Tag Archives: History!

Sad Days…

I think T.S. Eliot might have been mistaken.  This year, February has been the cruelest month.  Particularly, the nineteenth of February, which was the day the world lost both Harper Lee and Umberto Eco, two giants in the literary world, and both truly good human beings, who did much to make us all better human beings.

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Harper Lee, courtesy of www.telegraph.co.uk

Pulitzer Prize winner Harper Lee was born on April 28, 1926, in Monroeville, AL, which severed as the model for Maycomb, the home of Scout and Atticus Finch in To Kill a Mockingbird.  It was in Monroeville that Lee not only learned to love reading, but through reading develop the beautifully simple, honest empathy that marked her book, which remains one of the undisputed classics of American literature.  In a letter to Oprah in 2006 (excerpted here from Letters of Note), Lee described how the children of her neighborhood shared books, since they were all too far from a library or store to get new ones–and what a privilege that was:

Books were scarce. There was nothing you could call a public library, we were a hundred miles away from a department store’s books section, so we children began to circulate reading material among ourselves until each child had read another’s entire stock. There were long dry spells broken by the new Christmas books, which started the rounds again….

We were privileged. There were children, mostly from rural areas, who had never looked into a book until they went to school. They had to be taught to read in the first grade, and we were impatient with them for having to catch up. We ignored them.

And it wasn’t until we were grown, some of us, that we discovered what had befallen the children of our African-American servants. In some of their schools, pupils learned to read three-to-one — three children to one book, which was more than likely a cast-off primer from a white grammar school. We seldom saw them until, older, they came to work for us.

We covered the enormous international interest (and speculation) over the release of Lee’s second novel, Go Set a Watchman last summer; there were many who believed that Lee was coerced into publishing, and others who were horror-struck by the evolution of the characters that generations of readers who had grown up loving Atticus and Scout.

watchman1The book’s release has indubitably changed Lee’s legacy, mostly in a way that strikingly mirrors her two published works…Just as the heroic, the untouchable, and the incorruptible Atticus Finch was revealed to be shockingly human, so was Harper Lee herself revealed as a writer of enormous talent, and human shortcomings, whose work was both time-stoppingly haunting and, it has to be said, somewhat clunky and awkward, at times, too.  But, in this past year, what we learned about Harper Lee was not that “Mockingbirds don’t do one thing except make music for us to enjoy”; but that their voice–her voice–can make us accept the humanity in ourselves, and work ever harder to see it in those around us, too.
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SPETT.UMBERTO ECO A NAPOLI (SUD FOTO SERGIO SIANO)
Umberto Eco, (SUD FOTO SERGIO SIANO)
Meanwhile, in a seemingly different world altogether, Umberto Eco was born on  January 5, 1932, in Alessandria, Italy.  Though perhaps best known for his ground-breaking, genre-defying work, The Name of the Rose, and Foucault’s PendulumEco was also a veteran, an essayist, an historian, and a polyglot writer, producing books for children as well as novels, literary theory, thrillers, and more.  He was also a beloved and respected professor, most recently at the University of Bolonga.  He also, apparently, had a library of over 30,000 books, most of which he hadn’t read, believing that an unread book was infinitely more valuable than a read one.

Sky, fog, and clouds on a textured vintage paper background with grunge stains.

In addition to giving us a wealth of books to read, Eco also made him name by helping us learn how to read.  His work on Interpretation helped change the way that scholars read texts, and his surprisingly approachable lectures continue to open our eyes to how writing and reading can change our lives and our world.  In this excerpt from a lecture given at Columbia University in 1996, for example Eco makes the startling and brilliant point that books–specifically printed books–can teach us more about life than any other medium:

Let me conclude with a praise of the finite and limited world that books provide us.

Suppose you are reading Tolstoy’s War and Peace: you are desperately wishing that Natasha will not accept the courtship of that miserable scoundrel who is Anatolij; you desperately wish that that marvellous person who is prince Andrej will not die, and that he and Natasha could live together happy forever. If you had War and Peace in a hypertextual and interactive CD-rom you could rewrite your own story, according to your desires, you could invent innumerable War and Peaces, where Pierre Besuchov succeeds in killing Napoleon or, according to your penchants, Napoleon definitely defeats General Kutusov.

Alas, with a book you cannot. You are obliged to accept the laws of Fate, and to realise that you cannot change Destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such a kind of inventive activity will be practised in the schools of the future. But the written War and Peace does not confront us with the unlimited possibilities of Freedom, but with the severe law of Necessity. In order to be free persons we also need to learn this lesson about Life and Death, and only books can still provide us with such a wisdom.

We’ve discussed this very topic here–that sometimes, books end in ways that make you sad.  And while I railed against cruel fate, and retreated to a world where book endings grew like wildflowers, Eco’s insight teaches us that sometimes, life–and death–is beyond our control.  And learning to accept that lesson through the act of reading, and in the safety of a book, may make us better an wiser than the text of that book ever could.

There aren’t good words to sum up what these two human beings did with their lives, or what their lives have meant to all that they touched with their words and their ideas.  But those words and those ideas are far more durable than flesh, and for that, we can only be grateful.

On Wanderlust…

“Now more than ever do I realize that I will never be content with a sedentary life, that I will always be haunted by thoughts of a sun-drenched elsewhere.”
(Isabelle Eberhardt)

RV-isabelle

It’s February.

It may be the shortest month of the year, but, for many, it seems like the longest.  As I write this, I am looking out a bleak, gray, drizzling sky that honestly hasn’t seemed to have changed in about fourteen years.  And if the conversations I’ve had with any number of you charming, winter-weary people, is that we could all use a long vacation, to a place full of sunshine, and adventure…and maybe a miniature golf course or two…

So, in honor of our collective wanderlust, we at the Free For All are celebrating the birthday of Isabelle Eberhardt, a Swiss explorer and writer, born on this day in 1877.

Isabelle_EberhardtEberhardt’s parents, Alexandre and Nathalie, both abandoned previous marriages and families to be together–they met because Alexandre was hired to tutor Nathalie’s children–and set up a life in Geneva, where Isabelle grew up.  In such a non-conformist family, it was no surprised that young Isabelle grew up exceptionally well-educated, and when she expressed a desire to dress in boy’s, and later, men’s clothing, because they allowed a greater physical and social freedom.  She began writing and publishing fascinating, avant-garde fiction under the name of Nicolas Podolinsky when she was eighteen, and, when her father was sent to North Africa with the French Foreign Legion, she begged him to keep a detailed diary of everything he saw there, so that she could write about his adventures, as well.

Isabelle and her mother visited North Africa two years later, and, much to the approbation of their fellow French colonists, refused to live within the French settlement, instead renting a house from an Arab family.  Isabelle also adopted native male dress because women were unable to travel unveiled and unchaperoned under Islamic tradition.

Slimane Ehnni
Slimane Ehnni

Both of Isabelle’s parents died within the next two years, and, having declared herself free of any human attachment, Isabelle decided to live the life of a vagrant, and, after a brief stay in Paris, moved to Algeria (then a French colony).  There, she fell in love with a soldier named Slimane Ehnni, with whom she would live for the rest of her life.  Her less than conventional choices completely ostracized her from the French colonists in Algeria (and she blamed a near-fatal attack on a French attempt to assassinate her) but Isabelle was openly welcomed by the Algerian natives, was accepted into the Sufi order known as the Qadiriyya without question, where she found protection, and was given and Arabic name, as well.

Isabelle Eberhardt was killed in 1904 when a flash flood swept away the mud hut in which she was living.  Her husband, Slimane Ehnni, survived, and buried her in Aïn Sefra, Algeria, and ensured that her tombstone carried both her French and Arabic names.

A number of manuscripts were found following Isabelle’s death, and, with help from a French journalist in the area, they began to be published around 1906.  She was decidedly anti-imperialist, arguing for the freedom of native peoples, and several historians credit her as the first voice of decolonization in French Algeria.  The Library has a number of her works in translation, so you can get to know Isabelle, too.

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Isabelle Eberhardt, around 1900

So, in honor of the remarkable Isabelle Eberhardt, let’s embrace our wanderlust today, and start reading of all the places we can’t manage to get to see firsthand.  Perhaps it won’t make the sun shine any brighter, but it might make the days brighter, for all that.

To get to know Isabelle Eberhardt better, check out:


3370041Writings from the Sand: Collected Works of Isabelle Eberhardt & The Oblivion Seekers and Other Writings
, both of which are Isabelle’s own words, describing French Algeria, her wanderings around North Africa, and her own observations of life there.  The editor’s introduction and notes throughout put these essays into context, and provide marvelous insight into the world that Isabelle inhabited, offering you the chance to take a visit through both time and space along with her.

Annette Kobak has also written a biography of Isabelle, for those who wish to get to know her a bit better, and for those  who prefer fiction, try William Bayer’s Visions of Isabelle for a fictional account of this remarkable woman.

A Bit More On Love Letters…


This week, we are celebrating the literary love letter (or love letters from the literary) as our contribution to your Valentine’s Day celebrations.  Today, we focus on perhaps the most famous love letter of all times, not only because of the timeless composition it inspired, but because of the mystery in which it is shrouded…

1949145Ludwig von Beethoven was never known to be a very charming individual.  He suffered from chronic stomach pains from his early twenties and began going deaf at about age 26, and both conditions made him quite short-tempered (to learn more, I can’t recommend Beethoven’s Hair any more highly).  He was known to stop performances in the middle of a piece if he thought the audience was not giving him the attention and respect he deserved.  His patron in Vienna, Archduke Rudolf, was forced to decree that the composer was exempt from the standard etiquette rules of court, so that his grumpiness wouldn’t cause a scandal.

But despite the stomach pains and the chronic curmudgeonliness , Beethoven had the soul of a Romantic–wild, passionate…and secretive.  Historians are still working to uncover the truth about a number of his relationships, particularly those that inspired him to compose.  Für Elise, perhaps one of his best known pieces, is believed to be a audible love letter to one of his students–who turned him down, truth be told.  But that shouldn’t detract (too much) from the beauty of the piece, or the sentiment behind it.  Have a listen for yourself:

But the best, the most important love letter was yet to come.  The  missive that has become known as the “Immortal Beloved” letter was discovered among Beethoven’s papers after his death in 1827, by his secretary, who kept it hidden for the remainder of his own life.  Thus, it was in 1880 that the letter made its way to the Berlin State Library, setting off a firestorm of speculation as to the letter’s intended recipient, when it was drafted, and why it never reached her.

Tests were performed on the watermark of the paper sometime in the 1950’s, and showed that the paper on which the letter was written was made in 1812, which was the year that Beethoven spent in the Czech city of Teplice.  Though we will presumably never know the truth about Beethoven’s “Unsterbliche Geliebte”–or “Immortal Beloved”–but it is generally assumed now that she was Josephine Brunsvik, another of Beethoven’s piano students.

josephine-brunsvikJosephine was 20 years old when Beethoven (who was 29 at the time) was hired to give her and her sisters piano lessons at their Vienna home.  According to his letters to her, it was nearly love at first sight for young Ludwig, but that same year, Josephine’s mother forced her to marry the exceptionally wealthy Count von Dehm, who was not only twice her age, but hated music.

Von Dehm died of pneumonia five years later, but being a widow didn’t allow Beethoven to press his suit.  Beethoven was a commoner, you see, and marriage to him would have forced Josephine to relinquish custody of her children.  Nevertheless, it is evident through their letters that the two remained close, visiting several times.  Beethoven wrote around April of 1805, in his characteristically dash-ridden way: “beloved J., it is not the drive to the opposite sex that attracts me to you, no, only you, the whole of your Being with all its singularities – has my respect – all my feelings – all of my sensibility is chained to you…Long – long – time – may our love last – it is so noble – so founded on mutual respect and friendship.”

beethovens-piano-1344527332-article-1The correspondence between Beethoven and Josephine ended with Josephine’s marriage to Baron Christoph von Stackelberg, her children’s tutor.  It was a disastrous marriage, and the baron left her in 1812.  Desperate for money, Josephine set off to see a family friend in Prague, stopping along the way in Teplice, where Beethoven was also visiting.  His sister took care of Josephine’s children during her visit, and there is no reason not to assume that the two caught up–and strengthened the bonds that had grown between them so many years earlier.  If indeed Josephine was the “Immortal Beloved” of Beethoven’s letter, it was this meeting that inspired him to write.  A few highlight of that letter are below…The full text of the letter is here, courtesy of the glorious Letters of Note:

Good morning, on 7 July

Even in bed my ideas yearn towards you, my Immortal Beloved, here and there joyfully, then again sadly, awaiting from Fate, whether it will listen to us. I can only live, either altogether with you or not at all. Yes, I have determined to wander about for so long far away, until I can fly into your arms and call myself quite at home with you, can send my soul enveloped by yours into the realm of spirits — yes, I regret, it must be. You will get over it all the more as you know my faithfulness to you; never another one can own my heart, never — never! O God, why must one go away from what one loves so, and yet my life in W. as it is now is a miserable life. Your love made me the happiest and unhappiest at the same time. At my actual age I should need some continuity, sameness of life — can that exist under our circumstances? Angel, I just hear that the post goes out every day — and must close therefore, so that you get the L. at once. Be calm — love me — today — yesterday.

What longing in tears for you — You — my Life — my All — farewell. Oh, go on loving me — never doubt the faithfullest heart

Of your beloved

L

Ever thine.
Ever mine.
Ever ours.

We can only speculate whether Josephine was the intended recipient of this letter, but we do know that Beethoven composed several pieces of music for her, among them “An die Hoffnung [To Hope]“, which bore a dedication to her on the original manuscript.  For fans of Pride and Prejudice, this is the song that Lizzie sings while Darcy gives her The Look.  His final two piano sonatas (Opus 110 and Opus 111), which were written just after her death, recall the melody of that song, perhaps offering a final farewell to the woman who would live forever in his heart, and in his music….

In Praise of the Love Letter….


Love-Letters

Despite being a devoted reader of romances, I’ve always had issues with Valentine’s Day. It’s nothing to do with being, or not-being, in a relationship, and far more to do with how generic a holiday it seems to have become. More than anything, I miss love letters (those of you who were subjected to my Holiday Card Rant probably aren’t surprised by this). Real, honest-to-goodness love letters, not produced in assistance with Hallmark or 1-800-Flowers, but crafted with ink and paper and passion.  The kinds that can change the entire course of a narrative, and make a relationship into the stuff of legends.  So, in honor of Valentine’s Day, I thought it might be edifying to take a look at some real-life masters of the love-letter and see how it’s meant to be done…

keatsporFor sheer frenzies of passion, you can’t do much better than John Keats (1795-1821).  Impoverished, chronically ill, and Romantic–both in terms of his art and his temperament–Keats’ brief career was perhaps one of the most influential of his era. Much has been made lately of his intense relationship with Fanny Brawne, a neighbor he met sometime in the autumn of 1818, and his letters to her leave no doubt of the depth of his feelings:

Sweetest Fanny,

You fear, sometimes, I do not love you so much as you wish? My dear Girl I love you ever and ever and without reserve. The more I have known the more have I lov’d…Can I help it? You are always new. The last of your kisses was ever the sweetest; the last smile the brightest; the last movement the gracefullest…My Mind has been the most discontented and restless one that ever was put into a body too small for it. I never felt my Mind repose upon anything with complete and undistracted enjoyment—upon no person but you.

2758839It was a source of constant pain and fear for Keats that his bleak financial prospects made the likelihood of an eventual marriage to Fanny nearly impossible.  Worse, his health was so poor that he harbored no illusions about the likelihood of growing old with her. His doctors suggested he move to Italy with his friend, Joseph Severn, in the hopes the worst symptoms of his tuberculosis could be alleviated. Just before his departure, Keats wrote to his love,

My dearest Girl,

I wish you could invent some means to make me at all happy without you…I feel it almost impossible to go to Italy—the fact is I cannot leave you, and shall never taste one minute’s content until it pleases chance to let me live with you for good…I wish I was either in your arms full of faith or that a Thunder bolt would strike me.

In the end, the trip was a disaster, and Keats died in Rome on February 23, 1821. Fanny remained in mourning for him for six years, and would be devoted for the rest of her long life to protecting Keats’ memory, which included preserving every letter he wrote to her. Though he died fearing he left nothing behind worth remembering, thanks to Fanny his letters have been preserved for the rest of us.
***

Kiprensky_PushkinNow we turn to my favorite letter-writer, and all-around fascinating Romantic, Alexander Pushkin (1799-1837).   A Freemason, secret member of the Decemberists and a man who fell in love as easily and often as most people catch colds, Pushkin was a master of language and a phenomenal letter-writer; he frequently admitted to being a much more amiable person on paper than in person.

Much of the charm of Pushkin’s letters comes from their honesty—frequently far more honesty than was socially acceptable, but I doubt many of his correspondences minded. Take this letter for example, written to one of his favorite paramours, Anna Petrovna Kern:

I had the weakness to ask you for permission to write you, and you the thoughtlessness or the coquetry to permit me to do it. A correspondence leads to nothing, I know; but I do not have the strength to resist the desire to have a word from your pretty hand…Farewell, divine one. I am frantic and I am at your feet…
[And added to the letter at the bottom:]

I take up my pen again, because I am dying of boredom, and I can’t get you off my mind. I hope you will read this letter in secret…Write me all that comes into your head, I entreat you. If you fear my indiscretion, if you do not wish to compromise yourself, disguise your handwriting, sign with a fictitious name—my heart will be able to recognize you. If your words should be as sweet as your glances, alas! I shall try to believe them or to be deceived; it’s all the same.

Puskin is also responsible for writing one of the most famous love letter/poems in Russian literature–to a young serving maid who worked in a house he was visiting.  The poem was written in 1828, and published in 1830, and has since become the standard poem for all who have loved–and lost.

I loved you once: perhaps that love has yet
To die down thoroughly within my soul;
But let it not dismay you any longer;
I have no wish to cause you any sorrow.
I loved you wordlessly, without a hope,
By shyness tortured, or by jealousy.
I loved you with such tenderness and candor
And pray God grants you to be loved that way again.

3486864Part of the magic of this poem is that it is nearly impossible to translate without breaking up the meter–it not only has a heart, but a soul, too.  Like any good Romantic, Pushkin was killed in a duel with his brother-in-law, Georges-Charles d’Anthès, who was most likely involved in an affair with Pushkin’s less-than-devoted wife (rumors are that she was also carrying on with Tsar Alexander I). Speaking of which, if you want to learn how to write a note that will incite a duel, check out Pushkin. But perhaps that is a pst for another holiday….?

Stay tuned for more love letters to come!

Raven Day!

the-raven-flying-manet

And so, as promised, today’s post is chock-full of avian delights and atmospheric horrors, in honor of the 171st anniversary of the publication of Edgar Allan Poe’s The Raven in 1845.

To get things started right, here is a recording of Basil Rathbone reading The Raven.  I think this reading is my favorite, not only because he does the voices, but because this reading sounds far more like a dark confession than a recitation.  Poe’s beloved wife, Virginia, was dying while he wrote this piece, and that anguish is present in Rathbone’s reading.  See what you think:

Poe had originally showed the poem to the staff of Graham’s Magazine, which rejected it.  Ultimately, it was a man named George Colton who agreed to publish the poem in The American Review.  Though we don’t know for sure how much Poe received for his work, the standard fee for writers was $15, which would have the purchasing power of about $460 today.

The poem was published under the pseudonym “____ Quarles” (the first name was intentionally left blank), with the follow preface, which notes that in spite of “the curious introduction of some ludicrous touches amidst the serious and impressive, as was doubtless intended by the author”, the poem was “one of the most felicitous specimens of unique rhyming which which has for some time met our eye”:

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Courtesy of The Poe Museum

The poem was an unmitigated sensation on both sides of the Atlantic, and was widely reprinted with Poe’s full name attached.  Elizabeth Barrett wrote to Poe “Your ‘Raven’ has produced a sensation, a ‘fit horror,’ here in England. Some of my friends are taken by the fear of it and some by the music.”  When Poe published The Raven and Other Poems, he dedicated the volume to Elizabeth Barrett in gratitude, not only for her fan mail, but because the meter of the Raven owes a great deal to her own poem, “Lady Geraldine’s Courtship

However, though Poe’s notoriety sky-rocketed as a result of the poem, he didn’t own the copyright, so he didn’t get paid for any reprints.  To counterbalance this sad fact, here is a recording of Christopher Lee reading The Raven, complete with musical accompaniment!  This version embraces the full creepiness of Poe’s poem, the nightmare aspects of the bird’s appearance:

http://www.youtube.com/watch?v=yb-hwaKWx7I

That nightmare is one that Poe fully tended to invoke.  In his 1846 work, Philosophy of Compositionhe explained “I prefer commencing with the consideration of an effect. Keeping originality always in view …I say to myself, in the first place, “Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?”

This essay is a fascinating one, particularly for the glimpse it offers of Poe’s thought process.  For example, he also noted that he specifically intended to trap the poor narrator in an enclosed, familiar space with the titular raven, because “it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident: — it has the force of a frame to a picture. It has an indisputable moral power in keeping concentrated the attention…”.

Poe was also deeply conscious of the voice of his protagonist’s strange visitor.  As we’ve noted, the raven upon whom Poe’s poem was based was a fan of saying “Nobody”, but Poe instead chose the word “Nevermore”, not only for the way its syllables fit into the meter of his poem, but because of its sound, in the head and in the mouth: “That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the most producible consonant.”

And he clearly knew what he was doing.  The Raven is generally accepted to be one of the most important poems in American literature, not only because of its appeal and influence, but because it so neatly touches on some basic, fundamental human fears–the plague of memory, the loss of love, and the terror that it might all, in the end, be meaningless.

But more so that, Poe understood just how scary birds can be, and ravens in particular.  Ravens are among a number of species of bird that can be trained to “speak”.  Unlike parrots, however, their voices tend to sound downright brain-meltinginly terrifying.  Check out a video of a real raven, really trained to say “nevermore”, and tell me your soul doesn’t tremble just a wee bit:

And on that note, I can only hope that we did you proud, Edgar.  Happy Raven Day!

“Only this and nothing more”…..

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Gustave Dore, The Raven

It’s not too difficult to realize that we at The Free For All are a big fan of celebrating–we celebrate author birthdays, musician’s birthdays, book birthdays, and the act of reading in general–because life is too short not to enjoy it (and enjoy it with cake!).  This week has been a particularly rich one for celebrations, not in the least because tomorrow is the 171st anniversary of the publication of Edgar Allan Poe‘s immortal poem, The Raven.

the-raven-flying-manet

You’d be hard pressed to find someone who doesn’t remember some part of The Raven, or who isn’t overcome with an overwhelming urge to yell “Nevermore!” when someone mentions the famous poem.  But how many people know the inspiration for the poem?

f3dc63f7051a5b49388209f2448fe30cAs we mentioned last week, Poe earned his daily bread and butter as a literary editor and book reviewer, generally panning books and genuinely annoying authors around the country.  But there were a few writers who earned his seal of approval, and one of those lucky few was Charles Dickens, whom Poe championed very early on in his career, saying “Charles Dickens is no ordinary man, and his writings must unquestionably live.”  The respect between the two men, it would appear, was mutual, and when Dickens arrived in the US on a speaking tour in 1842, we wrote to Poe, eager to make his acquaintance in person.  As these letters, held by the Poe Museum in Richmond, Virginia, attest, Dickens was also trying to help launch Poe’s career in England, though without a great deal of success.

Something else came of the meeting of these impressive minds, however, that would have a colossal effect on Poe’s career.  He got to talk with Dickens about Dickens’ beloved pet…a raven, named Grip.

2380405Dickens adored Grip, though he may have been among the only people who did.  He immortalized the cantankerous, chatty bird in his book Barnaby Rudge, and included a scene where one character, hearing a noise asks, of the raven, “What was that — him tapping at the door?”.  Dickens also, apparently, taught Grip to speak, and his favorite phrases were “Nobody!” and “Halloa Old Girl!” (honestly.  I did research on this.).  But the world did not share his views on Grip’s greatness.  In a letter (courtesy of The Free Library) written to a friend reporting on Grip’s death, Dickens wrote,

I am not wholly free from suspicions of poison–a malicious butcher has been heard to say that he would “do” for him–his plea was that he would not be molested in taking orders down the Mews, by any bird that wore a tail–other persons have also been heard to threaten–among others, Charles Knight who has just started a weekly publication…I have directed a post motem examination, and the body has been removed to Mr. Herring’s school of Anatomy for that purpose.

He also mentioned that, though he and his wife were heartbroken over the death of Grip “The children seem rather glad of it.  He bit their ancles [sic].  But that was play–”

The results of Mr. Herring’s autopsy remain a mystery to this day, but we do know that Dickens paid to send Grip to a taxidermist to be immortalized, and set in tableau.  There is also very little doubt that Grip, and Dickens’ portrayal of him in Barnaby Rudge, was a key inspiration for his own poem, The Raven, a fact that was known even while Poe was still alive.  The famous poet James Russell Lowell wrote in his work, A Fable For Critics: “Here comes Poe with his Raven, like Barnaby Rudge, / Three fifths of him genius, two fifths sheer fudge.”

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Hi there, Grip! Courtesy of AtlasObscura

Though Grip passed through a number of hands following Dickens’ death in 1870, he eventually found his way to Philadelphia’s Free Library around a century later, where he can still be seen today, presiding over the Library’s collection of manuscripts, which include works from both Dickens and Poe.

So today, on the day before the anniversary of The Raven‘s publication, we’re tipping our hat to Grip, his noble bearing, and his very odd vocabulary, for helping to inspire one of the most beloved and most memorable poems in American literature.  Hallao, Old Girl, indeed.

Check in tomorrow for our celebration of Raven Day, and a bunch of Poe-related literary suggestions!

It’s Mozart Day!


Sometimes, we hear things so often that they fade into our aural background, and we simply assume they have been there forever. But once upon a time, before 1756, there was no Mozart.  No Magic Flute, no Marriage of Figaro, no “Prague” Symphony.  None of it.

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And maybe because there was a Mozart, we don’t necessarily appreciate how much changed because he was on this planet for 35 years.  Because Mozart didn’t stride into the world and bend it to his will.  He took the existing forms of music–the sonata, the symphony, the concerto–and saw far more deeply into them than any composer before him ever had.  And he taught us that music could be fun, beautiful, and joyful.  Up until Mozart, operas were based on Greek myths and tragedies.  Mozart set his operas in magical forests, in brothels (gasp!), and in opera houses.  He mixed up the order of the movements in a traditional symphony in order to make them more accessible, and more emotionally resonant.  He wrote a piece based on the song of is pet starling, so that he and his bird could perform a duet together.

Perhaps one way to understand Mozart’s influence, we can compare him to another genius…he was the Albert Einstein of music.  Einstein believed that physics, its principles and its laws, simply existed, and it merely required a human to condense them into words–and he believed that Mozart’s music “was so pure that it seemed to have been ever-present in the universe, waiting to be discovered by the master.”

Mozart_(unfinished)_by_Lange_1782The piece below is Mozart’s Requiem, a piece he left partially unfinished on his death (he left detailed notes for his apprentice, Franz Xaver Süssmayr, who physically completed the score 100 days after Mozart’s death).  He wrote it while he was suffering from a debilitating, if unnamed condition (to date, some 118 conditions have been suggested, but the official description was “severe military rash”).  He was poor, cold, and dying, yet this piece is one of the most hopeful pieces he ever composed….But look at the score.  There are no cross-outs.  There are no edits.  Because Mozart heard the entire piece in his head before writing it down.

So rather than listening to me anymore, I’ll let Mozart speak for himself.  Here is the Boston Baroque’s performance of his Requiem, to make your day a little more hopeful.