Timeline of World History TIMELINE OF WORLD HISTORY



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
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1820 - 1829
History at a Glance
1820 Part I
Ferdinand VII
Trienio Liberal
Caroline of Brunswick
Charles Ferdinand, Duke of Berry
Henri, Count of Chambord
Cato Street Conspiracy
"Missouri Compromise"
Congress of Troppau
Liberal Revolution in Portugal
Ecuadorian War of Independence
Sucre Antonio Jose
Engels Friedrich
Erskine Thomas
Gorres Joseph
Spencer Herbert
1820 Part II
Keats: "Ode to a Nightingale"
Pushkin: "Ruslan and Ludmila"
Fet Afanasy
Scott: "Ivanhoe"
Shelley: "Prometheus Unbound"
William Blake: The Book of Job
Tenniel John
Discovery of the Venus de Milo
Fromentin Eugene
Vieuxtemps Henri
Henri Vieuxtemps - Elegy for Viola and Piano Op.30
Henri Vieuxtemps
Moffat Robert
Florence Nightingale
Anthony Susan Brownell
1821 Part I
Congress of Laibach
Victor Emmanuel I
Felix Charle
Battle of Novara
Greek War of Independence
Greek Revolution Timeline
Battle of Alamana
Battle of Carabobo
Independence of Brazil
Ecole Nationale des Chartes
Concordats with individual states of Germany
Baker Eddy Mary
Grote George
Hegel: "Grundlinien der Philosophie des Rechts"
Mill James
Champollion Jean-François
1821 Part II
Baudelaire Charles
Charles Baudelaire
"The Flowers of Evil"
Fenimore Cooper: "The Spy"
Dostoevsky Fyodor
Fyodor Dostoyevsky
"The Idiot"
Flaubert Gustave
Gustave Flaubert
Madame Bovary
Goethe: "Wilhelm Meisters Wanderjahre"
William Hazlitt: "Table-Talk"
Quincey Thomas
Thomas de Quincey: "Confessions of an English Opium Eater"
Thomas De Quincey 
"Confessions of an English Opium-Eater"
Shelley: "Adonais"
Nekrasov Nekolay
Brown Ford Madox
Ford Madox Brown
Weber: "Der Freischutz"
Helmholtz Hermann
Seebeck Thomas Johann
Virchow Rudolf
Wheatstone Charles
"The Guardian"
1822 Part I
Chios Massacre
Battle of Dervenakia
Grant Ulysses
Iturbide Augustin
Congress of Verona
Colebrooke Henry Thomas
Fourier Joseph
Poncelet Jean-Victor
Goncourt Edmond
Nodier Charles
Vigny Alfred-Victor
1822 Part II
Delacroix: "Dante and Virgil Crossing the Styx"
Martin John
John Martin
Franck Cesar
Cesar Franck - Prelude, Chorale and Fugue
Cesar Franck
Royal Academy of Music, London
Schubert: Symphony No. 8 ("The Unfinished")
Mendel Gregor
Pasteur Louis
Schliemann Heinrich
1823 Part I
Federal Republic of Central America
Monroe Doctrine
Renan Ernest
Ernest Renan
"The Life of Jesus"
Fenimore Cooper: "The Pioneers"
Ostrovski Alexander
Petofi Sandor
Yonge Charlotte Mary
1823 Part II
Ferdinand Waldmuller: "Portrait of Beethoven"
Beethoven: "Missa Solemnis"
Bishop Henry Rowley
Bishop "Home! Sweet Home!"
Schubert: "Rosamunde"
Weber: "Euryanthe"
Babbage Charles
Macintosh Charles
Navigation of the Niger
Oudney Walter
Denham Dixon
Clapperton Bain Hugh
"The Lancet"
Royal Thames Yacht Club
1824 Part I
First Anglo-Burmese War (1824–1826)
Russo-American Treaty of 1824
First Siege of Missolonghi
Constitution of Mexico
Battle of Ayacucho
Bockh August
Botta Carlo Giuseppe Guglielmo
Dumas Alexandre, fils
Landor Walter Savage
Walter Scott: "Redgauntlet"
1824 Part II
Delacroix: "The Massacre at Chios"
John Flaxman: "Pastoral Apollo"
Ingres: "Vow of Louis XIII"
Israels Joseph
Joseph Israels
Overbeck: "Christ's entry into Jerusalem"
Gerome Jean-Leon
Jean-Leon Gerome
Boulanger Gustave
Gustave Boulanger
Girodet Anne-Louis
Anne-Louis Girodet-Trioson
1824 Part III
Beethoven: Symphony No. 9
Bruckner Anton
Anton Bruckner - Locus Iste
Anton Bruckner
Smetana Bedrich
Smetana - Die Moldau
Bedrich Smetana
Aspdin Joseph
Carnot Sadi
Thomson William
The Hume and Hovell expedition
Hume Hamilton
Hovell William Hilton
Athenaeum Club, London
"Le Globe"
Royal Society for the Prevention of Cruelty to Animals
1825 Part I
Ferdinand IV of Naples
Francis I of the Two Sicilies
Third Siege of Missolonghi
Treaty of Saint Petersburg of 1825
Uruguay became independent of Brazil (1825)
Kruger Paul
Maximilian I
Ludwig I of Bavaria
Nicholas I
Decembrist revolt in Russia
1825 Part II
Lasalle Ferdinand
William Hazlitt: "The Spirit of the Age"
Manzoni: "The Betrothed"
Meyer Conrad Ferdinand
Pepys Samuel: "The Diaries of Samuel Pepys"
Pushkin: "Boris Godunov"
Tegner Esaias
Esaias Tegner: "Frithjofs Saga"
Constable: "Leaping Horse"
Collinson James
James Collinson
1825 Part III
Boieldieu: "La Dame blanche"
Strauss II Johann , the "Waltz King"
Johan Strauss - Blue Danube Waltz
Johann Strauss II, the "Waltz King"
Charcot Jean Martin
Gurney Goldsworthy
Stockton and Darlington Railway
The Desert
Caillie Rene-Auguste
Laing Alexander Gordon
John Franklin Canadian and Arctic expedition
Trade Union
1826 Part I
The Sortie of Missolonghi
Ottoman–Egyptian Invasion of Mani
Treaty of Yandabo
Pedro I
Maria II, Queen of Portugal
Akkerman Convention
Congress of Panama
Russo-Persian War of 1826-1828
Khan Dost Mohammad
1826 Part II
Liebknecht Wilhelm
Ruan Yuan
Fenimore Cooper: "The Last of the Mohicans"
Benjamin Disraeli: "Vivian Grey"
Scheffel Josef Viktor
Scott: "Woodstock"
Moreau Gustave
Gustave Moreau
Weber: "Oberon"
Nobili Leopoldo
Unverdorben Otto
Raffles Stamford
1827 Part I
Battle of Phaleron
Kapodistrias Ioannis Antonios
Siege of the Acropolis (1826–27)
Treaty of London
Battle of Navarino
Mahmud II
Russo-Persian War - Campaign of 1827
Coster Charles
1827 Part II
Bocklin Arnold
Arnold Bocklin
Constable: "The Cornfield"
Hunt William Holman
William Holman Hunt
Audubon John James
Audubon: "Birds of North America"
Baer Karl Ernst
Bright Richard
Lister Joseph
Niepce Nicephore
Ohm Georg Simon
Ressel Joseph
Simpson James
Wohler Friedrich
Baedeker Karl
"London Evening Standard"
1828 Part I
Ypsilantis Alexander
Russo-Turkish War of 1828–1829
"Tariff of Abominations"
Treaty of Montevideo
Guerrero Vicente
Lange Friedrich Albert
Muller Karl Otfried
Taine Hippolyte Adolphe
Noah Webster "American Dictionary of the English Language"
About Edmond
Alexandre Dumas pere: "Les Trois Mousquetaires"
Ibsen Henrik
Meredith George
George Meredith 
"The Egoist"
Oliphant Margaret
Tolstoy Leo
Leo Tolstoy
"The Kreutzer Sonata"
Verne Jules
Jules Verne
"Twenty Thousand Leagues Under the Sea."
"The Children of Captain Grant"
"The Mysterious Island"
1828 Part II
Bonington Richard Parkes
Richard Parkes Bonington
Rossetti Dante Gabriel
Dante Gabriel Rossetti
Stevens Alfred
Alfred Stevens
Stuart Gilbert
Gilbert Stuart
Auber: "La Muette de Portici"
Marschner: "Der Vampire"
Abel Niels Henrik
Burdon-Sanderson John
Cohn Ferdinand
De Vinne Theodore
Stewart Balfour
Swan Joseph
Dunant Henri
Hauser Kaspar
Working Men's Party
1829 Part I
Schurz Carl
Biddle Nicholas
Metropolitan Police Act 1829
First Hellenic Republic
Treaty of Adrianople
Attwood Thomas
Bustamante Anastasio
O’Connell Daniel
Gran Colombia–Peru War (1828-1829)
Benson Edward White
Roman Catholic Emancipation Act
Gardiner Samuel Rawson
Balzac: "Les Chouans"
Goethe: "Wilhelm Meisters Wanderjahre"
Jefferson Joseph  
Edgar Allan Poe: "Al Araaf"
Salvini Tommaso
Scott: "Anne of Geierstein"
Timrod Henry
Warner Charles Dudley
1829 Part II
Feuerbach Anselm
Anselm Feuerbach
Millais John Everett
John Everett Millais
Gottschalk Louis
Louis Moreau Gottschalk - Grande Tarantelle
Louis Gottschalk
Rossini: "William Tell"
Rubinstein Anton
Rubinstein - Piano Concerto No. 1
Anton Rubinstein
1829 Part III
Cantor Moritz Benedikt
Dobereiner Johann Wolfgang
Dreyse Nikolaus
Henry Joseph
Priessnitz Vincenz
Hydropathy, Hydrotherapy
Kekule August
Mitchell Silas Weir
Smithson James
Booth William
Salvation Army
Shillibeer George

Constable. "Leaping Horse"
YEAR BY YEAR:  1800 - 1899
1825 Part II
Fr. law makes sacrilege a capital offense
Comte de Saint-Simon (Saint-Simon Henri), Fr. socialist, d. (b. 1760)

Henri de Saint-Simon
see also: Henri de Saint-Simon
Thierry Augustin: "Histoire de la Conquete de l'Angleterre par les Normands"

Title page of "Histoire de la Conquete
de l'Angleterre par les Normands"
Lassalle Ferdinand
Ferdinand Lassalle, (born April 11, 1825, Breslau, Prussia [now Wrocław, Pol.]—died Aug. 31, 1864, near Geneva, Switz.), leading spokesman for German socialism, a disciple of Karl Marx (from 1848), and one of the founders of the German labour movement.

Ferdinand Lassalle

  Early years.
Lassalle was born of Jewish parents; his father, Heymann Lasal, or Loslauer, was a wholesale silk merchant and town councillor.

Ferdinand Lassalle—the spelling of the name dates from a stay in Paris in 1846—attended the Breslau classical high school but was expelled when he forged a signature on a school report. He attended a trade school in Leipzig in 1840, returned to Breslau in 1841, and passed his school-leaving examination in 1843. In 1843–44 he began to study philosophy, history, philology, and archaeology at the University of Breslau. In 1844–45 he continued his studies in Berlin, where he first encountered the ideas of the German philosophers G.W.F. Hegel and Ludwig Feuerbach and of the French Utopian thinkers. Intending to take his degree and to qualify as a university lecturer with a thesis on the philosophy of Heracleitus, he made repeated studies of the subject in Paris between 1845 and 1847. Here he met the French social theorist Pierre-Joseph Proudhon and Heinrich Heine, the German poet.

Champion of Countess Hatzfeldt.
In 1846, in Düsseldorf, he met the unhappily married countess Sophie Hatzfeldt, who was trying to divorce her husband. Although not a lawyer, Lassalle conducted 35 lawsuits in her behalf and in 1854 finally obtained a divorce for her.

Henceforth, he received an annual pension of 4,000 thalers from the countess, thus becoming financially independent. His lifelong relationship with the countess, though it was nothing more than that of son and mother, “stimulated gossip about Lassalle and immensely impeded his political career.” Lassalle lived in Düsseldorf from 1848 to 1857 and took part in the revolution of 1848–49, by which the liberal middle class tried to attain a constitutional monarchy that would grant such civil rights as freedom of assembly and freedom of the press. During those days he established contact with Karl Marx and Friedrich Engels, the socialist leaders. When Lassalle urged the militia to open revolt in November 1848, he was arrested and held in prison until his trial in July 1849. Although he was repeatedly arrested, indicted, and sentenced to prison, Lassalle counted his years in Düsseldorf, where he was able to be active both as a writer and as a labour organizer, among the happiest of his life.

In the period of reaction following the abortive revolution, he traveled to Switzerland, to the World’s Fair in Paris in 1855, and to the Orient in 1856. He completed the Heracleitus manuscript and the tragedy Franz von Sickingen (1859), which assigns to personality a role in determining the course of history.
Lassalle and Bismarck.
In 1857 Lassalle went back to Berlin, and in 1859 he settled permanently in the capital, where he became active as a political journalist. He met Marx in 1861, but, although they continued to correspond, they gradually became estranged. In contrast to Marx, Lassalle believed that the revolutionary phase had come to an end and that only a legal and evolutionary approach could hold hopes of success. With this goal in mind he held discussions with the Prussian prime minister Otto von Bismarck in 1863–64. Fourteen years after Lassalle’s death Bismarck said of him, “He was one of the most intelligent and amiable men I have ever associated with, a man of great ambition and by no means a republican.” Finding himself in a difficult political situation, Bismarck was, in the early 1860s, seeking allies in his struggle against the majority liberal opposition, while Lassalle was considering the concept of a monarchical welfare state. This was to be based on a universal suffrage for the three classes rather than on the existing suffrage that favoured the upper classes. He thus hoped, by integrating the working class into political and social life, to achieve a transition from a bourgeois state based on private property to a democratic constitutional state. Lassalle and Bismarck were attracted to each other by their many common characteristics. Lassalle in particular was distinguished by his charismatic personality and his paternalist notions of democracy, which were understandable in the context of Germany’s largely politically apathetic population.
  The year 1862 produced a crisis in Lassalle’s thinking when the uprising in Italy led by Giuseppe Garibaldi did not, contrary to Lassalle’s expectations, spread to other countries. The Prussian government meanwhile remained utterly unreceptive to his ideas. Realizing that lecturing and distributing pamphlets to artisans’ clubs and citizens’ associations were not producing sufficient results, Lassalle began agitating in workingmen’s associations in order to make his political aims known to the masses.

Organization of the “Suffrage Army.” In December 1862, Lassalle was asked by the executive committee of the “Central Committee to Convoke a General Congress of German Workers” to write a program for the congress.

Lassalle at once recognized in the congress an opportunity to organize a “Suffrage Army.” “Organize yourselves as a general German workingmen’s association to agitate legally and peacefully, but untiringly and ceaselessly, for the introduction of universal and direct suffrage in all German provinces! This is the banner you must raise! This is the sign under which you will be victorious!”

In 1863–64 Lassalle hurled himself into the struggle for workers’ rights, especially in the Rhineland. “Only the working class matters to me,” he declared. When the ADAV (Allgemeiner Deutscher Arbeiterverein, or General German Workers’ Association) was founded on May 23, 1863, in Leipzig, Lassalle was elected president for a five-year term.

In Cologne he collaborated with a socialist writer, Moses Hess, but other associates rebelled against Lassalle’s authoritarian leadership and the cult of his personality he did nothing to discourage. His generally incendiary speeches were often followed by lawsuits.

Exhausted and disappointed over the insignificant results of his propaganda activity, Lassalle went to Switzerland for a rest in July 1864.

Ferdinand Lassalle
  There he met Helene von Dönniges. He courted her passionately, but, encountering opposition from the young girl’s family, he challenged her father and her former fiancé, Yanko von Racowitza, to a duel. Racowitza accepted, and on August 28, in a little forest near Geneva, the senseless duel was fought. Lassalle was struck in the abdomen and died three days later. He was buried in the Jewish cemetery in Breslau.


Lassalle was for many decades considered a reformist heretic by the worker’s movement, which then adhered to the deterministic notions of popular Marxism according to which the dictatorship of the proletariat was foreordained by history. By others Lassalle continued to be romantically glorified as a pioneer of socialism.

Only since the time of Eduard Bernstein and the era of revisionism, when the German Social Democratic Party, aiming at becoming a mass political party, adopted the aims of parliamentary democracy and participation in government, has the modern significance of Lassalle been acknowledged.
It is not the theorist or the organizer of a workers’ party who is remembered, but, in the words of the German Social Democratic leader Carlo Schmid, a Lassalle “who in place of scientific analysis constantly fixed his sights on the true aim on history’s horizon: the liberation of man from the position of object and the elimination of man’s alienation from himself through the power of his own will.”

Wilhelm Matull

Encyclopædia Britannica
William Hazlitt: "The Spirit of the Age"

The Spirit of the Age (full title The Spirit of the Age: Or, Contemporary Portraits) is a collection of character sketches by the early 19th century English essayist, literary critic, and social commentator Hazlitt William, portraying 25 men, mostly British, whom he believed to represent significant trends in the thought, literature, and politics of his time. The subjects include thinkers, social reformers, politicians, poets, essayists, and novelists, many of whom Hazlitt was personally acquainted with or had encountered. Originally appearing in English periodicals, mostly The New Monthly Magazine in 1824, the essays were collected with several others written for the purpose and published in book form in 1825.

The Spirit of the Age was one of Hazlitt's most successful books. It is frequently judged to be his masterpiece, even "the crowning ornament of Hazlitt's career, and ... one of the lasting glories of nineteenth-century criticism." Hazlitt was also a painter and an art critic, yet no artists number among the subjects of these essays. His artistic and critical sensibility, however, infused his prose style—Hazlitt was later judged to be one of the greatest of English prose stylists as well—enabling his appreciation of portrait painting to help him bring his subjects to life. His experience as a literary, political, and social critic contributed to Hazlitt's solid understanding of his subjects' achievements, and his judgements of his contemporaries were later often deemed to have held good after nearly two centuries.

The Spirit of the Age, despite its essays' uneven quality, has been generally agreed to provide "a vivid panorama of the age". Yet, missing an introductory or concluding chapter, and with few explicit references to any themes, it was for long also judged as lacking in coherence and hastily thrown together. More recently, critics have found in it a unity of design, with the themes emerging gradually, by implication, in the course of the essays and even supported by their grouping and presentation.

Hazlitt was well prepared to write The Spirit of the Age. Hackney College, where he studied for two years, was known for fostering radical ideas, immersing him in the spirit of the previous age, and a generation later helping him understand changes he had observed in British society. He was befriended in his early years by the poets Wordsworth and Coleridge, who at that time shared his radical thinking, and soon he entered the circle of reformist philosopher William Godwin. His brother John was also responsible for helping him connect with other like-minded souls, leading him to the center of London intellectual culture, where he met others who, years later, along with Wordsworth, Coleridge, and Godwin, would be brought to life in this book, particularly Charles Lamb and, some time afterward, Leigh Hunt.

Although Hazlitt had aimed at a career in philosophy, he was unable to make a living by it. His studies and extensive thinking about the problems of the day, however, provided a basis for judging contemporary thinkers. (He had already begun, before he was thirty, with an extensive critique of Malthus's theory of population.) After having practised for a while as an artist (a major part of his background that entered into the making of this book not in the selection of its content but as it helped inform his critical sensibility and his writing style), he found work as a political reporter, which exposed him to the major politicians and issues of the day.

Hazlitt followed this by many years as a literary, art, and theatre critic, at which he enjoyed some success. He was subsequently beset by numerous personal problems, including a failed marriage, illness, insolvency, a disastrous love entanglement that led to a mental breakdown, and scurrilous attacks by political conservatives, many of them fueled by his indiscreet publication of Liber Amoris, a thinly disguised autobiographical account of his love affair.

Title page of The Spirit of the Age 2nd London edition
English society was becoming increasingly prudish, the ensuing scandal effectively destroyed his reputation, and he found it harder than ever to earn a living. He married a second time. Consequently, more than ever in need of money, he was forced to churn out article after article for the periodical press.
"The Spirits of the Age"
Hazlitt had always been adept at writing character sketches. His first was incorporated into Free Thoughts on Public Affairs, written in 1806, when he was scarcely 28 years old. Pleased with this effort, he reprinted it three times as "Character of the Late Mr. Pitt", in The Eloquence of the British Senate (1807), in The Round Table (1817), and finally in Political Essays (1819).

Another favourite of his own was "Character of Mr. Cobbett", which first appeared in Table-Talk in 1821 and was later incorporated into The Spirit of the Age. Following this proclivity, toward the end of 1823 Hazlitt developed the idea of writing "a series of 'characters' of men who were typical of the age". The first of these articles appeared in the January 1824 issue of The New Monthly Magazine, under the series title "The Spirits of the Age".

Four more articles appeared in the series, and then Hazlitt prepared numerous others with the goal of collecting them into a book.
After he had left England for a tour of the continent with his wife, that book, bearing the title The Spirit of the Age: Or Contemporary Portraits, was published in London on 11 January 1825, by Henry Colburn, and printed by S. and R. Bentley.

In Paris, Hazlitt arranged to have an edition, with a somewhat different selection and ordering of articles, published there by A. & W. Galignani. Unlike either English edition, this one bore his name on the title page.

Finally, later in the same year, Colburn brought out the second English edition, with contents slightly augmented and revised but otherwise similar to the first edition. No further editions would appear in Hazlitt's lifetime.
Four of the essays that made it into the first edition of The Spirit of the Age, plus part of another, had appeared, without authorial attribution, in the series "The Spirits of the Age", in the following order: "Jeremy Bentham", "Rev. Mr. Irving", "The Late Mr. Horne Tooke", "Sir Walter Scott", and "Lord Eldon", in The New Monthly Magazine for 1824 in the January, February, March, April, and July issues, respectively.
In the book first published in January of the following year, these essays, with much additional material, appeared as follows: "Jeremy Bentham", "William Godwin", "Mr. Coleridge", "Rev. Mr. Irving", "The Late Mr. Horne Tooke", "Sir Walter Scott", "Lord Byron", "Mr. Campbell—Mr. Crabbe", "Sir James Mackintosh", "Mr. Wordsworth", "Mr. Malthus", "Mr. Gifford", "Mr. Jeffrey", "Mr. Brougham—Sir F. Burdett", "Lord Eldon—Mr. Wilberforce", "Mr. Southey", "Mr. T. Moore—Mr. Leigh Hunt", and "Elia—Geoffrey Crayon".

An untitled section characterising James Sheridan Knowles concludes the book. A portion of "Mr. Campbell—Mr. Crabbe" was adapted from an essay Hazlitt contributed (on Crabbe alone) to the series "Living Authors" in The London Magazine, "No. V" in the May 1821 issue.

Despite the closeness in the ordering of the contents of the first and second English editions, there are numerous differences between them, and even more between them and the Paris edition that appeared in between. The Paris edition, the only one to credit Hazlitt as the author, omitted some material and added some.

The essays (in order) were as follows: "Lord Byron", "Sir Walter Scott", "Mr. Coleridge", "Mr. Southey", "Mr. Wordsworth", "Mr. Campbell and Mr. Crabbe"

  (the portion on Campbell was here claimed by Hazlitt to be "by a friend", though he wrote it himself), "Jeremy Bentham", "William Godwin", "Rev. Mr. Irving", "The Late Mr. Horne Tooke", "Sir James Mackintosh", "Mr. Malthus", "Mr. Gifford", "Mr. Jeffrey", "Mr. Brougham—Sir F. Burdett", "Lord Eldon and Mr. Wilberforce", "Mr. Canning" (brought in from the 11 July 1824, issue of The Examiner, where it bore the title "Character of Mr. Canning", this essay appeared only in the Paris edition), "Mr. Cobbett" (which had first appeared in Hazlitt's book Table-Talk in 1821), and "Elia". This time the book concludes with two untitled sections, the first on "Mr. Leigh Hunt" (as shown in the page header), the second again on Knowles, with the page header reading "Mr. Knowles".

Finally, later in 1825, the second English edition was brought out (again, anonymously). There, the essays were "Jeremy Bentham", "William Godwin", "Mr. Coleridge", "Rev. Mr. Irving", "The Late Mr. Horne Tooke", "Sir Walter Scott", "Lord Byron", "Mr. Southey", "Mr. Wordsworth", "Sir James Mackintosh", "Mr. Malthus", "Mr. Gifford", "Mr. Jeffrey", "Mr. Brougham—Sir F. Burdett", "Lord Eldon—Mr. Wilberforce", "Mr. Cobbett", "Mr. Campbell and Mr. Crabbe", "Mr. T. Moore—Mr. Leigh Hunt", and "Elia, and Geoffrey Crayon". Again, an account of Knowles completed the book.

From Wikipedia, the free encyclopedia

Manzoni: "The Betrothed"

The Betrothed (orig. Italian: I promessi sposi) is an Italian historical novel by Manzoni Alessandro, first published in 1827, in three volumes. It has been called the most famous and widely read novel of the Italian language.

Set in northern Italy in 1628, during the oppressive years under Spanish rule, it is sometimes seen as a veiled attack on Austria, which controlled the region at the time the novel was written. (The definitive version was published in 1842). It is also noted for the extraordinary description of the plague that struck Milan around 1630.

The Betrothed was inspired by Walter Scott's Ivanhoe and was the first Italian historical novel. It deals with a variety of themes, from the cowardly, hypocritical nature of one prelate (Don Abbondio) and the heroic sainthood of other priests (Padre Cristoforo, Federico Borromeo), to the unwavering strength of love (the relationship between Renzo and Lucia, and their struggle to finally meet again and be married), and offers some keen insights into the meanderings of the human mind.

I promessi sposi was made into an opera of the same name by Amilcare Ponchielli in 1856 and by Errico Petrella in 1869. There have been many film versions of I promessi sposi, including I Promessi Sposi, 1908, The Betrothed 1941, The Betrothed, 1990, and Renzo and Lucia, made for television in 2004.

Writing and publication

Manzoni hatched the basis for his novel in 1821 when he read a 1627 Italian edict that specified penalties for any priest who refused to perform a marriage when requested to do so. More material for his story came from Giuseppe Ripamonti's Milanese Chronicles. The first version, Fermo e Lucia, was written between April 1821 and September 1823. He then heavily revised it, finishing in August 1825; it was published on 15 June 1827, after two years of corrections and proof-checking. Manzoni's chosen title, Gli Sposi Promessi, was changed for the sake of euphony shortly before its final commitment to printing. In the early 19th century, there was still some controversy as to what form the standard literary language of Italy should take. Manzoni was firmly in favour of the dialect of Florence and, after washing his vocabulary on the banks of the Arno (as he put it), he revised the novel's language for its republication in 1842.

Title page of the edition of 1842
Plot summary

A view of the Lake Como, chapter 1, engraving by Francesco Gonin (1808-1889).
Chapters 1–8: Flight from the village
Renzo and Lucia, a couple in an unnamed Lombard village near Lake Como, are planning to wed on 8 November 1628. The parish priest, Don Abbondio, is walking home on the eve of the wedding when he is accosted by two "bravoes" (thugs) who warn him not to perform the marriage, because the local baron (Don Rodrigo) has forbidden it.

When he presents himself for the wedding ceremony, Renzo is amazed to hear that the marriage is to be postponed (the priest didn't have the courage to tell the truth). An argument ensues and Renzo succeeds in extracting from the priest the name of Don Rodrigo. It turns out that Don Rodrigo has his eye on Lucia and that he had a bet about her with his cousin Count Attilio.


Fra Cristoforo and Don Rodrigo
Lucia's mother, Agnese, advises Renzo to ask the advice of "Dr. Azzeccagarbugli" (Dr. Quibbleweaver, in Colquhoun's translation), a lawyer in the town of Lecco. Dr. Azzeccagarbugli is at first sympathetic, showing Renzo a recent edict on the subject of priests who refuse to perform marriage, but when he hears the name of Don Rodrigo, he panics and drives Renzo away. Lucia sends a message to "Fra Cristoforo" (Friar Christopher), a respected Capuchin friar at the monastery of Pescarenico, asking him to come as soon as he can.

When Fra Cristoforo comes to Lucia's cottage and hears the story, he immediately goes to Don Rodrigo's mansion, where he finds the baron at a meal with his cousin Count Attilio, along with four guests, including the mayor and Dr. Azzeccagarbugli. When Don Rodrigo is taken aside by the friar, he explodes with anger at his presumption and sends him away, but not before an old servant has a chance to offer him help.

Meanwhile, Agnese comes up with a plan. In those days, it was possible for two people to marry by declaring themselves married before a priest and in the presence of two amenable witnesses.
Renzo runs to his friend Tonio and offers him 25 lire if he agrees to help.

  When Fra Cristoforo returns with the bad news, they decide to put their plan into action.

The next morning, Lucia and Agnese are visited by beggars, Don Rodrigo's men in disguise. They examine the house in order to plan an assault. Late at night, Agnese distracts Don Abbondio's servant Perpetua while Tonio and his brother Gervaso enter Don Abbondio's study, ostensibly to pay a debt. They are followed indoors secretly by Lucia and Renzo. When they try to carry out their plan, the priest throws the tablecloth in Lucia's face and drops the lamp. They struggle in the darkness.

In the meantime, Don Rodrigo's men invade Lucia's house, but nobody is there. A boy named Menico arrives with a message of warning from Fra Cristoforo and they seize him. When they hear the alarm being raised by the sacristan, who is calling for help on the part of Don Abbondio who raised the alarm of invaders in his home, they assume they have been betrayed and flee in confusion. Menico sees Agnese, Lucia and Renzo in the street and warns them not to return home. They go to the monastery, where Fra Cristoforo gives Renzo a letter of introduction to a certain friar at Milan, and another letter to the two women, to organise a refuge at a convent in the nearby city of Monza.

Chapters 9–10: The Nun of Monza
Lucia is entrusted to the nun Gertrude, a strange and unpredictable noblewoman whose story is told in these chapters.

A child of the most important family of the area, her father decided to send her to the cloisters for no other reason than to simplify his affairs: he wished to keep his properties united for his first-born, heir to the family's title and riches.
As she grew up, she sensed that she was being forced by her parents into a life which would comport but little with her personality.

However, fear of scandal, as well as manoeuvres and menaces from her father, induced Gertrude to lie to her interviewers in order to enter the convent of Monza, where she was received as la Signora ("the lady", also known as the The Nun of Monza).

Later, she fell under the spell of a young man of no scruples, associated with the worst baron of that time, the Innominato (the Unnamed).

The nun of Monza
Chapters 11–17: Renzo in Milan
Renzo arrives in famine-stricken Milan and goes to the monastery, but the friar he is seeking is absent and so he wanders further into the city. A bakery in the Corsia de' Servi, El prestin di scansc ("Bakery of the Crutches"), is destroyed by a mob, who then go to the house of the Commissioner of Supply in order to lynch him. He is saved in the nick of time by Ferrer, the Grand Chancellor, who arrives in a coach and announces he is taking the Commissioner to prison. Renzo becomes prominent as he helps Ferrer make his way through the crowd.

The Grand Chancellor Ferrer from chapter 13
After witnessing these scenes, Renzo joins in a lively discussion and reveals views which attract the notice of a police agent in search of a scapegoat. The agent tries to lead Renzo directly to "the best inn" (i.e. prison) but Renzo is tired and stops at one nearby where, after being plied with drink, he reveals his full name and address. The next morning, he is awakened by a notary and two bailiffs, who handcuff him and start to take him away. In the street Renzo announces loudly that he is being punished for his heroism the day before and, with the aid of sympathetic onlookers, he effects his escape. Leaving the city by the same gate through which he entered, he sets off for Bergamo, knowing that his cousin Bortolo lives in a village nearby. Once there, he will be beyond the reach of the authorities of Milan (under Spanish domination), as Bergamo is territory of the Most Serene Republic of Venice.

At an inn in Gorgonzola, he overhears a conversation which makes it clear to him how much trouble he is in and so he walks all night until he reaches the River Adda. After a short sleep in a hut, he crosses the river at dawn in the boat of a fisherman and makes his way to his cousin's house, where he is welcomed as a silk-weaver under the pseudonym of Antonio Rivolta. The same day, orders for Renzo's arrest reach the town of Lecco, to the delight of Don Rodrigo.


Lucia is kidnapped from the convent
Chapters 18–24: Lucia and the Unnamed
News of Renzo's disgrace comes to the convent, but later Lucia is informed that Renzo is safe with his cousin. Their reassurance is short-lived: when they receive no word from Fra Cristoforo for a long time, Agnese travels to Pescarenico, where she learns that he has been ordered by a superior to the town of Rimini. In fact, this has been engineered by Don Rodrigo and Count Attilio, who have leaned on a mutual uncle of the Secret Council, who has leaned on the Father Provincial. Meanwhile, Don Rodrigo has organised a plot to kidnap Lucia from the convent. This involves a great robber baron whose name has not been recorded, and who hence is called l'Innominato, the Unnamed.

Gertrude, blackmailed by Egidio, a male neighbour (and acquaintance of l'Innominato) whose attentions she has returned, persuades Lucia to run an errand which will take her outside the convent for a short while. In the street Lucia is seized and bundled into a coach. After a nightmarish journey, Lucia arrives at the castle of the Unnamed, where she is locked in a chamber.


The Unnamed with Cardinal Borromeo
The Unnamed is troubled by the sight of her, and spends a horrible night in which memories of his past and the uncertainty of his future almost drive him to suicide. Meanwhile, Lucia spends a similarly restless night, during which she vows to take the veil if she is delivered from her predicament. Towards the morning, on looking out of his window, the Unnamed sees throngs of people walking past. They are going to listen to the famous Archbishop of Milan, Cardinal Federigo Borromeo. On impulse, the Unnamed leaves his castle in order to meet this man. This meeting prompts a "miraculous" conversion which marks the turning-point of the novel. The Unnamed announces to his men that his reign of terror is over. He decides to take Lucia back to her native land under his own protection, and with the help of the archbishop the deed is done.
Chapters 25–27: Fall of Don Rodrigo
The astonishing course of events leads to an atmosphere in which Don Rodrigo can be defied openly and his fortunes take a turn for the worse. Don Abbondio is reprimanded by the archbishop.

Lucia, miserable about her vow to renounce Renzo, still frets about him. He is now the subject of diplomatic conflict between Milan and Bergamo.

Her life is not improved when a wealthy busybody, Donna Prassede, insists on taking her into her household and admonishing her for getting mixed up with a good-for-nothing like Renzo.

Chapters 28–30: Famine and war
The government of Milan is unable to keep bread prices down by decree and the city is swamped by beggars. The lazzaretto is filled with the hungry and sick.

Meanwhile, the Thirty Years' War brings more calamities.
The last three dukes of the house of Gonzaga die without legitimate heirs sparking a war for control of northern Italy, with France and the Holy Roman Empire backing rival claimants.

In September 1629, German armies under Count Rambaldo di Collalto descend on Italy, looting and destroying. Agnese, Don Abbondio and Perpetua take refuge in the well-defended territory of the Unnamed. In their absence, their village is wrecked by the mercenaries.

  Chapters 31–33: Plague
These chapters are occupied with an account of the plague of 1630, largely based on Giuseppe Ripamonti's De peste quae fuit anno 1630 (published in 1640). Manzoni's full version of this, Storia della Colonna Infame, was finished in 1829, but was not published until it was included as an appendix to the revised edition of 1842.

The end of August 1630 sees the death in Milan of the original villains of the story. Renzo, troubled by Agnese's letters and recovering from plague, returns to his native village to find that many of the inhabitants are dead and that his house and vineyard have been destroyed. The warrant, and Don Rodrigo, are forgotten. Tonio tells him that Lucia is in Milan.

Chapters 34–38: Conclusion
On his arrival in Milan, Renzo is astonished at the state of the city. His highland clothes invite suspicion that he is an "anointer"; that is, a foreign agent deliberately spreading plague in some way. He learns that Lucia is now languishing at the Lazzaretto of Milan, along with 16,000 other victims of the plague.

But in fact, Lucia is already recuperating. Renzo and Lucia are reunited by Fra Cristoforo, but only after Renzo first visits and forgives the dying Don Rodrigo. The friar absolves her of her vow of celibacy. Renzo walks through a rainstorm to see Agnese at the village of Pasturo. When they all return to their native village, Lucia and Renzo are finally married by Don Abbondio and the couple make a fresh start at a silk-mill at the gates of Bergamo.

Lorenzo Tramaglino, or in short form Renzo, is a young silk-weaver of humble origins, engaged to Lucia, whom he loves deeply. Initially rather naïve, he becomes more cunning during the story as he is confronted with many difficulties: he is separated from Lucia and then unjustly accused of being a criminal. Renzo is somewhat short-tempered, but also gentle and honest.
Lucia Mondella is a pious and kind young woman who loves Renzo. She is forced to flee from her village to escape from Don Rodrigo in one of the most famous scenes of Italian literature, the Addio ai Monti or "Farewell to the mountains".
Don Abbondio is the priest who refuses to marry Renzo and Lucia because he has been threatened by Don Rodrigo's men; he meets the two protagonists several times during the novel. The cowardly, morally mediocre Don Abbondio provides most of the book's comic relief; however, he is not merely a stock character, as his moral failings are portrayed by Manzoni with a mixture of irony, sadness and pity, as has been noted by Luigi Pirandello in his essay "On Humour" (Saggio sull'Umorismo).
Fra Cristoforo is a brave and generous friar who helps Renzo and Lucia, acting as a sort of "father figure" to both and as the moral compass of the novel. Fra Cristoforo was the son of a wealthy family, and joined the Capuchin Order after killing a man.
Renzo in an 1840 illustration
Don Rodrigo is a cruel and despicable nobleman and the novel's main villain. He decides to forcibly prevent the marriage of Renzo and Lucia, threatens to kill Don Abbondio if he marries the two and tries to kidnap Lucia.
L'Innominato (literally: the Unnamed) is probably the novel's most complex character, a powerful and feared criminal who is torn between his ferocious past and the increasing disgust that he feels for his life. Based on the historical character of Francesco Bernardino Visconti, who was really converted by a visit of Federico Borromeo.
Agnese Mondella is Lucia's wise mother.
Federico Borromeo (Federigo in the book) is a virtuous and zealous cardinal; an actual historical character.
Perpetua is Don Abbondio's loquacious servant.
La Monaca di Monza (The Nun of Monza) is a tragic figure, a bitter, frustrated, sexually deprived and ambiguous woman. She befriends Lucia and becomes genuinely fond of her, but her dark past haunts her. This character is based on an actual woman.
Griso is one of Don Rodrigo's henchmen, a silent and traitorous man.
Dr. Azzeccagarbugli ("Quibbleweaver") is a corrupt lawyer.
Count Attilio is Don Rodrigo's malevolent cousin.
Nibbio (Kite - the bird) is the Innominato's right-hand man.
Don Ferrante is a phony intellectual and erudite scholar who believes the plague is caused by astrological forces.
Donna Prassede is Don Ferrante's wife, who is willing to help Lucia but is also an opinionated busybody.
The novel is commonly described as "the most widely read work in the Italian language." It became a model for subsequent Italian literary fiction. Scholar Sergio Pacifici states that no other Italian literary work, with the exception of the Divine Comedy, "has been the object of more intense scrutiny or more intense scholarship."

Many Italians believe that the novel is not fully appreciated abroad. In Italy the novel is considered a true masterpiece of world literature and a basis for the modern Italian language, and as such is widely studied in Italian secondary schools (usually in the second year, when students are 15). Many expressions, quotes and names from the novel are still commonly used in Italian, such as Perpetua (meaning a priest's house worker) or Questo matrimonio non s'ha da fare ("This marriage is not to be performed", used ironically).

From Wikipedia, the free encyclopedia

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Meyer Conrad Ferdinand

Conrad Ferdinand Meyer, (born Oct. 11, 1825, Zürich—died Nov. 28, 1898, Kilchberg, Switz.), Swiss writer noted for his historical tales and his poetry.


Conrad Ferdinand Meyer
  After completing his schooling, Meyer began to study law but suffered from depression, which compelled him to enter a mental home for a time. A long stay in French Switzerland, largely in Lausanne, gave him a thorough knowledge of French literature and culture; he also took up history, studying abroad in Paris and Italy. Rome, and especially the work of Michelangelo, was one of the decisive experiences in his life; Michelangelo’s monumental style became an ideal that he attempted to realize in his own poetry. He passed the rest of his life in Zürich or nearby, where, with no settled profession and of independent means, he was able to devote himself to his writing. From 1877 he had a country house at Kilchberg, near Zürich.

In 1892 depression once again forced him into a mental home for a year, and afterward he did no more creative work.

Meyer began to write rather late, and his total output was relatively slender. After two unimportant collections of poetry (Zwanzig Balladen, 1864; Romanzen und Bilder, 1870), he achieved his first success with a work of permanent importance, the powerful poem Huttens letzte Tage (1871). The narrative poem Engelberg (1872) was followed by his 11 Novellen, or prose narratives, among which are Das Amulett (1873), Der Heilige (1880; The Saint), Das Leiden eines Knaben (1883), Die Hochzeit des Mönchs (1884; The Monk’s Wedding), Die Versuchung des Pescara (1887), and Angela Borgia (1891). His poetry was first collected in Gedichte (1882; “Poems”).

The material of Meyer’s historical narratives is taken almost entirely from the periods of the Renaissance and the Reformation. From these eras he takes passionate men of action as his main characters, and through their struggles and tribulations Meyer examines such larger problems as the prevalence of injustice, the power of conscience, and the meaning of destiny. The stories are often lightly shot through with irony. Der Heilige, about the conflict between Thomas Becket and Henry II of England, is generally regarded as the best of the Novellen. In his poetry Meyer laid great stress on polished form and was exacting in his craft. He de-emphasized direct expression of feeling and in an almost brittle tone presents a terse figurative motif (generally provided by history or the mountains of his own country) to which he gives symbolic value.

Encyclopædia Britannica

  Western Literature

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Paul Jean (pseud. of Johann Paul Friedrich Richter), Ger. author, d. (b. 1763)
  Western Literature

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"The Diaries of Samuel Pepys" published
Pepys Samuel: "The Diaries of Samuel Pepys"

Pepys Samuel PRS, MP, JP, (23 February 1633 – 26 May 1703) was an English naval administrator and Member of Parliament who is now most famous for the diary he kept for a decade while still a relatively young man. Although Pepys had no maritime experience, he rose by patronage, hard work, and his talent for administration to be the Chief Secretary to the Admiralty under both King Charles II and subsequently King James II.

His influence and reforms at the Admiralty were important in the early professionalisation of the Royal Navy.

The detailed private diary Pepys kept from 1660 until 1669 was first published in the 19th century and is one of the most important primary sources for the English Restoration period. It provides a combination of personal revelation and eyewitness accounts of great events, such as the Great Plague of London, the Second Dutch War, and the Great Fire of London.


Portrait of Samuel Pepys by J. Hayls
  Early life
Pepys was born in Salisbury Court, Fleet Street, London on 23 February 1633, the son of John Pepys (1601–1680), a tailor, and Margaret Pepys (née Kite; d. 1667), daughter of a Whitechapel butcher. His great uncle Talbot Pepys was Recorder and briefly MP for Cambridge in 1625. His father's first cousin, Sir Richard Pepys, was elected MP for Sudbury in 1640, appointed Baron of the Exchequer on 30 May 1654, and appointed Lord Chief Justice of Ireland on 25 September 1655.

Pepys was the fifth of eleven children, but child mortality was high and he was soon the oldest survivor. He was baptised at St Bride's Church on 3 March.

Pepys did not spend all of his infancy in London; for a while he was sent to live with a nurse, Goody Lawrence, at Kingsland, just north of the city. In about 1644 Pepys attended Huntingdon Grammar School, before being educated at St Paul's School, London, c. 1646–1650. He attended the execution of Charles I, in 1649.

In 1650 he went to Cambridge University, having received two exhibitions from St Paul's School (perhaps owing to the influence of Sir George Downing, who was chairman of the judges and for whom he later worked at the Exchequer) and a grant from the Mercers' Company.

In October he was admitted as a sizar to Magdalene College; he moved there in March 1651 and took his Bachelor of Arts degree in 1654.

Later in 1654, or early in 1655, he entered the household of another of his father's cousins, Sir Edward Montagu, who was later created 1st Earl of Sandwich.

Pepys married the fourteen-year-old Elisabeth de St Michel, a descendant of French Huguenot immigrants, first in a religious ceremony on 10 October 1655, and later in a civil ceremony on 1 December 1655 at St Margaret's, Westminster.


From a young age, Pepys suffered from bladder stones in his urinary tract – a condition from which his mother and brother John also later suffered. He was almost never without pain, as well as other symptoms, including "blood in the urine" (hematuria). By the time of his marriage, the condition was very severe.

In 1657 Pepys decided to undergo surgery, not an easy option, as the operation was known to be especially painful and hazardous. Nevertheless, Pepys consulted surgeon Thomas Hollier and, on 26 March 1658, the operation took place in a bedroom in the house of Pepys' cousin Jane Turner. Pepys' stone was successfully removed and he resolved to hold a celebration on every anniversary of the operation, which he did for several years. However, there were long-term effects from the operation. The incision on his bladder broke open again late in his life. The procedure may have left him sterile: though there is no direct evidence for this, as he was childless before the operation.

In mid-1658 Pepys moved to Axe Yard, near the modern Downing Street. He worked as a teller in the Exchequer under George Downing.

Elisabeth de St Michel, Pepys' wife.
The diary
On 1 January 1660 ("1 January 1659/1660" in contemporary terms) Pepys began to keep a diary. He recorded his daily life for almost ten years. The women he pursued, his friends, and his dealings are all laid out. His diary reveals his jealousies, insecurities, trivial concerns, and his fractious relationship with his wife. It is an important account of London in the 1660s. The juxtaposition of his commentary on politics and national events, alongside the very personal, can be seen from the beginning.

A facsimile of part of the first entry in the diary
His opening paragraphs, written in January 1660, begin:

Blessed be God, at the end of the last year I was in very good health, without any sense of my old pain but upon taking of cold. I lived in Axe yard, having my wife and servant Jane, and no more in family than us three. My wife, after the absence of her terms for seven weeks, gave me hopes of her being with child, but on the last day of the year she hath them again.
The condition of the State was thus. Viz. the Rump, after being disturbed by my Lord Lambert, was lately returned to sit again. The officers of the army all forced to yield. Lawson lie[s] still in the River and Monke is with his army in Scotland. Only my Lord Lambert is not yet come in to the Parliament; nor is it expected that he will, without being forced to it.

Diary of Samuel Pepys, January 1660.

The entries from the first few months are filled with news of General George Monck's march on London. In April and May of that year – at this time, he was encountering problems with his wife – he accompanied Montagu's fleet to the Netherlands to bring Charles II back from exile. Montagu was made Earl of Sandwich on 18 June, and the position of Clerk of the Acts to the Navy Board was secured by Pepys on 13 July. As secretary to the board, Pepys was entitled to a £350 annual salary plus the various gratuities and benefits – including bribes – that came with the job. He rejected an offer of £1000 for the position from a rival and soon afterwards moved to official accommodation in Seething Lane in the City of London.

  Public life
A short letter from Samuel Pepys to John Evelyn at the latter's home in Deptford, written by Pepys on 16 October 1665 and referring to "prisoners" and "sick men" during the Second Dutch War
On the Navy Board, Pepys proved to be a more able and efficient worker than colleagues in higher positions. This often annoyed Pepys and provoked much harsh criticism in his diary. Among his colleagues were Admiral Sir William Penn, Sir George Carteret, Sir John Mennes, and Sir William Batten.

Learning arithmetic from a private tutor and using models of ships to make up for his lack of first-hand nautical experience, Pepys came to play a significant role in the board's activities. In September 1660 he was made a Justice of the Peace, on 15 February 1662 Pepys was admitted as a Younger Brother of Trinity House, and on 30 April he received the freedom of Portsmouth. Through Sandwich, he was involved in the administration of the short-lived English colony at Tangier. He joined the Tangier committee in August 1662 when the colony was first founded and became its treasurer in 1665. In 1663 he independently negotiated a £3,000 contract for Norwegian masts, demonstrating the freedom of action that his superior abilities allowed. He was appointed to a commission of the royal fishery on 8 April 1664.

His job required him to meet many people to dispense money and make contracts. He often laments how he "lost his labour" having gone to some appointment at a coffee house or tavern, to discover that the person he was seeking was not there. These occasions were a constant source of frustration to Pepys.

Major events
As well as providing a first-hand account of the Restoration, Pepys's diary is notable for its detailed accounts of several other major events of the 1660s, along with the lesser known Diary of John Evelyn. In particular it is an invaluable source for the study of the Second Anglo-Dutch War of 1665–7, the Great Plague of 1665, and the Great Fire of London in 1666. In relation to the Plague and Fire, C. S. Knighton has written: "From its reporting of these two disasters to the metropolis in which he thrived, Pepys's diary has become a national monument." Again writing about these events, Robert Latham – the editor of the definitive edition of the diary – has remarked: "His descriptions of both – agonisingly vivid – achieve their effect by being something more than superlative reporting; they are written with compassion. As always with Pepys it is people, not literary effects, that matter."

Dutch Attack on the Medway, June 1667 by Pieter Cornelisz van Soest, painted c. 1667. The captured ship Royal Charles is right of centre.
Second Anglo-Dutch War
In early 1665 the start of the Second Anglo-Dutch War placed great pressure on Pepys. With his colleagues being either engaged elsewhere or incompetent, Pepys had to conduct a great deal of business himself. He excelled under the pressure, which was extremely great due to the complexity and underfunding of the Royal Navy. At the outset he proposed a centralised approach to supplying the fleet. His idea was accepted, and he was made surveyor-general of victualling in October 1665. The position brought a further £300 a year.

About this Second Anglo-Dutch War Pepys wrote: "In all things, in wisdom, courage, force and success, the Dutch have the best of us and do end the war with victory on their side". And King Charles II said: "Don't fight the Dutch, imitate them".

In 1667, with the war lost, Pepys helped to discharge the navy. The Dutch, who had defeated England on open water, now began to threaten the mainland itself. In June 1667 they conducted their Raid on the Medway, broke the defensive chain at Gillingham, and towed away the Royal Charles, one of the Royal Navy's most important ships. As he had done during the Fire and the Plague, Pepys again removed his wife and his gold from London. While the Dutch raid was a major concern in itself, Pepys was personally placed under a different kind of pressure: the Navy Board, and his role as Clerk of the Acts, came under scrutiny from the public and from Parliament.

  The war ended in August and on 17 October the House of Commons created a committee of "miscarriages".

On 20 October, a list of ships and commanders at the time of the division of the fleet in 1666 was demanded from Pepys. However, these demands were actually quite desirable for him: tactical and strategic mistakes were not the responsibility of the Navy Board. The Board did face some allegations regarding the Medway raid, but they could exploit the criticism already attracted by the commissioner of Chatham, Peter Pett, to deflect criticism from themselves. The committee accepted this tactic when they reported in February 1668. The Board was, however, criticised for its use of tickets to pay seamen. These tickets could only be exchanged for cash at the Navy's treasury in London. Pepys made a long speech at the bar of the Commons on 5 March 1668 defending this practice. It was, in the words of C. S. Knighton, a "virtuoso performance".

The commission was followed by an investigation led by a more powerful authority, the commissioners of accounts. They met at Brooke House, Holborn, and spent two years scrutinising how the war had been financed. In 1669 Pepys had to prepare detailed answers to the committee's eight "Observations" on the Navy Board's conduct. In 1670 he was forced to defend his own role. A seaman's ticket with Pepys's name on it was produced as incontrovertible evidence of his corrupt dealings but, thanks to the intervention of the king, Pepys emerged from the sustained investigation relatively unscathed.

Great Plague
Outbreaks of plague were not particularly unusual events in London: major epidemics had occurred in 1592, 1603, 1625, and 1636. Furthermore, Pepys was not among the group of people who were most at risk: he did not live in cramped housing, he did not routinely mix with the poor, and he was not required to keep his family in London in the event of a crisis. It was not until June that the unusual seriousness of the plague became apparent, so Pepys's activities in the first five months of the year were not significantly affected by plague. Indeed, Claire Tomalin writes that "the most notable fact about Pepys's plague year is that to him it was one of the happiest of his life." In 1665 he worked very hard, but the outcome was that he quadrupled his fortune. On 31 December, in his annual summary, he wrote, "I have never lived so merrily (besides that I never got so much) as I have done this plague time". Nonetheless, Pepys was certainly concerned about the plague. On 16 August he wrote:

But, Lord! how sad a sight it is to see the streets empty of people, and very few upon the 'Change. Jealous of every door that one sees shut up, lest it should be the plague; and about us two shops in three, if not more, generally shut up.
Diary of Samuel Pepys, Wednesday, 16 August 1665.

He also chewed tobacco as a protection against infection, and worried that wig-makers might be using hair from the corpses as a raw material. Furthermore, it was Pepys who suggested that the Navy Office should evacuate to Greenwich, although he did offer to remain in town himself. He would later take great pride in his stoicism. Meanwhile, Elisabeth Pepys was sent to Woolwich. She did not return to Seething Lane until January 1666, and was shocked by the sight of St Olave's churchyard, where 300 people had been buried.


Map of London after the Great Fire in 1666, showing Pepys' home
Great Fire of London
In the early hours of 2 September 1666, Pepys was woken by his servant who had spotted a fire in the Billingsgate area. He decided the fire was not particularly serious and returned to bed. Shortly after waking, his servant returned and reported that 300 houses had been destroyed and that London Bridge was threatened. Pepys went to the Tower to get a better view. Without returning home, he took a boat and observed the fire for over an hour. In his diary, Pepys recorded his observations as follows:

I down to the water-side, and there got a boat and through bridge, and there saw a lamentable fire. Poor Michell's house, as far as the Old Swan, already burned that way, and the fire running further, that in a very little time it got as far as the Steeleyard, while I was there. Everybody endeavouring to remove their goods, and flinging into the river or bringing them into lighters that layoff; poor people staying in their houses as long as till the very fire touched them, and then running into boats, or clambering from one pair of stairs by the water-side to another. And among other things, the poor pigeons, I perceive, were loth to leave their houses, but hovered about the windows and balconys till they were, some of them burned, their wings, and fell down. Having staid, and in an hour's time seen the fire: rage every way, and nobody, to my sight, endeavouring to quench it, but to remove their goods, and leave all to the fire, and having seen it get as far as the Steele-yard, and the wind mighty high and driving it into the City; and every thing, after so long a drought, proving combustible, even the very stones of churches, and among other things the poor steeple by which pretty Mrs.—lives, and whereof my old school-fellow Elborough is parson, taken fire in the very top, an there burned till it fell down
Diary of Samuel Pepys, Sunday, 2 September 1666.

Seeing that the wind was driving the fire westward, he ordered the boat to go to Whitehall and became the first person to inform the king of the fire. According to his entry of 2 September 1666, Pepys recommended to the king that homes in the path of the fire be pulled down in order to stem its progress. Accepting this advice, the king told him to go to the Lord Mayor, Thomas Bloodworth, and tell him to start pulling houses down. Pepys took a coach back as far as St Paul's Cathedral, before setting off on foot through the burning city. He found the Lord Mayor, who said, "Lord! what can I do? I am spent: people will not obey me. I have been pulling down houses; but the fire overtakes us faster than we can do it."

  At noon he returned home and "had an extraordinary good dinner, and as merry, as at this time we could be", before returning to watch the fire in the city once more. Later, he returned to Whitehall, then met his wife in St. James's Park. In the evening they watched the fire from the safety of Bankside. Pepys writes that "it made me weep to see it". Returning home, Pepys met his clerk, Tom Hayter, who had lost everything. Hearing news that the fire was advancing, he started to pack up his possessions by moonlight.

A cart arrived at 4 a.m. on 3 September and Pepys spent much of the day arranging the removal of his possessions. Many of his valuables, including his diary, were sent to a friend from the Navy Office at Bethnal Green. At night he "fed upon the remains of yesterday's dinner, having no fire nor dishes, nor any opportunity of dressing any thing."

The next day, Pepys continued to arrange the removal of his possessions. By then, he believed that Seething Lane was in grave danger, so he suggested calling men from Deptford to help pull down houses and defend the king's property. He described the chaos in the city and his curious attempt at saving his own goods:

Sir W. Pen and I to Tower-streete, and there met the fire burning three or four doors beyond Mr. Howell's, whose goods, poor man, his trayes, and dishes, shovells, &c., were flung all along Tower-street in the kennels, and people working therewith from one end to the other; the fire coming on in that narrow streete, on both sides, with infinite fury. Sir W. Batten not knowing how to remove his wine, did dig a pit in the garden, and laid it in there; and I took the opportunity of laying all the papers of my office that I could not otherwise dispose of. And in the evening Sir W. Pen and I did dig another, and put our wine in it; and I my Parmazan cheese, as well as my wine and some other things.
Diary of Samuel Pepys, Tuesday, 4 September 1666.

On Wednesday, 5 September, Pepys – who had taken to sleeping on his office floor – was woken by his wife at 2 a.m. She told him that the fire had almost reached All Hallows-by-the-Tower and that it was at the foot of Seething Lane. He decided to send her and his gold – about £2350 – to Woolwich.

In the following days Pepys witnessed looting, disorder, and disruption. On 7 September he went to Paul's Wharf and saw the ruins of St Paul's Cathedral, of his old school, of his father's house, and of the house in which he had had his stone removed.
Despite all this destruction, Pepys's house, office, and diary were saved.


The ruins of the old St Paul's Cathedral, by Thomas Wyck, as it looked roughly 7 years after the fire.
Personal life
The diary gives a detailed account of Pepys's personal life. He liked wine, plays, and the company of other people. He also spent time evaluating his fortune and his place in the world.

He was always curious and often acted on that curiosity, as he acted upon almost all his impulses. Periodically he would resolve to devote more time to hard work instead of leisure.

For example, in his entry for New Year's Eve, 1661, he writes: "I have newly taken a solemn oath about abstaining from plays and wine ...". The following months reveal his lapses to the reader: by 17 February, it is recorded, "Here I drank wine upon necessity, being ill for the want of it."

As well as being one of the most important civil servants of his age, Pepys was a widely cultivated man, taking an interest in books, music, the theatre, and science. Passionately interested in music, he composed, sang, and played for pleasure, and even arranged music lessons for his servants.

He played the lute, viol, violin, flageolet, recorder, and spinet to varying degrees of proficiency. He was also a keen singer, performing at home, in coffee houses, and even in Westminster Abbey. He and his wife took flageolet lessons from the master Thomas Greeting.

He also taught his wife to sing and paid for dancing lessons for her (although these stopped when he became jealous of the dancing master).

  Sexual relations
Propriety did not prevent him from engaging in a number of extramarital liaisons with various women that were chronicled in his diary, often in some detail, and generally using a cocktail of languages (English, French, Spanish, and Latin) when relating the intimate details. The most dramatic of these encounters was with Deborah Willet, a young woman engaged as a companion for Elisabeth Pepys. On 25 October 1668 Pepys was surprised by his wife as he embraced Deb Willet: he writes that his wife "coming up suddenly, did find me imbracing the girl con [with] my hand sub [under] su [her] coats; and endeed I was with my main [hand] in her cunny. I was at a wonderful loss upon it and the girl also...." Following this event, he was characteristically filled with remorse, but (equally characteristically) continued to pursue Willet after she had been dismissed from the Pepys household.

"Mrs Knep was the wife of a Smithfield horsedealer, and the mistress of Pepys" — or at least "she granted him a share of her favours". Scholars disagree on the full extent of the Pepys/Knep relationship, but much of later generations' knowledge of Knep comes from the diary. Pepys first met Knep on 6 December 1665. He described her as "pretty enough, but the most excellent, mad-humoured thing, and sings the noblest that I ever heard in my life." He called her husband "an ill, melancholy, jealous-looking fellow" and suspected him of abusing his wife. Knep provided Pepys with backstage access and was a conduit for theatrical and social gossip. When they wrote notes to each other, Pepys signed himself "Dapper Dickey," while Knep was "Barbary Allen" (that popular song was an item in her musical repertory).

The text of the diary
The diary was written in one of the many standard forms of shorthand used in Pepys's time, in this case called Tachygraphy and devised by Thomas Shelton. Though it is clear from its content that it was written as a purely personal record of his life and not for publication, there are indications Pepys actively took steps to preserve the bound manuscripts of his diary. Apart from writing it out in fair copy from rough notes, he also had the loose pages bound into six volumes, catalogued them in his library with all his other books, and is likely to have suspected that eventually someone would find them interesting.

After the diary
Throughout the period of the diary, Pepys's health suffered from the long hours he worked. Specifically, he believed that his eyesight had been affected by his work. In his last entry, dated 31 May 1669, he reluctantly concluded that, for the sake of his eyes, he should completely stop writing and, from then on, only dictate to his clerks, which meant he could no longer keep his diary. Pepys and his wife took a holiday to France and the Low Countries in June–October 1669; on their return, Elisabeth fell ill and died on 10 November 1669. Pepys erected a monument to her in the church of St Olave's, Hart Street, London. Pepys never remarried, but he did have a long term housekeeper, Mary Skinner, who was assumed by many of his contemporaries to be his mistress and sometimes referred to as Mrs. Pepys. In his will, he left her an annuity of £ 200 and many of his possessions.

  Member of Parliament and Secretary to the Admiralty
In 1672 he became an Elder Brother of Trinity House and served in this capacity until 1689; he was Master of Trinity House in 1676–1677 and again in 1685–1686. In 1673 he was promoted to Secretary to the Admiralty Commission and elected MP for Castle Rising in Norfolk.

In 1673 he was involved with the establishment of the Royal Mathematical School at Christ's Hospital, which was to train 40 boys annually in navigation, for the benefit of the Royal Navy and the English Merchant Navy. In 1675 he was appointed a Governor of Christ's Hospital and for many years he took a close interest in its affairs. Among his papers are two detailed memoranda on the administration of the school. In 1699, after the successful conclusion of a seven-year campaign to get the master of the Mathematical School replaced by a man who knew more about the sea, he was rewarded for his service as a Governor by being made a Freeman of the City of London.

At the beginning of 1679 Pepys was elected MP for Harwich in Charles II's third parliament which formed part of the Cavalier Parliament. He was elected along with Sir Anthony Deane, a Harwich alderman and leading naval architect, to whom Pepys had been patron since 1662. By May of that year, they were under attack from their political enemies. Pepys resigned as Secretary to the Admiralty. They were imprisoned in the Tower of London on suspicion of treasonable correspondence with France, specifically leaking naval intelligence.

The charges are believed to have been fabricated under the direction of Anthony Ashley-Cooper, 1st Earl of Shaftesbury. Pepys was accused, among other things, of being a papist. They were released in July, but proceedings against them were not dropped until June 1680.

Though he had resigned from the Tangier committee in 1679, in 1683 he was sent to Tangier to assist Lord Dartmouth with the evacuation and abandonment of the English colony. After six months' service, he travelled back through Spain accompanied by the naval engineer Edmund Dummer, returning to England after a particularly rough passage on 30 March 1684. In June 1684, once more in favour, he was appointed King's Secretary for the affairs of the Admiralty, a post that he retained after the death of Charles II (February 1685) and the accession of James II. The phantom Pepys Island, alleged to be near South Georgia, was named after him in 1684, having been first "discovered" during his tenure at the Admiralty.

From 1685 to 1688, he was active not only as Secretary for the Admiralty, but also as MP for Harwich. He had been elected MP for Sandwich, but this election was contested and he immediately withdrew to Harwich. When James fled the country at the end of 1688, Pepys's career also came to an end. In January 1689, he was defeated in the parliamentary election at Harwich; in February, one week after the accession of William and Mary, he resigned his secretaryship.

Royal Society
He was elected a Fellow of the Royal Society in 1665 and served as its President from 1 December 1684 to 30 November 1686. Isaac Newton's Principia Mathematica was published during this period and its title page bears Pepys' name. There is a probability problem, called the "Newton–Pepys problem", that arose out of correspondence between Newton and Pepys about whether one is more likely to roll at least one six with six dice or at least two sixes with twelve dice. It has been only recently noted that while the gambling advice Newton gave Pepys was correct, the logical argument Newton included with it was unsound.

Retirement and death
From May to July 1689, and again in June 1690, he was imprisoned on suspicion of Jacobitism, but no charges were ever successfully brought against him. After his release, he retired from public life at age 57.

Ten years later, in 1701, he moved out of London, to a house in Clapham, owned by his friend William Hewer, who had begun his career working for Pepys in the admiralty. Clapham, at the time, was in the country. It is now part of inner London.

Pepys lived there until his death, on 26 May 1703. He had no children and bequeathed his estate to his unmarried nephew John Jackson. His former protégé and friend Hewer acted as the executor of his estate.

  Pepys Library
Pepys was a lifelong bibliophile and carefully nurtured his large collection of books, manuscripts, and prints. At his death, there were more than 3000 volumes, including the diary, all carefully catalogued and indexed; they form one of the most important surviving 17th century private libraries. The most important items in the Library are the six original bound manuscripts of Pepys's diary, but there are other remarkable holdings, including:

Incunabula by William Caxton, Wynkyn de Worde and Richard Pynson
Sixty medieval manuscripts
The Pepys Manuscript: a late 15th century English choirbook
Naval records such as two of the 'Anthony Rolls', illustrating the Royal Navy's ships c. 1546, including the Mary Rose
Sir Francis Drake's personal almanac
Over 1800 printed ballads: one of the finest collections in existence.

Pepys made detailed provisions in his will for the preservation of his book collection. When his nephew and heir, John Jackson, died in 1723, it was transferred intact to Magdalene College, Cambridge, where it can be seen in the Pepys Building. The bequest included all the original bookcases and his elaborate instructions that placement of the books "...be strictly reviewed and, where found requiring it, more nicely adjusted".


The six volumes of the diary manuscript
Publication history of the diary
Motivated by the publication of Evelyn's Diary, Lord Granville deciphered a few pages. The Reverend John Smith (later the Rector of St Mary the Virgin in Baldock) was then engaged to transcribe the diaries into plain English. He laboured at this task for three years, from 1819 to 1822, unaware that a key to the shorthand system was stored in Pepys' library a few shelves above the diary volumes. Others had apparently succeeded in reading the diary earlier, perhaps knowing about the key, because a work of 1812 quotes from a passage of it.

Smith's transcription, which is also kept in the Pepys Library, was the basis for the first published edition of the diary, edited by Lord Braybrooke, released in two volumes in 1825.

A second transcription, done with the benefit of the key, but often less accurately, was completed in 1875 by Mynors Bright and published in 1875–1879. This added about a third to the previously published text, but still left only about 80% of the diary in print.

Henry B. Wheatley, drawing on both his predecessors, produced a new edition in 1893–1899, revised in 1926, with extensive notes and an index.

  All of these editions omitted passages (chiefly about Pepys's sexual adventures) which the editors thought too obscene ever to be printed.

Wheatley, in the preface to his edition noted:

"a few passages which cannot possibly be printed. It may be thought by some that these omissions are due to an unnecessary squeamishness, but it is not really so, and readers are therefore asked to have faith in the judgement of the editor."

The complete, unexpurgated, and definitive edition, edited and transcribed by Robert Latham and William Matthews, was published by Bell & Hyman, London, and the University of California Press, Berkeley, in nine volumes, along with separate Companion and Index volumes, over the years 1970–1983. Various single-volume abridgements of this text are also available.

The Introduction in volume I provides a scholarly but readable account of "The Diarist", "The Diary" ("The Manuscript", "The Shorthand", and "The Text"), "History of Previous Editions", "The Diary as Literature", and "The Diary as History". The Companion provides a long series of detailed essays about Pepys and his world.

Biographical studies
Several detailed studies of Pepys' life are available. Arthur Bryant published his three-volume study in 1933–1938, long before the definitive edition of the diary, but, thanks to Bryant's lively style, it is still of interest. In 1974 Richard Ollard produced a new biography that drew on Latham's and Matthew's work on the text, benefitting from the author's deep knowledge of Restoration politics. Other biographies include: Samuel Pepys : a life, by Stephen Coote (London : Hodder & Stoughton, 2000) and, Samuel Pepys and his world, by Geoffrey Trease (London : Thames and Hudson, 1972).

The most recent general study is by Claire Tomalin, which won the 2002 Whitbread Book of the Year award, the judges calling it a "rich, thoughtful and deeply satisfying" account that unearths "a wealth of material about the uncharted life of Samuel Pepys".

On 1 January 2003 Phil Gyford started a weblog, pepysdiary.com, that serialised the diary one day each evening together with annotations from public and experts alike. In December 2003 the blog won the best specialist blog award in The Guardian's Best of British Blogs.

In 2003 a television film The Private Life of Samuel Pepys aired on BBC2.

From Wikipedia, the free encyclopedia


  Samuel Pepys  

"The Diary" 
  Western Literature

English Literature - German literature
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Pushkin: "Boris Godunov"
Boris Godunov (Russian: Борис Годунов, Borís Godunóv; variant title: Драматическая повесть, Комедия o настоящей беде Московскому государству, o царе Борисе и о Гришке Отрепьеве, A Dramatic Tale, The Comedy of the Distress of the Muscovite State, of Tsar Boris, and of Grishka Otrepyev) is a play by Pushkin Aleksandr Sergeyevich . It was written in 1825, published in 1831, but not approved for performance by the censor until 1866. Its subject is the Russian ruler Boris Godunov, who reigned as Tsar from 1598 to 1605. It consists of 25 scenes and is written predominantly in blank verse.

Modest Mussorgsky's opera, Boris Godunov (1874), is based on this play.

Historical basis
A familiarity with the historical events surrounding the Time of Troubles — the interregnum period of relative anarchy following the end of the Rurik Dynasty (1598) and preceding the Romanov Dynasty (1613) — may facilitate an understanding of the play. Key events are as follows:

1584 – Ivan IV "The Terrible", the first Grand Prince of Muscovy to use the title Tsar (Caesar), dies. Ivan’s successor is his feeble son Fyodor, now Fyodor I, who cares only for spiritual matters, and leaves the affairs of state to his capable brother-in-law, boyar Boris Godunov, now de facto regent.
1591 – Ivan’s other son Dmitriy dies under mysterious circumstances in Uglich. An investigation, ordered by Godunov and carried out by Prince Vasiliy Shuyskiy, determines that the Tsarevich, while playing with a knife, had an epileptic seizure, fell, and died from a self-inflicted wound to the throat. Dmitriy's mother, Maria Nagaya, exiled with him to Uglich by Godunov, claims he was assassinated. Rumors linking Boris to the crime are circulated by his enemies.
1598 – Tsar Fyodor I dies. He is virtually the last representative of the Ryurik Dynasty that has ruled Russia for seven centuries. Patriarch Job of Moscow nominates Boris to succeed Fyodor I as Tsar, despite the rumors that Boris ordered the murder of Dmitriy. Boris agrees to ascend the throne only if elected by the Zemskiy Sobor. This the assembly does unanimously, and Boris is crowned the same year.

  1604 – A pretender to the throne appears, claiming to be Tsarevich Dmitriy, but believed to be in reality one Grigoriy Otrepyev. He gains the support of the Polish aristocracy, and, obtaining a force of soldiers, he marches on Moscow. Crossing into Russia, Dmitriy’s invasion force is joined by disaffected Cossacks. However, after a few victories, it loses momentum.
1605 – Boris dies of unknown causes. He is succeeded by his son Fyodor, now Fyodor II. The death of Boris gives new life to the campaign of the False Dmitriy, who enters Moscow. Boyars who flock to his side murder Fyodor II and his mother.
1606 – False Dmitriy I is murdered, and is succeeded by Vasiliy Shuyskiy, now Vasiliy IV.
1610 – Vasiliy IV is deposed, and dies two years later in a Polish prison. Another pretender claiming to be Dmitriy Ivanovich, False Dmitriy II, is murdered.
1612 – Yet a third pretender, False Dmitriy III, is captured and executed.
1613 – The Time of Troubles comes to a close with the accession of Mikhail Romanov, son of Fyodor Romanov, who had been persecuted under Boris Godunov's reign.

The culpability of Boris in the matter of Dmitriy's death can neither be proven nor disproved.

Karamzin, the historian to whom the drama is dedicated, accepted it as fact and Pushkin himself assumed it was true, at least for the purpose of creating a tragedy in the mold of Shakespeare. Modern historians, however, tend to acquit Boris of the crime.

Having finished the play, Pushkin famously wrote to his friend Pyotr Vyazemsky:

"What a Pushkin, what a son of a bitch!".

Pushkin wrote of the play:

"The study of Shakespeare, Karamzin, and our old chronicles gave me the idea of clothing in dramatic forms one of the most dramatic epochs of our history. Not disturbed by any other influence, I imitated Shakespeare in his broad and free depictions of characters, in the simple a careless combination of plots; I followed Karamzin in the clear development of events; I tried to guess the way of thinking and the language of the time from the chronicles. Rich sources! Whether I was able to make the best use of them, I don't know — but at least my labors were zealous and conscientious."


Saint Petersburg Premiere

The first performance took place on 17 September 1870 at the Mariinsky Theatre in Saint Petersburg, given by the artists of the Aleksandrinsky Theatre. Production personnel included Aleksandr Yablochkin (regisseur), and Matvey Shishkov (scene designer). The cast included Leonid Leonidov (Boris), Vasiliy Samoylov (the False Dmitriy), Pyotr Grigoryev (Pimen), Yelena Struyskaya (Marina), and Pyotr Zubrov (Shuysky).

  Moscow Premiere
The Moscow premiere took place on 19 November 1880 at the Maliy Theatre. Production personnel included Sergey Chernevsky (regisseur).

The cast included Nikolay Vilde (Boris), Aleksandr Lensky (the False Dmitriy), Ivan Samarin (Pimen), Mariya Yermolova (Marina), Osip Pravdin (Shuysky), and Mikhail Lentovsky (Basmanov).

Later Productions
Vsevolod Meyerhold attempted a staging of the play in the 1930s. Meyerhold commissioned Sergei Prokofiev to write incidental music for his production, but when Meyerhold abandoned it under political pressure, the score was abandoned as well.

The original, uncensored play did not receive a première until April 12, 2007, at Princeton University in the United States, and then only in an English translation.

This production was based on Meyerhold's design and featured Prokofiev's music, together with supplemental music by Peter Westergaard.

Chester Dunning, Caryl Emerson, and Sergei Fomichev's The Uncensored Boris Godunov seeks to rescue Pushkin's play from obscurity.

The Royal Shakespeare Company staged the British premiere of the original 1825 edition at Stratford on Avon in the fall of 2012.

The play had been translated into English by Adrian Mitchell.

Boris Godunov, boyar, later Tsar
Fyodor, his son
Kseniya, his daughter
Kseniya’s Nurse
Prince Shuyskiy, boyar
Prince Vorotinskiy, boyar
Shchelkalov, Secretary of the Duma
Pimen, monk and chronicler
Grigoriy Otrepyev, monk, later Dmitriy, the Pretender
Patriarch, Abbot of the Chudov Monastery.
Misail, wandering monk
Varlaam, wandering monk
Afanasiy Mikhailovich Pushkin, friend of Prince Shuyskiy
Gabriel Pushkin, his nephew
Semyon Nikitich Godunov, secret agent of Boris Godunov
  Prince Kurbsky, disgraced boyar
Khrushchov, disgraced boyar
Karela, a Cossack
Prince Vishnevetskiy
Mniszech, Voyevoda of Sambor
Marina, his daughter
Ruzya, her chambermaid
Basmanov, a Russian officer
Marzharet, officer of the Pretender
Rozen, officer of the Pretender
Mosalskiy, boyar
Hostess of the Inn
Boyars, People, Peasants, Inspectors, Officers, Attendants, Guests, a Catholic Priest, a Polish Noble, a Poet, an Idiot, a Beggar, Gentlemen, Guards, Soldiers, Ladies, Gentleman, Boys, Servants
Stage designs
The following gallery depicts the scene designs created by Matvey Shishkov for the first performance of the drama in 1870 at the Mariinsky Theatre, Saint Petersburg, Russia.
Scene 1 – Kremlin Palaces
Scene 2 – Red Square
Scene 3 – Novodevichiy Monastery

Scene 3
The Novodevichiy Monastery

Scene 4 – Kremlin Palaces
Scene 5 – Night; A Cell in the Chudov Monastery
Scene 6 – The Fence of the Monastery (Note: Deleted from the published drama)
Scene 7 – Palaces of the Patriarch
Scene 8 – The Tsar’s Palaces
Scene 9 – An Inn on the Lithuanian Border

Scene 9
An Inn on the Lithuanian Border

Scene 10 – Moscow; The Home of Shuyskiy
Scene 11 – The Tsar’s Palaces

Scene 11
The Tsar's Palace

Scene 12 – Kraków; The Home of Vishnevetskiy
Scene 13 – Castle of the Voyevoda Mniszech in Sambor (Note: also deleted from many editions)

Scene 13
The Castle of the Governor Mniszech in Sambor

Scene 14 – A Suite of Lighted Rooms
Scene 15 – Night; A Garden; A Fountain

Scene 15
Night. A Garden. A Fountain.

Scene 16 – The Lithuanian Frontier
Scene 17 – The Tsar’s Duma

Scene 17
The Tsar's Duma

Scene 18 – Plain near Novgorod-Seversk
Scene 19 – Square before a Cathedral in Moscow
Scene 20 – Sevsk
Scene 21 – A Forest
Scene 22 – Moscow; The Tsar’s Palaces
Scene 23 – A Tent
Scene 24 – Lobnoye Mesto (Red Square)
Scene 25 – The Kremlin; The House of Boris

Scene 25
The House of Boris
Mussosgsky "Boris Godunov"
Chaliapin, Death of Boris 04 July 1928 London
  Aleksandr Sergeyevich Pushkin

"The Bronze Horseman" 
Illustration by Alexandre Benois
"Eugene Onegin"
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
Esaias Tegner: "Frithjofs Saga"
Tegner Esaias

Esaias Tegnér (13 November 1782, Värmland – 2 November 1846, Växjö, Småland), was a Swedish writer, professor of Greek language, and bishop. He was during the 19th century regarded as the father of modern poetry in Sweden, mainly through the national romantic epos Frithjof's Saga. He has been called Sweden's first modern man. Much is known about him, and he also wrote openly about himself.


Esaias Tegnér
  Esaias Tegnér, (born Nov. 13, 1782, Kyrkerud, Swed.—died Nov. 2, 1846, Östrabo), Swedish teacher, bishop, and most popular poet of his period. When Tegnér was nine his father died, leaving the family without money. He received his schooling, however, because his talent was generally recognized. He graduated from the University of Lund in 1802 and was appointed professor of Greek there 10 years later. He continued to lecture at Lund until 1824, when he became bishop of Växjö, a position he retained all his life. Originally associated with the Romantic movement, he rejected its emotional and mystic aspects. His ideal of poetry became increasingly more Classical but assimilated certain Romantic ingredients. His greatest poetic achievements were the much-translated Frithiofs saga (1825), a cycle based on an Old Icelandic saga, and two narrative poems, the sensitive religious idyll Children of the Lord’s Supper (1820; translated by Henry Wadsworth Longfellow) and Axel (1822).

Tegnér, who had been a liberal most of his life, became an ultraroyalist in his later and rather unproductive years, during which he also showed signs of mental disorder.

Encyclopædia Britannica
Esaias Tegner: "Frithjofs Saga"

Friðþjófs saga hins frœkna (Frithiof's Saga) is a legendary saga from Iceland which in its present form is from ca 1300. It is a continuation from The Saga of Thorstein Víkingsson (Þorsteins saga Víkingssonar). It takes place principally in Norway during the 8th century.

King Beli of Sogn (a traditional district in Western Norway) had two sons and a daughter named Ingeborg. Helgi was his first son, and Halfdan his second. On the other side of the fjord, lived the king's friend Thorstein (Þorsteinn Víkingsson) whose son Frithjof (Friðþjófr) was called the bold (hinn frœkni). Frithiof was the tallest, strongest and he was the bravest among men.

When the king's children were but young their mother died. A goodman of Sogn named Hilding (Hildingr), prayed to have the king's daughter to foster. Frithjof was the foster-brother to the king's daughter as he was also raised together with Ingeborg (Ingibjörg) by their foster-father Hilding.

Both Beli and Þorsteinn died in war whereupon Helgi and Halfdan took over the kingdom. The two kings were jealous of Frithjof's excellent qualities and so they denied him Ingeborg's hand. They took her to Baldr's sacred enclosure Baldrshagi where no one dared hurt another and where no woman and man had intercourse. Still Frithjof visited Ingeborg and they continued to love each other. This caused Helgi and Halfdan to send Frithjof away to Orkney to take tribute and while he was away they burnt down his homestead and married Ingeborg to King Ring, the aged king of Ringerike.

When Frithjof returned with the tribute, he burnt down Baldr's temple in Baldrshagi and went away to live as a viking. After three years, he came to King Ring and spent the winter with him.

Title page of Frithiofs Saga (1876)
Just before the old king died, Frithjof's identity was apparent to everybody and so the dying king appointed Frithjof earl and made him the care-taker of Ring's and Ingeborg's child.

When Ring had died, Frithjof and Ingeborg married and he became the king of Ringerike. Then he declared war on Ingeborg's brothers, killed one of them and made the second one his vassal.

Frithiof's Saga in translation
Frithjof's Saga is said to have been translated twenty-two times into English, twenty times into German, and once at least into every European language, including modern Icelandic in 1866. The Norwegian translation from the Icelandic by Ivar Aasen acted precisely on this saga.

Frithiof's Saga had first been translated into Swedish in 1737. In 1820, Swedish writer Esaias Tegnér published fragments of the epic in Iduna, the journal of the Geatish Society. In 1822, he composed five more cantos. In 1825 he published the entire poem Frithiof's Saga. Even before it was completed, it was famous throughout Europe; the aged Johann Wolfgang von Goethe took up his pen to commend to his countrymen this alte, kraftige, gigantischbarbarische Dichtart ("old, mighty, gigantic-barbaric style of verse"), and desired Amalie von Imhoff to translate it into German. This romantic paraphrase of an ancient saga was composed in twenty-four cantos, all differing in verse form.

Peter Nicolai Arbo
Statue of Fridtjof
Kaiser Wilhelm II of Germany had a statue of Fridtjof raised in the village of Vangsnes in Vik in the county of Sogn og Fjordane, Norway. The Statue of Fridtjof (Fridtjof den frøkne) is a landmark which towers 22.5 metres (74 ft) over the hilltop. It stands in a park overlooking the Sognefjord. The statue was sculpted by the German sculptor and art professor Max Unger (1854-1918) and was erected in July 1913. Wilhelm II also ordered in 1890 that a coastal defense ship be named Frithjof after the Norse hero.
Frithiof's Saga in music
Frithjof's Saga was used as an inspiration by several composers. The first was Max Bruch, who composed his cantata Frithjof, opus 23, in 1864. The most famous example is the Frithj of Symphony in F major, Op. 22, by the German composer Heinrich Hofmann (not to be confused with the identically-named and contemporaneous German painter). This piece was one of the most-played pieces in European concert halls at the end of the 19th century.

Another example is a work by the Dutch composer Johan Wagenaar, the concert piece for orchestra Fritjof's Meeresfahrt, opus 5. Swedish composer Elfrida Andrée wrote an opera to a libretto by Selma Lagerlöf based on the poem, also called Frithjof's Saga; it was never performed publicly, but selections from the opera received a private hearing in 1898.

In the manuscript score of the work, two arias and a chorus are translated into German, suggesting that Andrée may have sought their performance for a German audience. Andrée reworked music from the opera into a five-movement suite, Fritiov-svit that has seen performance as recently as 1995 in Sweden. Dutch composer Cornelis Dopper also wrote an opera called Frithjof in 1895, but it was never performed.

Felix Draeseke wrote a symphonic poem Frithjof (cataloged as his WoO 7); although begun in 1859 it was completed in 1865 and is his first major orchestral work and is over 40 minutes in length.

From Wikipedia, the free encyclopedia

Statue of Fridtjof. Max Unger (1913)
  Western Literature

English Literature - German literature
French literature - Russian literature
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Constable: "Leaping Horse"

Constable John. The Leaping Horse
John Constable
  Neoclassicism and Romanticism
Realism, Impressionism and
David Jacques-Louis, Fr. painter, d. (b. 1748)

David Jacques-Louis. Self portrait
Jacques-Louis David
  Neoclassicism and Romanticism
Realism, Impressionism and
Collinson James

James Collinson (9 May 1825 – 24 January 1881 London) was a Victorian painter who was a member of the Pre-Raphaelite Brotherhood from 1848 to 1850.

He was born at Mansfield, Nottinghamshire and was the son of a bookseller. He entered the Royal Academy School, and was also a fellow-student with Holman Hunt, and Dante Gabriel Rossetti.

Collinson was a devout Christian who was attracted to the devotional and high church aspects of Pre-Raphaelitism. A convert to Catholicism, Collinson reverted to high Anglicanism in order to marry Christina Rossetti, but his conscience forced his return to Catholicism and the break-up of the engagement. When Millais' painting Christ in the House of his Parents was accused of blasphemy, Collinson resigned from the Brotherhood in the belief that it was bringing the Christian religion into disrepute.

During his period as a Pre-Raphaelite, Collinson contributed a long devotional poem to The Germ and produced a number of religious works, most importantly The Renunciation of St. Elizabeth of Hungary (1850).

  After his resignation Collinson trained for the priesthood at a Jesuit college, but did not complete his studies.

In 1858, he married Eliza Wheeler, the sister in law of the painter John Rogers Herbert, one of the early influences on the Pre-Raphaelites.

Returning to his artistic career he painted a number of secular genre paintings, the best-known of which are To Let and For Sale, both of which lightheartedly depict pretty women in situations that suggest moral temptation.

He was secretary of the Society of British Artists from 1861 to 1870.

In the latter part of his life he lived in Brittany, where he painted The Holy Family (1878). He died in April 1881.

From Wikipedia, the free encyclopedia


James Collinson. The Landlady
James Collinson
  Neoclassicism and Romanticism
Realism, Impressionism and

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