Timeline of World History TIMELINE OF WORLD HISTORY
 
 

TIMELINE OF WORLD HISTORY
 

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1800 - 1899
 
 
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
 
 
 
 
 
 
 
CONTENTS
  BACK-1813 Part I NEXT-1814 Part I    
 
 
     
FitzGerald Edward
1810 - 1819
YEAR BY YEAR:
1810-1819
History at a Glance
 
YEAR BY YEAR:
1810 Part I
Marie Louise, Duchess of Parma
Edict of Fontainebleau
First Republic of Venezuela
Mexican War of Independence
Argentine War of Independence
Colombian Declaration of Independence
Foolish Fatherland
Chilean War of Independence
Bolivian war of independence
Charles XIV John
Invasion of Guadeloupe
Cavour Camillo
 
YEAR BY YEAR:
1810 Part II
Cumberland Presbyterian Church
Montalembert Charles
Musset Alfred
Scott: "The Lady of the Lake"
Goya: "The Disasters of War"
The Nazarenes
Beethoven: "Egmont"
Chopin Frederic
Chopin - Nocturne Op.9 No.2
Frederic Chopin
Nicolai Otto
Nicolai - The Merry Wives of Windsor - Overture
Otto Nicolai
Rossini: "La Cambiale di Matrimonio"
Schumann Robert
Schumann - Piano sonata n.1 op.11
Robert Schumann
Spurzheim Johann Gaspar
Hahnemann Samuel
Girard Philippe
Humboldt University of Berlin
Krupp Friedrich Carl
Barnum Phineas Taylor
 
YEAR BY YEAR:
1811 Part I
George IV
Battle of the Danube
Massacre of the Mamelukes at Cairo
Napoleon Francois-Joseph Charles
Battle of Fuentes de Onoro
Paraguay independent of Spain
Venezuelan War of Independence
Peruvian War of Independence
San Martin Jose
Battle of Las Piedras
Artigas Jose Gervagio
Invasion of Java
Battle of Tippecanoe
 
YEAR BY YEAR:
1811 Part II
Bottiger Karl August
Niebuhr Barthold Georg
University of Oslo
Jane Austen: "Sense and Sensibility"
Stowe Harriet Beecher
Friedrich de la Motte-Fouque: "Undine"
Gautier Theophile
Goethe: "Aus meinem Leben: Dichtung und Wahrheit"
Gutzkow Karl
Thackeray William Makepeace
Dupre Jules
Jules Dupre
Ingres: "Jupiter and Thetis"
Thomas Lawrence: Portrait of Benjamin West
Thorvaldsen: "Procession of Alexander the Great"
 
YEAR BY YEAR:
1811 Part III
Liszt Franz
Franz Liszt - Liebestraum - Love Dream
Franz Liszt
Prague Conservatoire
Carl Maria von Weber: "Abu Hassan"
Avogadro Amedeo
Great Comet of 1811
Bunsen Robert
Poisson Simeon-Denis
Manning Thomas
Berblinger Albrecht Ludwig
"Luddites"
Jungfrau
 
YEAR BY YEAR:
1812 Part I
French invasion of Russia
Battle of Borodino
Kutuzov Mikhail
Malet Claude-François
Louisiana
Perceval Spencer
 
YEAR BY YEAR:
1812 Part II
War of 1812
Battle of Salamanca
Siege of Burgos
Battle of Tordesillas
Hegel: "Science of Logic"
Jewish emancipation
Browning Robert
Robert Browning 
"Dramatic Romances"
"The Pied Piper of Hamelin"
The Brothers Grimm: "Fairy Tales"
Lord Byron: "Childe Harold's Pilgrimage"
Dickens Charles
Charles Dickens
"Great Expectations"
Theatre Royal Drury Lane
Goncharov Ivan Aleksandrovich
Smiles Samuel
Krasinski Zygmunt
Kraszewski Joseph Ignatius
 
YEAR BY YEAR:
1812 Part III
Elgin Marbles
Rousseau Theodore
Theodore Rousseau
Pforr Franz
Franz Pforr
Beethoven: Symphonies No. 7 (Op. 92)
Encounter between Beethoven and Goethe at Teplitz
Beethoven: Symphonies No. 8 (Op. 93)
Flotow Friedrich
Friedrich von Flotow: Piano Concerto No. 2
Friedrich von Flotow
Gesellschaft der Musikfreunde, Vienna
Burckhardt Johann Ludwig
Krupp Alfred
Red River Settlement, Manitoba, Canada
Hampden Clubs
 
YEAR BY YEAR:
1813 Part I
German Campaign 1813–1814
Battle of Dresden
Battle of Lutzen
Battle of the Katzbach
Battle of Leipzig
Battle of York
Battle of Fort George
Capture of USS Chesapeake
Battle of Crysler's Farm
Capture of Fort Niagara
Battle of Buffalo
Battle of Vitoria
Siege of San Sebastian
First Serbian Uprising
 
YEAR BY YEAR:
1813 Part II
Herbart Johann Friedrich
Kierkegaard Soren
Schopenhauer: "On the Fourfold Root of the Principle of Sufficient Reason"
Colby College, Maine
The Baptist Union of Great Britain
Jane Austen: "Pride and Prejudice"
Buchner Georg
Byron: "The Giaour"
Hebbel Friedrich
Ludwig Otto
Shelley: "Queen Mab"
Turner: "Frosty Morning"
London Philharmonic Society
Rossini: "L'ltaliana in Algeri"
Verdi Giuseppe
Anna Netrebko "Final Scene" La traviata
Giuseppe Verdi
Wagner Richard
Richard Wagner - Ride Of The Valkyries
Richard Wagner
Campbell John
Blaxland Gregory
Across the Blue Mountains
Lord Thomas
 
YEAR BY YEAR:
1814 Part I
1814 campaign in France
Six Days Campaign
Battle of Champaubert
Battle of Montmirail
Battle of Chateau-Thierry
Battle of Vauchamps
Battle of Orthez
Treaty of Chaumont
Battle of Arcis-sur-Aube
Battle of Paris
Battle of Toulouse
Treaty of Fontainebleau
Treaty of Paris
Congress of Vienna
Napoleon's exile to Elba
 
YEAR BY YEAR:
1814 Part II
Christian VIII
Bakunin Mikhail
Battle of Chippawa
Burning of Washington
Battle of Plattsburgh
Treaty of Ghent
Anglo-Nepalese War of 1814–16
First Anglican bishop in Calcutta
Motley John Lothrop
 
YEAR BY YEAR:
1814 Part III
Jane Austen: "Mansfield Park"
Byron: "The Corsair"
Edmund Kean's Shylock
Lermontov Mikhail
Mikhail Lermontov
"Death of the Poet"
"Mtsyri"
"The Demon
"
Walter Scott: "Waverley"
Williav Wordsworth: "The Excursion"
Adelbert von Chamisso: "Peter Schlemihl"
Goya: "The Second of May 1808"
Goya: "The Third of May 1808"
Ingres: "Grande Odalisque"
Millet Jean Francois
Jean Francois Millet
Orfila Mathieu Joseph Bonaventure
Industrial printing presses
Lord's Cricket Ground
 
YEAR BY YEAR:
1815 Part I
Battle of New Orleans
Hundred Days
Neapolitan War
Battle of Waterloo
Napoleon's surrender
Second Peace of Paris
Ney Michel
NAPOLEON AND THE STRUGGLE FOR EUROPE, 1796-1815
 
YEAR BY YEAR:
1815 Part II
Corn Law
Bismarck Otto
Spanish Invasion of New Granada in 1815–1816
Basel Mission
Beranger Pierre
Byron: "Hebrew Melodies"
Geibel Emanuel
Hoffmann: "Die Elixiere des Teufels"
Scott: "Guy Mannering"
Trollope Anthony
Anthony Trollope 
"Barchester Towers"
Wordsworth: "White Doe of Rylstone"
 
YEAR BY YEAR:
1815 Part III
Goya: "La Tauromaquia"
Menzel Adolf
Adolf Menzel
Turner: "Crossing the Brook"
Franz Robert
Robert Franz - Oh Wert thou in the Cauld Blast
Robert Franz
Kjerulf Halfdan
Halfdan Kjerulf - Spring Song
Halfdan Kjerulf
Robert Volkmann - Cello Concerto in A minor
Robert Volkmann
Davy lamp
Fresnel Augustin-Jean
Prout William
Prout's hypothesis
Steam battery "Demologos", or "Fulton"
Nations in Arms
Warfare
Nations in Arms
(1763-1815)
Apothecaries Act
McAdam John Loudon
Robertson Allan
Eruption of Sumbawa Volcano
 
YEAR BY YEAR:
1816 Part I
Maria I, Queen of Portugal
John VI of Portugal
Argentine War of Independence
Argentine Declaration of Independence
Federal Convention
Indiana
American Bible Society
Gobineau Joseph Arthur
Karamzin Nikolai
 
YEAR BY YEAR:
1816 Part II
Jane Austen: "Emma"
Bronte Charlotte
Charlotte Bronte
"Jane Eyre"
Byron: "The Siege of Corinth"
Freytag Gustav
Derzhavin Gavrila
Leigh Hunt: "The Story of Rimini"
Shelley: "Alastor"
Goya: "The Duke of Osuna"
Rossini: "Barbiere di Siviglia"
Spohr: "Faust"
Brewster David
Laennec Rene-Theophile-Hyacinthe
Siemens Werner
Cobbett William
Froebel Friedrich
 
YEAR BY YEAR:
1817 Part I
Habeas Corpus Suspension Act
Blanketeers
Wartburg Festival
Second Serbian Uprising (1815-1817)
Mississippi
Third Anglo-Maratha War 1817-1818
Bockh August
Hegel: "Encyclopedia of the Philosophical Sciences"
Llorente Juan Antonio
Mommsen Theodor
David Ricardo: "Principles of Political Economy and Taxation"
Byron: "Manfred"
Thomas Moore: "Lalla Rookh"
Storm Theodor
Thoreau Henry David
 
YEAR BY YEAR:
1817 Part II
Constable: "Flatford Mill"
Daubigny Charles
Charles Daubigny
Thorvaldsen: Ganymede Waters Zeus as an Eagle
Leech John
John Leech
Watts George Frederic
George Frederic Watts
Rossini: "La Gazza ladra"
Rossini: "Cenerentola"
Selenium
Lithium
Ritter Carl
Long Stephen Harriman
"Blackwood's Magazine"
"The Scotsman"
Waterloo Bridge
 
YEAR BY YEAR:
1818 Part I
Chilean Declaration of Independence
Bavarian constitution proclaimed
Treaty of 1818
Illinois
Dobrovsky Josef
Froude James Anthony
Marx Karl
Karl Marx
"Manifesto of the Communist Party"
- Marxism
Friedrich Engels
First International
 
YEAR BY YEAR:
1818 Part II
Byron: "Don Juan"
Keats: "Endymion"
Peacock: "Nightmare Abbey"
Walter Scott: "Heart of Midlothian"
Shelley Mary
Mary Shelley "Frankenstein"
Mary Wollstonecraft Shelley 
"Frankenstein; or, The Modern Prometheus"
Turgenev Ivan
 
YEAR BY YEAR:
1818 Part III
Burckhardt Jakob
Fohr Carl Philipp
Karl Philipp Fohr
Donizetti: "Enrico, Conte di Borgogna"
Gounod Charles
Gounod - Ave Maria
Charles Gounod
"Stille Nacht, heilige Nacht"
Rossini: "Mose in Egitto"
Bessel Friedrich Wilhelm
Encke Johann Franz
Oxley John
British Admiralty Expeditions
Scoresby William
Phipps Constantine Henry
Buchan David
Parry William Edward
Ross James Clark
Order of Saint Michael and Saint George
Raiffeisen Friedrich Wilhelm
"Savannah"
 
YEAR BY YEAR:
1819 Part I
Founding of modern Singapore
Florida
Victoria
Queen Victoria
Victorian Era
Peterloo Massacre
Albert, Prince Consort
Alabama
Jakob Grimm: "German Grammar"
Hermes Georg
Schopenhauer: "Die Welt als Wille und Vorstellung"
Sismondi Jean
Wilson Horace Hayman
 
YEAR BY YEAR:
1819 Part II
Byron: "Mazeppa"
Eliot George
George Eliot 
"Silas Marner"
Fontane Theodor
Howe Julia Ward
Keats: "Hyperion"
Keller Gottfried
Kotzebue August
Lowell James Russell
Shelley: "The Cenci"
Whitman Walt
Walt Whitman
"Leaves of Grass"
Washington Irving: "Rip van Winkle"
 
YEAR BY YEAR:
1819 Part III
Courbet Gustave
Gustave Courbet
Theodore Gericault: "The Raft of the Medusa"
Ruskin John
Thorvaldsen: "Lion of Lucerne"
Turner: "Childe Harold's Pilgrimage"
Museo del Prado
Chasseriau Theodore
Theodore Chasseriau
Offenbach Jacques
Offenbach - Barcarole
Jacques Offenbach
Schumann Clara
Mitscherlich Eilhard
Oersted Hans Christian
Central Asia Exploration
Moorcroft William
First Sightings of the Antarctic Continent
Bransfield Edward
Weddell James
Bellingshausen Thaddeus
Burlington Arcade, Piccadilly, London
 
 
 

Turner J.M.W. "Frosty Morning"
 
 
 
 
 HISTORY, RELIGION, PHILOSOPHY, ART, LITERATURE, MUSIC, SCIENCE, TECHNOLOGY, DAILY LIFE
 
 
 
 
YEAR BY YEAR:  1800 - 1899
 
 
 
1813 Part II
 
 
 
1813
 
 
J. F. Herbart: "Introduction to Philosophy"
 
 
Herbart Johann Friedrich
 
Johann Friedrich Herbart, (born May 4, 1776, Oldenburg—died Aug. 14, 1841, Göttingen, Hanover), German philosopher and educator, who led the renewed 19th-century interest in Realism and is considered among the founders of modern scientific pedagogy.
 

Johann Friedrich Herbart
  After studying under Johann Gottlieb Fichte at Jena (1794), Herbart worked as a tutor at Interlaken, Switz., from 1797 to 1800, during which period he made the acquaintance of Pestalozzi. Becoming a licentiate of the University of Göttingen in 1802, he was appointed extraordinary professor there in 1805. At the close of 1808 he became Kant’s successor as professor at Königsberg. There he also conducted a seminary of pedagogy until 1833, when he returned as professor of philosophy to Göttingen, where he remained until his death.

Herbart’s position in the history of philosophy is due mainly to his contributions to the philosophy of mind. His aims in this respect are expressed by the title of his textbook—Psychologie als Wissenschaft neu gegrundet auf Erfahrung, Metaphysik, und Mathematik, 2 vol. (1824–25; “Psychology As Knowledge Newly Founded on Experience, Metaphysics, and Mathematics”); of central importance is the inclusion of Mathematik. He rejected the whole concept of faculties (in Kantian terms) and regarded mental life as the manifestation of elementary sensory units or “presentations” (Vorstellungen). These he conceived as mental forces rather than as mere “ideas” in Locke’s sense.
 
 

The study of their interactions gave rise to a statics and dynamics of the mind, to be expressed in mathematical formulas like those of Newtonian mechanics. Ideas need not be conscious; and they might either combine to produce composite resultants or conflict with one another so that some get temporarily inhibited or repressed “below the threshold of consciousness.” An organized but unconscious system of associated ideas formed an “apperception mass”; such a system could apperceive a new presentation and thus give it richer meaning. On this basis Herbart developed a theory of education as a branch of applied psychology.

His theory of education—known as Herbartianism—was set out principally in two works, Pestalozzis Idee eines A B C der Anschauung (1802; “Pestalozzi’s Idea of an A B C of Sense Perception”) and Allgemeine Pädagogik (1806; “Universal Pedagogy”), which advocated five formal steps in teaching:

(1) preparation, a process of relating new material to be learned to relevant past ideas or memories in order to give the pupil a vital interest in the topic under consideration;
(2) presentation, presenting new material by means of concrete objects or actual experience;
(3) association, thorough assimilation of the new idea through comparison with former ideas and consideration of their similarities and differences in order to implant the new idea in the mind;
(4) generalization, a procedure especially important to the instruction of adolescents and designed to develop the mind beyond the level of perception and the concrete; and
(5) application, using acquired knowledge not in a purely utilitarian way, but so that every learned idea becomes a part of the functional mind and an aid to a clear, vital interpretation of life. This step is presumed possible only if the student immediately applies the new idea, making it his own.

Herbart maintained that a science of education was possible, and he furthered the idea that education should be a subject for university study. His ideas took firm hold in Germany in the 1860s and spread also to the United States. By the turn of the century, however, the five steps had degenerated to a mechanical formalism, and the ideas behind them were replaced by new pedagogical theories, in particular those of John Dewey.

Encyclopædia Britannica
 
 
 
1813
 
 
Kierkegaard Soren
 
Soren Kierkegaard, in full Soren Aabye Kierkegaard (born May 5, 1813, Copenhagen, Den.—died Nov. 11, 1855, Copenhagen), Danish philosopher, theologian, and cultural critic who was a major influence on existentialism and Protestant theology in the 20th century. He attacked the literary, philosophical, and ecclesiastical establishments of his day for misrepresenting the highest task of human existence—namely, becoming oneself in an ethical and religious sense—as something so easy that it could seem already accomplished even when it had not even been undertaken. Positively, the heart of his work lay in the infinite requirement and strenuous difficulty of religious existence in general and Christian faith in particular.
 

Soren Kierkegaard
  A life of collisions
Kierkegaard’s life has been called uneventful, but it was hardly that. The story of his life is a drama in four overlapping acts, each with its own distinctive crisis or “collision,” as he often referred to these events. His father, Michael Pedersen Kierkegaard, was a prosperous but retired businessman who devoted the later years of his life to raising his children. He was a man of deep but gloomy and guilt-ridden piety who was haunted by the memory of having once cursed God as a boy and of having begun his family by getting his maid pregnant—and then marrying her—shortly after the death of his first wife. His domineering presence stimulated young Søren’s imaginative and intellectual gifts but, as his son would later bear witness, made a normal childhood impossible. Kierkegaard enrolled at the University of Copenhagen in 1830 but did not complete his studies until 1841. Like the German philosopher Georg Wilhelm Friedrich Hegel (1770–1831), whose system he would severely criticize, Kierkegaard entered university in order to study theology but devoted himself to literature and philosophy instead. His thinking during this period is revealed in an 1835 journal entry, which is often cited as containing the germ of his later work:

The thing is to find a truth which is true for me, to find the idea for which I can live and die.…What is truth but to live for an idea?

While a student at the university, Kierkegaard explored the literary figures of Don Juan, the wandering Jew, and especially Faust, looking for existential models for his own life.

 
 
The first collision occurred during his student days: he became estranged both from his father and from the faith in which he had been brought up, and he moved out of the family home. But by 1838, just before his father’s death, he was reconciled both to his father and to the Christian faith; the latter became the idea for which he would live and die. Despite his reference to an experience of “indescribable joy” in May of that year, it should not be assumed that his conversion was instantaneous. On the one hand, he often seemed to be moving away from the faith of his father and back toward it at virtually the same time. On the other hand, he often stressed that conversion is a long process. He saw becoming a Christian as the task of a lifetime. Accordingly, he decided to publish Sygdommen til døden (1849; Sickness unto Death) under a pseudonym (as he had done with several previous works), lest anyone think he lived up to the ideal he there presented; likewise, the pseudonymous authors of his other works often denied that they possessed the faith they talked about. Although in the last year of his life he wrote, “I dare not call myself a Christian,” throughout his career it was Christianity that he sought to defend by rescuing it from cultural captivity, and it was a Christian person that he sought to become.
 
 
After his father’s death, Kierkegaard became serious about finishing his formal education. He took his doctoral exams and wrote his dissertation, Om begrebet ironi med stadigt hensyn til Socrates (On the Concept of Irony, with Constant Reference to Socrates), completing it in June of 1841 and defending it in September. In between, he broke his engagement with Regine Olsen, thus initiating the second major collision of his life. They had met in 1837, when she was only 15 years old, and had become engaged in 1840. Now, less than one year later, he returned her ring, saying he “could not make a girl happy.” The reasons for this action are far from clear.

What is clear is that this relationship haunted him for the rest of his life. Saying in his will that he considered engagement as binding as marriage, he left all his possessions to Regine (she did not accept them, however, since she had married long before Kierkegaard died). It is also clear that this crisis triggered a period of astonishing literary productivity, during which Kierkegaard published many of the works for which he is best known: Enten-Eller: et livs-fragment (1843; Either/Or: A Fragment of Life), Gjentagelsen (1843; Repetition), Frygt og baeven (1843; Fear and Trembling), Philosophiske smuler (1844; Philosophical Fragments), Begrebet angest (1844; The Concept of Anxiety), Stadier paa livets vei (1845; Stages on Life’s Way), and Afsluttende uvidenskabelig efterskrift (1846; Concluding Unscientific Postscript). Even after acknowledging that he had written these works, however, Kierkegaard insisted that they continue to be attributed to their pseudonymous authors. The pseudonyms are best understood by analogy with characters in a novel, created by the actual author to embody distinctive worldviews; it is left to the reader to decide what to make of each one. Kierkegaard had intended to cease writing at this point and become a country pastor. But it was not to be.

  The first period of literary activity (1843–46) was followed by a second (1847–55). Instead of retiring, he picked a quarrel with The Corsair, a newspaper known for its liberal political sympathies but more famous as a scandal sheet that used satire to skewer the establishment. Although The Corsair had praised some of the pseudonymous works, Kierkegaard did not wish to see his own project confused with that of the newspaper, so he turned his satirical skills against it. The Corsair took the bait, and for months Kierkegaard was the target of raucous ridicule, the greatest butt of jokes in Copenhagen. Better at giving than at taking, he was deeply wounded, and indeed he never fully recovered. If the broken engagement was the cloud that hung over the first literary period, the Corsair debacle was the ghost that haunted the second.

The final collision was with the Church of Denmark (Lutheran) and its leaders, the bishops J.P. Mynster and H.L. Martensen. In his journals Kierkegaard called Sickness unto Death an “attack upon Christendom.” In a similar vein, Anti-Climacus, the pseudonymous author of Indøvelse i Christendom (1850; Training in Christianity), declared the need “again to introduce Christianity into Christendom.” This theme became more and more explicit as Kierkegaard resumed his writing career. As long as Mynster, the family pastor from his childhood, was alive, Kierkegaard refrained from personal attacks. But at Mynster’s funeral Martensen, who had succeeded to the leadership of the Danish church, eulogized his predecessor as a “witness to the truth,” linking him to the martyrs of the faith; after this Kierkegaard could no longer keep silent.
In December 1854 he began to publish dozens of short, shrill pieces insisting that what passed as Christianity in Denmark was counterfeit and making clear that Mynster and Martensen were responsible for reducing the religion to “leniency.” The last of these pieces was found on Kierkegaard’s desk after he collapsed in the street in October 1855.

 
 
Stages on life’s way
In the pseudonymous works of Kierkegaard’s first literary period, three stages on life’s way, or three spheres of existence, are distinguished: the aesthetic, the ethical, and the religious. These are not developmental stages in a biological or psychological sense—a natural and all-but-automatic unfolding according to some DNA of the spirit. It is all too possible to live one’s life below the ethical and the religious levels. But there is a directionality in the sense that the earlier stages have the later ones as their telos, or goal, while the later stages both presuppose and include the earlier ones as important but subordinate moments. Kierkegaard’s writings taken as a whole, whether pseudonymous or not, focus overwhelmingly on the religious stage, giving credence to his own retrospective judgment that the entire corpus is ultimately about the religious life.

The personages Kierkegaard creates to embody the aesthetic stage have two preoccupations, the arts and the erotic. It is tempting to see the aesthete as a cultured hedonist—a fairly obvious offshoot of the Romantic movement—who accepts the distinction made by Immanuel Kant (1724–1804) between artistic and sensuous pleasure while combining them in a single existential project. But in one of the essays of Either/Or, the aesthete sees boredom as the root of all evil and is preoccupied with making life interesting; and the famous seducer in the same volume seems less concerned with sex than with the fascinating spectacle of watching himself seduce his victim.

This clue helps one both to define the aesthetic stage and to see what a stage or sphere of existence in general is. What the various goals of aesthetic existence have in common is that they have nothing to do with right and wrong. The criteria by which the good life is defined are premoral, unconcerned with good and evil. A stage or sphere of existence, then, is a fundamental project, a form of life, a mode of being-in-the-world that defines success in life by its own distinctive criteria.

  What might motivate an aesthete to choose the ethical? The mere presence of guardians of the good, who are willing to scold the aesthete’s amorality as immorality, is too external, too easily dismissed as bourgeois phariseeism. Judge William, the representative of the ethical in Either/Or, tries another tack. The aesthete, he argues, fails to become a self at all but becomes, by choice, what David Hume (1711–76) said the self inevitably is: a bundle of events without an inner core to constitute identity or cohesion over time. Moreover, the aesthete fails to see that in the ethical the aesthetic is not abolished but ennobled. Judge William presents marriage as the scene of this transformation, in which, through commitment, the self acquires temporal continuity and, following Hegel, the sensuous is raised to the level of spirit.

In Fear and Trembling this ethical stage is teleologically suspended in the religious, which means not that it is abolished but that it is reduced to relative validity in relation to something absolute, which is its proper goal. For Plato (c. 428–c. 348 bc) and Kant, ethics is a matter of pure reason gaining pure insight into eternal truth. But Hegel argued that human beings are too deeply embedded in history to attain such purity and that their grasp of the right and the good is mediated by the laws and customs of the societies in which they live. It is this Hegelian ethics of socialization that preoccupies Judge William and that gets relativized in Fear and Trembling.

By retelling the story of Abraham, it presents the religious stage as the choice not to allow the laws and customs of one’s people to be one’s highest norm—not to equate socialization with sanctity and salvation but to be open to a voice of greater authority, namely God.

This higher normativity does not arise from reason, as Plato and Kant would have it, but is, from reason’s point of view, absurd, paradoxical, even mad. These labels do not bother Kierkegaard, because he interprets reason as human, all too human—as the rationale of the current social order, which knows nothing higher than itself.

 
 
In the language of Karl Marx (1818–83), what presents itself as reason is in fact ideology. Kierkegaard interprets Abrahamic faith as agreeing with Hegel and Marx about this historical finitude of reason, and, precisely because of this, he insists that the voice of God is an authority that is higher than the rationality of either the current establishment (Hegel) or the revolution (Marx). Against both Hegel and Marx, Kierkegaard holds that history is not the scene in which human reason overcomes this finitude and becomes the ultimate standard of truth.
 
 
Three dimensions of the religious life
The simple scheme of the three stages becomes more complex in Concluding Unscientific Postscript. The fundamental distinction is now between objectivity and subjectivity, with two examples of each. Objectivity is the name for occupying oneself with what is “out there” in such a way as to exempt oneself from the strenuous inward task of becoming a self in the ethico-religious sense. One example is the aesthetic posture, presented in earlier work; the other is the project of speculative philosophy, to which this text devotes major attention. The target is Hegelian philosophy, which takes the achievement of comprehensive, absolute knowledge to be the highest human task.

But, it is argued in the first place, speculative philosophy cannot even keep its own promises. It purports to begin without presuppositions and to conclude with a final, all-encompassing system. The very idea that thought should be without presuppositions, however, is itself a presupposition, and thus the system is never quite able to complete itself. The goal of objective knowledge is legitimate, but it can never be more than approximately accomplished. Reality may well be a system for God, but not for any human knower. Secondly, even if speculative philosophy could deliver what it promises, it would have forgotten that the highest human task is not cognition but rather the personal appropriation or embodiment of whatever insights into the good and the right one is able to achieve. Becoming a self in this way is called existence, inwardness, and subjectivity.

This use of existence as a technical term for the finite, human self that is always in the process of becoming can be seen as the birth of existentialism. Many scholars accordingly refer to Kierkegaard as the father of that movement.

 
The cover of the first English edition of The Journals, edited by Alexander Dru in 1938
 
 
The two modes of subjectivity are not, as one might expect, the ethical and the religious stages. One does not become a self simply through successful socialization. Besides, in the Concluding Unscientific Postscript, ethics is treated as already recontextualized in a religious rather than merely a social context. So the two modes of ethico-religious subjectivity are “Religiousness A” and “Religiousness B.” The fact that the latter turns out to be Christianity should not lead one to think that the former is some other world religion. It is rather the generic necessary condition for any particular religion and, as such, is available apart from dependence on the revelation to be found in any particular religion’s sacred scriptures. Socrates (c. 470–399 bc), here distinguished from the speculative Plato, is the paradigm of Religiousness A.
 
 
Religiousness A is defined not in terms of beliefs about what is “out there,” such as God or the soul, but rather in terms of the complex tasks of becoming a self, summarized as the task of being simultaneously related “relatively” to relative goods and “absolutely” to the absolute good. Kierkegaard and his pseudonyms refer to the absolute good variously as the Idea, the Eternal, or God. As the generic form of the religious stage, Religiousness A abstracts from the “what” of belief to focus on the “how” that must accompany any “what.” The Hegelian system purports to be the highest form of the highest religion, namely Christianity, but in fact, by virtue of its merely objective “how,” it belongs to a completely different genus. It could not be the highest form of Christianity, no more than a dog could be the world’s prettiest cat.

There is something paradoxical about Religiousness A. Socratic ignorance—the claim of Socrates that he is the wisest of men because, while others think that they know, he knows that he does not—reflects the realization that the relation of the existing, and thus temporal, individual to the eternal does not fit neatly into human conceptual frameworks. But Christianity, as Religiousness B, is more radically paradoxical, for the eternal itself has become paradoxical as the insertion of God in time. In this way the task of relating absolutely to the absolute becomes even more strenuous, for human reason is overwhelmed, even offended, by the claim that Jesus is fully human and fully divine. In the Concluding Unscientific Postscript there is an echo of Kant’s admission, “I have therefore found it necessary to deny knowledge in order to make room for faith”—though Kantian faith has a very different “what.”

Some writings of Kierkegaard’s second literary period extend the analyses of the first. For example, the two halves of Sickness unto Death can be read as reprising Religiousness A and B, respectively, in a different voice. But several texts, most notably Kjerlighedens gjerninger (1847; Works of Love), Training in Christianity, Til selvprøvelse (1851; For Self-Examination), and Dømmer selv! (1851; Judge for Yourselves!), go beyond Religiousness B to what might be called “Religiousness C.” The focus is still on Christianity, but now Christ is no longer just the paradox to be believed but also the paradigm or prototype to be imitated.

These works present the second, specifically Christian, ethics that had been promised as far back as The Concept of Anxiety. They go beyond Hegelian ethics, which only asks one to conform to the laws and customs of one’s society. They also go beyond the religion of hidden inwardness, whether A or B, in which the relation between God and the soul takes place out of public view. They are Kierkegaard’s answer to the charge that religion according to his view is so personal and so private as to be socially irresponsible. Faith, the inward God-relation, must show itself outwardly in works of love.

  The first half of Works of Love is a sustained reflection on the biblical commandment “You shall love your neighbour as yourself” (Matthew 22:36). This commanded love is contrasted with erotic love and friendship. Through its poets, society celebrates these two forms of love, but only God dares to command the love of neighbours. The celebrated loves are spontaneous: they come naturally, by inclination, and thus not by duty.

Children do not have to be taught to seek friends; nor, at puberty, do they need to be commanded to fall in love. The celebrated loves are also preferential: one is drawn to this person but not to that one as friend or lover; something in the other is attractive or would satisfy one’s desire if the relation could be established. Because they are spontaneous and preferential, Kierkegaard calls the celebrated loves forms of “self-love.”

This is not to say that every friend or lover is selfish. But, by their exclusionary nature, such relations are the self-love of the “We,” even when the “I” is not selfish in the relation. Here one sees the political ramifications of commanded love, for an ethics that restricts benevolence to one’s own family, tribe, nation, race, or class expresses only the self-love of the We.

By contrast, commanded love is not spontaneous, and it needs to be commanded precisely because it is not preferential. Another person need not be attractive or belong to the same We to be one’s neighbour, whom one is to love. Even one’s enemy can be one’s neighbour, which is a reason why society never dares to require that people love their neighbours as they do themselves. For the Christian, this command comes from Christ, who is himself its embodiment to be imitated.

One could hardly expect the literary and philosophical elite to focus on the strenuousness of faith as a personal relation to God unsupported by reason, or on the strenuousness of love as responsibility to and for one’s neighbour unsupported by society’s ethos. That task was the responsibility of the church—a responsibility that, in Kierkegaard’s view, the church had spectacularly failed to fulfill. As these themes came more clearly into focus in his writings, the attack upon Christendom with which his life ended became inevitable.

Kierkegaard says that his writings as a whole are religious. They are best seen as belonging to the prophetic traditions, in which religious beliefs become the basis for a critique of the religious communities that profess them. The 20th-century theologies that were influenced by Kierkegaard go beyond the tasks of metaphysical affirmation and ethical instruction to a critique of complacent piety.
In existential philosophies—which are often less overtly theological and sometimes entirely secular—this element of critique is retained but is directed against forms of personal and social life that do not take the tasks of human existence seriously enough.

 
 

Thus, Friedrich Nietzsche (1844–1900) complains that his secular contemporaries do not take the death of God seriously enough, just as Kierkegaard complains that his Christian contemporaries do not take God seriously enough. Likewise, the German existential phenomenologist Martin Heidegger (1889–1976) describes how people make life too easy for themselves by thinking and doing just what “they” think and do. And Jean-Paul Sartre (1905–80), the leading representative of atheistic existentialism in France, calls attention to the ways in which people indulge in self-deceiving “bad faith” in order to think more highly of themselves than the facts warrant.

Merold Westphal

Encyclopædia Britannica

 
 
see also: Soren Kierkegaard
 
 
     
  IDEAS that Changed the World

Myths and Legends
History of Religion
History of Philosophy
     
 
 
 
1813
 
 
Owen Robert: "A New View of Society"
 
 

Robert Owen. "A New View of Society"
 
 
 
1813
 
 
Schopenhauer: "On the Fourfold Root of the Principle of Sufficient Reason"
 
On the Fourfold Root of the Principle of Sufficient Reason (German: Über die vierfache Wurzel des Satzes vom zureichenden Grunde) is an elaboration on the classical Principle of Sufficient Reason written by German philosopher Schopenhauer Arthur as his doctoral dissertation in 1813. The principle of sufficient reason is a powerful and controversial philosophical principle stipulating that everything must have a reason or cause. Schopenhauer revised and re-published it in 1847. This work articulated the centerpiece of many of Schopenhauer's arguments, and throughout his later works he consistently refers his readers to this short treatise as the necessary beginning point for a full understanding of his further writings.
 
Background
Historical
In January 1813, after suffering their disastrous defeat in Russia, the first remnants of Napoleon's Grande Armée were arriving in Berlin. The sick and wounded quickly filled up the hospitals and the risk of an epidemic grew high. A patriotic, militaristic spirit inflamed the city and most of the populace, philosophers and students included, entertained the hope that the French yoke could be violently thrown off. All this rapidly became intolerable to Schopenhauer who ultimately fled the city, retreating to the small town of Rudolstadt near Weimar. It was here, from June to November of that year, while staying at an inn, that the work was composed.

After submitting it as his doctoral dissertation he was awarded a PhD from the University of Jena in absentia. Private publication soon followed. "There were three reviews of it, commending it condescendingly. Scarcely more than one hundred copies were sold, the rest was remaindered and, a few years later, pulped."

Among the reasons for the cold reception of this original version are that it lacked the author's later authoritative style and appeared decidedly unclear in its implications. A copy was sent to Goethe who responded by inviting the author to his home on a regular basis, ostensibly to discuss philosophy but in reality to recruit the young philosopher into work on his Theory of Colors.

In 1847 Schopenhauer rewrote and enlarged the work, publishing a new edition. This is the version of the work that is read today. "There the lines of thought are firmly pursued, linking up with his main work; there a challenge is issued to philosophical tradition, and there is no curb on attacks against the philosophical spirit of the age."

  Philosophical
Schopenhauer’s epistemology, by direct admission, begins with Immanuel Kant's theory of knowledge. Schopenhauer proclaimed himself a Kantian who had appropriated his predecessor's most powerful accomplishment in epistemology, and who then claimed to have merely extended and completed what Kant botched or had left undone.

In Schopenhauer’s point of view, Kant’s chief merit lies in his distinction between the thing in itself and the phenomenal world in which it appears, i.e., the world as we represent it to ourselves. What is crucial here is the realization that what makes experience possible to begin with and without exception is our perceiving mind, which synthesizes perceptions from raw sensation and consequently abstracts concepts from those perceptions. Schopenhauer appropriates Kant’s forms of sensibility (space, time, and causality) and transforms them into what he calls the understanding:

To know causality is the sole function of the understanding, its only power, and it is a great power embracing much, manifold in its application, and yet unmistakable in its identity throughout all its manifestations. Conversely, all causality, hence all matter, and consequently the whole of reality, is only for the understanding, through the understanding, in the understanding. The first, simplest, ever-present manifestation of understanding is perception of the actual world. This is in every way knowledge of the cause from the effect, and therefore all perception is intellectual.

Thus, the understanding does not exist independent of our ability to perceive and determine relationships as it is the very ground of experience itself. Not only what we think in the abstract, but also our very perceptions are completely intellectual and subjectively determined.

 
 
Already we have the philosophical grounds for Nietzsche’s perspectivism, though given in different language: representation (Vorstellung). One may also translate "Vorstellung" as the English word "idea" – indeed, Schopenhauer himself provides this translation from Kant's similar use of "Vorstellungen." However, this "idea" is semantically distinct both from the Platonic Idea (which Schopenhauer insists be expressed with the German "Ideen") and from Berkeley's use of "idea."
 
 
The world as representation
Schopenhauer’s central proposition is the main idea of his entire philosophy, he states simply as “The world is my representation.”

The rest of his work is an elaborate analysis and unpacking of this sentence, which begins with his Kantian epistemology, but finds thorough elaboration within his version of the principle of sufficient reason.

This is responsible for providing adequate explanations for any ‘thing,’ or object that occurs in relation to a subject of knowing; of any representation possible there is always a possible question of 'why?' that one can address to it.
It amounts to what Schopenhauer has done, in his view, to extend and complete what Kant began with his Critique of Pure Reason.

The four classes
Four classes of explanation fall under the principle’s rubric. Hence, four classes of objects occur always and already only in relation to a knowing subject, according to a correlative capacity within the subject. These classes are summarized as follows:
 
 
 
Becoming: Only with the combination of time and space does perceptual actuality become possible for a subject, allowing for ideas of perception, and this provides the ground of becoming to judgments. This is the law of causality, which is, when considered subjectively, intellectual and a priori understanding. All possible judgments that are inferences of a cause from an effect—a physical state a subject infers as caused by another physical state or vice versa—take this as the ground of the possibility of such judgments. The natural sciences operate within this aspect of the principle. Schopenhauer proposed a proof of the apriority of causality (i.e. that the universe indeed operates, at least in general, as causal instead of just being perceived so a posteriori due to the repeatibility of sequences) that is different from the Kant's one. The proof relies on the intellectuality of perceived things (representations)—they are produced by "projecting causality backwards in time," from physical excitations of cells and nerves (this is the role of the intellect, or brain)—and is apparently influenced by the medieval philosopher Witelo and his work on optics and the psychology of seeing.

Knowing: This class of objects subsumes all judgments, or abstract concepts, which a subject knows through conceptual, discursive reason rooted in the ground of knowing. The other three classes of objects are immediate representations, while this class is always and already composed of representations of representations. Therefore, the truth-value of concepts abstracted from any of the other three classes of objects is grounded in referring to something outside the concept. Concepts are abstract judgments grounded in intuitions of time and space, ideas of perception (causality apparent in the outer world), or acts of will (causality experienced from within). This class makes language (in the form of abstract judgments that are then communicable) possible, and as a consequence, all the sciences become possible.
  Being: Time and space comprise separate grounds of being. These a priori (prior to experience) forms respectively allow for an “inner,” temporal sense and an “outer,” spatial sense for the subject; subjectively, these are the forms of pure sensibility—they make sensations possible for a subject.

The first makes arithmetic possible, and is presupposed for all other forms of the principle of sufficient reason; the other makes geometry possible.

Time is one dimensional and purely successive; each moment determines the following moment; in space, any position is determined only in its relations to all other positions in a finite, hence, closed system. Thus, intuitions of time and space provide the grounds of being that make arithmetical and geometrical judgments possible, which are also valid for experience.

Willing: It is possible for a subject of knowing to know himself directly as ‘will.’ A subject knows his acts of will only after the fact, in time. Action then, finds its root in the law of motivation, the ground of acting, which is causality, but seen from the inside. In other words, not only does a subject know his body as an object of outer sense, in space, but also in an inner sense, in time alone; a subject has self-consciousness in addition to knowing his body as an idea of perception.

Why does a subject act the way he does?

Where a sufficient motive appears in the form either of an intuition, perception, or abstract conception, the subject will act according to his character, or ‘will.’ E.g., despite all plans to the contrary, when the actual moment comes to act, we do so within the constituents of the rhetorical situation (the various representations present in a subject’s experience) and are often surprised by what we actually say and do. The human sciences find their ground in this aspect of the principle.
 
 
Conclusion
Different rules govern the possible explanations for representations of the four classes and “every explanation given in accordance with this guiding line is merely relative. It [the principle of sufficient reason] explains things in reference to one another, but it always leaves unexplained something that it presupposes,” and the two things that are absolutely inexplicable are the principle itself and the “thing in itself”, which Schopenhauer connects with the will to live. The principle, in another point of view, provides the general form of any given perspective, presupposing both subject and object. The thing in itself, consequently, remains forever unknowable from any standpoint, for any qualities attributed to it are merely perceived, i.e., constructed in the mind from sensations given in time and space. Furthermore, because the concepts we form from our perceptions cannot in any way refer with any validity to anything beyond these limits to experience, all proofs for the existence of God or anything beyond the possibility of experience fall away under the razor of Kant’s critique.

Kant termed this critical or transcendental idealism. Important to note here is that “Transcendental” does not refer to knowing the unknowable, but rather it refers to the a priori intellectual conditions for experience. This intuition of the a priori understanding is a modern elucidation of the postmodern expression "always already": time and space always and already determine the possibilities of experience. Additionally, Schopenhauer distinguishes from this something he calls a "spurious a priori": cultural perspectives (ideologies) one is born into that determine one's relationship to experience, in addition to the forms of space and time. He considers these false because it is possible to investigate and uncover their grounds, leading to a reorientation that regards the phenomena of experience as source material of new knowledge, rather than one's always already prejudices about phenomena.
  Payne's summary
In his Translator's Introduction to Schopenhauer's The World as Will and Representation, E. F. J. Payne concisely summarized the Fourfold Root.

Our knowing consciousness...is divisible solely into subject and object. To be object for the subject and to be our representation or mental picture are one and the same. All our representations are objects for the subject, and all objects of the subject are our representations.

These stand to one another in a regulated connection which in form is determinable a priori, and by virtue of this connection nothing existing by itself and independent, nothing single and detached, can become an object for us.

...The first aspect of this principle is that of becoming, where it appears as the law of causality and is applicable only to changes. Thus if the cause is given, the effect must of necessity follow.

The second aspect deals with concepts or abstract representations, which are themselves drawn from representations of intuitive perception, and here the principle of sufficient reason states that, if certain premises are given, the conclusion must follow.

The third aspect of the principle is concerned with being in space and time, and shows that the existence of one relation inevitably implies the other, thus that the equality of the angles of a triangle necessarily implies the equality of its sides and vice versa. Finally, the fourth aspect deals with actions, and the principle appears as the law of motivation, which states that a definite course of action inevitably ensues on a given character and motive.

From Wikipedia, the free encyclopedia

 
 
     
  Arthur Schopenhauer

Schopenhauer Arthur

"Essays"
     
 
 
 
1813
 
 
Colby College, Maine
 
Colby College is a private liberal arts college located on Mayflower Hill in Waterville, Maine, USA. Founded in 1813, it is the 12th-oldest independent liberal arts college in the United States. Colby was the first all-male college in New England to accept female students in 1871.

Approximately 1,800 students from more than 60 countries are enrolled annually. The college offers 54 major fields of study and 30 minors. In part because of Colby's location, more than two thirds of Colby students participate in study abroad programs. Colby College competes in the NESCAC conference.

 
History

Origins

On February 27, 1813, the Commonwealth of Massachusetts adopted a petition to establish the Maine Literary and Theological Institution, the 33rd chartered college in the United States. The petition was led by Baptists who had come to the region for missionary work, and who wanted to train their own ministers, to end the reliance on England for providing men of learning. From 1816-1818, the new institution found a home in Waterville on 179 acres of land donated by citizens. In 1818, trustees assigned the institution to Rev. Jeremiah Chaplin, a Baptist theologian. Chaplin arrived in Waterville in the summer of 1818 with his family and seven students, including George Dana Boardman, the institution's first graduate. They were put up in a vacant Waterville home, and in that home the first classes were held.

After Maine separated from Massachusetts in 1820, the first Maine legislature affirmed the Massachusetts charter for the institution, but made significant changes. Students could no longer be denied admission based on religion, the institution was prohibited from applying a religious test when selecting board members, and the trustees now had the authority to grant degrees. A turning point, the Maine Literary and Theological Institution was renamed Waterville College on February 5, 1821. In 1822, Elijah Parish Lovejoy, who would become a celebrated martyr to emancipation and to freedom of the press, graduated as valedictorian. In 1825, the theological department was discontinued. In 1828 the trustees decided to turn the somewhat informal preparatory department of the college into a separate school, to which was given the name Waterville Academy (most recently called the Coburn Classical Institute.

In 1833, Rev. Rufus Babcock became Colby's second president, and students formed the nation’s first college-based anti-slavery society. In 1845, the college's first Greek Society was formed, a chapter of Delta Kappa Epsilon, which was followed by chapters of Zeta Psi in 1850 and Delta Upsilon in 1852.

The oldest known photograph of Colby, a daguerreotype taken in 1856 of the three central buildings on campus: South College, Recitation Hall, and North College
During the Civil War, many young men were called away from school to join the fight; from Waterville College, Richard C. Shannon, Henry C. Merriam, and Benjamin Butler. Twenty-seven Waterville College students perished in the war, and more than 100 men from the town. In the years following the war, as was the case at many American colleges, Waterville College was left with few students remaining to pay the bills and a depleted endowment. Waterville College was on the verge of closing.

  Colby University
On August 9, 1865, a Boston merchant, prominent Baptist philanthropist and Maine native Gardner Colby attended Waterville College's commencement dinner, and unbeknownst to anyone in attendance except college president James Tift Champlin, announced a matching $50,000 donation that would allow the college to remain open. On January 23, 1867, the college was renamed Colby University in gratitude.

Now on solid financial footing and just 16 months after The Battle of Appomattox Court House, trustees of the college voted to construct a library and chapel to honor the Colby men who died in the war, making Memorial Hall the first Civil War memorial erected on a college campus. The building began construction in the summer of 1867, and was dedicated at commencement in 1869. At commencement in 1871, The Lion of Lucerne, a sculpture by Martin Milmore, was added as the centerpiece of the building. The lion was brought to Miller Library from Memorial Hall in January 1962.

In the fall of 1871 Colby University was the first all-male college in New England to accept female students. The national Sigma Kappa sorority was founded at Colby in 1874 by the college's first five female students. One of the buildings is named after the first woman to attend, Mary Caffrey Low, who was the valedictorian of the Class of 1875.

In 1874, based on the success of its partnership with the Coburn Classical Institute, Colby created relationships with Hebron Academy and Houlton Academy (most recently known as Ricker College. In 1893, the Higgins Classical Institute was also deeded to Colby - the last preparatory school that the university would acquire.

Colby College
On January 25, 1899, Colby president Nathaniel Butler, Jr. '73, having come from the University of Chicago, renamed the "university" Colby College.[ In 1920, Colby celebrated its centennial, marking not the date of the original charter, but the date of its charter from the new State of Maine in 1820.

Mayflower Hill
Franklin W. Johnson was appointed president of the college in June 1929. Citing a recently released Maine Higher Education Survey Report, a cramped location between the Kennebec River and the Maine Central Railroad Company tracks through Waterville, and an aging physical plant (amongst others), Johnson began a campaign to move the college to a more adequate location. Franklin's campaign to raise funds for the move were complicated by the Great Depression, but ended up including a gift from the City of Waterville; in an effort to keep Colby from relocating to Augusta, Waterville deeded 600 acres (2.4 km2) on Mayflower Hill, near the outskirts of the city, to the college.

 
 

The oldest known photograph of Colby, a daguerreotype taken in 1856 of the three central buildings on campus: South College, Recitation Hall, and North College
 
 

In 1937 and according to master plans drawn up by Jens Frederick Larson, construction broke ground on Lorimer Chapel, the first building on the new Mayflower Hill campus. In 1951, the last class took place on the old campus in Coburn Hall. Colby installed its first computer in 1975 - a DEC PDP-11/50 in the Lovejoy Building.

In 1977, Colby and TIAA–CREF successfully defended a lawsuit brought by the Equal Employment Opportunity Commission, alleging sex discrimination in payment of retirement benefits. Of the case, President Strider commented that "Colby is prepared, as we have always tried to do, to comply with the law, but it would be helpful to know what the law is." In 1981, an addition to Miller Library added 42,000 square feet, increasing the seating capacity by 44% and the stack capacity by 64%.  In 1984, following an investigation of campus life commissioned by the Board of Trustees, a decision was made to withdraw recognition from Colby’s Greek system as it was seen to be "exclusionary by nature".

William D. Adams was the President of Colby from 2000-2014. Major accomplishments included conducting the largest capital campaign in the history of Maine, which raised $376 million; a new strategic plan for the college; accepting a major gift for the Colby College Museum of Art- the Lunder Collection of American Art - and the construction of a new wing for the museum to house it in 2013;  and expansion onto the "Colby Green" with the construction of the 44,000 square-foot Diamond Building in 2007 and the 36,400 square-foot Davis Science Building in 2014. Upon retirement, William D. Adams was appointed by President of the United States Barack Obama as Chair of the National Endowment for the Humanities.

On July 1st, 2014, David A. Greene took office as the new president of the college.

From Wikipedia, the free encyclopedia
 
 
 
1813
 
 

The Baptist Union of Great Britain

 
Baptists Together (officially The Baptist Union of Great Britain) is the association of Baptist churches in England and Wales.
 

History
The Baptist Union of Great Britain was formed when the General Baptists and Particular Baptists came together in 1891.

The Particular Baptist Missionary Society for Propagating the Gospel among the Heathen (later the Baptist Missionary Society, and now BMS World Mission) was organised in 1792, under the leadership of Andrew Fuller (1754–1815), John Sutcliff (1752–1814), and William Carey (1761–1834). When the Baptist Union was founded in 1813, it was a Particular Baptist organisation. In 1833, it was restructured to allow for membership of General Baptists.

 
 
General and Particular Baptist work was united in the Baptist Union in 1891. The Baptist Historical Society was founded in 1908.
The basis of fellowship in the Baptist Union is a three-part "Declaration of Principle" stating belief in Jesus, Christian baptism, and world evangelisation. Structure includes an annual Baptist Assembly, and the Baptist Union Council, which is made up of representatives from the 13 regional associations and the six Baptist Colleges affiliated with the Union. The national resource and offices are in Didcot, Oxfordshire, England, having moved from Baptist Church House 2–6 Southampton Row, London in 1989.

In 2013 Lynn Green was elected, with no votes against, as the first female General Secretary of the Baptist Union of Great Britain to commence in September 2013. She was received at the vote by a standing ovation and her inaugural message included "I believe that our union is ready for generational change... It is time to cast off the institutional mindset that has served us well in the past, and embrace a new way of being for the 21st century."

Also in 2013, the Union publically rebranded itself as "Baptists Together" and introduced a new logo to reflect the change (although it is still known in an official capacity by the old Baptist Union name).

  Membership
The Baptist Union of Great Britain consists of about 2,150 churches with a total membership of almost 140,000 individuals.

Overarching organisations
Baptists in the organisation are also part of the wider Fellowship of British Baptists, the European Baptist Federation, and the Baptist World Alliance.

The Fellowship of British Baptists and BMS World Mission brings together in ministry the churches that are members of the Baptist Union of Scotland, Wales, the Irish Baptist Networks, and the Baptist Union of Great Britain.
It is itself a member of The National Council for Voluntary Youth Services (NCVYS) because of its work to promote young people's personal and social development.

Inter-faith associations
The Union maintains membership with Christian ecumenical organisations such as Churches Together in England, Churches Together in Britain and Ireland, the Conference of European Churches, and the World Council of Churches.

From Wikipedia, the free encyclopedia

 
 
 
1813
 
 
Jane Austen: "Pride and Prejudice"
 

In this masterpiece, Austen Jane  follows an empty-headed mother's scheming to find suitable husbands for her five daughters. With gentle irony, the author re-creates in meticulous, artistic detail the manners and morals of the country gentry in a small English village, focusing on the intelligent, irrepressible heroine Elizabeth. Major and minor characters are superbly drawn, the plot is beautifully symmetrical, and the dazzling perfection of style shows Austen at her best.

 
Principal Characters
Elizabeth Bennet, a spirited and intelligent girl who represents "prejudice" in her attitude toward Fitzwilliam Darcy, whom she dislikes because of his pride. She is also prejudiced against him by Mr. Wickham, whose false reports of Darcy she believes, and hence rejects Darcy's haughty first proposal of marriage. But Wick-ham's elopement with her sister Lydia brings Elizabeth and Darcy together, for it is Darcy who facilitates the legal marriage of the runaways. Acknowledging her mistake in her estimation of Darcy, she gladly accepts his second proposal.
Fitzwilliam Darcy, the wealthy and aristocratic landowner who represents "pride" in the story. Attracted to Elizabeth Bennet in spite of her inferior social position, he proposes marriage but in so high-handed a manner that she instantly refuses. The two meet again while Elizabeth is viewing the grounds of his estate in Derbyshire; she finds him less haughty in his manner. When Lydia Bennet and Mr. Wickham elope, Darcy feels partly responsible and straightens out the unfortunate affair. Because Elizabeth now realizes his true character, he is accepted when he proposes again.
Jane Bennet, the oldest and most beautiful of the five Bennet sisters. She falls in love with Mr. Bingley, a wealthy bachelor. Their romance is frustrated, however, by his sisters with the help of Mr. Darcy, for the Bennets are considered socially undesirable.
 
 
 
As a result of the change in the feelings of Darcy and Elizabeth Bennet toward each other, Jane and Bingley are finally married.
Mr. Bingley, a rich, good-natured bachelor from the north of England. He falls in love with Jane Bennet but is easily turned against her by his sisters and his friend, Mr. Darcy, who consider the Bennets vulgar and socially beneath them.
 
 
When Darcy changes his attitude toward Elizabeth Bennet, Bingley follows suit and resumes his courtship of Jane. They are married at the end of the story.
Mr. Bennet, an eccentric and mildly sarcastic small landowner. Rather indifferent to the rest of his family, he loves and admires his daughter Elizabeth.
Mrs. Bennet, his wife, a silly, brainless woman interested only in getting her daughters married.
Lydia Bennet, the youngest daughter, a flighty and uncontrolled girl. At the age of fifteen she elopes with the worthless Mr. Wickham. Their marriage is finally made possible by Mr. Darcy, who pays Wickham's debts, but the two are never very happy.
Mary Bennet and Catherine (Kitty) Bennet, younger daughters of the family.

Mr. Wickham, the villain of the story, an officer in the militia. He has been brought up by the Darcy family and, having a certain charm, attracts Elizabeth Bennet, whom he prejudices against Mr. Darcy by misrepresenting the latter's treatment of him. Quite unexpectedly, he elopes with fifteen-year-old, flirtatious Lydia Bennet. Darcy, who has tried to expose Wickham to Elizabeth, feels responsible for the elopement and provides the money for the marriage by paying Wickham's debts. Wickham and Lydia soon tire of each other.
 
 
 
William Collins, a pompous, sycophantic clergyman, distantly related to Mr. Bennet and the heir to his estate, since the Bennets have no son. He proposed to Elizabeth. After her refusal he marries her friend, Charlotte Lucas.
Lady Catherine de Bourgh, Mr. Darcy's aunt and the patron of Mr. Collins. An insufferably haughty and domineering woman, she wants Darcy to marry her only daughter and bitterly resents his interest in Elizabeth Bennet. She tries to break up their love affair but fails.
Anne de Bourgh, Lady Catherine's spiritless daughter. Her mother has planned to marry her to Mr. Darcy in order to combine two great family fortunes.
Charlotte Lucas, Elizabeth Bennet's closest friend. Knowing that she will have few chances of marriage, she accepts the pompous and boring Mr. Collins shortly after Elizabeth has refused him.
Caroline Bingley and Mrs. Hurst, Mr. Bingley's cold and worldly sisters. They succeed for a time in turning him against Jane Bennet.
Mr. Gardiner, Mrs. Bennet's brother, a London merchant. Mrs. Gardiner, his sensible and kind wife.
 
 
The Story
The chief business of Mrs. Bennet's life was to find suitable husbands for her five daughters. Consequently, she was elated when she heard that Netherfield Park, one of the area's great houses, had been let to Mr. Bingley, a gentleman from the north of England. Gossip such as Mrs. Bennet loved reported him a rich and eligible young bachelor. Mr. Bennet heard the news with his usual dry calmness, suggesting in his mild way that perhaps Bingley was not moving into the country for the single purpose of marrying one of the Bennet daughters.
Mr. Bingley's first public appearance in the neighborhood was at a ball. With him were his two sisters, the husband of the older, and Mr. Darcy, Bingley's friend. Bingley was an immediate success in local society, and he and Jane, the oldest Bennet daughter—a pretty girl of sweet and gentle disposition—were attracted to each other at once. His friend, Darcy, however, seemed cold and extremely proud and created a bad impression. In particular, he insulted Elizabeth Bennet, a girl of spirit and intelligence and her father's favorite. He refused to dance with her when she was sitting down for lack of a partner; Elizabeth also overheard him say that he was in no mood to prefer young ladies slighted by other men. On future occasions, however, he began to admire Elizabeth in spite of himself. At a later ball, she had the satisfaction of refusing him a dance.
Jane's romance with Bingley flourished quietly, aided by family calls, dinners, and balls.
 
 
 
His sisters pretended great fondness for Jane, who believed them completely sincere. Elizabeth was more critical and discerning; she suspected them of hypocrisy, and quite rightly, for they made great fun of Jane's relations, especially her vulgar, garrulous mother and her two illbred, officer-mad younger sisters. Miss Caroline Bingley, who was eager to marry Darcy and shrewdly aware of his growing admiration for Elizabeth, was especially loud in her ridicule of the Bennet family. Elizabeth herself became Caroline's particular target when she walked three muddy miles to visit Jane, who was sick with a cold at Netherfield Park after a ride through the rain to accept an invitation from the Bingley sisters. Until Jane was able to be moved home, Elizabeth stayed to nurse her. During her visit, Elizabeth received enough attention from Darcy to make Caroline Bingley long sincerely for Jane's recovery. Her fears were not ill-founded. Darcy admitted to himself that he would be in some danger from the charm of Elizabeth, if it were not for her inferior family connections.
 
 
Elizabeth now acquired a new admirer in Mr. Collins, a ridiculously pompous clergyman and a distant cousin of the Bennets, who would someday inherit Mr. Bennet's property because that gentleman had no male heir. Mr. Collins' patroness, Lady Catherine de Bourgh, had urged him to marry, and he, always obsequiously obedient to her wishes, hastened to comply. Thinking to alleviate the hardship caused the Bennet sisters by the entail which gave their father's property to him, Mr. Collins first proposed to Elizabeth. Much to her mother's displeasure and her father's joy, she firmly and promptly rejected him. He almost immediately transferred his affections to Elizabeth's best friend, Charlotte Lucas, who, twenty-seven years old and somewhat homely, accepted at once his offer of marriage.
During Mr. Collins' visit and on one of their many walks to Meryton, the younger Bennet sisters, Kitty and Lydia, met a fascinating new officer, Mr. Wickham, stationed with the regiment there. Outwardly charming, he became a favorite among the ladies, even with Elizabeth. She was willing to believe the story that he had been cheated out of an inheritance left to him by his godfather, Darcy's father. Her suspicions of Darcy's arrogant and grasping nature deepened when Wickham did not come to a ball given by the Bingleys, a dance at which Darcy was present.
Soon after the ball, the entire Bingley party suddenly left Netherfield Park. They departed with no intention of returning, as Caroline wrote Jane in a short farewell note which hinted that Bingley might soon become engaged to Darcy's sister. Jane accepted this news at face value and believed that her friend Caroline was telling her gently that her brother loved someone else and that she must cease to hope. Elizabeth, however, was sure of a plot by Darcy and Bingley's sisters to separate him and Jane. She persuaded Jane that Bingley did love her and that he would return to Hertfordshire before the winter was over. Jane almost believed her until she received a letter from Caroline assuring her that they were all settled in London for the winter. Even after Jane told her this news, Elizabeth remained convinced of Bingley's affection for her sister and deplored the lack of resolution that made him putty in the hands of his scheming friend.
About that time, Mrs. Bennet's sister, Mrs. Gardiner, an amiable and intelligent woman with a great deal of affection for her two oldest nieces, arrived for a Christmas visit. She suggested to the Bennets that Jane return to London with her for a rest and change of scene and— so it was understood between Mrs. Gardiner and Elizabeth—to renew her acquaintance with Bingley. Elizabeth was not hopeful for the success of the plan and pointed out that proud Darcy would never let his friend call on Jane in the unfashionable London street on which the Gardiners lived. Jane accepted the invitation, however, and she and Mrs. Gardiner set out for London.
The time drew near for the wedding of Elizabeth's friend, Charlotte Lucas, to the obnoxious Mr. Collins. Charlotte asked Elizabeth to visit her in Kent. In spite of her feeling that there could be little pleasure in such a visit, Elizabeth promised to do so. She felt that in taking such a husband Charlotte was marrying simply for the sake of an establishment, as was indeed the case. Since she herself could not sympathize with her friend's action, Elizabeth thought their days of real intimacy were over. As March approached, however, she found herself eager to see her friend, and she sent out with pleasure on the journey with Charlotte's father and sister. On their way, the party stopped in London to see the Gardiners and Jane. Elizabeth found her sister well and outwardly happy, although she had not seen Bingley and his sisters had paid only one call. Elizabeth was sure Bingley had not been told of Jane's presence in London and blamed Darcy for keeping it from him.
  Soon after arriving at the Collins' home, the whole party was honored, as Mr. Collins repeatedly assured them, by a dinner invitation from Lady Catherine de Bourgh, Darcy's aunt and Mr. Collins' patroness. Elizabeth found Lady Catherine a haughty, ill-mannered woman and her daughter thin, sickly, and shy. Lady Catherine was extremely fond of inquiring into the affairs of others and giving them unasked advice. Elizabeth circumvented the meddling old woman's questions with cool indirectness and saw from the effect that she was probably the first who had dared to do so.

Soon after Elizabeth's arrival, Darcy came to visit his aunt and cousin. He called frequently at the parsonage, and he and Elizabeth resumed their conversational fencing matches. His rather stilted attentions were suddenly climaxed by a proposal of marriage; the proposal, however, was couched in such proud and condescending terms that Elizabeth indignantly refused him. When he requested her reason for such an emphatic rejection, she mentioned his part in separating Bingley and Jane and also his mistreatment of Wickham. He was angry and left abruptly; the next day, however, he brought a letter answering her charges. He did not deny his part in separating Jane and Bingley, but he gave as his reasons the improprieties of Mrs. Bennet and her younger daughters and also his sincere belief that Jane did not love Bingley. As for his alleged mistreatment of Wickham, he proved that he had in reality acted most generously toward the unprincipled Wickham, who had repaid his kindness by attempting to elope with Darcy's young sister. At first incensed at the proud tones in which he wrote, Elizabeth was at length forced to acknowledge the justice of all he said, and her prejudice against him began to weaken. Without seeing him again, she returned home.
She found her younger sisters clamoring to go to Brighton, where the regiment formerly stationed at Meryton had been ordered. When an invitation came to Lydia from a young officer's wife, Lydia was allowed to accept it over Elizabeth's protests. Elizabeth was asked by the Gardiners to go with them on a tour, which would take them into Derbyshire, Darcy's home county. She accepted, reasoning that she was not very likely to meet Darcy merely by going into the same county with him. While they were there, however, Mrs. Gardiner decided they should visit Pemberly, Darcy's home. Elizabeth made several excuses, but her aunt was insistent. Then, learning that the Darcy family was not at home, Elizabeth consented to go.

At Pemberly, an unexpected and embarrassing meeting took place between Elizabeth and Darcy. He was more polite than Elizabeth had ever known him to be, and he asked permission for his sister to call upon her. The call was duly paid and returned, but the pleasant intercourse between the Darcys and Elizabeth's party was suddenly cut short when a letter came from Jane telling Elizabeth that Lydia had run away with Wickham. Elizabeth told Darcy what had happened, and she and the Gardiners left for home at once. After several days, the runaway couple was located and a marriage arranged between them. When Lydia came home as heedless as ever, she told Elizabeth that Darcy had attended her wedding. Suspecting the truth, Elizabeth learned from Mrs. Gardiner that it was indeed Darcy who brought about the marriage by giving Wickham money.
Soon after Lydia and Wickham left, Bingley came back to Netherfield Park. Darcy came with him. Elizabeth, now more favorably inclined to him than ever before, hoped his coming meant that he still loved her, but he gave no sign. Bingley and Jane, on the other hand, were still obviously in love with each other, and they became engaged, to the great satisfaction of Mrs. Bennet. Soon afterward, Lady Catherine paid the Bennets an unexpected call. She had heard it rumored that Darcy was engaged to Elizabeth.
 
 
Hoping to marry her own daughter to Darcy, she had charged down the stairs with characteristic bad manners to order Elizabeth not to accept his proposal. The spirited girl was not to be intimidated by the bullying Lady Catherine and coolly refused to promise not to marry Darcy. She was far from certain she would have another chance, but she had not long to wonder. Lady Catherine, unluckily for her own purpose, repeated to Darcy the substance of her conversation with Elizabeth, and he knew Elizabeth well enough to surmise that her feelings toward him had greatly changed. He returned to Netherfield Park, and he and Elizabeth became engaged. Pride had been humbled and prejudice dissolved.
 
 
Critical Evaluation
In 1813, her thirty-eighth year, Jane Austen became a published novelist for the second time with Pride and Prejudice. She had begun this work in 1796, her twenty-first year, calling it First Impressions. It had so delighted her family that her father had tried, without success, to have it published. Eventually putting it aside, she returned to it probably at about the time that her first published novel, Sense and Sensibility, appeared in 1811. No longer extant, First Impressions must have been radically altered; for Pride and Prejudice is not an apprenticeship novel, but a mature work, and it continues to be the author's most popular novel, perhaps because readers share Darcy's admiration for the "liveliness" of Elizabeth Bennet's mind.
The original title, First Impressions, focuses upon the initial errors of judgment from which the story develops, whereas the title Pride and Prejudice, besides suggesting the kind of antithetical topic that delighted rationalistic eighteenth century readers, indicates the central conflict involving the kinds of pride and prejudice that bar the marriages of Elizabeth Bennet and Darcy and Jane Ben-net and Bingley but bring about the marriages of Charlotte Lucas and Collins and Lydia Bennet and Wickham.
As in all of Austen's novels, individual conflicts are defined and resolved within a rigidly delimiting social context, in which human relationships are determined by wealth and rank.
 
 
 
Therefore, the much-admired opening sentence establishes the societal values that underlie the main conflict: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." Mr. and Mrs. Bennet's opening dialogue concerning the eligible Bingley explores this truth. Devoid of individuality, Mrs. Bennet is nevertheless well attuned to society's edicts and therefore regards Bingley only in the light of society's "truth." Mr. Bennet, an individualist to the point of eccentricity, represents neither personal conviction nor social conviction. He views with equal indifference both Bingley's right to his own reason for settling there and society's right to see him primarily as a potential husband. Having repudiated society, Mr. Bennet cannot take seriously either the claims of the individual or the social order.

As the central character, Elizabeth, her father's favorite child and her mother's least favorite, must come to terms with the conflicting values implicit in her parents' antithetical characters. She is like her father in her scorn of society's conventional judgments, but she champions the concept of individual merit independent of money and rank. She is, indeed, prejudiced against the prejudices of society. From this premise, she attacks Darcy's pride, assuming that it derives from the causes that Charlotte Lucas identifies: "with family, fortune, every thing in his favour ... he has a right to be proud."
 
 
Flaunting her contempt for money, Elizabeth indignantly spurns as mere strategy to get a rich husband or any husband Charlotte's advice that Jane ought to make a calculated play for Bingley's affections. She loftily argues, while under the spell of Wickham's charm, that young people who are truly in love are unconcerned about each other's financial standing.
As a champion of the individual, Elizabeth prides herself on her discriminating judgment, boasting that she is a student of character. Significantly, it is Darcy who warns her against prejudiced conclusions, reminding her that her experience is quite limited. Darcy is not simply the representative of a society that primarily values wealth and consequence—as Elizabeth initially views him—but he is also a citizen of a larger society than the village to which Elizabeth is confined by circumstance. Consequently, it is only when she begins to move into Darcy's world that she can judge with true discrimination both individual merit and the dictates of the society that she has rejected. Fundamentally honest, she revises her conclusions as new experiences warrant, in the case of Darcy and Wickham radically altering her opinion.
More significant than the obviously ironic reversals, however, is the growing revelation of Elizabeth's unconscious commitment to society. For example, her original condemnation of Darcy's pride coincides with the verdict of Meryton society. Moreover, she always shares society's regard for wealth. Even while denying the importance of Wickham's poverty, she countenances his pursuit of the ugly Miss King's fortune, discerning her own inconsistency only after she learns of his bad character. Most revealing, when Lydia Bennet runs off with Wickham, Elizabeth instinctively pronounces the judgment of society when she states that Wickham would never marry a woman without money.
Almost unconsciously, Elizabeth acknowledges a connection between wealth and human values at the crucial moment when she first looks upon Pemberley, the Darcy estate:

She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste. They were all of them warm in their admiration; and at that moment she felt that to be mistress of Pemberley might be something!

She is not entirely joking when she tells Jane that her love for Darcy began when she first saw his beautiful estate.
Elizabeth's experiences, especially her discoveries of the well-ordered Pemberley and Darcy's tactful generosity to Lydia and Wickham, lead her to differentiate between Charlotte's theory that family and fortune bestow a "right to be proud" and Darcy's position that the intelligent person does not indulge in false pride.
  Darcy's pride is real, but it is regulated by responsibility.
Unlike his aunt, Lady Catherine de Bourgh, who relishes the distinction of rank, he disapproves less of the Bennets' undistinguished family and fortune than he does of the lack of propriety displayed by most of the family. Therefore, Elizabeth scarcely overstates her case when, at the end, she assures her father that Darcy has no improper pride.
Elizabeth begins by rejecting the values and restraints of society as represented by such people as her mother, the Lucases, Miss Bingley, and Lady Catherine, upholding instead the claims of the individual, represented only by her whimsical father. By the end of the novel, the heart of her conflict appears in the contrast between her father and Darcy. She loves her father and has tried to overlook his lack of decorum in conjugal matters, but she has been forced to see that his freedom is really irresponsibility, the essential cause of Jane's misery as well as Lydia's amorality. The implicit comparison between Mr. Bennet's and Darcy's approach to matrimony illustrates their different methods of dealing with society's restraints. Unrestrained by society, having been captivated by the inferior Mrs. Bennet's youth and beauty, Mr. Bennet consulted only his personal desires and made a disastrous marriage. Darcy, in contrast, defies society only when he has made certain that Elizabeth is a woman worthy of his love and lifetime devotion.

When Elizabeth confronts Lady Catherine, her words are declarative, not of absolute defiance of society but of the selective freedom which is her compromise, and very similar to Darcy's: "I am only resolved to act in that manner, which will, in my own opinion, constitute my happiness, without reverence to you, or to any person so wholly unconnected with me." Austen does not falsify the compromise. If Elizabeth dares with impunity to defy the society of Rosings, Longbourne, and Meryton, she does so only because Darcy is exactly the man for her and, further, because she can anticipate "with delight . . . the time when they should be removed from society so little pleasing to either, to all the comfort and elegance ... at Pemberly." In a sense, her marriage to Darcy is a triumph of the individual over society; but, paradoxically, Elizabeth achieves her most genuine conquest of pride and prejudice only after she has accepted the full social value of her judgment that "to be mistress of Pemberley might be something!"

Granting the full force of the snobbery, the exploitation, the inhumanity of all the evils which diminish the human spirit and which are inherent in a materialistic society, the novel clearly confirms the cynical "truth" of the opening sentence. Nevertheless, at the same time, without evading the degree of Elizabeth's capitulation to society, it affirms the vitality, the independent life that is possible at least to an Elizabeth Bennet. Pride and Prejudice, like its title, offers deceptively simple antitheses that yield up the complexity of life itself.
 
 
 
     
  Jane Austen 

"Pride and Prejudice"
     
 
 
     
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1813
 
 
Buchner Georg
 

Georg Buchner, (born Oct. 17, 1813, Goddelau, Hesse-Darmstadt [Germany]—died Feb. 19, 1837, Zürich, Switz.), German dramatist, a major forerunner of the Expressionist school of playwriting of the early 20th century.

 

Georg Buchner, drawing by Alexis Muston 1835
  The son of an army doctor, Büchner studied medicine at the Universities of Strasbourg and Giessen. Caught up in the movement inspired by the Paris uprising of 1830, Büchner published a pamphlet, Der hessische Landbote (1834; The Hessian Messenger), in Giessen calling for economic and political revolution, and he also founded a radical society, the Society for Human Rights. He escaped arrest by fleeing to Strasbourg, where he completed a dissertation. This earned him an appointment as a lecturer in natural science at the University of Zürich in 1836. He died in Zürich of typhoid fever the following year.

Büchner’s three plays were clearly influenced in style by William Shakespeare and by the German Romantic Sturm und Drang movement. In content and form they were far ahead of their time. Their short, abrupt scenes combined extreme naturalism with visionary power. His first play, Dantons Tod (1835; Danton’s Death), a drama of the French Revolution, is suffused with deep pessimism.

Its protagonist, the revolutionary Danton, is shown as a man deeply distraught at the bloodshed he had helped unleash. Leonce und Lena (written 1836), a satire on the nebulous nature of Romantic ideas, shows the influence of Alfred de Musset and Clemens Brentano. His last work, Woyzeck, a fragment, anticipated the social drama of the 1890s with its compassion for the poor and oppressed. Except for Dantons Tod, not produced until 1902, Büchner’s writings appeared posthumously, the fragmentary Lenz in 1839 and Woyzeck not until 1879. Woyzeck served as the libretto for Alban Berg’s opera Wozzeck (1925).

 
 
Büchner, the elder brother of the physician and philosopher Ludwig Büchner, exercised a marked influence on the naturalistic drama that came into vogue in the 1890s and, later, on the Expressionism that voiced the disillusionment of many artists and intellectuals after World War I. He is now recognized as one of the outstanding figures in German dramatic literature.

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see also: Georg Buchner
 
 
     
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1813
 
 
Byron: "The Giaour"
 
The Giaour is a poem by Lord Byron (Byron George Gordon) first published in 1813 by T. Davison and the first in the series of his Oriental romances. The Giaour proved to be a great success when published, consolidating Byron's reputation critically and commercially.
 
Background
Byron was inspired to write the poem during his Grand Tour during 1810 and 1811, which he undertook with his friend John Cam Hobhouse. While in Athens, he became aware of the Turkish custom of throwing a woman found guilty of adultery into the sea wrapped in a sack.

"Giaour" (Turkish: Gâvur) is an offensive Turkish word for infidel or non-believer, and is similar to the Arabic word "kafir". The story is subtitled "A Fragment of a Turkish Tale", and is Byron's only fragmentary narrative poem. Byron designed the story with three narrators giving their individual point of view about the series of events. The main story is of Leila, a member of her master Hassan's harem, who loves the giaour and is killed by being drowned in the sea by Hassan. In revenge, the giaour kills him and then enters a monastery due to his remorse. The design of the story allows for contrast between Christian and Muslim perceptions of love, sex, death and the afterlife.

The poem was written after Byron had become famous overnight after the publication of the first two cantos of Childe Harold's Pilgrimage and reflects his disenchantment with fame. It also reflects the gloom, remorse and lust of two illicit love affairs, one with his half-sister Augusta Leigh and the other with Lady Frances Webster.

The earliest version of the poem was written between September 1812 and March 1813, and a version of 700 lines published in June 1813. Several more editions were published before the end of 1813, each longer than the last. The last edition contains 1300 lines, almost twice as many as the version first published.

  Romantic Orientalism
The Giaour proved to be very popular with several editions published in the first year. By 1815, 14 editions had been published when it was included in his first collected edition. Its runaway success led Byron to publish three more "Turkish tales" in the next couple of years: "The Bride of Abydos" in 1813, "The Corsair" in 1814 and "Lara". Each of these poems proved to be very popular, with "The Corsair" selling 10,000 copies in its first day of publication. These tales led to the public perception of the Byronic hero. The Giaour illustrates the idea of Orientalism with its characters.

Some critics[weasel words] consider Leila as a personification of Greece, for the sake of which there was a war between the Ottoman Empire and Russia.

Byron commented ironically on the success of these works in his 1818 poem "Beppo":

"Oh! that I had the art of easy writing,
What should be easy reading [...]
How quickly would I print (the world delighting)
A Grecian, Syrian or Assyrian tale
And sell you, mixed with Western sentimentalism,
Some samples of the finest Orientalism."

French painter Eugène Delacroix used the story as the inspiration of his 1827 painting Combat of the Giaour and the Pasha. So did Ary Scheffer who painted Giaour, housed at the Musée de la Vie romantique, Paris.

Importance
The poem was an influence on the early work of Edgar Allan Poe. His first major poem, "Tamerlane", particularly emulates both the manner and style of The Giaour.

 
 

The Combat of the Giaour and Hassan
Painted by Eugène Delacroix (1826)
 
 

The theme of vampires
The Giaour is also notable for its inclusion of the theme of vampires. After telling how the giaour killed Hassan, the Ottoman narrator predicts that in punishment for his crime, the giaour will be condemned to become a vampire after his death and kill his own dear ones by drinking their blood, to his own frightful torment as well as theirs. Byron became acquainted with the concept of vampires while on his Grand Tour.

The association of Byron with vampires continued in 1819 with the publication of The Vampyre by John William Polidori, which was inspired by an unfinished story by Byron, "Fragment of a Novel", also known as "The Burial: A Fragment", first published in Mazeppa in 1819. The lead character, Lord Ruthven, was based on Byron. Polidori had previously worked as Byron's doctor and the two parted on bad terms. Much to Byron's annoyance, The Vampyre was widely attributed to him and even included in the third volume of Byron's works by popular demand. Polidori is thought to have encouraged this, seeing how it increased sales considerably. Lord Ruthven was the first portrayal of the vampire as a debauched aristocrat.

From Wikipedia, the free encyclopedia

 
 
 
     
 
George Gordon, Lord Byron 

"Don Juan"
     
 
 
     
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1813
 
 
Hebbel Friedrich
 
Friedrich Hebbel, in full Friedrich Christian Hebbel (born March 18, 1813, Wesselburen, Schleswig-Holstein—died Dec. 13, 1863, Vienna), poet and dramatist who added a new psychological dimension to German drama and made use of G.W.F. Hegel’s concepts of history to dramatize conflicts in his historical tragedies. He was concerned not so much with the individual aspects of the characters or events as with the historical process of change as it led to new moral values.
 

Friedrich Hebbel
  Hebbel was the son of a poor mason and was brought up in poverty. After his father’s death in 1827, he spent seven years as a clerk and messenger to a tyrannical parish bailiff. He founded a literary circle and had his first poems published in a local newspaper and in a Hamburg fashion magazine, whose editor, Amalie Schoppe, invited him to Hamburg in 1835 to prepare for the university. He was supported during this time, both spiritually and materially, by a seamstress, Elise Lensing, with whom he lived. At this time he started his Tagebücher (published 1885–87; “Diaries”), which became an important and revealing literary confession. Provided with a small income from his patrons, he went to Heidelberg to study law but soon left for Munich to devote himself to philosophy, history, and literature. Unable to publish his poems, however, he returned penniless and ill to Hamburg, where he was nursed by Elise Lensing.

Hebbel’s powerful prose play Judith, based on the biblical story, brought him fame in 1840 upon its performance in Hamburg and Berlin. His poetic drama Genoveva was finished in 1841. Still in need of money, Hebbel received a grant from the Danish king to spend a year in Paris and one in Italy. While in Paris in 1843 he wrote most of the realistic tragedy Maria Magdalena, published with a critical and philosophical preface in 1844 and performed in 1846. This skillfully constructed play, technically a model “tragedy of common life,” is a striking portrayal of the middle class.

In 1845 he met the actress Christine Enghaus, whom he married in 1846. His life became more tranquil, although he was permanently weakened by rheumatic fever as a result of his earlier privation. The first tragedy written in this period of his life was the verse play Herodes und Mariamne (published 1850, performed 1849).

 
 

A later work, the Die Nibelungen trilogy (1862)—including Der gehörnte Siegfried (“The Invulnerable Siegfried”), Siegfrieds Tod (“Siegfried’s Death”), and Kriemhilds Rache (“Kriemhild’s Revenge”)—grandiosely pictures the clash between heathen and Christian. The prose tragedy Agnes Bernauer (1852) treats the conflict between the necessities of the state and the rights of the individual. Gyges und sein Ring (1854; Gyges and His Ring), probably his most mature and subtle work, shows Hebbel’s predilection for involved psychological problems. His other works include two comedies, a volume of novellas and stories, collections of poems, and essays in literary criticism. On his 50th birthday, nine months before he died, he received the Schiller Prize.

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1813
 
 
Korner Theodor, Ger. poet, d. (b. 1791)
 
 
     
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1813
 
 
Ludwig Otto
 
Otto Ludwig, (born February 12, 1813, Eisfeld, Thuringia [Germany]—died February 25, 1865, Dresden, Saxony), German novelist, playwright, and critic, remembered for his realistic stories, which contributed to the development of the Novelle.
 

Otto Ludwig
  He coined the expression poetischer Realismus (“poetic Realism”), later used to describe the writing of many of his contemporaries.

Although expected to follow a mercantile career, Ludwig early became interested in poetry and music and in 1838 produced an opera, Die Köhlerin. He studied under Felix Mendelssohn at Leipzig (1839), but ill health and shyness caused him to forsake his musical career. He moved to Dresden and turned to literary studies, writing stories and dramas.

Ludwig’s psychological drama Der Erbförster (1850) was only partially successful, though it attracted immediate attention. His more enduring work includes a series of stories on Thuringian life, characterized, as were the dramas, by attention to detail and careful psychological analysis.

The most notable are Die Heiteretei und ihr Widerspiel (1851; The Cheerful Ones and Their Opposites) and Zwischen Himmel und Erde (1855; Between Heaven and Earth). His Shakespeare-Studien (1891) showed him to be a discriminating critic, but his preoccupation with literary theory proved something of a hindrance to his success as a creative writer.

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1813
 
 
Manzoni Alessandro: "Inni sacri"
 
 

Manzoni: "Inni sacri"
 
 
     
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1813
 
 
Shelley: "Queen Mab"
 
Queen Mab; A Philosophical Poem; With Notes, published in 1813 in nine cantos with seventeen notes, was the first large poetic work written by Shelley Percy Bysshe (1792–1822), the English Romantic poet. After substantial reworking, a revised edition of a portion of the text was published in 1816 under the title The Daemon of the World.
 
History
This poem was written early in Shelley's career and serves as a foundation to his theory of revolution. It was his first major poem. In this work, he depicts a two-pronged revolt involving necessary changes, brought on by both nature and the virtuousness of humans.

Shelley took William Godwin's idea of "necessity" and combined it with his own idea of ever-changing nature, to establish the theory that contemporary societal evils would dissolve naturally in time. This was to be coupled with the creation of a virtuous mentality in people who could envision the ideal goal of a perfect society.

The ideal was to be reached incrementally, because Shelley (as a result of Napoleon's actions in the French Revolution), believed that the perfect society could not be obtained immediately through violent revolution. Instead it was to be achieved through nature's evolution and ever-greater numbers of people becoming virtuous and imagining a better society.

He set the press and ran 250 copies of this radical and revolutionary tract. Queen Mab was infused with scientific language and naturalising moral prescriptions for an oppressed humanity in an industrialising world.

He intended the poem to be private and distributed it among his close friends and acquaintances. About 70 sets of the signatures were bound and distributed personally by Shelley, and the rest were stored at William Clark's bookshop in London.

  A year before his death, in 1821, one of the shopkeepers caught sight of the remaining signatures. The shopkeeper bound the remaining signatures, printed an expurgated edition, and distributed the pirated editions through the black market.

The copies were–in the words of Richard Carlisle– "pounced upon," by the Society for the Prevention of Vice. Shelley was dismayed upon discovering the piracy of what he considered to be not just a juvenile production but a work that could potentially "injure rather than serve the cause of freedom." He sought an injunction against the shopkeeper, but since the poem was considered illegal, he was not entitled to the copyright. William Clark was imprisoned for 4 months for publishing and distributing Queen Mab.

The British bookseller Richard Carlile issued a new edition of the poem in the 1820s. In spite of prosecution from the Vice Society, Carlile was encouraged by the popularity Shelley's poem enjoyed with the working classes, progressives, and reformers into producing four separate editions of Queen Mab during the 1820s. Between 1821 and the 1830s over a dozen pirated editions of Queen Mab were produced and distributed among and by the labouring classes fuelling, and becoming a "bible" for Chartism.

When Shelley's widow, Mary Shelley, published her husband's Poetical Works in 1839, several atheistic passages of the poem were removed.
After they were restored in a second edition, the publisher, Edward Moxon, was prosecuted and convicted of blasphemous libel.

 
 
Synopsis
The poem is written in the form of a fairy tale that presents a future vision of a utopia on earth, consisting of nine cantos and seventeen notes. Queen Mab, a fairy, descends in a chariot to a dwelling where Ianthe is sleeping on a couch. Queen Mab detaches Ianthe's spirit or soul from her sleeping body and transports it on a celestial tour to Queen Mab's palace at the edge of the universe.

Queen Mab interprets, analyses, and explains Ianthe's dreams. She shows her visions of the past, present, and the future. The past and present are characterised by oppression, injustice, misery, and suffering caused by monarchies, commerce, and religion. In the future, however, the condition of man will be improved and a utopia will emerge. Two key points are emphasised: 1) death is not to be feared; and, 2) the future offers the possibility of perfectibility. Humanity and nature can be reconciled and work in unison and harmony, not against each other.

While Ianthe is asleep on the couch, Henry waits to kiss her. He never does.

Queen Mab returns Ianthe's spirit or soul to her body. Ianthe then awakens with a "gentle start".

 
Title page of the limited first edition
printed by Shelley himself, 1813.
 
 

Of the seventeen notes, six deal with the issues of atheism, vegetarianism, free love, the role of necessity in the physical and spiritual realm, and the relationship of Christ and the precepts of Christianity.

The theme of the work is the perfectibility of man by moral means.

Shelley's objective was to show that reform and improvement in the lot of mankind were possible. In her notes to the work, Mary Shelley explained the author's goals:

He was animated to greater zeal by compassion for his fellow-creatures. His sympathy was excited by the misery with which the world is bursting. He witnessed the sufferings of the poor, and was aware of the evils of ignorance. He desired to induce every rich man to despoil himself of superfluity, and to create a brotherhood of property and service, and was ready to be the first to lay down the advantages of his birth. He was of too uncompromising a disposition to join any party. He did not in his youth look forward to gradual improvement: nay, in those days of intolerance, now almost forgotten, it seemed as easy to look forward to the sort of millennium of freedom and brotherhood, which he thought the proper state of mankind, as to the present reign of moderation and improvement. Ill health made him believe that his race would soon be run; that a year or two was all he had of life. He desired that these years should be useful and illustrious. He saw, in a fervent call on his fellow-creatures to share alike the blessings of the creation, to love and serve each other, the noblest work that life and time permitted him. In this spirit he composed Queen Mab.

From Wikipedia, the free encyclopedia
 
 
 
     
 
Percy Bysshe Shelley 

"
Prometheus Unbound"
     
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1813
 
 
Southey Robert : "Life of Nelson"
 
 

Robert Southey. "Life of Nelson"
 
 
see also: Robert Southey
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1813
 
 
Wieland Christoph Martin, Ger. author, d. (b. 1733)
 
 

Christoph Martin Wieland
 
 
see also: Christoph Martin Wieland
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1813
 
 
Graff Anton, Ger. portrait painter, d. (b. 1736)
 
 

Self-Portrait at the Age of 58
1794
Oil on canvas, 168 x 105 cm
Gemäldegalerie, Dresden
 
 
 
     
 
Anton Graff
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1813
 
 
Turner: "Frosty Morning"
 
 

Turner J.M.W. "Frosty Morning"
1813
 
 
 
     
 
J.M.W. Turner
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1813
 
 
Gretry Andre, Fr. composer, d. (b. 1741)
 
 
 
 
Andre Ernest Modeste Gretry - Guillaume Tell - Ouverture
 
Guillaume Tell, drame mise en musique in three acts, first performance 9 April 1791, Comédie-Italienne, Paris.

Libretto: Michel-Jean Sedaine

Ouverture

Orchestra: Orchestre de Bretagne

Conductor: Stefan Sanderling

 
 
)
 
 
 
     
 
Andre Gretry
 
     
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 
1813
 
 
London Philharmonic Society
 

The Royal Philharmonic Society is a British music society, formed in 1813. It was originally formed in London to promote performances of instrumental music there.

 
Many distinguished composers and performers have taken part in its concerts. It is now a membership society, and while it no longer has its own orchestra, it continues a wide ranging programme of activities which focus on composers and young musicians and aim to engage audiences so that future generations will enjoy a rich and vibrant musical life. Since 1989 it has promoted the annual Royal Philharmonic Society Music Awards for live music-making in the United Kingdom. The RPS is a registered UK charity No. 213693. It is located at 10 Stratford Place, London, W1C 1BA.

The society's Gold Medal for outstanding musicianship is awarded only occasionally.

 
 
History
In London, at a time when there were no permanent London orchestras, nor organised series of chamber music concerts, a group of professional musicians formed the Philharmonic Society of London on 24 January 1813. The Society's aim was "to promote the performance, in the most perfect manner possible of the best and most approved instrumental music". The first concert, on 8 March 1813, was presided over by Johann Peter Salomon, with Muzio Clementi at the piano and the violin prodigy Nicolas Mori as lead violinist, performing symphonies by Joseph Haydn and Ludwig van Beethoven.

Among the founders was the pianist and violinist William Dance who became the society's first director and treasurer until his death in 1840.

The Society asked Beethoven to come to London, but the composer's health prevented his accepting the invitation. However the society's request for a new symphony from him resulted in the Choral Symphony. In 1827 Beethoven wrote to the society outlining his straitened circumstances; at a special general meeting the society resolved to send the composer £100 immediately (George Bernard Shaw once referred to this as "the only entirely creditable incident in English history"). Other works written for the Society include the Italian Symphony by Felix Mendelssohn.

  Distinguished conductors included Ludwig Spohr, one of the first conductors to use a baton, Hector Berlioz, who conducted a concert of his works in 1853, Richard Wagner, who conducted the whole 1855 season of orchestral concerts, William Sterndale Bennett for the following ten years, Arthur Sullivan, and Tchaikovsky, who conducted his own works in 1888 and 1893.

Until 1869, the Society gave its concerts in the concert-hall of Hanover Square Rooms, which had seating for only about 800. The Society decided to move permanently to St James's Hall, and a complimentary additional concert, held at the hall, was given to its subscribers at the end of the 1868-69 season. Charles Santley, Charles Hallé, Thérèse Tietjens and Christina Nilsson were the soloists. When the move was made, the Society remodelled its charges to obtain a wider audience and compete with the Crystal Palace and other large venues, and introduced annotated programmes. The Society remained at the hall until 28 February 1894, when it moved to the Queen's Hall.

The society became the Royal Philharmonic Society during its 100th concert season in 1912, and continued organising concerts through the two world wars. It is now a membership society which "seeks to create a future for music through the encouragement of creativity, the recognition of excellence and the promotion of understanding."

 
 

The Gold Medal
The Gold Medal was first awarded in 1871. The medal depicts the profile of a bust of Beethoven by Johann Nepomuk Schaller (1777–1842) which was presented to the society in 1870, Beethoven's centenary. It is awarded for "outstanding musicianship", and is given rarely — by 2008 it had been awarded to a total of fewer than 100 musicians.

From Wikipedia, the free encyclopedia

 
 
 
1813
 
 
Rossini: "L'ltaliana in Algeri"
 
 
 
 
Gioacchino Rossini - L'italiana in Algeri - Overture - 1813
 
L'italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Rossini Gioachino to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.

The work was first performed at the Teatro San Benedetto, Venice on May 22, 1813.

 
 
 
 
 
     
 
Gioachino Rossini
 
     
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 
1813
 
 
Verdi Giuseppe
 

Giuseppe Fortunino Francesco Verdi (9 or 10 October 1813 – 27 January 1901) was an Italian Romantic composer primarily known for his operas. He is considered, together with Richard Wagner, the preeminent opera composer of the nineteenth century.

 
  Verdi dominated the Italian opera scene after the eras of Bellini, Donizetti and Rossini. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture, as "La donna è mobile" from Rigoletto, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, the "Coro di zingari" (Anvil Chorus) from Il trovatore and the "Grand March" from Aida.

Moved by the death of compatriot Alessandro Manzoni, Verdi wrote Messa da Requiem in 1874 in Manzoni's honour, a work now regarded as a masterpiece of the oratorio tradition and a testimony to his capacity outside the field of opera.

Visionary and politically engaged, he remains – alongside Garibaldi and Cavour – an emblematic figure of the reunification process of the Italian peninsula (the Risorgimento).

 
 
Anna Netrebko "Final Scene" La traviata
 
Evgeni Akimov as Alfredo. Victor Chernomortsev as Germont .Mariinsky Theatre Chorus and Orchestra, conducted by Valery Gergiev St. Petersburg,June 2003
 
 
 
 
 
     
 
Giuseppe Verdi
     
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 
1813
 
 
Wagner Richard
 

Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama, and which was announced in a series of essays between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).

 

Wilhelm Richard Wagner
  His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music.

Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed in an annual festival run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).

Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment in recent decades, especially where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; their influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.

 
 
 
 
Richard Wagner - Ride Of The Valkyries
 
 
 
 
 
     
 
Richard Wagner
     
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 
1813
 
 
Lagrange Joseph-Louis , Fr. mathematician, d. (b. 1736)
 
 

Joseph-Louis Lagrange
 
 
 
1813
 
 
The missionaries
The missionaries were not far behind the naturalists. By the end of the 18th century the London Missionary Society had established itself in southern Africa, and in 1813 the Reverend John Campbell traveled as far north as Bechuanaland (Botswana) to look for possible mission sites; in 1821 the famous missionary Robert Moffat and his wife Mary established a mission at Kuruman.
 
 
 
 
Campbell John
 
John Campbell (born March 1766 in Edinburgh, Scotland – 4 April 1840 Kingsland, London), was a Scottish missionary and traveller.
 

John Campbell
  He attended the Royal High School and was at one time apprenticed to a goldsmith. Campbell helped found the Magdalene Society, a Religious Tract Society of Scotland in 1793, and the Missionary Magazine in Edinburgh in 1796. His consuming interest in Christian philanthropy led him to preach widely in neglected villages and hamlets, promote the establishing of numerous Sunday schools and found societies like the Magdalene Asylum to help prostitutes in Edinburgh and Glasgow. His opposition to the slave trade led to his collaboration with James Alexander Haldane in bringing some 30-40 African children to be educated in England. Following the Haldane Revival, Campbell became a Congregational Church minister. He was minister at Kingsland, an independent chapel he had founded, from 1802. He was instrumental in founding the British and Foreign Bible Society and became a director of the London Missionary Society. The London Missionary Society sent him to the Cape in June 1812 to inspect the mission stations there. He set off from Cape Town in February 1813, calling in at Bethelsdorp and Grahamstown, then the military headquarters. Heading north he visited Graaff-Reinet and Klaarwater (later Griquatown), and then travelled further north to Litakun, the kraal of the Batlhaping kgosi (chief) Mothibi. His return trip went via Klaarwater, Pella and the Kamiesberge, arriving in Cape Town at the end of October. He wrote an account of this trip as "Travels in South Africa, undertaken at the request of the Missionary Society" and it was published on his return to London in 1815. The town of Campbell, east of Griquatown, was named in his honour.
 
 

Campbell returned to the Cape in February 1819 in the company of Dr. John Philip. His orders were to inspect and improve the mission stations which had fallen into a neglected state. On this visit he instructed the missionary Robert Moffat to start a mission among the Bechuana tribe. Campbell once more ventured into the interior, leaving Cape Town in January 1820 and travelling as far north as Mosega in Barotseland. He left for England in February 1821, publishing two further volumes covering his second journey. He subsequently delivered a series of lectures on his missionary work.

From Wikipedia, the free encyclopedia
 
 
see also: Southern Africa
 
 
 
1813
 
 
Blue Mountains were crossed by Gregory Blaxland
 
 
Blaxland Gregory
 

Gregory Blaxland (17 June 1778 – 1 January 1853) was an English pioneer farmer and explorer in Australia, noted for initiating and co-leading the first successful crossing of the Blue Mountains by European settlers.

 

Gregory Blaxland
  Early life
Gregory Blaxland was born 17 June 1778 at Fordwich, Kent, England, the fourth son of John Blaxland, mayor from 1767 to 1774, whose family had owned estates nearby for generations, and Mary, daughter of Captain Parker, R.N. Gregory attended The King's School, Canterbury. In July 1799 in the church of St George the Martyr there, he married Elizabeth, daughter of John Spurdon; they had five sons and two daughters.

The Blaxlands were friends of Sir Joseph Banks who appears to have strongly influenced the decision of Gregory and his eldest brother, John, to emigrate. The government promised them land, convict servants and free passages, in accord with its policy of encouraging 'settlers of responsibility and capital'.

Leaving John to sell their Kent estates, Gregory sailed in the William Pitt on 1 September 1805 with his wife, three children, two servants, an overseer, a few sheep, seed, bees, tools, groceries and clothing. When he reached Sydney he sold many of these goods very profitably, bought eighty head of cattle so as to enter the meat trade, located 4,000 acres (1,600 ha) of land and was promised forty convict servants.

Soon afterwards he also bought 450 acres (180 ha) at the Brush Farm (near Eastwood) from D'Arcy Wentworth for £1500, while also displaying some of his future characteristics by commencing litigation against the master of the William Pitt.

 
 
Blue Mountains expedition
In 1813, he led the first known European expedition across the area of the Great Dividing Range known as the Blue Mountains, along with William Lawson and William Charles Wentworth, on a journey which would open up the inland of the continent.

Blaxland's diaries show that he had a clear grasp of the scale upon which agricultural and pastoral activities would be profitable in Australia. In 1814, like many others almost insolvent because of drought and depression, he tried to persuade Governor Macquarie to sanction a scheme for the exploitation of the interior by a large agricultural company similar to the later Australian Agricultural Company of the 1820s.

Macquarie would not agree nor would he allow Blaxland land in the interior for his own flocks. Since Blaxland then had to dispose of his livestock, he joined the colonial opposition to Macquarie, and in 1819 sharply criticized his administration to Commissioner John Thomas Bigge.

Blaxland visited England and in February 1823 he published his Journal of a Tour of Discovery Across the Blue Mountains:

"On Tuesday, May 11, 1813, Mr. Gregory Blaxland, Mr. William Wentworth, and Lieutenant Lawson, attended by four servants, with five dogs, and four horses laden with provisions, ammunition, and other necessaries, left Mr. Blaxland's farm at the South Creek, for the purpose of endeavouring to effect a passage over the Blue Mountains ..."

Later the same year Blaxland was awarded the silver medal of the Royal Society of Arts for some wine he had exported to London, and five years later he received its gold medal. In January 1827 Blaxland was elected by a public meeting with two others to present a petition to Governor Darling asking that "Trial by jury" and "Taxation by Representation" should be extended to the colony.

  Later years
Blaxland is also noted as one of the first settlers to plant grapes for wine-making purposes. He was engaged during the next few years in wine-making. He had brought vines from the Cape of Good Hope, found a species resistant to blight, took a sample of his wine to London in 1822 and won a silver medal for it. While in England he published his "A Journal of a Tour of Discovery Across the Blue Mountains in New South Wales" (London, 1823.)

After the death of his wife in December 1826 he made another visit to England. Still opposed to the governor's authority, this time he bore a petition in support of trial by jury and some form of representative government, and again carried samples of his wine, for which he won another medal in 1828.

He successfully petitioned the Colonial Office for a drawback on the import duty on brandy imported into the colony and 'actually used in the manufacture of wine'. Always a man of moody and mercurial character, Blaxland devoted his colonial activities almost entirely to the pursuit of his agricultural and viticultural interests. He suffered great personal loss with the early and untimely deaths of his second son, youngest son and wife along with others quite close to him in rapid succession, which bore very heavily on his heart. He committed suicide on 1 January 1853 in New South Wales.

He is buried in All Saints Cemetery in Parramatta.

Recognition
The township of Blaxland in the Blue Mountains is named after him, as is the Australian Electoral Division of Blaxland and Blaxland Creek.

In 1963 he was honoured, together with Lawson and Wentworth, on a postage stamp issued by Australia Post depicting the Blue Mountains crossing.

From Wikipedia, the free encyclopedia

 
 

Exploration of Blaxland, Lawson and Wentworth
 
 
 
Across the Blue Mountains
 
 

The first efforts to penetrate the interior of Australia were made from Sydney and were motivated by the growing need to find more grazing land. The task was not easy, as the settlement was fenced in by mountains shrouded m a bluish haze, the effect of the oily eucalyptus trees, which to the unhappy convicts seemed to signify a paradisal land beyond (how wrong they were).

It was not until 1813 that the Blue Mountains were crossed, by Gregory Blaxland who, unlike earlier pioneers, elected to keep to the high ground instead of following the valleys.

 
 
 
Even so, he and his companions made slow progress, sometimes covering only a mile or two all day, but after nearly three weeks they saw, from Mount York, the desirable prospect of lush green land stretching before them. The Governor sent others to follow up Blaxland; there was a road to Bathurst by 1815, and in 1818 John Oxley, having failed to get far down the Macquane River, turned cast and discovered the Liverpool Plains.

By this time, restrictions on settlement having been removed, British emigrants were flooding in, increasing pressure for more land. Hamilton Hume, a native Australian, traveled from Sydney to near modern-day Melbourne .in 1824. though greatly harassed by insects and Aborigines. The botanist Allan Cunningham discovered the rich pastures of the Darling Downs in 1 827 and went almost as far north as modern Brisbane, west of the Great Dividing Range.
 
 

Europeans, mounted on horseback and equipped with guns, had little difficulty in quelling any threat from the Aborigines, as shown in this painting by Thomas Baines, official artist to an expedition in northwest Australia in 1855.
 
 
Sturt and Macley
 
Just as people nowadays speculate about conditions on other planets, formerly they evolved theories about unexplored lands on Earth. The exploration of Australia's coastline had indicated a remarkable lack of outflowing rivers (partly because they were overlooked), and this gave rise to the theory that the island-continent contained a great inland sea, into which its rivers drained.

The problem of the New South Wales' drainage system was largely solved by the outstanding figure among the first generation of explorers of Australia: Charles Sturt, who was a 33-year-old soldier on the Governor's staff when he was chosen for the task in 1828.

His first journey took him, with Hume, down the Macquarie River, beyond the swamps that had defeated Oxley. His account is full of the hazards that were to become familiar to explorers of Australia: intense heat, scarcity of water, aggressive insects, and hostile Aborigines. In February 1829 he reached the Darling River, but confessed he could not hazard a guess about its course.

On his second journey, Sturt took a more southerly route, along the Murrumbidgee and then the Murray rivers. His chief companion this time was George Macley (or M'Leay), a young, red-headed naturalist who got on so well with the Aborigines that they were convinced he had once been one of their race. But as they proceeded west, the Aborigines became more hostile. In a famous incident, the explorers were confronted by some 600 armed people, clearly on the point of launching an attack.
Sturt was about to shoot one of the leaders, hoping to discourage the rest, when Macley stopped him, indicating the sudden appearance of four other men from another direction.
 
Twenty-five years elapsed between the first settlement in Sydney and Blaxland's successful crossing of the Blue Mountains. The Three Sisters rocks, shown here, give an idea of the difficulty of the terrain.
 
 
"Turning round, I observed four men at the top of their speed. The foremost of them, as soon as he got ahead of the boat, threw himself from a considerable height into the water. He struggled across ... and ... stood in front of the savage against whom my aim had been directed. Seizing him by the throat, he pushed him backwards, and forcing all who were in the water upon the bank, he trod its margin with a vehemence and agitation that were exceedingly striking." Violence having been averted by this fortuitous ally, the 600 became friendly. This was often the way: Aborigine hostility, though certainly sometimes fatal, was short-lived: they could often be distracted from imminent assault by something that amused them.
But the sensational events of this day were not over. Sturt and Macley had allowed their boat to drift on to a shoal and, having pushed her off, "our attention was withdrawn to a new and beautiful stream commg apparently from the north." They proceeded up the new river, accompanied for some way by a noisy but now amiable multitude on the bank, and Sturt concluded, correctly, that к was the Darling. He then turned back and followed the Murray for nearly 400 miles (650 kilometers) to its mouth.
 
 

The overlanders
Early exploring expeditions in Australia were largely motivated by the need for grazing land, and initial discoveries were quickly followed up by men driving their "mobs" of sheep or cattle to new pastures, or to settlements where meat was scarce and prices high. The "overlanders" frequently undertook long treks through country which, if not totally unknown, was unmapped, and they played a significant part in opening up Australia to white settlement. Among the most notable feats was that of Patrick Leslie, who moved nearly 6000 sheep from a station in the Hunter Valley westward to the Darling Downs in 1840.
 
 
South from the Murray River
 
Sturt had opened up plenty of well-watered land to the colonists. His discoveries were followed up by Thomas Mitchell, surveyor-general of New South Wales, who doubted Sturt's identification of the Darling. After two failures, due to attacks by Aborigines, his third expedition in 1836 proved that Sturt was right. He then struck off on his own, south from the Murray, found the Glcnelg River, and sailed down to the sea at Discovery Bay.
His journey opened up another large and desirable stretch of land to European farmers, though this region was not entirely virgin territory. Whalers had established a small settlement on the coast and a few colonists from Tasmania were also in residence, without permission from the authorities in Sydney. In 1835 John Batman had noted a site at the mouth of the Yarra River as suitable for a village and had "bought" 600,000 acres of land from the local Aborigines. In 1836 Bourke. the Governor of New South Wales, vetoed Batman's purchase, named the place Melbourne and had a plan of streets drawn up, with building lots measured and offered for sale.
 
 
 
1813
 
 
Grand Freemason Lodge founded
 
 
 
1813
 
 
Last gold guinea coins issued in England
 
 
 
1813
 
 
Indian trade monopoly of East India Company abolished
 
 
 
1813
 
 
Yorkshireman Thomas Lord moves White Conduit Club to St. John's Wood, London
 
 
Lord Thomas
 
Thomas Lord (23 November 1755 – 13 January 1832) was an English professional cricketer who played first-class cricket from 1787 to 1802. He made a brief comeback, playing in one further match in 1815. Overall, Lord made 90 known appearances in first-class cricket. He was mostly associated with Middlesex and with Marylebone Cricket Club (MCC) as a ground staff bowler.

Lord is best remembered as the founder of Lord's Cricket Ground.

 
Early life
Lord was born in Thirsk, Yorkshire, in what is now the town museum. His father was a Roman Catholic yeoman, who had his lands sequestered for supporting the Jacobite rising in 1745 and afterwards he had to work as a labourer. The Lord family later moved to Diss, Norfolk, where Thomas Lord was brought up. Once he was out of childhood, Lord moved to London and got a job as a bowler and general attendant at the White Conduit Club in Islington.
 
 
Career
Lord is known to have begun playing about 1780 but his first recorded game was on his "own ground", now referred to as Lord's Old Ground, at the current site of Dorset Square on 31 May 1787 when he played for Middlesex v Essex.

Lord has never been given much credit as a player but the match records of the 1790s indicate that he was a very good bowler, although it is true that his opposition was not always of the highest standard.

In 1786 Lord was approached by George Finch, 9th Earl of Winchilsea, and Charles Lennox, 4th Duke of Richmond, who were the leading members of the White Conduit Club. They wanted Lord to find a more private venue for their club and offered him a guarantee against any losses he might suffer.

In May 1787, Lord acquired seven acres (28,000 m²) off Dorset Square and started his first ground. White Conduit relocated there and soon afterwards formed, or merged into, the new Marylebone Cricket Club.

  The lease on the first ground ended in 1810 and Lord obtained an eighty-year lease on two fields, the Brick and Great Fields at North Bank, St John's Wood. The second venue, now referred to as Lord's Middle Ground, was built by 1809 when the first games were played there by St John's Wood Cricket Club. This was later merged into MCC who relocated to the Middle Ground in 1811. In 1813 Parliament requisitioned the land for the Regent's Canal, which was cut through the site, thereby necessitating a further move.

Lord's third ground

Lord then moved his ground to the present site in St John's Wood, literally taking his turf with him. It opened in 1814. Lord was not, however, making enough money and therefore obtained permission to develop part of the ground for housing, a move which would have left only 150 square yards of playing area. To counter his plan, Lord was bought out for £5,000 by prominent MCC member William Ward, a noted batsman who was also a director of the Bank of England. Despite the change of ownership, the ground has continued to bear Lord's name.
 



The Tavern Stand at Lord's Cricket Ground as it looks today.

 
 

Retirement
Lord remained in St John's Wood till 1830 when he retired to West Meon in Hampshire, where he died in 1832. His son, also Thomas Lord, and born in Marylebone on 27 December 1794, was also a first-class cricketer.

Thomas Lord is buried in the churchyard of St John's Church at West Meon. The village has a public house named after him and is just a few miles from Hambledon, home of the famous Hambledon Cricket Club.

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1813
 
 
The waltz conquers the European ballrooms
 
 
 

 
 
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