Timeline of World History TIMELINE OF WORLD HISTORY
 
 

TIMELINE OF WORLD HISTORY
 

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1800 - 1899
 
 
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
 
 
 
 
 
 
 
CONTENTS
  BACK-1863 Part II NEXT-1863 Part IV    
 
 
     
1860 - 1869
YEAR BY YEAR:
1860-1869
History at a Glance
 
YEAR BY YEAR:
1860 Part I
Treaty of Turin
First Taranaki War
Convention of Peking
Secession of South Carolina
Poincare Raymond
The Church Union
 
YEAR BY YEAR:
1860 Part II
Barrie James Matthew
Boucicault Dion
Dion Boucicault: "The Colleen Bawn"
Collins Wilkie
Wilkie Collins: "The Woman in White"
Wilkie Collins 
"The Moonstone"
"The Woman in White"
George Eliot: "The Mill on the Floss"
Di Giacoma Salvatore
Labiche Eugene-Marin
Multatuli
Multatuli: "Max Havelaar"
Alexander Ostrovski: "The Storm"
Chekhov Anton
Anton Chekhov
"Uncle Vanya"
 
YEAR BY YEAR:
1860 Part III
Degas: "Spartan Boys and Girls Exercising"
Hunt: "Finding of the Saviour in the Temple"
Manet: "Spanish Guitar Player"
Ensor James
James Ensor
Mucha Alfons
Alfons Mucha
Levitan Isaak
Isaac Levitan
Steer Philip Wilson
Philip Wilson Steer
Mahler Gustav
Mahler - Das Lied von der Erde
Gustav Mahler
Paderewski Ignace
Paderewski - Minuet
Ignace Paderewski
Suppe Franz
Franz von Suppe - Das Pensionat
Franz von Suppe
Wolf Hugo
Hugo Wolf - "Kennst du das Land"
Hugo Wolf
MacDowell Edward
MacDowell - Piano Sonata No. 1 "Tragica"
Edward MacDowell
Albeniz Isaac
Albeniz - Espana
Isaac Albeniz
 
YEAR BY YEAR:
1860 Part IV
Cesium
Rubidium
Fechner Gustav Theodor
Lenoir Etienne
Walton Frederick
Linoleum
Across the Continent
Burke Robert O'Hara
Wills William John
Stuart John McDouall
Grant James Augustus
"The Cornhill Magazine"
"The Catholic Times"
Heenan John Camel
Sayers Tom
The Open Championship
Park William
 
YEAR BY YEAR:
1861 Part I
Kansas
Confederate States of America
Davis Jefferson
First inauguration of Abraham Lincoln
American Civil War
First Battle of Bull Run
Battle of Hatteras
The American Civil War, 1861
 
YEAR BY YEAR:
1861 Part II
Siege of Gaeta
Emancipation Manifesto
Abduaziz
Louis I
 
YEAR BY YEAR:
1861 Part III
Dal Vladimir
Steiner Rudolf
Whitehead Alfred North
Charles Dickens: "Great Expectations"
Dostoevsky: "The House of the Dead"
George Eliot: "Silas Marner"
Oliver Wendell Holmes: "Elsie Venner"
Tagore Rabindranath
Charles Reade: "The Cloister and the Hearth"
Wood Ellen
Mrs. Henry Wood: "East Lynne"
Spielhagen Friedrich
Friedrich Spielhagen: "Problematische Naturen"
 
YEAR BY YEAR:
1861 Part IV
Garnier Charles
Anquetin Louis
Louis Anquetin
Godward John William
John William Godward
Bourdelle Antoine
Antoine Bourdelle
Korovin Konstantin
Konstantin Korovin
Maillol Aristide
Aristide Maillol
Melba Nellie
Royal Academy of Music, London
The Paris version "Tannhauser"
 
YEAR BY YEAR:
1861 Part V
Archaeopteryx
Thallium (Tl)
Hopkins Frederick Gowland
Mort Thomas Sutcliffe
Nansen Fridtjof
Fermentation theory
Baker Samuel
Baker Florence
The Bakers and the Nile
Beeton Isabella
Harden Maximilian
First horse-drawn trams in London
Order of the Star of India
Otis Elisha Graves
 
YEAR BY YEAR:
1862 Part I
Battle of Fort Henry
Second Battle of Bull Run
BATTLE OF ANTIETAM
Battle of Fredericksburg
Grey Edward
Briand Aristide
The American Civil War, 1862
 
YEAR BY YEAR:
1862 Part II
Rawlinson George
Ogai Mori
Ivan Turgenev: "Fathers and Sons"
Flaubert: "Salammbo"
Victor Hugo: "Les Miserables"
Barres Maurice
Maeterlinck Maurice
Hauptmann Gerhart
Wharton Edith
Schnitzler Arthur
Uhland Ludwig
 
YEAR BY YEAR:
1862 Part III
Albert Memorial, London
Manet: "Lola de Valence"
Manet: "La Musique aux Tuileries"
Nesterov Mikhail
Mikhail Nesterov
Klimt Gustav
Gustav Klimt
Rysselberghe Theo
Theo van Rysselberghe
Berlioz: "Beatrice et Benedict"
Debussy Claude
Debussy - Preludes
Claude Debussy
Delius Frederick
Frederick Delius - On Hearing the First Cuckoo in Spring
Frederick Delius
German Edward
Edward German - Melody in D flat major
Edward German
Kochel Ludwig
Kochel catalogue
Verdi: "La Forza del Destino"
 
YEAR BY YEAR:
1862 Part IV
Bragg William
Foucault Leon
Gatling Richard Jordan
Lamont Johann
Lenard Pnilipp
Sachs Julius
Palgrave William Gifford
The Arabian Desert
International Exhibition, London
 
YEAR BY YEAR:
1863 Part I
Arizona
Idaho
West Virginia
Emancipation Proclamation
Battle of Chancellorsville
BATTLE OF GETTYSBURG
Lincoln's "Gettysburg Address"
The American Civil War, 1863
 
YEAR BY YEAR:
1863 Part II
Isma'il Pasha
January Uprising
George I of Greece
Dost Mohammad Khan
Christian IX  of Denmark
Chamberlain Austen
Lloyd George David
Second Taranaki War
International Red Cross and Red Crescent Movement
 
YEAR BY YEAR:
1863 Part III
Huxley: "Evidence as to Man's Place in Nature"
Charles Lyell: "The Antiquity of Man"
Massachusetts Agricultural College
D'Annunzio Gabriele
Bahr Hermann
Dehmel Richard
Hale Edward Everett
Edward Everett Hale: "Man without a Country"
Hope Anthony
Charles Kingsley: "The Water Babies"
Longfellow: "Tales of a Wayside Inn"
Quiller-Couch Arthur
Stanislavsky Constantin
Stanislavsky system
 
YEAR BY YEAR:
1863 Part IV
Stuck Franz
Manet: "Dejeuner sur l'herbe"
Manet: "Olympia"
Meurent Victorine-Louise
The "Salon des Refuses" in Paris
Art in Revolt
Impressionism Timeline
(1863-1899)
Signac Paul
Paul Signac
Munch Edvard
Edvard Munch
Berlioz: "Les Troyens"
Bizet: "Les Pecheurs de perles"
Mascagni Pietro
Pietro Mascagni: Cavalleria rusticana
Pietro Mascagni
Weingartner Felix
Felix von Weingartner: Symphony No 6
Felix Weingartner
 
YEAR BY YEAR:
1863 Part V
Billroth Theodor
Butterick Ebenezer
Ford Henry
Graham Thomas
National Academy of Sciences
Sorby Henry Clifton
The Football Association, London
Grand Prix de Paris
Hearst William Randolph
Yellow journalism
Pulitzer Joseph
Nadar
History of photography
Alexandra of Denmark
Royce Henry
Cuthbert Ned
Coburn Joe
Mike McCoole
 
YEAR BY YEAR:
1864 Part I
Schleswig-Holstein Question
First Schleswig War
Second Schleswig War
Halleck Henry
Sherman William
BATTLE OF ATLANTA
Sand Creek massacre
Venizelos Eleutherios
Maximilian II of Bavaria
Louis II
First International Workingmen's Association
Confederate Army of Manhattan
The American Civil War, 1864
 
YEAR BY YEAR:
1864 Part II
Lombroso Cesare
Newman: "Apologia pro Vita Sua"
Syllabus of Errors
Dickens: "Our Mutual Friend"
Karlfeldt Erik Axel
Trollope: "The Small House at Allington"
Wedekind Frank
Zangwill Israel
 
YEAR BY YEAR:
1864 Part III
Stieglitz Alfred
History of photography
ALFRED STIEGLITZ
Dyce William
William Dyce
Jawlensky Alexey
Alexei von Jawlensky
Ranson Paul
Paul Ranson
Serusier Paul
Paul Serusier
Toulouse-Lautrec Henri
Henri de Toulouse-Lautrec
A More Tolerant Salon
Impressionism Timeline
(1863-1899)
Whistler: "Symphony in White, No. 2"
Roberts David
David Roberts "A Journey in the Holy Land"
D'Albert Eugen
Eugen d'Albert - Piano Concerto No.2
Eugen d’Albert
Foster Stephen
Stephen Foster - Beautiful Dreamer
Offenbach: "La Belle Helene"
Strauss Richard
Richard Strauss - Metamorphosen
Richard Strauss
Fry William Henry
William Henry Fry - Santa Claus Symphony
William Henry Fry - Niagara Symphony
 
YEAR BY YEAR:
1864 Part IV
Lake Albert
Bertrand Joseph
Calculus
Nernst Walther
Pasteurization
Wien Wilhelm
Rawat Nain Singh
The Surveyors
Kinthup
First Geneva Convention
Knights of Pythias
"Neue Freie Presse""
De Rossi Giovanni Battista
"In God We Trust"
Travers Stakes
Farragut David
 
YEAR BY YEAR:
1865 Part I
Union blockade in the American Civil War
Charleston, South Carolina in the American Civil War
Lee Robert Edward
Conclusion of the American Civil War
Assassination of Abraham Lincoln
Johnson Andrew
Causes of the Franco-Prussian War
Leopold II of Belgium
Harding Warren
George V of Great Britain
Ludendorff Erich
Free State–Basotho Wars
The American Civil War, 1865
 
YEAR BY YEAR:
1865 Part II
Baudrillart Henri
William Stanley Jevons: "The Coal Question"
Billings Josh
Belasco David
Campbell Patrick
Lewis Carroll: "Alice's Adventures in Wonderland"
Dodge Mary Mapes
Mary Mapes Dodge: "Hans Brinker, or The Silver Skates"
Kipling Rudyard
Rudyard Kipling
Merezhkovsky Dmitry
John Henry Newman: "Dream of Gerontius"
Mark Twain: "The Celebrated Jumping Frog of Calaveras County"
Walt Whitman: "Drum-Taps"
Yeats William Butler
 
YEAR BY YEAR:
1865 Part III
Serov Valentin
Valentin Serov
Wiertz Antoine
Antoine Wiertz
Vallotton Felix
Felix Vallotton
"Olympia" - a Sensation
Impressionism Timeline (1863-1899)
Nielsen Carl
Carl Nielsen - Aladdin Suite
Carl Nielsen
Glazunov Alexander
Glazunov - The Seasons
Alexander Glazunov
Dukas Paul
Paul Dukas "L'Apprenti Sorcier"
Paul Dukas
Meyerbeer: "L'Africaine"
Sibelius Jean
Jean Sibelius - Finlandia
Jean Sibelius
Wagner: "Tristan und Isolde"
 
YEAR BY YEAR:
1865 Part IV
Plucker Julius
Hyatt John Wesley
Kekule: structure of benzene
Antiseptic
Lowe Thaddeus
Mendelian inheritance
Sechenov Ivan
Whymper Edward
The High Andes
 Bingham Hiram
Rohlfs Friedrich Gerhard
Open hearth furnace
Martin Pierre-Emile
Ku Klux Klan
"The Nation"
Marquess of Queensberry Rules
"San Francisco Examiner"
"San Francisco Chronicle"
Mitchell Maria
 
YEAR BY YEAR:
1866 Part I
Cuza Alexandru
"Monstrous coalition"
Carol I
Austro-Prussian War
Battle of Custoza
Battle of Trautenau
Battle of Koniggratz
Battle of Lissa
Cretan Revolt of 1866–1869
MacDonald Ramsay
Sun Yat-sen
 
YEAR BY YEAR:
1866 Part II
Croce Benedetto
Soderblom Nathan
Larousse Pierre
Larousse: Great Universal Dictionary of the 19th Century
Friedrich Lange: "History of Materialism"
Benavente Jacinto
Dostoevsky: "Crime and Punishment"
Hamerling Robert
Ibsen: "Brand"
Kingsley: "Hereward the Wake"
Rolland Romain
Wells Herbert
H.G. Wells
"The War of the Worlds"

"The Invisible Man"
 
"A Short History of the World"
 
YEAR BY YEAR:
1866 Part III
Bakst Leon
Leon Bakst
Fry Roger
Kandinsky Vassili
Vassili Kandinsky
A Defender Appears
Impressionism Timeline (1863-1899)
Busoni Ferruccio
Ferruccio Busoni - Berceuse Elegiaque
Ferruccio Busoni
Offenbach: "La Vie Parisienne"
Smetana: "The Bartered Bride"
Satie Eric
Erik Satie: Nocturnes
Eric Satie
 
YEAR BY YEAR:
1866 Part IV
Aeronautical Society of Great Britain
Morgan Thomas Hunt
Nicolle Charles
Werner Alfred
Whitehead Robert
Whitehead torpedo
Doudart de Lagree Ernest
Panic of 1866
Thomas Morris
MacGregor John
 
YEAR BY YEAR:
1867 Part I
Manchester Martyrs
Austro-Hungarian Compromise of 1867
Nebraska
Constitution Act, 1867
Alaska Purchase
North German Confederation
Reform Act of 1867
Battle of Mentana
Mary of Teck
Baldwin Stanley
Rathenau Walther
Pilsudski Joseph
 
YEAR BY YEAR:
1867 Part II
Bagehot Walter
Walter Bagehot: "The English Constitution"
Freeman Edward Augustus
Freeman: The History of the Norman Conquest of England
Marx: "Das Kapital"
Thoma Ludwig
Soseki Natsume
Russell George William
Reymont Wladislau
Bennett Arnold
Balmont Konstantin
Pirandello Luigi
Galsworthy John
Charles de Coster: "The Legend of Thyl Ulenspiegel"
Ouida: "Under Two Flags"
Trollope: "The Last Chronicle of Barset"
Turgenev: "Smoke"
Zola: "Therese Raquin"
Ibsen: "Peer Gynt"
 
YEAR BY YEAR:
1867 Part III
Delville Jean
Jean Delville
Kollwitz Kathe
Kathe Kollwitz
Nolde Emil
Emil Nolde
Bonnard Pierre
Pierre Bonnard
Manet's Personal Exhibition
Impressionism Timeline (1863-1899)
Bizet: "La Jolie Fille de Perth"
Gounod: "Romeo et Juliette"
Offenbach: "La Grande-Duchesse de Gerolstein"
Johann Strauss II: The "Blue Danube"
Toscanini Arturo
Verdi: "Don Carlos"
Granados Enrique
Enrique Granados - Spanish Dances
Enrique Granados
 
YEAR BY YEAR:
1867 Part IV
Curie Marie
Michaux Pierre
Monier Joseph
Brenner Railway
Mining industry of South Africa
Dynamite
Thurn and Taxis
Chambers John Graham
London Athletic Club
Barnardo Thomas John
 
YEAR BY YEAR:
1868 Part I
British Expedition to Abyssinia
Battle of Magdala
Tokugawa Yoshinobu
Tenure of Office Act
Province of Hanover
Russian Turkestan
Mihailo Obrenovic III
Milan I of Serbia
Glorious Revolution
Horthy Nicholas
Fourteenth Amendment to the United States Constitution
 
YEAR BY YEAR:
1868 Part II
International Alliance of Socialist Democracy
Charles Darwin: "The Variation of Animals and Plants under Domestication"
Louisa May Alcott: "Little Women"
Robert Browning: "The Ring and the Book"
Wilkie Collins: "The Moonstone"
Dostoevsky: "The Idiot"
George Stefan
Gorki Maxim
Rostand Edmond
Edmond Rostand
"Cyrano De Bergerac"
 
YEAR BY YEAR:
1868 Part III
Bernard Emile
Emile Bernard
Vollard Ambroise
Slevogt Max
Max Slevogt
Vuillard Edouard
Edouard Vuillard
The Realist Impulse
Impressionism Timeline (1863-1899)
Bantock Granville
Bantock "Overture The Frogs"
Granville Bantock
Brahms: "Ein deutsches Requiem"
Schillings Max
Max von Schillings: Mona Lisa
Max von Schillings
Wagner: "Die Meistersinger von Nurnberg"
Tchaikovsky: Symphony No. 1
 
YEAR BY YEAR:
1868 Part IV
Lartet Louis
Cro-Magnon
Haber Fritz
Millikan Robert Andrews
Richards Theodore William
Scott Robert Falcon
Armour Philip Danforth
Badminton House
Garvin James Louis
Harmsworth Harold
Trades Union Congress
"Whitaker's Almanack"
Sholes Christopher Latham
Typewriter
 
YEAR BY YEAR:
1869 Part I
Presidency of Ulysses S. Grant
French legislative election, 1869
Prohibition Party
Red River Rebellion
Chamberlain Neville
Gandhi Mahatma
 
YEAR BY YEAR:
1869 Part II
Matthew Arnold: "Culture and Anarchy"
Eduard Hartmann: "The Philosophy of the Unconscious"
Mill: "On The Subjection of Women"
First Vatican Council
Blackmore Richard Doddridge
Blackmore: "Lorna Doone"
Flaubert: "Sentimental Education"
Gide Andre
Gilbert: "Bab Ballads"
Halevy Ludovic
Bret Harte: "The Outcasts of Poker Flat"
Victor Hugo: "The Man Who Laughs"
Leacock Stephen
Mark Twain: "The Innocents Abroad"
Tolstoy: "War and Peace"
 
YEAR BY YEAR:
1869 Part III
Lutyens Edwin
Poelzig Hans
Carus Carl Gustav
Carl Gustav Carus
Somov Konstantin
Konstantin Somov
Matisse Henri
Henri Matisse
Manet Falls Foul of the Censor
Impressionism Timeline (1863-1899)
Bruckner: Symphony No. 0
Pfitzner Hans
Pfitzner - Nachts
Hans Pfitzner
Wagner Siegfried
Siegfried Wagner "Prelude to Sonnenflammen"
Richard Wagner: "Das Rheingold"
Roussel Albert
Albert Roussel - Bacchus et Ariane
Albert Roussel
Wood Henry
 
YEAR BY YEAR:
1869 Part IV
Francis Galton: "Hereditary Genius"
Celluloid
Periodic law
Nachtigal Gustav
Cincinnati Red Stockings
Girton College, Cambridge
Nihilism
1869 New Jersey vs. Rutgers football game
Co-operative Congress
Lesseps Ferdinand
Suez Canal
 
 
 

Edward Everett Hale: "Man without a Country"
 
 
 
 
 HISTORY, RELIGION, PHILOSOPHY, ART, LITERATURE, MUSIC, SCIENCE, TECHNOLOGY, DAILY LIFE
 
 
 
 
YEAR BY YEAR:  1800 - 1899
 
 
 
1863 Part III
 
 
 
1863
 
 
Gardiner Samuel Rawson: "History of England... 1603-1642"
 
 

S. R. Gardiner: "History of
England... 1603-1642"
 
 
 
1863
 
 
Huxley: "Evidence as to Man's Place in Nature"
 

Evidence as to Man's Place in Nature is an 1863 book by Huxley Thomas Henry, in which he gives evidence for the evolution of man and apes from a common ancestor. It was the first book devoted to the topic of human evolution, and discussed much of the anatomical and other evidence. Backed by this evidence, the book proposed to a wide readership that evolution applied as fully to man as to all other life.

 
Precursors of the idea
In the 18th century Linnaeus and others had classified man as a primate, but without drawing evolutionary conclusions. It was Lamarck, the first to develop a coherent theory of evolution, who discussed human evolution in this context. Robert Chambers in his anonymous Vestiges also clearly made the point.

The book came five years after Charles Darwin and Alfred Russel Wallace announced their theory of evolution by means of natural selection, and four years after the publication of Darwin's Origin of Species. In the Origin Darwin had deliberately avoided tackling human evolution, but left a gnomic trailer: "Light will be thrown on the origin of man and his history". Darwin's sequel came eight years later, with The Descent of Man, and Selection in Relation to Sex (1871).

 
 
Content and structure of the book
Chapters

I. On the natural history of the man-like Apes p1–56. This contains a summary of what was known of the great apes at that time.

II. On the relations of Man to the lower animals p57–112. This chapter and its addendum contained most of the controversial material, and is still important today.

Addendum: A succinct history of the controversy respecting the cerrebral structure of Man and the apes p113–118 (set in a smaller font).
III. On some fossil remains of Man p119–159. A neanderthal skull-cap and other bones had been found, and various remains of early Homo sapiens. Huxley compares these remains with existing human races.

Previous publication of the content
As Huxley said in his Advertisement of the Reader, most of the content of his book had been presented to the public before: "The greater part of the following essays has already been published in the form of Oral Discourses, addressed to widely different audiences, during the past three years." The oral presentations began in 1860. The publications in serials included:

1861. On the zoological relations of Man with the lower animals. Natural History Review (new series), p67–84.
1861. Man and the Apes. Letters to the Athenaeum, March 30 and September 21, p433 and 498.
1862. The Brain of Man and Apes. letter to Medical Times & Gazette, October 25, p449.
1862. On some fossil remains of Man. Proceedings of the Royal Institution of Great Britain 3 (1858–1862), p420–422.
1862. On some fossil remains of Man. Medical Times & Gazette 24, 159–161.

  The central argument
The second chapter contains the basic evidence for man as an animal. After half a dozen preliminary pages Huxley introduces the study of development: "that every living creature commences its existence under a form different from, and simpler to, that which it eventually attains" (p74). Of course, this follows from fertilisation taking place in a single cell. He follows the embryological development of a dog, and its similarities with other vertebrates, before turning to man. "Without question... [man's] early stages of development... [are] far nearer the apes, than apes are to the dog" (p81).

Huxley next begins a comparison of the adult anatomy of apes with man, asking "Is man so different from any of these apes that he must form an order by himself?" (p85). "It is quite certain that the ape which most nearly approaches man is either the Chimpanzee, or the Gorilla..." (p86). "In the general proportions of the body and limbs there is a remarkable difference between the Gorilla and man (p87)... [but]... in whatever proportion the Gorilla differs from man, the other apes depart still more widely from the Gorilla and that, consequently, such differences of proportion can have no ordinal value" (p89). Put simply, Huxley rejects the idea that man should occupy an order separate from the apes. Therefore, they are primates.

Next, the skull and brains. "The difference between a Gorilla's skull and a man's are truly immense." (p92–93).... "Thus in the important matter of cranial capacity, men differ more widely from one another than they do from the apes; while the lowest apes differ as much, in proportion, from the highest, as the latter does from man" (p95). There is much more detailed comparative anatomy, leading to the same type of argument, for example: "Hence it is obvious that, greatly as the dentition of the highest ape differs from man, it differs far more widely from that of the lower and lowest apes" (p101).

 
 
"Thus, whatever system of organs be studied, the comparison of their modifications in the ape series leads to one and the same result—that the structural differences which separate Man from the Gorilla and the Chimpanzee are not so great as those which separate the Gorilla from the lower apes" (p123). "But if man be separated by no greater structural barrier from the brutes than they are from each other—then it seems to follow that... there would be no rational ground for doubting that man might have originated... by the gradual modification of a man-like ape"... "At the present moment there is but one hypothesis which has any scientific existence—that propounded by Mr. Darwin" (p125).

Huxley's conclusion, that man differs from apes at the level of a family, may be compared with the opinion today that the distinction between the great apes and man is at the level of a subfamily, the Homininae or at the level of the tribe, Hominini or even at the level of a subtribe: the Hominina. The Australopithecines separate man from the great apes, and the genus Homo is almost certainly an offshoot of the early australopithecines, upright apes of the wooded savannah (see human taxonomy). The general opinion today is that man is more closely related to apes than even Huxley thought.

 
 

This illustration was the frontispiece. Huxley applied Darwin's ideas to humans, using comparative anatomy to show that humans and apes had a common ancestor, which challenged the theologically important idea that humans held a unique place in the universe.
 
 
The addendum
The addendum to Chapter II was Huxley's account of his controversy with Owen about the comparison of human and ape brains. For the full text of the Addendum, see s: The cerebral structure of man and apes. In his Collected Essays this addendum was edited out, and is lacking in most later reprints.

A key event had already occurred in 1857 when Richard Owen presented (to the Linnean Society) his view that man was marked off from all other mammals by possessing features of the brain peculiar to the genus Homo. Having reached this opinion, Owen separated man from all other mammals in a subclass of its own. No other biologist before or since has held such an extreme view.

The subject was raised at the 1860 BA Oxford meeting, when Huxley flatly contradicted Owen, and promised a later demonstration of the facts.

"I redeemed that pledge by publishing, in the January number of the Natural History Review for 1861, an article wherein the truth of the three following propositions was fully demonstrated (loc cit p71):
1. That the third lobe is neither peculiar to, nor characteristic of, man, seeing that it exists in all the higher quadrumana.
2. That the posterior cornu of the lateral ventricle is neither peculiar to, nor characteristic of, man, inasmuch as it also exists in the higher quadrumana.
3. That the 'hippocampus minor' is neither peculiar to, nor characteristic of, man, as it is found in certain of the higher quadrumana."
In fact, a number of demonstrations were held in London and the provinces. In 1862 at the Cambridge meeting of the B.A. Huxley's friend William Flower gave a public dissection to show that the same structures (the posterior horn of the lateral ventricle and the hippocampus minor) were indeed present in apes.

  Thus was exposed one of Owen's greatest blunders, revealing Huxley as not only dangerous in debate, but also a better anatomist.

As he says, Huxley's ideas on this topic were summed up in January 1861 in the first issue (new series) of his own journal, the Natural History Review: "the most violent scientific paper he had ever composed". The substance of this paper was presented in 1863 as chapter 2 of Man's place in Nature, with the addendum giving his account of the Owen/Huxley controversy about the ape brain.

In due course, Owen did finally concede that there was something that could be called a hippocampus minor in the apes, but said that it was much less developed and that such a presence did not detract from the overall distinction of smaller brain size. Interpreted as an attempt to defend his original decision, Owen's point on brain size was answered by Huxley in Man's Place (excerpt above), and repeated when he wrote a section comparing ape and human brains for the second edition of Darwin's Descent of Man:

"Again, as respects the question of absolute size, it is established that the difference between the largest and the smallest healthy human brain is greater than the difference between the smallest healthy human brain and the largest chimpanzee's or orang's brain." and "A character which is thus variable within the limits of a single group can have no great taxonomic value."
The extended argument on the ape brain, partly in debate and partly in print, backed by dissections and demonstrations, was a landmark in Huxley's career. It was highly important in asserting his dominance of comparative anatomy, and in the long run more influential in establishing evolution amongst biologists than was the debate with Samuel Wilberforce. It also marked the start of Owen's decline in the esteem of his fellow biologists.

 
 
Structure of the book
The first edition of Man's Place in Nature is arranged as follows: 8vo, 9x57/8 inches (23x15cms), [viii]+159+[i]+8ads. Bound in dark green pebbled cloth with blind-stamped borders on boards, gilt lettering on spine as follows: head: Man's place in nature / [rule] / T.H. Huxley; foot: Williams and Norgate. Dark brick red advertisement end-papers front and back, with Williams & Norgate's publications. Frontispiece diagram of ape skeletons, photographically reproduced, after drawings by Waterhouse Hawkins, from specimens in the Museum of the Royal College of Surgeons. Title bears Williams & Norgate's medallion logo; date is 1863.
 
 
Translations and other editions
English: The original edition was reprinted in 1864. The American edition was first published in New York by Appleton in 1863. The type was reset and the format was slightly smaller than the London edition: 8vo, 81/4x51/4 inches (21x13.3 cms), ix+9–184+8ads+[ii].
German: translated by Victor Carus as Zeugnisse für die Stellung des Menschen in der Natur. Vieweg & Sohn, Braunschweig (Brunswick). 1863
Russian: translated by Vladimir Kovalevskii, published at St Petersberg. There were two separate editions of Man's Place prepared before Darwin's Origin was translated.
French: Paris 1868 and 1910.
Italian: Milan 1869.
Polish: Warsaw 1874.
Chinese: Shanghai 1935.
Japanese: Tokyo 1940.

Comparison with Lyell's Antiquity of Man

In assessing Huxley's work, the content of Charles Lyell's The Antiquity of Man should be considered. It was published in early February 1863, just before Huxley's work, and covered the discoveries of traces of early man in the palaeolithic (Pleistocene). However, Lyell avoided a definitive statement on human evolution. Darwin wrote: "I am fearfully disappointed at Lyell's excessive caution" and "The book is a mere 'digest' ". In other respects Antiquity was a success. It sold well, and it "shattered the tacit agreement that mankind should be the sole preserve of theologians and historians."  But when Lyell wrote that it remained a profound mystery how the huge gulf between man and beast could be bridged, Darwin wrote "Oh!" in the margin of his copy. For this reason, despite its merits, Lyell's book did not anticipate the crucial arguments which Huxley presented.
  Comparison with the Descent of Man
Eight years after Man's Place, Darwin's Descent of Man was published. In it Darwin faced the same task of persuading the reader of man's evolutionary heritage. He took, in Chapter 1 The evidence of the descent of man from some lower form, an approach which made good use of his vast supply of information on the natural history of mammals.

Darwin starts: "It is notorious that man is constructed on the same general type or model as other mammals..." (p6)  He goes on to discuss infections by similar diseases, the similarity of non-contagious diseases compared with monkeys, the liking of monkeys for tea, coffee and alcohol. He draws a wonderful word picture of baboons grumpily holding their aching heads the day after a drinking session (p7).

He was aware that closely related animals always seemed to suffer from closely related parasites. He follows Huxley in his account of man's embryonic development, and then considers the evidence of vestigial organs, which he (and Huxley) called rudiments (p11). The discussion of a rare human hereditary condition permitting its possessors to move their scalps is connected to the regular use of this ability in many monkeys.

The fine lanugo, a covering of hair on the human foetus, is thought by Darwin to be a vestige of the first permanent coat of hair in those mammals which are born hairy. The existence of non-erupting third molars is connected to the shortening of the jaw in humans, and, like the shortened caecum in the alimentary canal, is an adaptation to the human change of diet from full herbivory (humans are omnivores) (p20–21).

 
 
"The bearing of the three great classes of facts now given is unmistakable... [the facts] are intelligible if we admit their descent from a common ancestor, together with their subsequent adaptation to diversified conditions... Thus we can understand how it has come to pass that man and all other vertebrate animals have been constructed on the same general model, why they pass through the same early stages of development, and why they retain certain rudiments in common. Consequently we ought frankly to admit their community of descent" (p25).
Later, in Chapter 6, Darwin produces his famous passage on the birthplace and antiquity of man, quoting the Chimpanzee and Gorilla as evidence that "...as these two species are now man's nearest allies, it is somewhat more probable that our early progenitors lived on the African continent than elsewhere" (p155).

From Wikipedia, the free encyclopedia

 
 
 
1863
 
 
Kinglake Alexander William: "The Invasion of the Crimea"
 
 

A. W. Kinglake: "The Invasion of the Crimea"
 
 
 
1863
 
 
Charles Lyell: "The Antiquity of Man"
 

Geological Evidences of the Antiquity of Man is a book written by British geologist, Lyell Charles in 1863. The first three editions appeared in February, April, and November 1863, respectively. A much-revised fourth edition appeared in 1873. Antiquity of Man, as it was known to contemporary readers, dealt with three scientific issues that had become prominent in the preceding decade: the age of the human race, the existence of ice ages, and Charles Darwin's theory of evolution by natural selection. Lyell used the book to reverse or modify his own long-held positions on all three issues. The book drew sharp criticism from two of Lyell's younger colleagues – paleontologist Hugh Falconer and archaeologist John Lubbock – who felt that Lyell had used their work too freely and acknowledged it too sparingly. It sold well, however, and (along with Lubbock's 1865 book Prehistoric Times) helped to establish the new science of prehistoric archaeology in Great Britain.

 
Background
Lyell had been consistently skeptical of evidence for high human antiquity since the early 1830s, and distanced himself from the theory of ice ages after a brief flirtation with it in the early 1840s. He had attacked the evolutionary ideas of Lamarck in detail in his book Principles of Geology. New developments in all three areas forced him to reconsider these positions in the late 1850s and early 1860s, and became the subject matter for Antiquity of Man.
 
 
Content
The section about man summed up the evidence for human antiquity that had been brought to light by British geologists in 1858-59, and integrated it with archaeological evidence from the Paleolithic, Neolithic, and Bronze Age.

The section about glaciation integrated continental ice ages into the larger picture of the Quaternary Period that Lyell had built up in his earlier works.

The section about evolution recapitulated Darwin's arguments and endorsed them, though not enthusiastically. It acknowledged that human bodies might have evolved, but left open the possibility of divine intervention in the origins of human intellect and moral sense.

Controversy
Hugh Falconer, a key player in the establishment of human antiquity, charged that Lyell – a minor player in the process – had misleadingly cast himself in the lead while ignoring the contributions of others. He raised his charges in the pages of the weekly journal The Athenaeum, and pressed them with a vehemence that some of his colleagues found distasteful.

John Lubbock, a young but rising scientific star and a member of Darwin's inner circle, charged that Lyell had incorporated large amounts of material that Lubbock had published in articles and was then reworking into a book of his own. His criticism was largely private, but well known in the scientific circles in which both moved.
Lyell gradually changed the text of Antiquity of Man to blunt some of their criticisms, but throughout the process held that he had been wrongly accused.

 
Charles Lyell. Geological Evidences of the Antiquity of Man
 
 
Impact
Antiquity of Man had its greatest impact in the years immediately after its publication. Lyell's presentation and endorsement of the new evidence for human antiquity firmly established the theory as scientific orthodoxy. His integration of both ice ages and a very old human race into the (geologically) recent history of the Earth was novel for its time, as was his presentation of archaeological data that from continental Europe. Until the early 1860s, "archaeology" had been synonymous, in England, with the study of antiquity and the Middle Ages through artifacts. Antiquity of Man expanded it to include the study of prehistory.

The book's three-part structure meant, however, that it was quickly supplanted by more detailed works that followed in its wake. Lubbock's Prehistoric Times (1865), Darwin's The Descent of Man (1871), James Archibald Geike's The Great Ice Age (1874) and William Boyd Dawkins' Early Man in Britain (1880) became the standard works on the fields to which Lyell had introduced a generation of mid-Victorian readers.

From Wikipedia, the free encyclopedia

 
 
 
1863
 
 
Mill John Stuart : "Utilitarianism"
 
 

J. S. Mill: "Utilitarianism"
 
 
see also: John Stuart Mill
 
 
     
  IDEAS that Changed the World

Myths and Legends
History of Religion
History of Philosophy
     
 
 
 
1863
 
 
Renan Ernest: "The Life of Jesus"
 
 

Ernest Renan: "The Life of Jesus"
 
 
 
     
  Ernest Renan

"The Life of Jesus"
 
     
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Werner Sombart, Ger. sociologist and economist b. (d. 1941)
 
 
 
1863
 
 
Massachusetts Agricultural College
 
 

Massachusetts Agricultural College (1863–1931)
Massachusetts State College (1931–1947)

The University of Massachusetts Amherst (otherwise known as UMass Amherst or simply UMass) is a public research and land-grant university in Amherst, Massachusetts, United States, and the flagship of the University of Massachusetts system. With 1,174 faculty members and more than 26,000 students, UMass Amherst is the largest public university in New England[9] and is ranked among top 30 public universities in the nation.

 
The university offers bachelor's degrees, master's degrees, and doctoral degrees in 90 undergraduate and 72 graduate areas of study, through eight schools and colleges. The main campus is situated north of downtown Amherst. In a 2009 article for MSN.com, Amherst was ranked first in Best College Towns in the United States. In 2012, U.S. News and World Report ranked Amherst amongst the Top 10 Great College Towns in America.

The University of Massachusetts Amherst is categorized as a Research University with Very High research activity by the Carnegie Foundation for the Advancement of Teaching. In 2011, UMass Amherst had research expenditures of $181.3 million. It is also a member of the Five College Consortium.

UMass Amherst sports teams are called the Minutemen and Minutewomen, the colors being maroon, black, and white; the school mascot is Sam the Minuteman. All teams participate in NCAA Division I. The university is a member of the Atlantic 10 Conference, while playing ice hockey in Hockey East and football in the FBS level Mid-American Conference (MAC).

 
 

Massachusetts Agricultural College as it appeared in 1879, with students and faculty standing in front of Old South College, North College, and the college's first chapel.
 
 
History
Foundation and early years

The university was founded in 1863 under the provisions of the Federal Morrill Land-Grant Colleges Act to provide instruction to Massachusetts citizens in the "agricultural, mechanical, and military arts." Accordingly, the university was initially named the Massachusetts Agricultural College, popularly referred to as "Mass Aggie" or "M.A.C." In 1867, the college had yet to admit any students, had been through two Presidents, and still had not completed any college buildings. In that year, William S. Clark was appointed President of the college and Professor of Botany. He quickly appointed a faculty, completed the construction plan, and in the fall of 1867 admitted the first class of approximately 50 students. Clark became the first functioning President and arguably the primary founding father of the college.

The original buildings consisted of Old South College (a dormitory located on the site of the present South College), North College (a second dormitory once located just south of today's Machmer Hall), the Chemistry Laboratory, also known as College Hall (once located on the present site of Machmer Hall), the Boarding House (a small dining hall located just north of the present Campus Parking Garage), the Botanic Museum (located on the north side of the intersection of Stockbridge Road and Chancellor's Hill Drive) and the Durfee Plant House (located on the site of the new Durfee Conservatory).

Although enrollment was slow during the 1870s, the fledgling college built momentum under the leadership of President Henry Hill Goodell. In the 1880s, Goodell implemented an expansion plan, adding the College Drill Hall in 1883 (the first gymnasium), the Old Chapel Library in 1885 (one of the oldest extant buildings on campus and an important symbol of the University), and the East and West Experiment Stations in 1886 and 1890.
 
 
The Campus Pond, now the central focus of the University Campus, was created in 1893 by damming a small brook.

The early 20th century saw great expansion in terms of enrollment and the scope of the curriculum. The first female student was admitted in 1875 on a part-time basis and the first full-time female student was admitted in 1892. In 1903, Draper Hall was constructed for the dual purpose of a dining hall and female housing. The first female students graduated with the class of 1905. The first dedicated female dormitory, the Abigail Adams House (on the site of today's Lederle Tower) was built in 1920.

By the start of the 20th century, the college was thriving and quickly expanded its curriculum to include the liberal arts. In recognition of the higher enrollment and broader curriculum, the college was renamed Massachusetts State College in 1931.

Following World War II, the G.I. Bill, facilitating financial aid for veterans, led to an explosion of applicants. The college population soared and Presidents Hugh Potter Baker and Ralph Van Meter labored to push through major construction projects in the 1940s and 1950s, particularly with regard to dormitories (now Northeast and Central Residential Areas). Accordingly, the name of the college was changed in 1947 to the "University of Massachusetts."

 
Old Chapel constructed in 1884 at the campus
 
 
Modern era
By the 1970s, the University continued to grow and gave rise to a shuttle bus service on campus as well as many other architectural additions; this included the Murray D. Lincoln Campus Center complete with a hotel, office space, fine dining restaurant, campus store, and passageway to the parking garage, the W. E. B. Du Bois Library, and the Fine Arts Center.

Over the course of the next two decades, the John W. Lederle Graduate Research Center and the Conte National Polymer Research Center were built and UMass Amherst emerged as a major research facility. The Robsham Memorial Center for Visitors welcomed thousands of guests to campus after its dedication in 1989. For athletic and other large events, the Mullins Center was opened in 1993, hosting capacity crowds as the Minutemen basketball team ranked at number one for many weeks in the mid-1990s, and reached the Final Four in 1996.

21st Century
UMass Amherst entered the 21st century with close to 24,000 students enrolled.[citation needed] In 2003, for the first time, the Massachusetts State Legislature legally designated UMass Amherst as a Research University and the "flagship campus of the UMass system." UMass Faculty members are top performers in terms of the numbers of awards and recognitions they receive, and their supported research activities total more than $140 million per year. Its current student body is the most high-achieving in UMass Amherst history (in terms of admissions test scores and grades) and the university was named a top producer of Fulbright Award winners in the 2008–2009 academic year. Additionally, in 2010 UMass Amherst was named one of the "Top Colleges and Universities Contributing to Teach For America's 2010 Teaching Corps."

From Wikipedia, the free encyclopedia

 
 
 
1863
 
 
D'Annunzio Gabriele
 

Gabriele D’Annunzio, (born March 12, 1863, Pescara, Italy—died March 1, 1938, Gardone Riviera, Italy), Italian poet, novelist, dramatist, short-story writer, journalist, military hero, and political leader, the leading writer of Italy in the late 19th and early 20th centuries.

 

Gabriele D’Annunzio
  The son of a politically prominent and wealthy Pescara landowner, D’Annunzio was educated at the University of Rome. When he was 16 his first poems, Primo vere (1879; “In Early Spring”), were published. The poems in Canto novo (1882; “New Song”) had more individuality and were full of exuberance and passionate, sensuous descriptions. The autobiographical novel Il piacere (1889; The Child of Pleasure) introduces the first of D’Annunzio’s passionate Nietzschean-superman heroes; another appears in L’innocente (1892; The Intruder). D’Annunzio had already become famous when his best-known novel, Il trionfo della morte (1894; The Triumph of Death), appeared. It and his next major novel, Le vergini delle rocce (1896; The Maidens of the Rocks), featured viciously self-seeking and wholly amoral Nietzschean heroes.
D’Annunzio continued his prodigious literary production until World War I. His major poetic work is the lyrical collection Laudi del cielo del mare della terra e degli eroi (1899; “In Praise of Sky, Sea, Earth, and Heroes”). The third book in this series, Alcyone (1904), a re-creation of the smells, tastes, sounds, and experiences of a Tuscan summer, is considered by many his greatest poetic work.

In 1894 D’Annunzio had begun a long liaison with the actress Eleonora Duse and had turned to writing plays for her, notably the tragedies La Gioconda (performed 1899) and Francesca da Rimini (performed 1901).

 
 
He eventually broke off the relationship and exposed their intimacy in the erotic novel Il fuoco (1900; The Flame of Life). D’Annunzio’s greatest play was La figlia di Iorio (performed 1904; The Daughter of Jorio), a powerful poetic drama of the fears and superstitions of Abruzzi peasants.

New plays and a novel followed, but these failed to finance D’Annunzio’s extravagant lifestyle, and his indebtedness forced him to flee to France in 1910. When World War I broke out, he returned to Italy to passionately urge his country’s entry into the war. After Italy declared war he plunged into the fighting himself, seeking out dangerous assignments in several branches of the service, finally in the air force, where he lost an eye in combat. D’Annunzio was fond of bold, individual military actions. Two of his best known came in 1918: his flight over Vienna (volo di Vienna), where he dropped thousands of propaganda leaflets over the city, and his prank at Buccari Bay (beffa di Buccari), a daring surprise attack on the Austrian fleet with power boats.

 
 

Gabriele D’Annunzio
  In 1919 D’Annunzio and about 300 supporters, in defiance of the Treaty of Versailles, occupied the Dalmatian port of Fiume (Rijeka in present-day Croatia), which the Italian government and the Allies were proposing to incorporate into the new Yugoslav state but which D’Annunzio believed rightly belonged to Italy. D’Annunzio ruled Fiume as dictator until December 1920, at which time Italian military forces compelled him to abdicate his rule. Nevertheless, by his bold action he had established Italy’s interest in Fiume, and the port became Italian in 1924. D’Annunzio subsequently became an ardent Fascist and was rewarded by Benito Mussolini with a title and a national edition of his works, but he exercised no further influence on Italian politics and was marginalized by the regime. He retired to Gardone Riviera in Lombardy and wrote some memoirs and confessions. There D’Annunzio built a stadium and displayed a ship half-buried in the hillside. After his death, a large mausoleum was constructed there to contain his remains. Gardone Riviera became not only his monument but a monument to Italian nationalism and one of Italy’s most visited tourist sites.

D’Annunzio’s colourful career, his scandalous amours, his daring in wartime, his eloquence and political leadership in two national crises, all contributed to make him one of the most striking personalities of his day. D’Annunzio’s literary works are marked by their egocentric perspective, their fluent and melodious style, and an overriding emphasis on the gratification of the senses, whether through the love of women or of nature.

 
 
Apart from certain interesting autobiographical works such as Notturno (1921; published in Nocturne and Five Tales of Love and Death), D’Annunzio’s prose is somewhat tedious; he was too receptive of contemporary thought and style, so that his work is liable to indiscriminately reflect the influences of other writers. The same can be said of most of his plays, with the exception of La figlia di Iorio, which has powerful and vivid characterizations.

As a poet D’Annunzio derived much of his power from his great emotional susceptibility. Already in Primo vere and Canto novo, he had shown an astonishing gift for rendering with precision and power the healthy exuberance and youthful intensity of a boy in love with nature and women. Though he then turned to morbid and decadent themes in his subsequent poems, he recovered the vitality of his inspiration and found a new, more musical form for its expression in the great work of his maturity, the Laudi, and especially its third book, Alcyone. Some of the poems in this book, in which D’Annunzio proclaims his sensuous, joyful feeling of communion with nature, are among the masterpieces of modern Italian poetry.

Encyclopædia Britannica
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Bahr Hermann
 

Hermann Bahr (19 July 1863 – 15 January 1934) was an Austrian writer, playwright, director, and critic.

 

Hermann Bahr.
1904 by Emil Orlik
  Biography
Born and raised in Linz, Bahr studied in Vienna, Graz, Czernowitz and Berlin, devoting special attention to philosophy, political economy, philology and law. During a prolonged stay in Paris, he discovered his interest in literature and art. He began working as an art critic, first in Berlin, then in Vienna: In 1890 he became associate editor of Berliner Freie Bühne (“Berlin Free Stage”), and later became associate editor and critic of the Deutsche Zeitung (“German Newspaper”). In 1894 he began publication of Die Zeit (“The Times”), and was also editor of the Neue Wiener Tagblatt (“New Vienna Daily Flyer”) and the Oesterreichische Volkszeitung (“Austrian Popular Newspaper”).

From 1906-1907, he worked as a director with Max Reinhardt at the German Theater (German: Deutsches Theater) in Berlin, and starting in 1918 he was a Dramaturg with the Vienna Burgtheater. Spokesman for the literary group Young Vienna, Bahr was an active member of the Austrian avant-garde, producing both criticism and Impressionist plays. Bahr's association with the coffeehouse literati made him one of the main targets of Karl Kraus's newspaper Die Fackel (The Torch) after Kraus's falling out with the group.

Bahr was the first critic to apply the label modernism to literary works, and was an early observer of the Expressionism movement. His theoretical papers were important in the definition of new literary categories. His 40 plays and around 10 novels never reached the quality of his theoretical work. He died, aged 70, in Munich.

From Wikipedia, the free encyclopedia

 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Dehmel Richard
 

Richard Fedor Leopold Dehmel (18 November 1863 – 8 February 1920) was a German poet and writer.

 

Richard Fedor Leopold Dehmel
  Life
A forester's son, Richard Dehmel was born in Hermsdorf near Wendisch Buchholz (now a part of Münchehofe) in the Brandenburg Province of the Prussian Kingdom.

He got his first impressions of nature wandering in the oak forests tended by his father, and first attended school in his native city. Later expelled from the Sophiengymnasium (a Berlin gymnasium) after conflicting with his teachers, he finished his schooling in Danzig and studied the natural sciences, economics, literature, and philosophy at university, where he submitted a thesis in economics, on the insurance business. Subsequently employed as a secretary at a fire insurance association, he remained in the same occupation until beginning to write full-time after the publication of his second volume of poetry.

In 1889, Dehmel married Paula Oppenheimer, sister of Franz Oppenheimer. He became active as a writer, and was co-founder of the PAN magazine in 1894. Dehmel divorced Paula in 1899 and traveled around Europe with Ida Auerbach (née Coblentz), who was formerly engaged to Dehmel's rival Stefan George. Dehmel married Ida in 1901, and settled in Hamburg in the same year. Dehmel's poetic volume Weib und Welt (Woman and World) triggered a scandal in the late 1890s: denounced by the deeply conservative poet Börries von Münchhausen, Dehmel was tried for obscenity and blasphemy. Despite his own acquittal for Weib und Welt on technical grounds, the court condemned the work as obscene and blasphemous and ordered that it be burned. Dehmel would again be prosecuted for obscenity and blasphemy, but again acquitted as earlier.

 
 
Dehmel was a champion of the rights of workers. Despite this record of fighting against the conservatives, Dehmel joined the resounding chorus of the patriotic and pro-war German intellectuals who appealed to the masses to support the Reich upon the outbreak of the First World War in 1914. Fifty-one at the time, Dehmel volunteered in 1914 and served until 1916, when he was wounded. He called on the Germans to keep fighting right until 1918. Dehmel died in 1920 in Blankenese of the injury he suffered during the war.
 
 
Literary work
Dehmel is considered one of the foremost German poets of the pre-World War I era. His poems are finished in form and represent diverse metrical schemes. They were set to music by composers like Richard Strauss (who met his principal librettist Hugo von Hofmannsthal at Dehmel's house), Max Reger, Alexander von Zemlinsky, Arnold Schoenberg, Alma Mahler, Anton Webern, Ignatz Waghalter, Carl Orff, and Kurt Weill, or inspired them to write music. Dehmel's main theme was "love and sex (Eros)", which he conventionalized as a power to break free from middle class bounds.

From Wikipedia, the free encyclopedia

 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Gautier Theophile: "Le Capitaine Fracasse"
 
 

Gautier. Le capitaine Fracasse par Théophile Gautier;
illustrations par Gustave Doré
 
 
see also: Theophile Gautier
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Jakob Grimm, German writer and philologist, d. (b. 1785)
 
 

Wilhelm Grimm (left) and Jacob Grimm (right)
in an 1855 painting by Elisabeth Jerichau-Baumann
 
 
see also: Brothers Grimm
 
 
 
     
 
Wilhelm and Jakob Grimm

"Grimms Fairy Tales"
 
     
 
 
     
  Western Literature

English Literature - German literature
French literature - Russian literature
American literature
     
 
 
 
1863
 
 
Edward Everett Hale: "Man without a Country"
 
 
Hale Edward Everett
 

Edward Everett Hale, (born April 3, 1822, Boston, Mass., U.S.—died June 10, 1909, Roxbury, Mass.), American clergyman and author best remembered for his short story “The Man Without a Country.”

 

Edward Everett Hale
  A grandnephew of the Revolutionary hero Nathan Hale and a nephew of Edward Everett, the orator, Hale trained on his father’s newspaper, the Boston Daily Advertiser, and turned early to writing. For 70 years newspaper articles, historical essays, short stories, pamphlets, sermons, and novels poured from his pen in such journals as the North American Review, The Atlantic Monthly, and Christian Examiner. From 1870 to 1875 he published and edited the Unitarian journal Old and New. “My Double and How He Undid Me” (1859) established the vein of realistic fantasy that was Hale’s forte and introduced a group of loosely related characters figuring in If, Yes, and Perhaps (1868), The Ingham Papers (1869), Sybaris and Other Homes (1869), His Level Best (1872), and other collections. “The Man Without a Country,” which appeared first in The Atlantic Monthly in 1863, was written to inspire greater patriotism during the Civil War. East and West (1892) and In His Name (1873) were his most popular novels.

Hale’s ministry, which began in 1846, was characterized by his forceful personality, organizing genius, and liberal theology, which placed him in the vanguard of the Social Gospel movement. Many of his 150 books and pamphlets were tracts for such causes as the education of blacks, workmen’s housing, and world peace. A moralistic novel, Ten Times One Is Ten (1871), inspired the organization of several young people’s groups. The reminiscent writings of his later years are rich and colourful: A New England Boyhood (1893), James Russell Lowell and His Friends (1899), and Memories of a Hundred Years (1902). His Works, in 10 volumes, appeared in 1898–1900. In 1903 he was named chaplain of the United States Senate.

Encyclopædia Britannica

 
 
 
Edward Everett Hale: "Man without a Country"
 

"The Man Without a Country" is a short story by American writer Edward Everett Hale, first published in The Atlantic in December 1863. It is the story of American Army lieutenant Philip Nolan, who renounces his country during a trial for treason and is consequently sentenced to spend the rest of his days at sea without so much as a word of news about the United States. Though the story is set in the early 19th century, it is an allegory about the upheaval of the American Civil War and was meant to promote the Union cause.

 


Edward Everett Hale: "Man without a Country"

 
Plot summary
The protagonist is a young United States Army lieutenant, Philip Nolan, who develops a friendship with the visiting Aaron Burr. When Burr is tried for treason (historically this occurred in 1807), Nolan is tried as an accomplice. During his testimony, he bitterly renounces his nation, angrily shouting, "I wish I may never hear of the United States again!" The judge was completely shocked at this announcement, and on convicting him, icily grants him his wish: he is to spend the rest of his life aboard United States Navy warships, in exile, with no right ever again to set foot on U.S. soil, and with explicit orders that no one shall ever mention his country to him again.

The sentence is carried out to the letter. For the rest of his life, Nolan is transported from ship to ship, living out his life as a prisoner on the high seas, never once allowed back in a home port. Though he is treated according to his former rank, nothing of his country was ever mentioned to him. None of the sailors in whose custody Nolan remains is allowed to speak to him about the U.S., and his newspapers are censored. Nolan is unrepentant at first, but over the years becomes sadder and wiser, and desperate for news. One day, as he is being transferred to another ship, he beseeches a young sailor never to make the same mistake that he had: "Remember, boy, that behind all these men ... behind officers and government, and people even, there is the Country Herself, your Country, and that you belong to her as you belong to your own mother. Stand by her, boy, as you would stand by your mother ... !" In his time on one such ship, he attends a party in which he dances with a young lady he had formerly known. He then beseeches her to tell him something, anything, about the United States, but she quickly withdraws and speaks no longer to him.

Deprived of a homeland, Nolan slowly and painfully learns the true worth of his country. He misses it more than his friends or family, more than art or music or love or nature. Without it, he is nothing. Dying aboard the USS Levant, he shows his room to an officer named Danforth; it is "a little shrine" of patriotism. The Stars and Stripes are draped around a picture of George Washington. Over his bed, Nolan has painted a bald eagle, with lightning "blazing from his beak" and claws grasping the globe. At the foot of his bed is an outdated map of the United States, showing many of its old territories that had, unbeknownst to him, been admitted to statehood. Nolan smiles, "Here, you see, I have a country!" The dying man asks desperately to be told the news of American history since 1807, and Danforth finally relates to him almost all of the major events that have happened to the U.S. since his sentence was imposed; the narrator confesses, however, that "I could not make up my mouth to tell him a word about this infernal rebellion." Nolan asks him to have them bury him in the sea and have a gravestone placed in memory of him at Fort Adams, Mississippi or at New Orleans. When he is found dead later that day, he is found to have drafted a suitably patriotic epitaph for himself. The epitaph states: In memory of PHILIP NOLAN, "'Lieutenant in the Army of the United States. He loved his country as no other man has loved her; but no man deserved less at her hands.'"

  Effectiveness
Hale published "The Man Without a Country" in the Atlantic Monthly in 1863 to bolster support for the Union in the North. In this first publication, Hale's name does not appear at the beginning or end of the story, though it does appear in the annual index at the end of that issue of the magazine.

It was later collected in 1868 in the book The Man Without a Country, And Other Tales published by Ticknor and Fields.

Danforth's summary to Nolan of American history from 1807 to 1860 is an outline of the Northern case for preservation of the Union.

The young country is shown standing up fearlessly to the then-global superpower, Great Britain; expanding to North America's Pacific coast; developing new contributions to human knowledge, such as the Smithsonian Institution; and developing new technology such as steamboats. Items of American history that might not contribute to this picture, such as widespread Northern support for slavery and Indian removal, are elided or ignored.

As Hale had intended, the short story created substantial support for the United States as a country, identifying the priority of the Union over the individual states, and thus pressuring readers to view Southern secession negatively. In so doing, he convinced many individuals to join, or at least support the North's effort to, as Abraham Lincoln put it, "preserve the Union."

In the story, Hale skillfully convinced many readers that Nolan was an actual figure, thus increasing the story's effectiveness as a piece of patriotic literature.

He achieved this realism through verisimilitude, creating an "air" of reality. By frequently mentioning specific dates and places and using numerous contemporary references, Hale grounds his story in a firm foundation of history and makes the story seem like a record of actual events.

In his 1893 and 1900 reminiscences, E.E. Hale states that ‘To write the story of “The Man Without a Country” and its sequel, “Philip Nolan’s Friends,” I had to make as careful a study as I could of the history of the acquisition of Louisiana by the United States.’

 Furthermore, Hale makes the narrator, Frederick Ingham, seem a strongly reliable individual. Throughout the text, Ingham often acknowledges his mistakes and identifies possible lapses in his memory.

For this reason, readers believe Ingham's sense of honesty, and automatically deem him a trustworthy and, to some extent, an accurate narrator. Finally, Hale uses a plain style, maintaining an unstilted and almost colloquial feel. Thus he makes the story easy to relate to, and the patriotic moral accessible to readers.

The story was loosely inspired by Clement Vallandigham, an anti-war pro-Confederate Ohio Democrat who – like Nolan – was exiled and expressed his disgust with the United States.

 
 
Monument
A monument "in memory of" Nolan and bearing his self-written epitaph was placed in front of the Covington County Courthouse in Andalusia, Alabama, on July 4, 1975, by the Altrusa Club of Andalusia. The monument was placed as part of the Andalusia Bicentennial Committee's official activities commemorating the United States bicentennial.
 
 
Adaptations
"The Man Without a Country" has been adapted for film several times, starting in 1917 with The Man Without a Country starring Florence La Badie, a 1918 film My Own United States, one in 1925, and another Man Without a Country starring John Litel and Gloria Holden and released by Warner Brothers in 1937.

In 1973, a made-for-television movie titled The Man Without a Country was directed by Delbert Mann and written by Sidney Carroll.
It featured Cliff Robertson as Philip Nolan, Beau Bridges as Frederick Ingham, Peter Strauss as Arthur Danforth, Robert Ryan as Lt. Cmdr. Vaughan, Walter Abel as Col. A.B. Morgan, Geoffrey Holder as one of the slaves on a slave ship, Shepperd Strudwick as the Secretary of the Navy, John Cullum as Aaron Burr and Patricia Elliott as Mrs. Graff.

An opera of the story, also entitled The Man Without a Country, was composed by Walter Damrosch and premiered at the Metropolitan Opera in 1937.

A four-part dramatization was recorded in June 1947 and issued by Decca on two coupled 12" 78 rpm discs. Bing Crosby provided the narration and Frank Lovejoy portrayed Philip Nolan.

The Railroad Hour presented a 30-minute adaptation of The Man Without a Country June 28, 1953. Gordon MacRae and Dorothy Warenskjold starred in the broadcast.

 
Edward Everett Hale: "Man without a Country"
 
 
On May 8, 1977, a three-act radio play was broadcast as an episode of famous radio man Himan Brown's The General Mills Radio Adventure Theater. The venerable Russell Horton performed the part of Nolan. Tom Bosley, Howard Cunningham of TV's Happy Days, was host of the series.

On August 8, 2014, a three part adaptation appeared on Benjamin Walker's Theory Of Everything podcast. In it the show's host replaces Nolan and his sentence is to travel on a pre-programmed route over the United States in a hot-air balloon.

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1863
 
 
Hebbel Friedrich , German dramatist, d. (b. 1813)
 
 

Friedrich Hebbel
 
 
     
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1863
 
 
Hope Anthony
 

Sir Anthony Hope Hawkins, better known as Anthony Hope (9 February 1863 – 8 July 1933), was an English novelist and playwright. He was a prolific writer, especially of adventure novels but he is remembered best for only two books: The Prisoner of Zenda (1894) and its sequel Rupert of Hentzau (1898). These works, "minor classics" of English literature, are set in the contemporaneous fictional country of Ruritania and spawned the genre known as Ruritanian romance. Zenda has inspired many adaptations, most notably the 1937 Hollywood movie of the same name.

 

Anthony Hope Hawkins
  Early career and Zenda
Hope trained as a lawyer and barrister, being called to the Bar by the Middle Temple in 1887. He had time to write, as his working day was not overly full during these early years and he lived with his widowed father, then vicar of St Bride's Church, Fleet Street.
Hope's short pieces appeared in periodicals but for his first book he was forced to resort to a self-publishing press. A Man of Mark (1890) is notable primarily for its similarities to Zenda: it is set in an imaginary country, Aureataland and features political upheaval and humour. More novels and short stories followed, including Father Stafford in 1891 and the mildly successful Mr Witt's Widow in 1892.

He stood as the Liberal candidate for Wycombe in the election of 1892 but was not elected. In 1893 he wrote three novels (Sport Royal, A Change of Air and Half-a-Hero) and a series of sketches that first appeared in the Westminster Gazette and were collected in 1894 as The Dolly Dialogues, illustrated by Arthur Rackham. Dolly was his first major literary success. A.E.W. Mason deemed these conversations "so truly set in the London of their day that the social historian would be unwise to neglect them," and said that they were written with "delicate wit [and] a shade of sadness."

The idea for Hope's tale of political intrigue, The Prisoner of Zenda, being the history of three months in the life of an English gentleman, came to him at the close of 1893 as he was walking in London. Hope finished the first draft in a month and the book was in print by April.

 
 
The story is set in the fictional European kingdom of 'Ruritania', a term which has come to mean 'the novelist's and dramatist's locale for court romances in a modern setting.' Zenda achieved instant success and its witty protagonist, the debonair Rudolf Rassendyll, became a well-known literary creation. The novel was praised by Mason, literary critic Andrew Lang, and Robert Louis Stevenson. The popularity of Zenda convinced Hope to give up the "brilliant legal career [that] seemed to lie ahead of him" to become a full-time writer but he "never again achieved such complete artistic success as in this one book." Also in 1894, Hope produced The God in the Car, a political story.
 
 

Anthony Hope Hawkins by Zaida Ben-Yusuf,
1897
  Later years
Hope wrote 32 volumes of fiction over the course of his lifetime and he had a large popular following. In 1896 he published The Chronicles of Count Antonio, followed in 1897 by a tale of adventure set on a Greek island, entitled Phroso. He went on a publicity tour of the United States in late 1897, during which he impressed a New York Times reporter as being somewhat like Rudolf Rassendyll: a well-dressed Englishman with a hearty laugh, a soldierly attitude, a dry sense of humour, "quiet, easy manners," and an air of shrewdness.
In 1898, he wrote Simon Dale, an historical novel involving actress and courtesan Nell Gwyn. Marie Tempest appeared in the dramatisation, called English Nell. One of Hope's plays, The Adventure of Lady Ursula, was produced in 1898. This was followed by his novel The King's Mirror (1899), which Hope considered one of his best works; and Captain Dieppe (1899). In 1900, he published Quisanté and he was elected chairman of the committee of the Society of Authors. He wrote Tristram of Blent in 1901, "The Intrusions of Peggy" in 1902, and Double Harness in 1904, followed by A Servant of the Public in 1905, about the love of acting.

In 1906, he produced Sophy of Kravonia, a novel in a similar vein to Zenda which was serialised in the Windsor Magazine; Roger Lancelyn Green is especially damning of this effort. Nevertheless, the story was filmed twice, in Italy in 1916 as Sofia De Kravonia, and in the USA in 1920 as Sophy of Kravonia or, The Virgin of Paris. Both adaptations featured the actress Diana Karenne in the title role (billed as "Diana Kareni" in the latter film).

In 1907, a collection of his short stories and novelettes was published under the title Tales of Two People; as well as the novel "Helena's Path". In 1910, he wrote Second String, followed by Mrs Maxon Protests the next year.

 
 
Hope wrote and co-wrote many plays and political non-fiction during the First World War, some under the auspices of the Ministry of Information. Later publications included The Secret of the Tower, and Beaumaroy Home from the Wars, in 1919 and Lucinda in 1920. Lancelyn Green asserts that Hope was "a first-class amateur but only a second-class professional writer.

Hope married Elizabeth Somerville (1885/6–1946) in 1903 and they had two sons and a daughter. He was knighted in 1918 for his contribution to propaganda efforts during World War I. He published an autobiographical book, Memories and Notes, in 1927. Hope died of throat cancer at the age of 70 at his country home, Heath Farm at Walton-on-the-Hill in Surrey. There is a blue plaque on his house in Bedford Square, London.

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1863
 
 
Charles Kingsley: "The Water Babies"
 

The Water-Babies, A Fairy Tale for a Land Baby is a children's novel by the Kingsley Charles. Written in 1862–63 as a serial for Macmillan's Magazine, it was first published in its entirety in 1863. It was written as part satire in support of Charles Darwin's The Origin of Species. The book was extremely popular in England, and was a mainstay of British children's literature for many decades, but eventually fell out of favour in part due to its prejudices (common at the time) against Irish, Jews, Americans, and the poor.

 
Story
The protagonist is Tom, a young chimney sweep, who falls into a river after encountering an upper-class girl named Ellie and being chased out of her house. There he drowns and is transformed into a "water-baby", as he is told by a caddisfly—an insect that sheds its skin—and begins his moral education. The story is thematically concerned with Christian redemption, though Kingsley also uses the book to argue that England treats its poor badly, and to question child labour, among other themes.
 
 


Richard Owen and Thomas Henry Huxley inspect a water baby in
Linley Sambourne's 1885 illustration
.

 
Tom embarks on a series of adventures and lessons, and enjoys the community of other water-babies once he proves himself a moral creature. The major spiritual leaders in his new world are the fairies Mrs. Doasyouwouldbedoneby (a reference to the Golden Rule), Mrs. Bedonebyasyoudid, and Mother Carey. Weekly, Tom is allowed the company of Ellie, who became a water-baby after he did.

Grimes, his old master, drowns as well, and in his final adventure, Tom travels to the end of the world to attempt to help the man where he is being punished for his misdeeds. Tom helps Grimes to find repentance, and Grimes will be given a second chance if he can successfully perform a final penance.

 
 
By proving his willingness to do things he does not like, if they are the right things to do, Tom earns himself a return to human form, and becomes "a great man of science" who "can plan railways, and steam-engines, and electric telegraphs, and rifled guns, and so forth". He and Ellie are united, although the book states that they never marry (claiming that in fairy tales, no one beneath the rank of prince and princess ever marries).

Interpretation

In the style of Victorian-era novels, The Water-Babies is a didactic moral fable. In it, Kingsley expresses many of the common prejudices of that time period, and the book includes dismissive or insulting references to Americans, Jews, blacks, and Catholics particularly the Irish. These views may have played a role in the book's gradual fall from popularity.

The book had been intended in part as a satire, a tract against child labour, as well as a serious critique of the closed-minded approaches of many scientists of the day in their response to Charles Darwin's ideas on evolution, which Kingsley had been one of the first to praise. He had been sent an advance review copy of On the Origin of Species, and wrote in his response of 18 November 1859 (four days before the book went on sale) that he had "long since, from watching the crossing of domesticated animals and plants, learnt to disbelieve the dogma of the permanence of species," and had "gradually learnt to see that it is just as noble a conception of Deity, to believe that He created primal forms capable of self development into all forms needful pro tempore and pro loco, as to believe that He required a fresh act of intervention to supply the lacunas which He Himself had made", asking "whether the former be not the loftier thought."

 
"Oh, don't hurt me!" cried Tom. "I only want to look at you; you are so handsome."

Illustration by Jessie Willcox Smith c. 1916. Charcoal, water, and oil.
 
 
In the book, for example, Kingsley argues that no person is qualified to say that something that they have never seen (like a human soul or a water baby) does not exist.
 

How do you know that? Have you been there to see? And if you had been there to see, and had seen none, that would not prove that there were none ... And no one has a right to say that no water babies exist till they have seen no water babies existing, which is quite a different thing, mind, from not seeing water babies.

In his Origin of Species, Darwin mentions that, like many others at the time, he thought that changed habits produce an inherited effect, a concept now known as Lamarckism. In The Water Babies, Kingsley tells of a group of humans called the Doasyoulikes who are allowed to do "whatever they like" so gradually lose the power of speech, degenerate into gorillas, and are shot by the African explorer Paul Du Chaillu. He also (controversially, nowadays) likens the Doasyoulikes to enslaved Africans, by mentioning that one of the gorillas shot by Du Chaillu "remembered that his ancestors had once been men, and tried to say, 'Am I Not A Man And A Brother?', but had forgotten how to use his tongue."

The Water Babies alludes to debates among biologists of its day, satirising what Kingsley had previously dubbed the Great Hippocampus Question as the "Great hippopotamus test."
 
 
At various times the text refers to "Sir Roderick Murchison, Professor (Richard) Owen, Professor (Thomas Henry) Huxley, (and) Mr. Darwin", and thus they become explicitly part of the story. In the accompanying illustrations by Linley Sambourne, Huxley and Owen are caricatured, studying a captured water baby. In 1892 Thomas Henry Huxley's five-year-old grandson Julian saw this engraving and wrote his grandfather a letter asking:

Dear Grandpater – Have you seen a Waterbaby? Did you put it in a bottle? Did it wonder if it could get out? Could I see it some day? – Your loving Julian.

Huxley wrote back a letter that evokes the New York Sun'​s "Yes, Virginia, there is a Santa Claus" letter:

My dear Julian – I could never make sure about that Water Baby.

I have seen Babies in water and Babies in bottles; the Baby in the water was not in a bottle and the Baby in the bottle was not in water. My friend who wrote the story of the Water Baby was a very kind man and very clever. Perhaps he thought I could see as much in the water as he did – There are some people who see a great deal and some who see very little in the same things.

When you grow up I dare say you will be one of the great-deal seers, and see things more wonderful than the Water Babies where other folks can see nothing.

 
"Mrs. Bedonebyasyoudid" Illustration by Jessie Willcox Smith c. 1916. Charcoal, water, and oil. Digitally restored.
 
 
Adaptations
The book was adapted into an animated film The Water Babies in 1978 starring James Mason, Bernard Cribbins and Billie Whitelaw. Though many of the main elements are there, the movie's storyline differs substantially from the book, with a new sub-plot involving a super intelligent killer shark, Captain Barnacles and the Kraken.

It was also adapted into a musical theatre version produced at the Garrick Theatre in London, in 1902. The adaptation was described as a "fairy play", by Rutland Barrington, with music by Frederick Rosse, Albert Fox, and Alfred Cellier.[citation needed] The book was also produced as a play by Jason Carr and Gary Yershon, mounted at the Chichester Festival Theatre in 2003, directed by Jeremy Sams, starring Louise Gold, Joe McGann, Katherine O'Shea, and Neil McDermott.

The story was also adapted into a radio series (BBC Audiobooks Ltd, 1998) featuring Timothy West, Julia McKenzie, and Oliver Peace as Tom.

A 2013 update for BBC Radio 4 written by Paul Farley and directed by Emma Harding brought the tale to a newer age, with Tomi having been trafficked from Nigeria as a child labourer.

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see also: Charles Kingsley
 
 
     
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1863
 
 
Longfellow: "Tales of a Wayside Inn"
 

Tales of a Wayside Inn is a collection of poems by American poet Longfellow Henry Wadsworth. The book, published in 1863, depicts a group of people at the Wayside Inn in Sudbury, Massachusetts as each tells a story in the form of a poem.

 
Overview
The poems in the collection are told by a group of adults in the tavern of the Wayside Inn in Sudbury, Massachusetts, 20 miles from the poet's home in Cambridge, and a favorite resort for parties from Harvard College. The narrators are friends of the author who, though they were not named, were so plainly characterized as to be easily recognizable. Among those of wider fame are Ole Bull, the violinist, and Thomas William Parsons, the poet and translator of Dante. Each of the three parts has a prelude and a finale, and there are interludes which link together the tales and introduce the narrators. The prelude for the first part begins:
 

"One Autumn night, in Sudbury town,
Across the meadows bare and brown,
The windows of the wayside inn
Gleamed red with fire-light..."

 
Composition and publication history
Longfellow undertook the large-scale project in part to combat grief over the death of his wife Fanny in 1861. While writing it, he also dealt with his personal struggles during the American Civil War, including his oldest son's illnesses and injuries while serving in the Army of the Potomac. As he wrote to a friend in England, "I have been through a great deal of trouble and anxiety... However, I have managed to get a volume of poems through the press". Longfellow originally intended to call the collection The Sudbury Tales, but was afraid it sounded too similar to Geoffrey Chaucer's The Canterbury Tales and renamed it Tales of a Wayside Inn. He considered this name even earlier while preparing the book. On October 11, 1862, for example, he wrote in his journal: "Write a little on the Wayside Inn. A beginning only."

Longfellow visited the real-life Wayside Inn in 1862 with his friend and publisher James Thomas Fields. At the time, the inn was called the Red Horse Tavern and had closed after the owner, Lyman Howe, died in 1861. It would not reopen as an inn until 1897. Longfellow referred to it as "a rambling, tumble-down building". He toured the building with Abigail Eaton, a relative of the Howe family, who told Longfellow the history of the building and her family. Henry Ford bought the inn in 1923, restored it, and donated it to a charitable foundation. It remains as an operating inn to this day.

Most of the stories were derived by Longfellow from his wide reading — many of them from the legends of continental Europe, a few from American sources. The best known inclusion is the previously-published poem "Paul Revere's Ride". It also includes "The Saga of King Olaf", a poem which Longfellow started writing as early as 1856, making it the oldest in the collection. While assembling the collection, he originally intended to use a poem called "Galgano", a translation he had made in 1853 from a work by Italian poet Niccolò di Giovanni Fiorentino, as the student's tale; it was replaced with "The Falcon of Ser Federigo", translated from The Decameron.

 
Title page illustration for an 1864 edition of Tales of a Wayside Inn
 
 
Fields was heavily involved with the preparation of the book, particularly in the selection of individual titles for the poems, as well as for the title of the book itself, and suggestions for rhyming words. When the book was announced for publication, the poet's friend Charles Sumner persuaded him to change the title from The Sudbury Tales to Tales of a Wayside Inn.

The collection was first published on November 23, 1863, with an initial print run of 15,000 copies. The New York Times called the book "a pleasant fiction" and an "excellent account". A second series was published in 1870, and a third published in 1872–1873. Though they sold well, the latter two volumes were less popular than the first.

 
 
Analysis
Many of the characters in Tales of a Wayside Inn were inspired by real people: Luigi Monti (the Sicilian), Daniel Treadwell (the theologian), Thomas William Parsons (the poet), Henry Wales (the student), Isaac Edrehi (the Spanish Jew), Ole Bull (the musician), and Lyman Howe (the landlord).

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Henry Wadsworth Longfellow

"The Song of Hiawatha"
     
 
 
     
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1863
 
 
Quiller-Couch Arthur
 

Sir Arthur Thomas Quiller-Couch (21 November 1863 – 12 May 1944) was a British writer who published using the pseudonym Q. Although a prolific novelist, he is remembered mainly for the monumental publication The Oxford Book Of English Verse 1250–1900 (later extended to 1918) and for his literary criticism. He influenced many who never met him, including American writer Helene Hanff, author of 84, Charing Cross Road and its sequel, Q's Legacy; and the fictional Horace Rumpole.

 

Sir Arthur Thomas Quiller-Couch
  Life
Quiller-Couch was born in the town of Bodmin, Cornwall, by the union of two ancient local families, the Quiller family and the Couch family, and was the third in a line of intellectuals from the Couch family. His younger sisters Florence Mabel and Lilian M. were also writers and folklorists. His father, Dr. Thomas Quiller Couch (d. 1884), was a noted physician, folklorist and historian. He married Mary Ford and lived at 63, Fore Street, Bodmin, until his death in 1884. His grandfather, Jonathan Couch, was an eminent naturalist, also a physician, historian, classicist, apothecary, and illustrator (particularly of fish). His son, Bevil Brian Quiller-Couch, was a war hero and poet, whose romantic letters to his fiancée, the poet May Wedderburn Cannan, were published in Tears of War. He also had a daughter, Foy Felicia, to whom Kenneth Grahame inscribed a first edition of his The Wind in the Willows attributing Quiller-Couch as the inspiration for the character Ratty. He was educated at Newton Abbot Preparatory College, at Clifton College, and Trinity College, Oxford, and later became a lecturer there. After being granted his degree in 1886 he was for a brief time classical lecturer at Trinity. After some journalistic experience in London, mainly as a contributor to the Speaker, he settled in 1891 at Fowey in Cornwall. In Cornwall he was an active political worker for the Liberal Party. He was knighted in 1910, and in 1928 was made a Bard of the Cornish cultural society Gorseth Kernow, adopting the Bardic name Marghak Cough ('Red Knight'). He was Commodore of the Royal Fowey Yacht Club from 1911 until his death. Quiller-Couch died in a road accident in May 1944 after being hit by a jeep near his home in Cornwall. He is buried in Fowey's parish church of St. Fimbarrus.
 
 
Literary and academic career
In 1887, while he was attending Oxford, he published Dead Man's Rock, a romance in the style of Robert Louis Stevenson's Treasure Island, and later Troy Town (1888), a comic novel set in a fictionalised version of his home town Fowey, and The Splendid Spur (1889). Quiller-Couch was well known for his story "The Rollcall of the Reef", based on the wreck of HMS Primrose during 1809 on the Cornish coast. He published during 1896 a series of critical articles, Adventures in Criticism, and in 1898 he published a completion of Robert Louis Stevenson’s unfinished novel, St. Ives.
 
 
From his Oxford time he was known as a writer of excellent verse. With the exception of the parodies entitled Green Bays (1893), his poetical work is contained in Poems and Ballads (1896). In 1895 he published an anthology from the 16th- and 17th-century English lyricists, The Golden Pomp, followed in 1900 by the Oxford Book of English Verse, 1250–1900. Later editions of this extended the period of concern to 1918 and it remained the leading general anthology of English verse until Helen Gardner's New Oxford Book of English Verse appeared in 1972.

In 1910 he published The Sleeping Beauty and other Fairy Tales from the Old French. He was the author of a number of popular novels with Cornish settings (collected edition as 'Tales and Romances', 30 vols. 1928–29).
He was appointed to the King Edward VII Professorship of English Literature at the University of Cambridge in 1912, and retained it for the rest of his life. Simultaneously he was elected to a Fellowship of Jesus College, which he held until his death. His inaugural lectures as the professor of English literature were published as the book On the Art of Writing.

  His rooms were on staircase C, First Court, and known as the 'Q-bicle'. He supervised the beginnings of the English Faculty there — an academic diplomat in a fractious community. He is sometimes regarded as the epitome of the school of English literary criticism later overthrown by F. R. Leavis.

Alistair Cooke was a notable student of Quiller-Couch and Nick Clarke's semi-official biography of Cooke features Quiller-Couch prominently, noting that he was regarded by the Cambridge establishment as "rather eccentric" even by the university's standards.

Quiller-Couch was a noted literary critic, publishing editions of some of Shakespeare's plays (in the New Shakespeare, published by Cambridge University Press, with Dover Wilson) and several critical works, including Studies in Literature (1918) and On the Art of Reading (1920).

He edited a successor to his verse anthology: Oxford Book of English Prose, which was published in 1923. He left his autobiography, Memories and Opinions, unfinished; it was nevertheless published in 1945.

 
 
Legacy
His Book of English Verse is often quoted by John Mortimer's fictional character Horace Rumpole.

Castle Dor, a re-telling of the Tristan and Iseult myth in modern circumstances, was left unfinished at Quiller-Couch's death and was completed many years later by Daphne du Maurier. As she wrote in the Sunday Telegraph on April 1962, she began the job with considerable trepidation, at the request of Quiller-Couch's daughter and "in memory of happy evenings long ago when 'Q' was host at Sunday supper".

He features as a main character, played by Leo McKern, in the 1992 BBC television feature The Last Romantics.The story focuses on his relationship with his protégé, F. R. Leavis, and the students.

His Cambridge inaugural lecture series, published as On the Art of Writing, is the source of the popular writers' adage "murder your darlings".

He is mentioned briefly in The Well of Lost Plots by Jasper Fforde as one of the few authors with a name beginning with the letter "Q".

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1863
 
 
Stanislavsky Constantin
 

Konstantin Sergeyevich Stanislavsky, Stanislavsky also spelled Stanislavski, original name Konstantin Sergeyevich Alekseyev (born January 5 [January 17, New Style], 1863, Moscow, Russia—died August 7, 1938, Moscow), Russian actor, director, and producer, founder of the Moscow Art Theatre (opened 1898). He is best known for developing the system or theory of acting called the Stanislavsky system, or Stanislavsky method.

 

Konstantin Sergeyevich Stanislavsky
  Early influences
Stanislavsky’s father was a manufacturer, and his mother was the daughter of a French actress. Stanislavsky first appeared on his parents’ amateur stage at age 14 and subsequently joined the dramatic group that was organized by his family and called the Alekseyev Circle. Although initially an awkward performer, Stanislavsky obsessively worked on his shortcomings of voice, diction, and body movement. His thoroughness and his preoccupation with all aspects of a production came to distinguish him from other members of the Alekseyev Circle, and he gradually became its central figure. Stanislavsky also performed in other groups as theatre came to absorb his life. He adopted the pseudonym Stanislavsky in 1885, and in 1888 he married Maria Perevoshchikova, a schoolteacher, who became his devoted disciple and lifelong companion, as well as an outstanding actress under the name Lilina.

Stanislavsky regarded the theatre as an art of social significance. Theatre was a powerful influence on people, he believed, and the actor must serve as the people’s educator. Stanislavsky concluded that only a permanent theatrical company could ensure a high level of acting skill. In 1888 he and others established the Society of Art and Literature with a permanent amateur company.
Endowed with great talent, musicality, a striking appearance, a vivid imagination, and a subtle intuition, Stanislavsky began to develop the plasticity of his body and a greater range of voice. Praise came from famous foreign actors, and great Russian actresses invited him to perform with them.

 
 
Thus encouraged, Stanislavsky staged his first independent production, Leo Tolstoy’s The Fruits of Enlightenment, in 1891, a major Moscow theatrical event. Most significantly, it impressed a promising writer and director, Vladimir Nemirovich-Danchenko (1858–1943), whose later association with Stanislavsky was to have a paramount influence on the theatre.

Nemirovich-Danchenko followed Stanislavsky’s activities until their historic meeting in 1897, when they outlined a plan for a people’s theatre. It was to consist of the most talented amateurs of Stanislavsky’s society and of the students of the Philharmonic Music and Drama School, which Nemirovich-Danchenko directed. As the Moscow Art Theatre, it became the arena for Stanislavsky’s reforms. Nemirovich-Danchenko undertook responsibility for literary and administrative matters, while Stanislavsky was responsible for staging and production.

 
 

Stanislavsky with his soon-to-be wife Maria Liliana, playing Ferdinand and Louise in The Society of Art and Literature's production of Schiller's Intrigue and Love in 1889.
  The Moscow Art Theatre opened on October 14 (October 26, New Style), 1898, with a performance of Aleksey K. Tolstoy’s Tsar Fyodor Ioannovich. But Stanislavsky was disappointed in the acting that night. He found it to be merely imitative of the gestures, intonations, and conceptions of the director.

To project important thoughts and to affect the spectators, he reflected, there must be living characters on stage, and the mere external behaviour of the actors is insufficient to create a character’s unique inner world. To seek knowledge about human behaviour, Stanislavsky turned to science. He began experimenting in developing the first elements of what became known as the Stanislavsky method.

He turned sharply from the purely external approach to the purely psychological. A play was discussed around the table for months. He became strict and uncompromising in educating actors. He insisted on the integrity and authenticity of performance on stage, repeating for hours during rehearsal his dreaded criticism, “I do not believe you.”

Stanislavsky’s successful experience with Anton Chekhov’s The Seagull confirmed his developing convictions about the theatre. With difficulty Stanislavsky had obtained Chekhov’s permission to restage The Seagull after its original production in St. Petersburg in 1896 had been a failure. Directed by Stanislavsky and Nemirovich-Danchenko in 1898, The Seagull became a triumph, heralding the birth of the Moscow Art Theatre as a new force in world theatre.

Chekhov, who had resolved never to write another play after his initial failure, was acclaimed a great playwright, and he later wrote The Three Sisters (1901) and The Cherry Orchard (1903) specially for the Moscow Art Theatre.

 
 
Staging Chekhov’s play, Stanislavsky and Nemirovich-Danchenko discovered a new manner of performing: they emphasized the ensemble and the subordination of each individual actor to the whole, and they subordinated the director’s and actors’ interpretations to the dramatist’s intent. Actors, Stanislavsky felt, had to have a common training and be capable of an intense inner identification with the characters that they played, while still remaining independent of the role in order to subordinate it to the needs of the play as a whole. Fighting against the artificial and highly stylized theatrical conventions of the late 19th century, Stanislavsky sought instead the reproduction of authentic emotions at every performance.
 
 

Stanislavsky by Nikolay Andreev
  In 1902 Stanislavsky successfully staged both Maksim Gorky’s The Petty Bourgeois and The Lower Depths, codirecting the latter with Nemirovich-Danchenko. Among the numerous powerful roles performed by Stanislavsky were Astrov in Uncle Vanya in 1899 and Gayev in The Cherry Orchard in 1904, by Chekhov; Doctor Stockman in Henrik Ibsen’s An Enemy of the People in 1900; and Satin in The Lower Depths.

Both as an actor and as a director, Stanislavsky demonstrated a remarkable subtlety in rendering psychological patterns and an exceptional talent for satirical characterization. Commanding respect from followers and adversaries alike, he became a dominant influence on the Russian intellectuals of the time. He formed the First Studio in 1912, where his innovations were adopted by many young actors.

In 1918 he undertook the guidance of the Bolshoi Opera Studio, which was later named for him. There he staged Pyotr Ilyich Tchaikovsky’s Eugene Onegin in 1922, which was acclaimed as a major reform in opera.

In 1922–24 the Moscow Art Theatre toured Europe and the United States with Stanislavsky as its administrator, director, and leading actor. A great interest was stirred in his system. During this period he wrote his autobiography, My Life in Art. Ever preoccupied in it with content and form, Stanislavsky acknowledged that the “theatre of representation,” which he had disparaged, nonetheless produced brilliant actors.

 
 
Recognizing that theatre was at its best when deep content harmonized with vivid theatrical form, Stanislavsky supervised the First Studio’s production of William Shakespeare’s Twelfth Night in 1917 and Nikolay Gogol’s The Government Inspector in 1921, encouraging the actor Michael Chekhov in a brilliantly grotesque characterization. His staging of Aleksandr Ostrovsky’s An Ardent Heart (1926) and of Pierre-Augustin Caron de Beaumarchais’s The Marriage of Figaro (1927) demonstrated increasingly bold attempts at theatricality. His monumental Armoured Train 14–69, V.V. Ivanov’s play about the Russian Revolution, was a milestone in Soviet theatre in 1927, and his Dead Souls was a brilliant incarnation of Gogol’s masterpiece.
 
 

Stanislavsky in 1936
  While acting in The Three Sisters during the Moscow Art Theatre’s 30th anniversary presentation on October 29, 1928, Stanislavsky suffered a heart attack. Abandoning acting, he concentrated for the rest of his life on directing and educating actors and directors.

The Stanislavsky method, or system, developed over 40 long years. He tried various experiments, focusing much of the time on what he considered the most important attribute of an actor’s work—bringing an actor’s own past emotions into play in a role. But he was frequently disappointed and dissatisfied with the results of his experiments. He continued nonetheless his search for “conscious means to the subconscious”—i.e., the search for the actor’s emotions.

In 1935 he was taken by the modern scientific conception of the interaction of brain and body and started developing a final technique that he called the “method of physical actions.” It taught emotional creativity; it encouraged actors to feel physically and psychologically the emotions of the characters that they portrayed at any given moment.
The method also aimed at influencing the playwright’s construction of plays.

Sonia Moore

Encyclopædia Britannica

 
 
 
Stanislavsky system
 

Stanislavsky system, also called Stanislavsky method, highly influential system of dramatic training developed over years of trial and error by the Russian actor, producer, and theoretician Konstantin Stanislavsky. He began with attempts to find a style of acting more appropriate to the greater realism of 20th-century drama than the histrionic acting styles of the 19th century.

 

Stanislavsky as the Knight in The Society of Art and Literature's 1888 production of
Alexander Pushkin's The Miserly Knight.
 
 
He never intended, however, to develop a new style of acting but rather meant to codify in teaching and performing regimens the ways in which great actors always have achieved success in their work, regardless of prevailing acting styles.

The Stanislavsky system requires that an actor utilize, among other things, his emotional memory (i.e., his recall of past experiences and emotions). The actor’s entrance onto the stage is considered to be not a beginning of the action or of his life as the character but a continuation of the set of preceding circumstances.
 
 

Stanislavsky as Othello in 1896.
  The actor has trained his concentration and his senses so that he may respond freely to the total stage environment.
Through empathic observation of people in many different situations, he attempts to develop a wide emotional range so that his onstage actions and reactions appear as if they were a part of the real world rather than a make-believe one.

A risk in the Stanislavsky system is that, when role interpretation is based on the inner impulses of the performer, a scene may unexpectedly take on new directions.

That temptation was opposed by Stanislavsky himself, who demanded that the actor subordinate himself to the play, and some directors have likewise been disposed against the system, seeing in it a threat to their control of a production.

Many, however, find it especially useful during rehearsals in uncovering unsuspected nuances of character or of dramatic action.

The Stanislavsky system was widely practiced in the Soviet Union and in the United States, where experiments in its use began in the 1920s and continued in many schools and professional workshops, including the Group Theatre in New York City during the 1930s.

The director Lee Strasberg, who helped found the Group, adapted many aspects of the system into what he called the Method, which came to be particularly associated with the prestigious Actors Studio, where he was artistic director from 1948 to 1982.


Encyclopædia Britannica

 
 
 
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