MidHG. knirren, ‘to jar.’ A recent imitative word.
# An Etymological Dictionary of the German Language/knappen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/knappen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ knappen, vb., ‘to make scarce, hobble, nibble,’ ModHG. only, from Du. knappen, ‘to eat, lay hold of quickly.’ —
# An Etymological Dictionary of the German Language/kneipen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/kneipen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ kneipen, vb. ‘to pinch,’ early ModHG., orig. LG. knîpen (see also kneifen); Du. knijpen, ‘to nip, twitch’; probably not allied to AS. hnîpan, hnipian, ‘to bow,’ but to a root hnîp, ‘to nip,’ not recorded in OTeut., from which also MidE. nipen, E. to nip, are derived; kn initially may be explained from *gahnîpan. The pre-Teut. root knîb appears in Lith. knìbti, ‘to pick, pluck,’ knèbti, ‘to nip.’ If the E. word is unconnected with Du. knijpen on account of the initial sound, we might assume a root knîb, gnîb (Lith. gnýbti, ‘to nip,’ gnýbis, ‘nip’), though this too is not recorded in OTeut.
# An Etymological Dictionary of the German Language/knicken

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/knicken | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ knicken, vb., ‘to crack,’ ModHG. only; from LG. knikken, ‘to burst, split, crack’; E. (dial.) to knick, ‘to crack.’
# An Etymological Dictionary of the German Language/kneifen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/kneifen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ kneifen, vb., ‘to nip,’ ModHG. only, a Phonetic rendering of LG. knîpen, adopted by the written language. Comp. kneipen.
# An Etymological Dictionary of the German Language/knirschen

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/knirschen | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ knirschen, vb., ‘to gnash,’ MidHG. *knirsen, may be inferred from knirsunge, f., ‘gnashing,’ and zerknürsen, ‘to crush, squash’; for sch from s after r comp. Hirsch and Arsch; comp. ModDu. knarsen, knersen, ‘to gnash, crash,’ knarsetanden, ‘to gnash with the teeth.’
# An Etymological Dictionary of the German Language/knistern

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/knistern | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ knistern, vb., ‘to crackle,’ from MidHG. *knisten, on which the noun knistunge, f., ‘gnashing,’ is based; an onomnatopoetic formation.
# Ancient India as described by Megasthenês and Arrian/Frag. VII.

Fragm. VII.
Strabo, II. i. 4, pp. 68-69.
Of the Size of India.
Hipparchos controverts this view, urging the futility of the proofs on which it rests. Patroklês, he says, is unworthy of trust, opposed as he is by two competent authorities, Dêimachos and Megasthenês, who state that in some places the distance from the southern sea is 20,000 stadia, and in others 30,000. Such, he says, is the account they give, and it agrees with the ancient charts of the country.
# Ancient India as described by Megasthenês and Arrian/Frag. IX.

Fragm. IX.
Strabo, II. i. 19,-p. 76.
Of the setting of the Bear, and shadows falling in contrary directions.
Again, be [Eratosthenes] wished to show the ignorance of Dêimachos, and his want of a ​practical knowledge of such subjects, evidenced as it was by his thinking that India lay between the autumnal equinox and the winter tropic, and by his contradicting the assertion of Megasthenes that in the southern parts of India the constellation of the Bear disappeared from view, and shadows fell in opposite directions, phenomena which he assures us are never seen in India, thereby exhibiting the sheerest ignorance. He does not agree in this opinion, but accuses Dêimachos of ignorance for asserting that the Bears do nowhere in India disappear from sight, nor shadows fall in opposite directions, as Megasthenês supposed.
* ↑ Conf. Epit.8.
* ↑ Conf. Diod. II. 35, Plin. Hist. Nat. VI. 22. 6. The writers of Alexander's time who affirmed similar things were Nearchos and Onesikritos, and Bacto who exceeded all bounds. Conf. Lassen, Instit. Ling. Prac. Append. p. 2. -Schwanb. p. 29.
# Ancient India as described by Megasthenês and Arrian/Frag. VIII.

Fragm. VIII.
Arr. Indica, III. 7-8.
Of the Size of India.
With Megasthenês the breadth of India is its extent from east to west, though this is called by others its length. His account is that the breadth at shortest is 16,000 stadia, and its length-by which he means its extent from north to south-is at the narrowest 22,300 stadia.
# Ancient Law

London: John Murray.
CONTENTS.
| Chap. | | Page |
| I. | Ancient Codes | 1 |
| II. | Legal Fictions | 21 |
| III. | Law of Nature and Equity | 44 |
| IV. | The Modern History of the Law of Nature | 73 |
| V. | Primitive Society and Ancient Law | 113 |
| VI. | The Early History of Testamentary Succession | 171 |
| VII. | Ancient and Modern Ideas respecting Wills and Successions | 215 |
| VIII. | The Early History of Property | 244 |
| IX. | The Early History of Contract | 304 |
| X. | The Early History of Delict and Crime | 367 |
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Anecdotes of Great Musicians/Anecdote 164

164.—THE DEAF BEETHOVEN.
The deaf Beethoven and the blind Handel are pitiful pictures. For many years Beethoven could hear no note of music, yet in this time he put forth some of his mightiest works.
At the first performance of his immortal Ninth Symphony, Beethoven himself conducted. But he could not hear a single tone from the orchestra and chorus. When, at the close of the work, the audience loudly applauded, Beethoven was entirely oblivious of it until the lady who sang the alto solo part had turned him around facing the people, so he could see the clapping of hands. It was a touching sight, and the people were deeply affected by the condition of this grand old man, who had to see, instead of hear, the applause for his music.
# Anecdotes of Great Musicians/Anecdote 166

166.—"VORTS" VS. MUSIC.
In this century it is considered necessary to have a congenial theme and inspiring words before a composer can do his best in giving the text a musical setting. But this was not the case in the first half of the last century. Counterpoint, i.e., musical mathematics, held the boards then. The words were secondary in the composer's eyes; and the main thing was whether the music was good as music, and not whether it illustrated the sentiment of the language.
Even the great Händel seemed at times to care little for the words set to his compositions. Perhaps there is a great deal to be said for this view of the matter, for who goes to hear an opera on account of its beautiful words? How many operas have been borne into public favor by the beauty of the music when the words were mere trash? Even in church music, in how many cases are the words understood by the congregation? If the singers don't give the people the opportunity to understand the words, why scan the composition of the poetry very critically?
​With Handel it was natural that the music should hold first place in his affection. His ideas about the value of the poetry to which he set his music may be illustrated by the following incident:—
There was a certain Dr. Morrell who arranged many of Handel's librettos for him. This personage one day ventured to give Händel some advice as to what kind of music should be set to certain words. This at once aroused the choleric Händel.
"Vat," he exclaimed, "Vat! you deach me music? My music ish goot music. Damn your vorts! Here,"—sitting down to his instrument and playing through a melody,—"here are mine ideas; you go and make vorts to dem."
Yet in some of his greater compositions, his oratorios, Händel carefully chose his words from the Scriptures, and in many cases the musical settings are highly beautiful and in perfect accord with the sentiment of the Word.
# Anecdotes of Great Musicians/Anecdote 172

172.—AN INTERRUPTED OPERA.
Mozart once created quite a sensation in a theater he was visiting. It was at Marseilles. He had gone to the opera incognito to hear one of his own works performed. All went well till, in a certain passage, through some error in the copyist, the orchestra played "D" where Mozart had written "D sharp." This change of one note made a decided difference in the harmony, and turned the superior harmonic effect intended into a very ordinary sounding affair.
No sooner was this done than Mozart sprang to his feet, crying out: "Play D sharp, will you; play D sharp, you wretches!" It may be imagined that such actions produced quite a sensation. The orchestra and singers stopped their performance and the audience began to hiss him down and cry, "Put him out!" and he was about to be summarily ejected from the theater, when he announced who he was.
When it was known that it was Mozart, the tumult subsided, and cries of "Mozart! Mozart!" rang through the house. The very ones that were about to expel ​him now conducted him to the orchestra, and he was compelled to direct the opera, which was taken up anew. This time the missing D sharp was played in its proper place and produced the intended effect. At the close of the opera a perfect ovation was tendered the composer, and the people were not content until they had escorted him in triumph to his hotel.
# Anecdotes of Great Musicians/Anecdote 169

169.—IMAGINATION A FACTOR IN HEARING MUSIC.
One cannot but regard with pity the semi-insane actions of the people who rave over the playing of some popular artist, and lose their good sense, dignity, and self-possession in their mad worship of the idol of the hour.
The latest craze of this style has been over that excellent pianist, Paderewski, when people—that is to say, women—have thrown themselves at him, wept over him, kissed him, and made fools of themselves generally.
Certainly, emotional playing affects emotional people. But if we subtract from such scenes the maundering sentimentality, the shallow brain, and the feeling that it is "the proper thing" to rave over the unfortunate object of their sentimental vaporings, popular artists might then venture before the public without a body-guard to ward off the emotional female.
Those who best appreciate good playing, and who really have the deepest emotional nature, do not manifest their sentiments on the surface for the benefit of a curious crowd.
In this sentimental excitement the imagination is a powerful factor. This was proved by Liszt on one occasion. Excitable ladies were affected by Liszt's playing just as, in later days, they have been by that of Paderewski.
In this instance Liszt found himself surrounded by a bevy of beautiful dames and damsels, a circumstance which, by the way, was not opposed to his tastes, for Liszt was a lover of the beautiful, to which feminine beauty was no exception. Of course, the universal desire was that he should play for them, that he should produce for them "the ecstacies, the artistic raptures, which his magnificent talent never failed to evoke." Overcome by their persuasions, Liszt seated himself at the piano and played. By his wonderful skill some of ​the ladies were soon overcome with delight; some even fainted!
In telling a friend of the matter afterward, Liszt said: "Believe me, I played many wrong notes intentionally; indeed, so palpable were some of my errors, that had I been playing at any elementary music school I should certainly have been expelled as an impostor!"
So much for the power of imagination. Had some other than Liszt played the same music perfectly, the ladies would have thought it not worth their while to faint.
# Anecdotes of Great Musicians/Anecdote 170

170.—MUSICAL AND NON-MUSICAL ACCENT.
The matters called "time" and "accent" in music are stumbling-blocks for many a pupil and for many people who profess to understand the tone-art. If music students have trouble in understanding these subjects, it is small wonder that so stupid a body as the average court jury should need a detailed explanation of these somewhat common technical terms; and it would need a musician who not only understood his subject, but one who was able to express his ideas in clear, terse language, and to employ apt illustration, to elucidate the matter.
Such a musician was found, when, in 1833, there came up for trial before an English court a case of violation of copyright, and Cooke, the composer, was called as an expert witness. In the course of the examination the following dialogue took place:—
"Now, sir," said the lawyer, "you say that these two melodies are identical but different; what am I to understand by that, sir?"
"What I said," replied Cooke, "was that the notes in the two arrangements are the same, but with a different accent, one being in common, the other in triple, time; consequently the position of the accented notes is different in the two copies."
​"What is musical accent?" glibly inquired the counsel.
"My terms for teaching music are a guinea a lesson," said Cooke, much to the enjoyment of the spectators.
"I don't want to know your terms for teaching; I want you to explain to his Lordship the Judge and to the jury what is 'musical accent.'" Here Sir James Scarlett, the questioner, grew warm and inquired,—
"Can you see it?"
"No."
"Can you feel it?"
"Well," drawled Cooke, "a musician can."
Again the lawyer put the question and the court required it to be answered.
"Will you explain to his lordship and the jury, who are supposed to know nothing about music, the meaning of what you call accent?"
"Musical accent," replied the witness, "is emphasis laid on a certain note, just in the same manner as you would lay stress on any word when speaking, in order to make yourself better understood. Let me give you an illustration, Sir James. If I were to say, 'You are a jackass,' the accent rests on jackass; but if instead I said, 'You are a jackass,' it rests on you, Sir James; and I have no doubt the gentlemen of the jury will corroborate me."
# Anecdotes of Great Musicians/Anecdote 165

165.—THE HISTORY OF A VIOLIN.
Ole Bull's favorite violin was one of old Caspar di Salo's creations.
Its history was so varied as to deserve mention. For a hundred and fifty years or so it had reposed in the museum at Innspruck, where it had been placed by a cardinal as being a fine example of the work of its maker. In 1809 the French soldiers sacked that place, and this valuable instrument was carried off by a soldier and subsequently sold to Herr Rhehazek, a Viennese official, who was a collector of violins, and who had put nearly all his wealth into his fine collection of instruments. When Ole Bull visited Vienna, in 1839, he saw this fiddle and determined to possess it. But no, Rhehazek would not part with it, and all Bull could get out of him was that if the violin were to be sold he ​should have the first opportunity to purchase it at four thousand ducats. The violinist agreed, although he knew it was a big price.
Two years later he was one day dining with Liszt and Mendelssohn in Leipzig, when a letter was handed him bearing an official seal. It was from Vienna, and announced the death of the old violin collector. Rhehazek had told his son that Ole Bull was to have the first opportunity to buy the di Salo violin, and the son faithfully wrote him that he could now purchase it. Liszt declared that Ole must be crazy to pay so much for a violin he had never heard; and Mendelssohn said it was a piece of extravagance that only a fiddler could be capable of. But Ole Bull persisted in buying the violin, and with it won some of his greatest triumphs.
# Anecdotes of Great Musicians/Anecdote 167

167.—FRENCH WIT.
Grétry, the French opera composer, was a man of considerable wit and enjoyed a good joke. He was able to take a hand in a bit of fun when occasion offered. At one time, when going on a trip through Switzerland, he met with a German baron who proposed that they should travel together.
As soon as they had begun their journey, Grétry began a conversation with his lordship, saying, "Ah, sir, how enchanted I am with—,"
"Sir," interrupted the baron, "I never talk in a carriage."
"Very well," said Grétry, and subsided into quiet.
The baron had evidently considered that he had a garrulous traveling companion, and that it was best to shut him up in the beginning of the journey.
That night when they halted at an inn and had ​divested themselves of their dusty traveling robes and were comfortably settled before a roaring blaze, the baron turned to Grétry, saying:—
"Now, my dear sir, how glad I am that——."
"Sir," said Grétry sharply, "I never talk in an inn."
The nobleman saw the joke, and the two then entered into friendly conversation.
The next day they were ascending Mount Cenis. Grétry espied a small cross stuck in the ground and inquired of the guides what it meant. He was answered sharply with one word, "Silence!"
"How now," thought our Frenchman, "are these some more German barons?"
But he kept quiet until the end of their climb, when the guides told him that any conversation or noise might, by the vibration of the air, loosen some of the masses of snow and cause an avalanche.
# Anecdotes of Great Musicians/Anecdote 168

168.—TOO LITERAL.
An English singer, Anna Storace, when visiting Vienna, sang before the court on a certain gala occasion, and was the recipient of many compliments. The Emperor, passing her in the fête, politely asked her if she was enjoying herself, and also if there was anything he could do for her. Not understanding that court language must not always be taken too literally, she calmly replied, "Yes, your Majesty, I am quite thirsty; will you get me a glass of water?"
The effect of this request on the bystanders may be imagined. The Emperor, however, had the good sense not to be offended, and, ordering an attendant to wait on the lady, smilingly passed on.
# Anecdotes of Great Musicians/Anecdote 17

17.—OLE BULL AS A DUELIST.
Händel was not the only great musician to fight a duel, although he was the greatest composer who took a part in that exciting pastime. Ole Bull once had an adventure similar to Händel's, but from all accounts the Norwegian violinist must have been a better swordsman than the "Dear Saxon." In his student days in Germany, Bull once fell in with a party of carousing students and was persuaded by them to take the part of their violinist (who had become more than "half seas over") in a concert they were about to give. He accepted the position and played so well that the drunken fiddler whom he succeeded was jealous of his success and challenged him to a duel. Now, Ole could handle a sword as well as a fiddle bow and soon had disabled his opponent. This made things so warm for him in that neighborhood that he had to take his departure to Norway.
# Anecdotes of Great Musicians/Anecdote 171

171.—VON WEBER TO A BAWLING CHOIR.
Appropriateness of expression is a thing foreign to many choir singers and choristers. Many cultivate the fortissimo habit until all hopes for a pianissimo or even a piano passage vanish. Outside of the excellent effect of an occasional change from a strong, lusty tone to a subdued and quieter passage, there is another matter to be considered, that of suiting the sound to the sense,—the volume of tone to the sentiment expressed by the words.
​A chorus was once heartily rebuked by von Weber in a manner that no doubt left a permanent impression. He was conducting a rehearsal of his "Jubel Cantata" in London. In the course of this work occurs a beautiful prayer for chorus. The singers attacked it with a loud and lusty tone, in a "hammer and tongs" style, as a German would say, when suddenly Weber called a halt, saying:—
"Stop! do not sing like that. Would you bawl in that manner in the presence of God?"—words that might appropriately be framed in almost every choir loft.
Not only in chorus and choir, but especially in church and Sunday school do we find people singing prayerful words in a manner which cannot be better described than in Weber's language—"bawling in the presence of God."
# Anazarbus

* Search for titles containing or beginning with: "Anazarbus."
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* "Anazarbus," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
* "Anazarbus," in Encyclopædia Britannica (11th ed., 1911)
# Anchor & Star

John Philip Sousa
Anchor & Star 1.jpg
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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# Anchor Song

* "Anchor Song" in The Seven Seas (1896)
* "Anchor Song" in Rudyard Kipling's Verse, Inclusive Edition, 1885-1918 (1919)