Appreciation of his music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death.
.. In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a “Salve Regina” and a “Tantum Ergo”) for her; she also was a soloist in the premiere of his Mass No. 1 (D. 105) in September[15] 1814.[14] Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815[16] requiring an aspiring bridegroom to show he had the means to support a family.[17]
.. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert’s friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were “severely reprimanded”, in part for “inveighing against [officials] with insulting and opprobrious language”.[34]
.. He was nicknamed “Schwammerl” by his friends, which Gibbs describes as translating to “Tubby” or “Little Mushroom”. Schubert, at 1.52 m height, was not quite five feet tall. “Schwamm” is Austrian (and other) dialect for mushroom; the ending “-erl” makes it a diminutive.
.. The New York Times music critic, Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:
You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius.
Seven Hanged: The book that started World War One
Make no mistake. Even today, more than a century on, this story will not fail to move new readers, giving many of them strong pause for thought, especially in those parts of the ‘civilised’ world where the barbarous and blundering practice of slaughtering our fellow-citizens is still carried out.
Andreyev’s ill-starred individuals accurately prefigured the real-life assassins of 1914.
.. Of course, Ilić drew from Andreyev’s tale the opposite conclusion from nearly everyone else’s.
Instead of condemning the young activists for their naïve and immoral conduct, he was won over by their idealism, selfless sincerity and courage.
.. Thus did Ilić become the mainspring of the whole enterprise, drawing all his inspiration from Russian literature. You can be sure that he would also have (mis)read Dostoyevsky’s Devils (1872).
.. A riveting narrative, with several characters and scenes indelible from memory, it proves painfully suspenseful despite our foreknowledge of the ending, losing none of its power to move readers as a story in itself while incidentally arguing against capital punishment.
The Plague: Don’t kill the Cats
As the deaths mounted and the streets filled with waste, Londoners noticed that dogs and cats were everywhere in the city. And so the order went out from the Lord Mayor.
Kill the dogs and cats.
The Chamberlain of the City paid the huntsmen, who slaughtered more than 4,000 animals. But the dogs and cats were chasing the rats that were feeding on the waste — and the rats were carrying the fleas that transmitted the Plague. Now spared from their predators, the rats spread the affliction even more fiercely.
Rhodes Must Fall? A Question of When Not If
Then, in January this year, the college suddenly announced that the statue would stay – reportedly in response to wealthy alumni threatening to withdraw bequests worth up to £100 million.
.. Statues are not history in the sense of having significant pedagogical value. They are political symbols, which drift in or out of favour along with political and aesthetic tastes. The protesters who hauled down Saddam Hussein’s statue in Baghdad in 2003 did not deny or diminish the history of Iraq. They remembered Saddam’s legacy; for that reason, they rejected his glorification. Many in the West cheered when rebels in Hungary tore down Stalin’s statue in 1956 and when those in Ukraine knocked over several of Lenin in 2013-14. The history of the Soviet Union and its satellites may still be told and freely debated regardless of the loss of these monuments.
.. A campaign now aims to restore Volgograd’s former name, Stalingrad, changed by Khrushchev in 1961 as part of his de-Stalinisation programme. New statues of Stalin went up last year in several Russian towns.
.. In much of the criticism of Rhodes Must Fall, the question echoes: where will it stop? Who will be next? Cromwell, Clive, even Churchill? The answer is that it will not stop. Future generations can and will interrogate the past. Whatever happens to Rhodes’ statue, it is a sign of healthy public engagement with history that there is such a vigorous debate. Monuments to historical figures and regimes stand not by divine right, but by the grace of those who live alongside them. No vision of the past can be set permanently in stone.