text:
Talk:Clemente Domínguez y Gómez

Untitled
Dude! Blue gloves?!? This is one BAD Papal fashion statement! -- Someone else 06:56 Feb 20, 2003 (UTC)

You bet. Could be for one of two reasons:

 * His devotion to the Blessed Virgin Mary and blue is her colour!!!
 * You mean his MOTHER let him go out dressed like that? --Someone else

 * The fact is that he is blind and never realised he was that shade of blue is NEVER in vogue, not while wearing that colour of tiara anyhow. JTD 07:01 Feb 20, 2003 (UTC)
 * Tiaras....so hard to accessorize properly.....-- Someone else

 * I wouldn't put this in the article, but I found some things indicating an even more colorful history him. "This also afforded him a luxurious lifestyle, allowing Dominguez to hold gastronomic feasts lasting several days and drive a luxurious black limousine as head of the Palmarian Church. But Dominguez also had struggles with his sexuality, admitting that in his youth he was a prisoner of his sexual appetites, and that he had sexual liaisons with both men and women in his church. According to the Spanish newspaper El Mundo, Dominguez was well known under the sobriquet El Voltio in Spanish homosexual circles during the time of dictator Francisco Franco."--T. Anthony 10:26, 25 October 2005 (UTC)

Reminds me of fraternity dress-up parties... I think the blue gloves are cleaning gloves and I am not too sure what to think of that cape. I have seen trash bags which looked suspiciously similar.

Differentiate this gentleman from the Canadian politician of the same name (for whom there does not appear to be a page yet).

As he and John Paul II died close together, an opportunity for reunification?

Moving Article
I have moved this article to Clemente Dominguez but another user felt compelled to move it back to Cleented Dominguez y Gomez. I think, with regard to spanish proper names, we should decide if we include the maternal name or not in the article title. For example, the article for Francisco Franco Bahamonde is simply 'Francisco Franco' or Vicente Fox Quesada is 'Vicente Fox'. I think this should apply to this article and to all articles of spanish proper personal names, unless the individual is widely known by both surnames.

Thoughts?

 * I think you go by what they're best known as. I'd prefer only going by the Spanish way with Spanish names, but if they're best known with two names you go with that. In a case like this, where it's a fairly obscure topic, I'd be for sticking with cultural accuracy.--T. Anthony 11:01, 3 November 2005 (UTC)

I agree with "generally recognised name" - for example does General Franco ever get called by his full double name in English language publications? Whichever variant is chosen, have a redirect on the other.

The College of Cardinals here is not the same as the one it is linked to (being the Pope in Rome's one).

Jackiespeel 17:24, 15 March 2006 (UTC)

This not-NPOV stuff
OK, the previous authors have made an effort to neutralize their POV, but at least the sentence:

"However, this argument is insufficient, as the Avignon popes claimed to be bishops of the diocese of Rome, not of a diocese of Avignon."

is still not-NPOV. The section needs yet another NPOVing, and maybe I'll do it myself, when I've calmed down from ROTFLing about this funny stuff. Rursus 20:41, 4 February 2007 (UTC)

 * Now, i've read the article carefully – i think what's missing is a few "in the opinion of the main church organization", or some such, subordinate clauses in order to neutralize it. (There's a little trouble in the definition of Church, which according to every christian except the LDS:ers, refers to the set of followers of Jesus, irrespective of organization.) I'll see what i may accomplish. Twirling his moustaches, does: Rursus 19:30, 7 February 2007 (UTC)

 * A fix made in first paragraph of Palmarian deviation..., but the second para should be rewritten to be readable. The semantics would be as follows:

 * The Roman Catholic church theologicians deem the Palmarian movement to be heretic since it introduces new revelations to a revelation system (??) that is fixed (by church council or dogma this-or-that) . The Palmarian movement rejects this becås ov gazonk yip (imagine something reasonable) . The Roman Catholics also claim being subject to the Roman Pontiff being necessary to obtain salvation, while the Palmarians claim that being subject to the true Roman Pontiff is necessary to obtain salvation, etc., etc..  Twirling his moustaches, does: Rursus 19:53, 7 February 2007 (UTC)

Why all this constant referring to the "Glory of the olives"
Glory of the olives is obviously referring to the so-called Prophecies of St. Malachy. Now if we accept them, then Paul VI. was "flos florum". After that comes "de medietate lunae", attributed in reality to John Paul I. If we furtherly accept the conspiracy theory that Paul VI. was replaced etc. (I don't!!), still the successor could only be "de labore solis" (in reality attributed to John Paul II). Seems they left two Popes out. How so? I know I cannot suppose they are sensible, but that they so totally disregard even interior consistency?--93.135.104.231 (talk) 19:22, 8 March 2013 (UTC)

Manuel y Clemente
User:Scolaire removed my link to the film Manuel y Clemente with the summary: dubious – the IMDB entry does not give a plot, but one of the key-words is "gay couple". For a plot, you can read in Spanish. I didn't get to watch the full film, but the characters share lodgings and bathroom, and the El Mundo obituary claims that Clemente was known among Seville gays during the Franco era. --Error (talk) 23:47, 2 April 2014 (UTC)

antipope?
the linked Wiki article on antipope mentions a "significantly accepted competing claim". Is the claim of this man and his successor "significantly accepted"? --Richardson mcphillips (talk) 02:43, 22 April 2014 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Clemente Domínguez y Gómez. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive http://web.archive.org/web/20051014212822/http://miralooculto1.iespana.es/hemeroteca/elmundomuerteclemente.jpg to http://miralooculto1.iespana.es/hemeroteca/elmundomuerteclemente.jpg

When you have finished reviewing my changes, please set the checked parameter below to true or failed to let others know (documentation at Sourcecheck).

Cheers.—cyberbot II  Talk to my owner :Online 01:26, 28 February 2016 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 22:22, 8 May 2022 (UTC)
 * Pope Gregory XVII of Palmarian Catholic Church.jpg

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 02:38, 3 May 2023 (UTC)
 * Papa Gregorio XVII.jpg

title: Talk:Clemente Domínguez y Gómez


text:
Mikhail Lermontov

Mikhail Yuryevich Lermontov (Михаи́л Ю́рьевич Ле́рмонтов; 15 October 1814 – 27 July 1841) was a Russian Romantic writer, poet and painter, sometimes called "the poet of the Caucasus", the most important Russian poet after Alexander Pushkin's death in 1837 and the greatest figure in Russian Romanticism. His influence on Russian literature is felt in modern times, through his poetry, but also his prose, which founded the tradition of the Russian psychological novel.

Lermontov was born on October 15, 1814 in Moscow into the Lermontov family and grew up in Tarkhany. Lermontov's father, Yuri Petrovich, was a military officer who married Maria Mikhaylovna Arsenyeva, a young heiress from an aristocratic family. Their marriage was unhappy, Maria's health deteriorated, and she died of tuberculosis in 1817. A family dispute ensued over Lermontov's custody, resulting in his grandmother, Elizaveta Arsenyeva, raising him. She provided excellent home education, nurturing his talents in languages, music, and painting. However, his health was fragile, and he suffered from scrofula and rickets. His grandmother's strict control caused him emotional turmoil, leading to his development as a lonely and introspective individual. Lermontov's early life experiences and education laid the foundation for his literary achievements.

In 1827, Lermontov moved to Moscow with his grandmother and joined the Moscow University's boarding school. He excelled academically, influenced by his tutors Alexey Merzlyakov and Semyon Rayich, and started to write poetry. By 1829, Lermontov had written notable poems. His literary career began to take shape, with his early works reflecting the influences of Alexander Pushkin and Lord Byron. Lermontov's early education included extensive travel to the Caucasus for his health, which greatly impressed him and influenced his work.

In 1832, Lermontov moved to Saint Petersburg and enrolled in the School of Cavalry Junkers and Ensign of the Guard, eventually joining the Life-Guard Hussar regiment. His literary career flourished, but his sharp wit and satirical works earned him many enemies. The poem "Death of the Poet," written after the death of Alexander Pushkin, gained Lermontov significant fame, but led to his first exile to the Caucasus due to its controversial content. During his exile, Lermontov continued to write, producing some of his most famous works, including "A Hero of Our Time." His experiences in the Caucasus provided rich material for his poetry and prose. Despite returning to St. Petersburg briefly, his rebellious nature and another duel led to his second exile. In 1841, Lermontov was killed in a duel with fellow officer Nikolai Martynov. His death marked the loss of one of Russia's most promising literary talents.

Background
Mikhail Yuryevich Lermontov was born in Moscow into the Lermontov family, and he grew up in the village of Tarkhany (now Lermontovo in Penza Oblast). His paternal family descended from the Scottish family of Learmonth, and can be traced to Yuri (George) Learmonth, a Scottish officer in the Polish–Lithuanian service who settled in Russia in the middle of the 17th century. He had been captured by the Russian troops in Poland in the early 17th century, during the reign (1613–1645) of Mikhail Fyodorovich Romanov. Family legend asserted that George Learmonth descended from the famed 13th-century Scottish poet Thomas the Rhymer (also known as Thomas Learmonth). Lermontov's father, Yuri Petrovich Lermontov, like his father before him, followed a military career. Having moved up the ranks to captain, he married the sixteen-year-old Maria Mikhaylovna Arsenyeva, a wealthy young heiress of a prominent aristocratic Stolypin family. Lermontov's maternal grandmother, Elizaveta Arsenyeva (née Stolypina), regarded their marriage as a mismatch and deeply disliked her son-in-law. On 15 October 1814, in Moscow where the family temporarily moved to, Maria gave birth to her son Mikhail.

Early life

The marriage proved ill-suited and the couple soon grew apart. "There is no strong evidence as to what precipitated the quarrels they'd had. There are reasons to believe Yuri had grown tired of his wife's nervousness and frail health, and his mother-in-law's despotic ways," according to literary historian and Lermontov scholar Alexander Skabichevsky. An earlier biographer, Pavel Viskovatov, suggested the discord might have been caused by Yuri's affair with a young woman named Yulia, a lodger who worked in the house. Apparently it was her husband's violent, erratic behavior and the resulting stresses that accounted for Maria Mikhaylovna's early demise. Her health quickly deteriorated and she developed tuberculosis and died on 27 February 1817, aged only 21.

Nine days after Maria's death a final row broke out in Tarkhany and Yuri rushed away to his Kropotovo estate in Tula Governorate where his five sisters resided. Yelizaveta Arsenyeva launched a formidable battle for her beloved grandson, promising to disinherit him if his father took the boy away. Eventually the two sides agreed that the boy should stay with his grandmother until the age of 16. Father and son separated and, at the age of three, Lermontov began a spoilt and luxurious life with his doting grandmother and numerous relatives. This bitter family feud formed a plot of Lermontov's early drama Menschen und Leidenschaften (1830), its protagonist Yuri bearing strong resemblance to the young Mikhail.

In June 1817 Yelizaveta Alekseyevna moved her grandson to Penza. In 1821 they returned to Tarkhany and spent the next six years there. The doting grandmother spared no expense to provide the young Lermontov with the best schooling and lifestyle that money could buy. He received an extensive home education, became fluent in French and German, learned to play several musical instruments and proved a gifted painter. While living with the grandmother, Mikhail hardly met with his father.

But the boy's health was fragile, he suffered from scrofula and rickets (the latter accounted for his bow-leggedness) and was kept under close surveillance of a French doctor, Anselm Levis. Colonel Capet, a Napoleon army prisoner-of-war who settled in Russia after 1812, was the boy's first, and best-loved governor. A German pedagogue, Levy, who succeeded Capet, introduced Mikhail to Goethe and Schiller. He didn't stay for long and soon another Frenchman, Gendrot, replaced him, soon joined by Mr. Windson, a respectable English teacher recommended by the Uvarov family. Later Alexander Zinoviev, a teacher of Russian literature, arrived. The intellectual atmosphere in which Lermontov grew up resembled that experienced by Aleksandr Pushkin, though the domination of French had begun to give way to a preference for English, and Lamartine shared popularity with Byron.

Looking for a better climate and treatment at the mineral springs for the boy, Arsenyeva twice, in 1819 and 1820, took him to the Caucasus where they stayed at her sister E. A. Khasatova's. In summer 1825, as the nine-year-old's health started to deteriorate, the extended family traveled south for the third time. The Caucasus greatly impressed the boy, inspiring a passion for its mountains and stirring beauty. "Caucasian mountains for me are sacred", he wrote later. It was there that Lermontov experienced his first romantic passion, falling for a nine-year-old girl.

Fearing that Lermontov's father would eventually claim his right to bring up his son, Arsenyeva strictly limited contact between the two, causing young Lermontov much pain and remorse. Despite all the pampering lavished upon him, and torn by the family feud, he grew up lonely and withdrawn. In another early autobiographical piece, "Povest" (The Tale), Lermontov described himself (under the guise of Sasha Arbenin) as an impressionable boy, passionately in love with all things heroic, but otherwise emotionally cold and occasionally sadistic. Having developed a fearful and arrogant temper, he took it out on his grandmother's garden as well as on insects and small animals ("with great delight, he would squash a hapless fly and bristled with joy when a stone he'd thrown would kick a chicken off its feet"). Positive influence came from Lermontov's German governess Christina Rhemer, a religious woman who introduced the boy to the idea of every man, even if that man was a serf, deserving respect. In fact, Lermontov's poor health served in a way as a saving grace, Skabichevsky argued, for it prevented the boy from further exploring the darker sides of his character and, more importantly, "taught him to think of things... seek pleasures that he couldn't find in the outer world, deep inside himself."

Returning from his third trip to the Caucasus in August 1825, Lermontov began his regular studies with tutors in French and Greek, starting to read German, French and English authors' original texts. In summer 1827 the 12-year-old for the first time travelled to his father's estate in Tula Governorate. In autumn of that year he and Yelizaveta Arsenyeva moved to Moscow.

School years

After having received a year of private tutoring, in February 1829 the fourteen-year old Lermontov took exams and joined the 5th form of the Moscow University's boarding-school for the nobility's children. Here his personal tutor was poet Alexey Merzlyakov, alongside Zinoviev, who taught Russian and Latin. Under their influence the boy started to read a lot, making the best of his vast home library, which included books by Mikhail Lomonosov, Gavrila Derzhavin, Ivan Dmitriev, Vladislav Ozerov, Konstantin Batyushkov, Ivan Krylov, Ivan Kozlov, Vasily Zhukovsky, and Alexander Pushkin. Soon he started editing an amateur student journal. One of his friends, his cousin Yekaterina Sushkova (Khvostova, in marriage) described the young man as "married to a hefty volume of Byron". Yekaterina had at one time been the object of Lermontov's affections and to her he dedicated some of his late 1820s poems, including "Nishchy" (The Beggar). By 1829 Lermontov had written several of his well-known early poems. While "Kavkazsky Plennik" (Caucasian Prisoner), betraying strong Pushkin influence and borrowing from the latter, "The Corsair", "Prestupnik" (The Culprit), "Oleg", "Dva Brata" (Two Brothers), as well as the original version of "The Demon" were impressive exercises in Romanticism. Lord Byron remained the major source of inspiration for Lermontov, despite the attempts of his literary tutors, including Semyon Rayich, the head of the school's literature class, to divert him from that particular influence. The short poem "Vesna" (The Spring), published in 1830 by the amateur Ateneum magazine, marked his informal publishing debut.

Along with his poetic skills, Lermontov developed an inclination towards poisonous wit and cruel, sardonic humor. His ability to draw caricatures was matched only by his ability to pin someone down with a well aimed epigram. In the boarding school Lermontov proved an exceptional student. He excelled at the 1828 examinations; he recited a Zhukovsky poem, performed a violin étude and won the first prize for his literary essay. In April 1830 the University's boarding school was transformed into an ordinary gymnasium and Lermontov, like many of his fellow-students, promptly quit.

Moscow University
In August 1830 Lermontov enrolled in Moscow University's philological faculty. "Petty arrogance" (as Skabichevsky puts it) prevented him from joining any of the three radical students' circles (those led respectively by Vissarion Belinsky, Nikolai Stankevich and Alexander Hertzen). Instead he drifted towards an aristocracic clique, but even this cream of the Moscow's "golden youth" detested the young man for being too aloof, while still giving him credit for having charisma. "Everyone could see that Lermontov was obnoxious, rough and daring, and yet there was something alluring in his firm moroseness," fellow-student Wistengof admitted.

Attending lectures faithfully, Lermontov would often read a book in the corner of the auditorium, and never took part in student life, making exceptions only for incidents involving grand-scale trouble-making. He took an active part in the notorious 1831 Malov scandal (when a jeering mob drove the unpopular professor out of the auditorium), but wasn't formally reprimanded (unlike Hertzen, who found himself incarcerated). A year into his university studies, the final, tragic act of the family discord played itself out. Deeply affected by his son's alienation, Yuri Lermontov left Arsenieva's house for good, only to die a short time later of consumption. His father's death under such circumstances was a terrible loss for Mikhail and is reflected in his poems "Forgive Me, Will We Meet Again?" and "The Terrible Fate of Father and Son". For some time he seriously considered suicide; tellingly, each of his early dramas Menschen und Leidenschaften (1830) and A Strange Man (1831) ends with a protagonist killing himself. All the while, judging by his diaries, Lermontov, maintained a keen interest in European politics. Some of his University poems like "Predskazaniye" (The Prophecy) were highly politicised; the unfinished "Povest Bez Nazvaniya" (The Untitled Novel)'s theme was the outbreak of popular uprising in Russia. Several other verses written at the time – "Parus" (The Sail), "Angel Smerti" (Angel of Death) and "Ismail-Bei" – later came to be regarded among his best.

In Lermontov's first year as a student no exams were held: the University closed for several months due to the outbreak of cholera in Moscow. In his second year Lermontov started to have serious altercations with several of his professors. Thinking little of his chances of passing the exams, he opted to leave, and on 18 June 1832, received the two-year-graduate certificate.

1832–1837
In mid-1832 Lermontov, accompanied by grandmother, traveled to Saint Petersburg, with a view of joining the Saint Petersburg University's second-year course. This proved impossible and, unwilling to repeat the first year, he enrolled into the prestigious School of Cavalry Junkers and Ensign of the Guard, under pressure from his male relatives but much to Arsenyeva's distress. Having passed the exams, on 14 November 1832, Lermontov joined the Life-Guard Hussar regiment as a junior officer. One of his fellow cadet-school students, Nikolai Martynov, the one whose fatal shot would kill the poet several years later, in his biographical "Notes" decades later described him as "the young man who was so far ahead of everybody else, as to be beyond comparison," a "real grown-up who'd read and thought and understood a lot about the human nature."

The sort of glittering army career which tempted young noblemen of the time proved a challenge for Lermontov. Books there were a rarity and reading was frowned upon. Lermontov had to indulge mostly in physical competitions, one of which resulted in a horse-riding accident which left him with a broken knee that produced a limp. Learning to enjoy the heady mix of drills and discipline, wenching and drinking sprees, Lermontov continued to sharpen the poisonous wit and cruel humour which would often earn him enemies. "The time of my dreams has passed; the time for believing is long gone; now I want material pleasures, happiness that I can touch, happiness that can be bought with gold, that one can carry it in one's pocket as a snuff-box; happiness that beguiles only my senses while leaving my soul in peace and quiet," he wrote in a letter to Maria Lopukhina dated 4 August 1833.

Concealing his literary aspirations from friends (relatives Alexey Stolypin and Nikolai Yuriev among them), Lermontov became an expert in producing scabrous verses (like "Holiday in Petergof", "Ulansha", and "The Hospital") which were published in a school's amateur magazine Shkolnaya Zarya (School-Years' Dawn) under monikers "Count Diarbekir" and "Stepanov". These pieces earned him much notoriety and, with a hindsight, caused harm, for when in July 1835 for the first time ever his poem "Khadji-Abrek" was published (in Biblioteka Dlya Chteniya, without its author's consent: Nikolai Yuriev took the copy to Osip Senkovsky and he furthered it to print), many refused to take the young author seriously.

Upon his graduation in November 1834, Lermontov joined the Life-Guard Hussar regiment stationed near St. Petersburg in Tsarskoye Selo, where his flatmate was his friend Svyatoslav Rayevsky. Grandmother's lavish financial support (he had his personal chefs and coachmen) enabled Lermontov to plunge into a heady high-society mix of drawing-room gossip and ballroom glitter. "Sardonic, caustic and smart, brilliantly intelligent, rich and independent, he became the soul of the high society and the leading spirit in pleasure trips and sprees," Yevdokiya Rostopchina remembered. "Extraordinary, how much youthful energy and precious time had Lermontov managed to spare upon wanton orgies and base love-making, without seriously damaging his physical and moral strength", biographer Skabichevsky marvelled.

By now Lermontov had learnt to lead a double life. Still keeping his passions secret, he took a keen interest in Russian history and medieval epics, which would be reflected in The Song of the Merchant Kalashnikov and Borodino, as well as a series of popular ballads. During what he later referred to as "four wasted years" he finished "Demon", wrote Boyarin Orsha, The Tambov Treasurer's Wife and Masquerade, his best-known drama. Through Rayevsky he became acquainted with Andrey Krayevsky, then the editor of Russky Invalid's literary supplement, in a couple of years' time to become the editor of the influential journal Otechestvennye Zapiski.

Death of the Poet

The death of Pushkin, who, as it was generally suspected, had fallen victim to an intrigue, ignited Russian high society. Lermontov, who himself never belonged to the Pushkin circle (there is conflicting evidence as to whether he'd met the famous poet at all), became especially vexed with Saint Petersburg dames' sympathizing with D'Anthès, a culprit whom he even considered challenging to a duel.

Outraged and agitated, the young man found himself on the verge of nervous breakdown. Arsenyeva sent for Arendt, and the famous doctor who had spent with Pushkin his last hours related to Lermontov the exact circumstances of what had happened. The poem Death of the Poet, its final part written impromptu, in the course of several minutes, was spread around by Rayevsky and caused uproar. The last 16 lines of it, explicitly addressed to the inner circles at the court, all but accused the powerful "pillars" of Russian high-society of complicity in Pushkin's death. The poem portrayed that society as a cabal of self-interested venomous wretches "huddling about the throne in a greedy throng", "the hangmen who kill liberty, genius, and glory" about to suffer the apocalyptic judgment of God.

The poem propelled Lermontov to an unprecedented level of fame. Zhukovsky hailed the "new powerful talent"; popular opinion greeted him as "Pushkin's heir". D'Anthes, still under arrest, felt so piqued he was now himself prepared to challenge the upstart to a duel. Alexander von Benckendorff, a distant relative of Arsenyeva's and the founding head of the Tsar's Gendarmes and of his secret police, was willing to help her grandson out but still had no choice but to report the incident to Nicholas I, who, as it turned out, had already received a copy of the poem (subtitled "The Call for the Revolution", from an anonymous sender). The authorities arrested Lermontov, on 21 January he found himself in the Petropavlovskaya fortress and on 25 February got banished as a cornet to the Nizhegorodsky dragoons regiment to the Caucasus. During the investigation, in an act he considered cowardice, Lermontov faulted his friend, Svyatoslav Rayevsky, and as a result the latter suffered a more severe punishment than Lermontov did: was deported to the Olonets Governorate for two years to serve in a lowly clerk's position.

First exile

In the Caucasus Lermontov found himself quite at home. The stern and gritty virtues of the mountain tribesmen against whom he had to fight, no less than the scenery of the rocks and of the mountains themselves, were close to his heart. The place of his exile was also the land he had loved as a child. Attracted to the nature of the Caucasus and excited by its folklore, he studied the local languages (such as Kumyk), wrote some of his most splendid poems and painted extensively. "Good people are here aplenty. In Tiflis, especially, people are very honest... The mountain air acts like balsam for me, all spleen has gone to hell, the heart starts beating, the chest heaves," Lermontov wrote to Rayevsky. By the end of the year he had travelled all along the Caucasian line, from Kizlyar Bay to Taman Peninsula, and visited central Georgia.

Lermontov's first Caucasian exile was short: due to the intercession of General Benckendorff. The poet was transferred to the Grodno cavalry regiment based at Nizhny Novgorod. His voyage back was a prolonged one, he made a point of staying wherever he was welcome. In Shelkozavodskaya Lermontov met A. A. Khastatov (his grandmother's sister's son), a man famous for his bravery, whose stories were later incorporated into A Hero of Our Times. In Pyatigorsk he had talks with poet and translator Nikolai Satin (a member of Herzen and Ogaryov circle) and with some of the Decembrists, notably with the poet Alexander Odoyevsky (with whom, judging by "In Memoriam", 1839, he became quite close); in Stavropol became friends with Dr. Mayer who served as a prototype for Doctor Werner (a man Pechorin meets in "town S."). In Tiflis he drifted towards a group of Georgian intellectuals led by Alexander Chavchavadze, Nina Griboyedova's father.

The young officer's demeanor did not enchant everybody, though, and at least two of the Decembrists, Nikolai Lorer and Mikhail Nazimov, later spoke of him quite dismissively. Nazimov wrote years later:

"Lermontov often visited us and talked of all sort of things, personal, social and political. I have to say, we hardly understood each other... We were unpleasantly surprised by the chaotic nature of his views, which were rather vague. He appeared to be a low-brow realist, unwilling to let his imagination fly, which was strange, considering how high his poetry soared on its mighty wings. He mocked some of the government's reforms – the ones we couldn't even dream of in our poor youth. Certain essays, promoting the most progressive European ideas which we were so enthusiastic about, – for who could have ever thought it possible for such things to be published in Russia? – left him cold. When approached with a straightforward question, he either kept silent or tried to get away with some sarcastic remark. The more we knew him, the more difficult it was for us to take him seriously. There was a spark of original thought in him, but he was still very young."

Lermontov's journey to Nizhny took four months. He visited Yelizavetgrad, then stayed in Moscow and Saint Petersburg to enjoy himself at dancing parties and to revel in his immense popularity. "Lermontov's deportation to the Caucasus has made a lot of fuss and turned him into a victim, which did a lot to whip up his fame as a poet. People consumed his Caucasian poems greedily... On return he was met with enormous warmth in the capital and hailed as heir to Pushkin," wrote poet Andrey Muravyov. Warmly welcomed at the houses of Karamzin, Alexandra Smirnova, Odoyevsky and Rostoptchina, Lermontov entered the most prolific phase of his short literary career. In 1837–1838 Sovremennik published humorous lyrical verses and two longer poems, "Borodino" and "Tambovskaya Kaznatcheysha" (A Treasurer Dame from Tambov), the latter severely cut by censors. Vasily Zhukovsky's letter to Minister Sergey Uvarov made possible the publication of "Pesn Kuptsa Kalashnikova" (The Song of Merchant Kalashnikov), a historical poem which the author initially sent to Krayevsky in 1837 from the Caucasus, only to be thwarted by censors. His observations of the aristocratic milieu, where fashionable ladies welcomed him as a celebrity, occasioned his play Masquerade (1835, first published in 1842). His doomed love for Varvara Lopukhina (b. Varvara Alexandrovna Lopukhina) was recorded in the novel Princess Ligovskaya (1836), which remained unfinished. In those days Lermontov also took part in gathering and sorting out Pushkin's documents and unpublished poems.

A Hero of Our Time
In February 1838, Lermontov arrived at Novgorod to join his new regiment. In less than two months time, though, Arsenyeva ensured his transfer to the Petersburg-based Hussars Guard regiment. At this point, in Petersburg, Lermontov started working on A Hero of Our Time, a novel which later earned him recognition as one of the founding fathers of Russian prose.

In January 1839 Andrey Krayevsky, now at the helm of Otechestvennye Zapiski, invited Lermontov to become a regular contributor. The magazine published two parts of the novel, "Bela" and "The Fatalist", in issues 2 and 4, respectively, the rest of it appeared in print during 1840 and earned the author widespread acclaim. The partially autobiographical story, describing prophetically a duel like the one in which he would eventually lose his life, consisted of five closely linked tales revolving around a single character, a disenchanted, bored and doomed young nobleman. Later it came to be considered a pioneering classic of Russian psychological realism.

Second exile
Shallow pleasures offered by Saint Petersburg's high society had started to wear Lermontov down, his bad temper growing even worse. "What an extravagant man he is. Looks like he's heading for the imminent catastrophe. Insolent to a fault. Dying of boredom, getting vexed by his own frivolousness but having no will to break free from these surroundings. A strange kind of man," wrote Alexandra Smirnova, the lady-in-waiting and Saint Petersburg fashionable salon hostess.

Lermontov's popularity at the salons of Princess Sofija Shcherbatova and of Countess Emilie Musin-Pushkina caused a lot of ill feeling among men vying for attention of these two most popular Petersburg society girls of the time. In early 1840 Lermontov insulted one of these men, Ernest de Barante, the son of the French ambassador, in the presence of Shcherbatova. De Barante issued a challenge. The duel took place almost at the exact spot where Pushkin had received his fatal wound by Tchernaya Retchka. Lermontov found himself slightly injured, then arrested and jailed. His visitors in jail included Vissarion Belinsky, an avid admirer of Lermontov's poetry who, like many, continued to have problems with making sense of his dual personality and incongruous, difficult character.

Due to the patronage of the Guard's Commander, Grand Duke Mikhail Pavlovich, Lermontov received only a mild punishment; the Grand Duke chose to interpret the de Barante incident as a feat for "a Russian officer who came up to champion the honour of the Russian army". With the Tsar's initial demand for three months' imprisonment dropped, Lermontov went back to exile in the Caucasus, to the Tengin infantry regiment. In Karamzin's house where his friends gathered to say farewells, he churned out an ad lib, "Tuchi nebesnye, vechnye stranniki" (Heavenly clouds, eternal travelers...). It made its way as a final entry into Lermontov's first book of verse, published by Ilya Glazunov & Co in October 1840, and became one of his best-loved short poems.

In early May 1840 Lermontov left Saint Petersburg, but arrived at Stavropol only on 10 June, having spent a whole month in Moscow, visiting (among other people) Nikolai Gogol, to whom he recited his then-new poem Mtsyri. On arrival, Lermontov re-joined the Army as part of General Galafeyev's fighting unit on the left flank of the Caucasian front. The left flank had the mission of disarming the Chechen fighters led by Imam Shamil and of protecting the newly formed Russian Cossack settlement between the Kuban and Laba rivers. In early July the regiment entered Chechnya and went into action. Lermontov (according to the official report) "has been charged with the commandment of a Cossack troopers' unit whose duty it was to head into the enemy first". He became immensely popular with his men, whom regular army officers referred to as "the international gang of reckless thugs".

Among officers Lermontov had his admirers and detractors. Generals Pavel Grabbe and Apollon Galafeyev both praised the young man for his reckless bravery. According to Baron Rossilyon, though, "Lermontov was an unpleasant and scornful man, always eager to seem special. He boasted his bravery – the one thing one was not supposed to be that proud of in the Caucasus, where bravery was business as usual. He led the gang of dirty thugs who, without ever using firearms, charged Chechen auls, led partisan wars and were calling themselves 'the Lermontov army'."

In July 1840 the Russian army got involved in a fierce battle at the Gekha forest. There Lermontov distinguished himself in hand-to-hand combat at the Battle of the Valerik River (11 July 1840), the basis for his poem Valerik. "Lermontov's duty was to lead our forefront storm troopers and inform the headquarters of the advancement, which in itself was perilous since the enemy was everywhere around, in the forest and in the bushes. But this officer, defying danger, did an excellent job; he showed great courage and was always amongst those who'd break into the enemy lines first," General Galafeyev informed General Grabbe on 8 October 1840.

In early 1841 Arsenyeva received permission from the Minister of Defense, Count Kleinmichel, for Lermontov to visit Saint Petersburg. "Those three or four months he spent in the capital were, I think, the happiest time of his life. Received quite ecstatically by the high society, each morning he produced some beautiful verse and hasted to recite it to us in the evening. In this warm atmosphere good humour awoke in him again, he was always coming up with new jokes and pranks, making us all laugh for hours on end," Yevdokiya Rostopchina remembered.

By the time both A Hero of Our Time and Poems by M.Y. Lermontov had been published, Lermontov, according to Skabichevsky, started to treat his poetic mission seriously. Looking for an early retirement that would have enabled him to start a literary career, he was making plans for his own literary journal which wouldn't follow European trends, unlike (in Lermontov's view) Otechestvennye Zapiski. "I've learnt a lot from Easterners and I am eager to delve deeper into the depth of an Eastern mindset, which remains a mystery not only to us, but to an Easterner himself. The East is a bottomless well of revelations," Lermontov was telling Krayevsky.

It soon became clear that for an early retirement there was no hope. Besides, despite General Grabbe's insistence, Lermontov's name had been dropped from the list of officers eligible for awards. In February 1841 an incident at a ball launched by Countess Alexandra Vorontsova-Dashkova (when Lermontov involuntarily snubbed the Tsar's two daughters) caused concern among the imperial family and in the high military ranks. It transpired that upon his arrival in February Lermontov had failed to report to his commanding officer, as was required, going instead to a ball – a grievous breach for someone serving under condition of punishment. In April Count Kleinmichel issued an order for him to leave the city in 24 hours and join his regiment in the Caucasus. Lermontov approached a seer (the same Gypsy woman who'd predicted Pushkin's death "from a white man's hand") and asked if the time would ever come when he'd be allowed to retire. "You will get your retirement, but of such a kind after which you won't ask for more," she responded, which made Lermontov laugh heartily.

Death

After visiting Moscow (where he produced no fewer than eight poetic pieces of invective aimed at Benckendorff), on 9 May 1841, Lermontov arrived to Stavropol, introduced himself to general Grabbe and asked for permission to stay in the town. Then, on a whim, he changed his course, found himself in Pyatigorsk and sent his seniors a letter informing them of his having fallen ill. The regiment's special commission recommended him treatment at Mineralnye Vody in the Caucasian Mineral Waters region. What he did instead was embark upon the several weeks' spree. "In the mornings he was writing, but the more he worked, the more need he felt to unwind in the evenings," Skabichevsky wrote. "I feel I'm left with very little of my life," the poet confessed to his friend A. Merinsky on 8 July, a week before his death.

In Pyatigorsk Lermontov enjoyed himself, feeding on his notoriety of a social misfit, his fame as a poet second only to Pushkin and his success with A Hero of Our Time. Meanwhile, in the same salons his Cadet school friend Nikolai Martynov, dressed as a native Circassian, wore a long sword, affected the manners of a romantic hero not unlike Lermontov's Grushnitsky character. Lermontov teased Martynov mercilessly until the latter couldn't stand it anymore. On 25 July 1841, Martynov challenged his offender to a duel. The fight took place two days later at the foot of Mashuk mountain. Lermontov allegedly made it known that he was going to shoot into the air. Martynov was the first to shoot and he aimed straight into the heart, killing his opponent on the spot. On 30 July Lermontov was buried, without military honours, thousands of people attended the ceremony.

In January 1842, the Tsar issued an order allowing the coffin to be transported to Tarkhany, where Lermontov was laid to rest at the family cemetery. Upon receiving the news his grandmother Elizaveta Arsenyeva suffered a minor stroke. She died in 1845. Many of Lermontov's verses were discovered posthumously in his notebooks.

Private life

Mikhail Lermontov was a romantic who seemed to be continuously struggling with strong passions. Not much is known about his private life, though in verses dedicated to loved ones his emotional strife seems to have been exaggerated, while rumours concerning his real life adventures were unreliable and occasionally misguided.

Lermontov fell in love for the first time in 1825, while at the Caucasus, a girl of nine being the object of his desires. Five years later he wrote about it with great seriousness, seeing this early awakening of romantic feelings as a sign of his own exclusiveness. "So early in life, at ten! Oh, this mystery, this Paradise Lost, it will be tormenting my mind till the very grave. Sometimes I feel funny about it and am ready to laugh at this first love of mine, but more often I'd rather cry," the 15-year-old wrote in a diary. "Some people, like Byron, think early love is akin to the soul prone to fine arts, but I suppose this is the sign of soul that's got much music in it," added the young man for whom the English poet was an idol.

At sixteen Lermontov fell in love with Yekaterina Sushkova (1812–1868), a friend of his cousin Sasha Vereshchagina, whom he often visited in Srednikovo village. Yekaterina failed to take her suitor seriously and in her "Notes" described him thus:"At Sashenka [Vereshchagina]'s I often met her cousin, a clumsy bow-legged boy of 16 or 17, with reddened eyes, which were clever and expressive nevertheless, who had a turned-up nose and caustic sneer... Everybody was calling him just Michel and so did I, never caring about his second name. Assigned to be my 'errand boy' he was carrying my hat, umbrella and gloves, leaving them behind from time to time... Both Sashenka and I, while giving him credit for his intelligence, still treated him like a baby which drove him mad. Trying to be perceived as a serious young man, he recited Pushkin and Lamartine and never parted with a huge volume of Byron.'" Several 1830–31 poems by Lermontov were dedicated to Sushkova, among them "Nishchy" (The Beggar Man) and "Blagodaryu!, Zovi nadezhdu snovidenyem" (Thank you! To call the hope a dream...).

In 1830 Lermontov met Natalya Ivanova (1813–1875), daughter of a Moscow playwright Fyodor Ivanov and had an affair with her, but little is known about it or why it ended. Judging by thirty or so poems addressed to "N.F.I", she chose a man who was older and richer, much to the distress of young Lermontov who took this as a 'betrayal'.

While in the University 16-year-old Lermontov passionately fell in love with another cousin of his, Varvara Lopukhina" (also sixteen at the time). The passion was said to be reciprocal but, pressed by her family, Varvara went on to marry Nikolai Bakhmetyev a wealthy 37-year-old aristocrat. Lermontov was "astounded and heartbroken".

Having graduated the Saint Petersburg cadet school, Lermontov embarked upon the easy-going lifestyle of a reckless young hussar, as he imagined it should be. "Mikhail, having found himself the very soul of the high society, liked to entertain himself by driving young women mad, feigning love for several days, just in order to upset matches," his friend and flatmate Alexey Stolypin wrote.

In December 1834 Lermontov met his old sweetheart Yekaterina Sushkova at a ball in Saint Petersburg and decided to have a revenge: first he seduced, then, after a while dropped her, making the story public. Relating the incident in a letter to cousin Sasha Vereshchagina, he blatantly boasted about his newly found reputation of a 'Don Juan' which he's been apparently craving for. "I happened to hear several of Lermontov's victims complaining about his treacherous ways and couldn't restrict myself from openly laughing at the comic finales he used to invent for his vile Casanova feats," obviously sympathetic Yevdokiya Rostopchina recalled.

By 1840 Lermontov had sickened of his own reputation of a womanizer and a cruel heartbreaker, hunting for victims at balls and parties and leaving them behind devastated. Some of the stories were myth, like the one concerning the French author Adèle Hommaire de Hell; well-publicised at the time (and related at some length by Skabichevsky) it was proved later to have never happened.

Lermontov's love for Lopukhina (Bakhmetyeva) proved to be the only deep and lasting feeling of his life. His unfinished drama Princess Ligovskaya was inspired by it, as well as two characters in A Hero of Our Time, Princess Mary and Vera. In his 1982 biography John Garrard wrote: "The symbolic relationship between love and suffering is of course a favorite Romantic paradox, but for Lermontov it was much more than a literary device. He was unlucky in love and believed he always would be: fate had ordained it."

Works

In his lifetime, Mikhail Lermontov published only one slender collection of poems (1840). Three volumes, much mutilated by censorship, were published a year after his death in 1841. Yet his legacy – more than 30 large poems, and 600 minor ones, a novel and 5 dramas – was immense for an author whose literary career lasted just six years.

Inspired by Lord Byron, Lermontov started to write poetry at the age of 13. His late 1820s poems like "The Corsair", "Oleg", "Two Brothers", as well as "Napoleon" (1830), borrowed somewhat from Pushkin, but invariably featured a Byronic hero, an outcast and an avenger, standing firm and aloof against the world.

In the early 1830s Lermontov's poetry grew more introspective and intimate, even diary-like, with dates often serving for titles. But even his love lyric, addressed to Yekaterina Sushkova or Natalya Ivanova, could not be relied upon as autobiographical; driven by fantasies, it dealt with passions greatly hypertrophied, protagonists posing high and mighty in the center of the Universe, misunderstood or ignored.

In 1831 Lermontov's poetry ("The Reed", "Mermaid", "The Wish") started to get less confessional, more ballad-like. The young author, having found taste for plots and structures, was trying consciously to rein in his emotional urge and master the art of storytelling. Critic and literature historian D.S. Mirsky regards "The Angel" (1831) as the first of Lermontov's truly great poems, calling it "arguably the finest Romantic verse ever written in Russian." At least two other poems of that period – "The Sail" and "The Hussar" – were later rated among his best.

In 1832 Lermontov tried his hand at prose for the first time. The unfinished novel Vadim, telling the story of the 1773–1775 Yemelyan Pugachev-led peasant uprising, was stylistically flawed and short on ideas. Yet, free of Romantic pathos and featuring well-crafted characters as well as scenes from peasant life, it marked an important turn for the author now evidently intrigued more by history and folklore than by his own dreams.

Two branches of Lermontov's early 1830s poetry – one dealing with the Russian Middle Age history, another with the Caucasus – couldn't differ more. The former were stern and stark, featured a dark, reserved hero ("The Last Son of Freedom"), its straightforward storyline developing fast. The latter, rich with ethnographical side issues and lavish in colourful imagery, boasted flamboyant characters ("Ismail-Bey", 1832).

Even as a Moscow University's boarding school student Lermontov was a socially aware young man. His "The Turk's Lament" (1829) expressed strong anti-establishment feelings ("This place, where a man suffers from slavery and chains; my friend, this is my fatherland"), the "July 15, 1830" poem greeted the July Revolution, while "The Last Son of Freedom" was a paean to (obviously, idealized) Novgorod Republic. But Lermontov, a fiery tribune, has never become a political poet. Full of inner turmoil and anger, his protagonists were riotous but never rational or promoting any particular ideology.

The Cadet School seemed to have stymied in Lermontov all interests except one, for wanton debauchery. His pornographic (and occasionally sadistic) Cavalry Junkers' poems which circulated in manuscripts, marred his subsequent reputation so much so that admission of familiarity with Lermontov's poetry was not permissible for any young upper-class woman for a good part of the 19th century. "Lermontov churned out for his pals whole poems in improvisational manner, dealing with things which were apparently part of their barrack and camp lifestyle. Those poems, which I've never read, for they weren't intended for women, bear all the mark of the author's brilliant, fiery temperament, as people who've read them attest", Yevdokiya Rostopchina admitted. These poems were published only once, in 1936, as part of a scholarly edition of Lermontov's complete works, edited by Irakly Andronikov.

This lean period bore a few fruits: "Khadji-Abrek" (1835), his first ever published poem, and 1836's Sashka (a "darling son of Don Juan", according to Mirsky), a sparkling concoction of Romanticism, realism and what might be termed a cadet-style verse. The latter remained unfinished, as did Princess Ligovskaya (1836), a society tale which was influenced at least to some extent by Gogol's Petersburg Stories and featured characters and dilemmas not far removed from those that would form the base of A Hero of Our Time.

Arrested, jailed and sent to the Caucasus in 1837, Lermontov dropped "Princess Ligovskaya" and never got back to it. Much more important to him was The Masquerade; written in 1835, it got re-worked several times – the author tried desperately to publish it. Close to French melodrama and influenced by Victor Hugo and Alexander Dumas (but also owing a lot to Shakespeare, Griboyedov and Pushkin), Masquerade featured another hero whose want was to 'throw a gauntlet' to the unsympathetic society and then get tired of his own conflicting nature, but was interesting mostly for its realistic sketches of the high society life, which Lermontov was getting more and more critical of.

Lermontov's fascination with Byron has never waned. "Having made the English pessimism a brand of his own, he's imparted it a strong national favour to produce the very special Russian spleen, which has been there always in the Russian soul... Devoid of cold skepticism or icy irony, Lermontov's poetry is full instead of typically Russian contempt for life and material values. This mix of deep melancholy on the one hand and wild urge for freedom on the other, could be found only in Russian folk songs," biographer Skabichevsky wrote.

In 1836–1838 Lermontov's interest in history and folklore re-awakened. Eclectic Boyarin Orsha (1836), featuring a pair of conflicting heroes, driven one by blind passions, another by obligations and laws of honour, married the Byronic tradition with the elements of historical drama and folk epos. An ambitious folk epic, The Song of the Merchant Kalashnikov (initially banned, then published in 1837 due to Vasily Zhukovsky's efforts), was unique for its unexpected authenticity. Lermontov, who haven't got a single academic source to rely upon, "entered the realm of folklore as a real master and totally merged with its spirit," according to Belinsky. Lermontov's Cossack Lullaby "went the whole round: from the original folklore source to literature, and from literature to living folklore. ... For one and a half centuries people have performed these literary lullabies in real lulling situations [in Russia]," according to Valentin Golovin.

"Death of the Poet" (1837), arguably the strongest political declaration of its time (its last two lines, "and all of your black blood won't be enough to expiate the poet's pure blood", construed by some as a direct call for violence), made Lermontov not just famous, but almost worshipped, as a "true heir to Pushkin". More introspective but no less subversive was his "The Thought" (1838), an answer to Kondraty Ryleyev's "The Citizen" (1824), damning the lost generation of "servile slaves".

Otherwise, Lermontov's short poems range from indignantly patriotic pieces like "Fatherland" to the pantheistic glorification of living nature (e.g., "Alone I set out on the road ...") Some saw Lermontov's early verse as puerile, since, despite his dexterous command of the language, it usually appeals more to adolescents than to adults. Later poems, like "The Poet" (1838), "Don't Believe Yourself" (1839) and "So Dull, So Sad..." (1840) expressed skepticism as to the meaning of poetry and life itself. On the other hand, for Lermontov the late 1830s was a period of transition; drawn more to Russian forests and fields rather than Caucasian ranges, he achieved moments of transcendental solemnity and clear vision of heaven and Earth merged into one in poems like "The Branch of Palestine", "The Prayer" and "When yellowish fields get ruffled..."

Both his patriotic and pantheistic poems had an enormous influence on later Russian literature. Boris Pasternak, for instance, dedicated his 1917 poetic collection of signal importance to the memory of Lermontov's Demon. This long poem (started as early as 1829 and finished some ten years after) told the story of a fallen angel admitting defeat in the moment of his victory over Tamara, a Georgian "maid of mountains". Having read by censors as the celebration of carnal passions of the "eternal spirit of atheism", it remained banned for years (and was published for the first time in 1856 in Berlin), turning arguably the most popular unpublished Russian poem of the mid-19th century. Even Mirsky, who ridiculed Demon as "the least convincing Satan in the history of the world poetry," called him "an operatic character" and fitting perfectly into the concept of Anton Rubinstein's lush opera (also banned by censors who deemed it sacrilegious) had to admit the poem had magic enough to inspire Mikhail Vrubel for his series of unforgettable images.

Another 1839 poem investigating the deeper reasons for the author's metaphysical discontent with society and himself was The Novice, or Mtsyri (in Georgian), the harrowing story of a dying young monk who'd preferred dangerous freedom to protected servitude. The Demon defiantly lives on, Mtsyri dies meekly, but both epitomize the riotous human spirit's stand against the world that imprisons it. Both poems are beautifully stylized and written in fine, mellifluous verse which Belinsky found "intoxicating". By the late 1830s Lermontov became so disgusted with his own early infatuation with Romanticism as to ridicule it in Tambov Treasurer's Wife (1838), a close relative to Pushkin's Count Nulin, performed in stomping Yevgeny Onegin rhyme. Even so, it is his 1812 War historical epic Borodino (1837), a 25th Anniversary hymn to the victorious Russian spirit, related in simple language a tired war veteran, and Valerik (defined by Mirsky as a missing link between the "Copper Rider" and the War and Peace battle scenes) that are seen by critics as the two peaks of Lermontov's realism. This newly found clarity of vision allowed him to handle a Romantic theme with Pushkin's laconic precision most impressively in "The Fugitive". Tellingly, while Pushkin (whose poem "Tazit"'s plotline was here used) saw the European influence as a healthy alternative to the patriarchal ways of Caucasian natives, Lermontov tended to idealize the local communities' centuries-proven customs, their morality codex and the will to fight for freedom and independence to the bitter end.

Lermontov had a peculiar method of circulating ideas, images and even passages, trying them again and again through the years in different settings until each would find itself a proper place – as if he could "see" in his imagination his future works but was "receiving" them in small fragments. Even "In Memory of A.I. Odoyevsky" (1839) the central episode is, in effect, the slightly re-worked passage borrowed from Sashka.

A Hero of Our Time (1840), a set of five loosely linked stories unfolding the drama of the two conflicting characters, Pechorin and Grushnitsky, who move side by side towards a tragic finale as if driven by destiny itself, proved to be Lermontov's magnum opus. Vissarion Belinsky praised it as a masterpiece, but Vladimir Nabokov (who translated the novel into English) was not so sure about the language: "The English reader should be aware that Lermontov's prose style in Russian is inelegant, it is dry and drab; it is the tool of an energetic, incredibly gifted, bitterly honest, but definitely inexperienced young man. His Russian is, at times, almost as crude as Stendhal's in French; his similes and metaphors are utterly commonplace, his hackneyed epithets are only redeemed by occasionally being incorrectly used. Repetition of words in descriptive sentences irritates the purist," he wrote. D.S. Mirsky thought differently. "The perfection of Lermontov's style and narrative manner can be appreciated only by those who really know Russian, who feel fine imponderable shades of words and know what has been left out as well as what has been put in. Lermontov's prose is the best Russian prose ever written, if we judge by the standards of perfection and not by those of wealth. It is transparent, for it is absolutely adequate to the context and neither overlaps it nor is overlapped by it," he maintained. In Russia A Hero of Our Time seems to have never lost its relevance: the title itself became a token phrase explaining dilemmas haunting this country's intelligentsia. And Lermontov's reputation as an 'heir to Pushkin' there is seldom doubted. His foreign biographers, though, tend to see a more complicated and controversial picture. According to Lewis Bagby, "He led such a wild, romantic life, fulfilled so many of the Byronic features (individualism, isolation from high society, social critic and misfit), and lived and died so furiously, that it is difficult not to confuse these manifestations of identity with his authentic self. …Who Lermontov had become, or who he was becoming, is unclear. Lermontov, like many a romantic hero, once closely examined, remains as open and unfinished as his persona seems closed and fixed."

Legacy
The town of Lermontov, Russia (granted municipal status in 1956), the cruise liner MS Mikhail Lermontov (launched in 1970) and the minor planet 2222 Lermontov (discovered in 1977) were named after him.

The crew of Soyuz TMA-21 selected Tarkhany as their call sign, after the estate where Lermontov spent his childhood and where his remains are preserved.

On 3 October 2014, a monument to Lermontov was unveiled in the Scottish village of Earlston, the place being selected due to a suggested association of Lermontov's descent with Thomas the Rhymer. Until only a few years earlier, the connection had been little-known in Scotland.

Lermontov has been depicted in numerous movies and TV series. In 2012 Azerbaijani movie "Ambassador of Morning", telling the story of another great poet, Abbasgulu Bakikhanov, Mikhail Lermontov was depicted by Oleg Amirbekov. In 2014, in memory of his 200th birthday, a biography documentary about him was released in Russia.

Prose

 * Vadim (1832, unfinished; published in 1873)
 * Princess Ligovskaya (Knyaginya Ligovskaya, 1836, unfinished novel first published in 1882)
 * "Ashik-Kerib" (the Azerbaijani fairytale, 1837, first published in 1846)
 * A Hero of Our Time (Герой нашего времени, 1840; 1842, 2nd edition; 1843, 3rd edition), novel

Dramas

 * The Spaniards (Ispantsy, tragedy, 1830, published 1880)
 * Menschen und Leidenschaften (1830, published 1880)
 * A Strange Man (Stranny tchelovek, 1831, drama/play published 1860)
 * Masquerade (1835, first published in 1842)
 * Two Brothers (Dva brata, 1836, published in 1880)
 * Arbenin (1836, the alternative version of Masquerade, published in 1875)

Poems

 * The Circassians (Tcherkesy, 1828, published in 1860)
 * The Corsair (1828, published in 1859)
 * The Culprit (Prestupnik, 1828, published in 1859)
 * Oleg (1829, published in 1859)
 * Julio (1830, published in 1860)
 * Kally ("The Bloody One", in Circassian, 1830, published in 1860)
 * The Last Son of Freedom (Posledny syn volnosti, 1831–1832, published in 1910)
 * Azrail (1831, published in 1876)
 * Confession (Ispoved, 1831, published in 1889)
 * Angel of Death (Angel smerti, 1831; published in 1857 – in Germany; in 1860 – in Russia)
 * No, I'm not Byron (published in 1832)
 * The Sailor (Moryak, 1832, published in 1913)
 * Ismail-Bei (1832, published in 1842)
 * A Lithuanian Woman (Litvinka, 1832, published in 1860)
 * Aul Bastundji (1834, published in 1860)
 * The Junkers Poems ("Ulansha", "The Hospital", "Celebration in Petergof", 1832–1834, first published in 1936)
 * Khadji-Abrek (1835, Biblioteka Dlya Chtenya)
 * Mongo (1836, published in 1861)
 * Boyarin Orsha (1836, published in 1842)
 * Sashka (1835–1836, unfinished, published in 1882)
 * The Song of the Merchant Kalashnikov (Pesnya kuptsa Kalashnikova, 1837)
 * Borodino (1837)
 * The Death of the Poet (1837)
 * Tambov Treasurer's Wife (Tambovskaya Kaznatcheysha, 1838)
 * The Cossack Lullaby (1838)
 * The Fugitive (Beglets, circa 1838, published in 1846)
 * Demon (1838, published in 1856 in Berlin)
 * The Novice (Mtsyri, in Georgian, 1839, published in 1840)
 * Valerik (1840)
 * The Children's Fairytale (Detskaya skazka, 1839, unfinished, published in 1842)

Selected short poems

 * The Turk's Laments (Zhaloby turka, 1829)
 * Two Brothers (1829, Dva brata, published in 1859)
 * Napoleon (1830)
 * The Spring (Vesna, 1830)
 * 15 July 1830 (1830)
 * The Terrible Fate of Father and Son... (Uzhasnaya sudba otsa i syna... 1831)
 * The Reed (Trostnik, 1831)
 * Mermaid (Rusalka, 1831)
 * The Wish (Zhelanye, 1831)
 * The Angel (Angel, 1831)
 * The Prophecy (Predskazaniye, 1831)
 * The Sail (Parus, 1831)
 * Forgive Me, Will We Meet Again?.. (Prosti, uvidimsya li snova..., 1832)
 * The Hussar (Gusar, 1832)
 * Death of the Poet (1837)
 * The Branch of Palestine (Vetka Palestiny, 1837)
 * Mother Of God, Here I Stand (Molitva, 1837)
 * Farewell, Unwashed Russia (Proshchai, nemytaya Rossiya, 1837)
 * When Yellowish Fields Get Ruffled... (Kogda volnuyetsa zhelteyushchaya niva..., 1837)
 * The Thought (Duma, 1838)
 * The Dagger (Kinzhal, 1838)
 * The Poet (1838)
 * Don't Believe Yourself... (Ne ver sebye..., 1839)
 * Three Palms (Tri palhmy, 1839)
 * In the Memory of A.I.Odoyevsky (1839)
 * So Dull, So Sad... (I skuchno, i grustno..., 1840)
 * How Often, Surrounded by a Motley Crowd... (Kak tchasto, okruzhonny pyostroyu tolpoyu..., 1840)
 * Little Clouds (Tuchki, 1840)
 * The Journalist, the Reader and the Writer (1840)
 * The Heavenly Ship (Vozdushny korabl, 1840)
 * Fatherland (Rodina, 1841)
 * The Princess of the Tide, 1841, ballad
 * The Dispute (Spor, 1841)
 * Alone I set out on the road... (Vykhozu odin ya na dorogu..., 1841)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Mikhail Lermontov


text:
1873 in music

This article is about music-related events in 1873.

Events

 * April – The Fisk Jubilee Singers, an African American a cappella ensemble, perform before Queen Victoria during their first European tour.
 * August 27 – Sir Arthur Sullivan's oratorio The Light of the World (inspired by William Holman Hunt's painting of the same name) is premièred at the Birmingham Festival.
 * Joseph Parry becomes Professor of Music at the University of Wales, Aberystwyth.
 * Therese Malten makes her solo debut as Pamina in The Magic Flute at Dresden.

Published popular music

 * "The German Polka" by Gus Williams (vaudeville)
 * "Good Sweet Ham" by Henry Hart
 * "Home on the Range" w. Brewster M. Higley m. Daniel E. Kelley
 * "I'se Gwine Back to Dixie" by Charles A. White (musician)
 * "Little sweetheart, come listen to me". Words and music by Arthur W. French
 * "Silver Threads Among the Gold" w. Eben Eugene Rexford m. Hart Pease Danks

Classical music

 * Johannes Brahms
 * Two String Quartets, Op. 51
 * Variations on a Theme by Haydn
 * Anton Bruckner – Symphony No. 3
 * Antonín Dvořák – String Quartet No. 5; String Quartet no. 6 in A
 * Hermann Goetz – Symphony in F, Op. 9 (premiered 1874; some sources give 1866 for composition however)
 * Pyotr Ilyich Tchaikovsky – The Tempest
 * Giuseppe Verdi – String Quartet in E minor

Opera

 * Léo Delibes — Le roi l'a dit
 * Karel Miry — Muziek in t'huisgezin (opera in 1 act, libretto by N. Destanberg)

Musical theater

 * 1492 Up to Date, Libretto by R. A. Barnet, music by Carl Pflueger

Births

 * January 8 — Grace Van Studdiford, American stage actress and opera singer (d. 1927)
 * February 1 — Joseph Allard, fiddler and composer (d. 1947)
 * February 13 — Feodor Chaliapin, operatic bass (d. 1938)
 * February 27 — Enrico Caruso, operatic tenor (d. 1921)
 * March 19 — Max Reger, German composer (d. 1916)
 * April 1 — Sergei Rachmaninoff, Russian composer (d. 1943)
 * April 18 — Jean Roger-Ducasse, French composer (d. 1954)
 * May 1 — Harry Evans, composer (d. 1914)
 * June 1 — Ada Jones, singer (d. 1922)
 * June 16 — Antonina Nezhdanova, operatic soprano (d. 1950)
 * July 11 — Nat M. Wills, singer, comedian, and actor (d. 1917)
 * August 11 — J. Rosamond Johnson, US composer and singer
 * August 18 — Otto Harbach, lyricist (d. 1963)
 * September 21 — Papa Jack Laine, bandleader (d. 1966)
 * October 14 — José Serrano, composer (d. 1941)
 * October 23 — Ricardo Villa, composer (d. 1935)
 * November 1 — Charles Quef, French organist and composer (d. 1931)
 * November 16 — W. C. Handy, songwriter (d. 1958)
 * December 9 — Carlo Zangarini, opera librettist and poet (d. 1943)
 * December 14 — Joseph Jongen, Belgian organist and composer (d. 1953)

Deaths

 * January 3 — John Lodge Ellerton, composer (b. 1801)
 * January 28 — Henry Hugo Pierson, composer (b. 1815)
 * February 14 — Charles Samuel Bovy-Lysberg, composer and pianist (b. 1821)
 * March 31 — Domenico Donzelli, operatic tenor (b. 1790)
 * April 13 — Carlo Coccia, opera composer (b. 1782)
 * April 19 — Pierre-Chéri Lafont, actor and singer (b. 1797)
 * May 13 — Kašpar Mašek, composer (b. 1794)
 * June 2 — François George-Hainl, cellist, conductor and composer (b. 1807)
 * July 4 — Prince Józef Michal Poniatowski, operatic tenor and composer (b. 1816)
 * July 19 — Ferdinand David, violinist and composer (b. 1810)
 * August 26 — Karl Wilhelm, choral director (b. 1815)
 * September 26 — Roderich Benedix, librettist and singer (b. 1811)
 * October 6 — Friedrich Wieck, music teacher and father of Clara Schumann (b. 1785)
 * October 8 — Albrecht Agthe, music teacher (b. 1790)

title: 1873 in music


text:
Antipope Gregory XVII

Antipope Gregory XVII may refer to:

 * Clemente Domínguez y Gómez (1946–2005), self-proclaimed pope, leader of the Palmarian Catholic Church
 * Jean-Gaston Tremblay (1928–2011), self-proclaimed pope, leader of the Apostles of Infinite Love

title: Antipope Gregory XVII


text:
Talk:Mitchelstown

Untitled
There is haunted places here I know cause i live here. user--Stephendwan (talk) 16:07, 14 August 2009 (UTC)

Unfortunately that is WP:OR and is not accepted on Wiki. If one of the ghosts did an interview with a local paper, that might help? Sarah777 (talk) 16:41, 14 August 2009 (UTC)

"Dairygold is the largest producer of process cheese in Europe." I have removed this statement as the process cheese plant closed in 2007. —Preceding unsigned comment added by Billy29 (talk • contribs) 16:27, 4 November 2009 (UTC)

galtee festival
Is  a  festival   celebrated in   Mitchelstown   where someone   is   crowned  queen or king of the galtees   often its someone who did outstanding   work or   someone who is  very well known    a small funfair    from fry's  fun fair is  there   nicknamed  'the merries.'  --213.94.234.143 (talk) 20:10, 21 August 2010 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Mitchelstown. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20100920090814/http://cso.ie/census to http://www.cso.ie/census
 * Added archive https://web.archive.org/web/20160507023856/http://www.histpop.org/ to http://www.histpop.org/
 * Added archive https://web.archive.org/web/20120217095720/http://www.nisranew.nisra.gov.uk/census/ to http://www.nisranew.nisra.gov.uk/census

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 15:36, 13 June 2017 (UTC)

John Mandeville
Doesn't John Mandeville deserve his own page? His uncle, Jame's O'Mahony does and John was of similar/related importance. John also has his own statue and notable gravestone. He was also matyred by the British. He shares lineage with the O'Mahony's and the Mandevilles.Link8r (talk) 16:16, 29 June 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Mitchelstown. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110605234828/http://www.workhouses.org.uk/index.html?Mitchelstown%2FMitchelstown.shtml to http://www.workhouses.org.uk/index.html?Mitchelstown%2FMitchelstown.shtml

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 19:52, 28 November 2017 (UTC)

title: Talk:Mitchelstown


text:
1877 in music

This article is about music-related events in 1877.

Events

 * March 4 (February 20 O.S.) – The premiere of the ballet Swan Lake («Лебединое озеро», Lebedinoye ozero) with score by Peter Ilyich Tchaikovsky is given at the Bolshoi Theatre in Moscow. It is not well received at this performance although remains in the repertory.
 * April 27 - Jules Massenet's opera Le Roi de Lahore premiers in Paris
 * April 30 – French poet Charles Cros describes a method of recording sound, the Paleophone.
 * May 7 – 29 – Wagner Festival at the Royal Albert Hall in London. Richard Wagner conducts some of his own works and Hans Richter makes his British conducting debut.
 * July 18 (July 6 O.S.) – Peter Ilyich Tchaikovsky marries Antonina Milyukova in Moscow. After 6 weeks, the couple separate permanently.
 * November 21 – Thomas Edison announces his invention of the phonograph in the United States.
 * December 30 – The premiere of Brahms' Symphony No. 2 is given in Vienna by the Vienna Philharmonic under the direction of Hans Richter.
 * Ludwig Thuille and Richard Strauss meet as students at Innsbruck. They become lifelong friends.

Published popular music

 * "Abdul Abulbul Amir"    w.m. Percy French
 * "Captain Cuff"    w.m. G. W. Hunt
 * "Chopsticks"    m. Arthur de Lulli
 * "Dear Old Pals"    w.m. G. W. Hunt
 * "Early In De Mornin'"    w.m. Will Hays
 * "In The Gloaming" w. Meta Orred m. Annie Fortescue Harrison (Words 1874)
 * "Little Daisy's Request" by Arabella M. Root
 * "The Lost Chord"    w. Adelaide Anne Procter m. Sir Arthur Sullivan (Words 1858)
 * "My Name Is John Wellington Wells"    w. W. S. Gilbert m. Arthur Sullivan
 * "Out of Work" Septimus Winner
 * "Phelim O'Toole" by Harry Banks
 * "Time Was When Love And I Were Well Acquainted"    w. W. S. Gilbert m. Arthur Sullivan

Classical music

 * Johannes Brahms – Symphony No. 2, Op. 73 in D
 * Anton Bruckner – Symphony No. 3 in D minor (Novak edition)
 * Felix Draeseke – Fata Morgana, Op. 13
 * Antonín Dvořák – String Quartet No. 9, Op. 34 in D minor
 * Robert Fuchs – Violin Sonata No. 1, Op. 20 in F♯ minor
 * Karl Goldmark – Violin Concerto No. 1, Op. 28 in A minor
 * Theodor Kirchner – 4 Notturnos, Op.28
 * Ignaz Lachner – 3 Charakterstücke, Op.83
 * Franz Liszt – Les Jeux d'eaux à la Villa d'Este for piano.
 * Giuseppe Martucci – Piano Quintet, Op.45
 * Jules Massenet – Aubade
 * Leon Minkus – La Bayadère (ballet)
 * Joachim Raff – Violin Concerto No. 2, Op. 206 in A minor
 * Josef Rheinberger – Violin Sonata No. 2, Op. 105 in E minor
 * Camille Saint-Saëns
 * Piano Concerto No.4, Op.44
 * La Jeunesse d'Hercule, Op.50
 * Six Études for piano (including 'En forme de valse')
 * Vogue, vogue la galère
 * John Philip Sousa
 * Myrrha Gavotte, Op.30
 * Across the Danube, Op.36
 * Richard Strauss – Piano Sonata No.1 in E major
 * Sergey Taneyev – Venice at Night
 * Pyotr Ilyich Tchaikovsky
 * Francesca da Rimini, premiered March 9 in Moscow
 * Swan Lake (ballet)
 * Francis Thomé – Simple aveu, Op.25
 * Anton Urspruch – Deutsche Tänze, Op.7
 * Charles-Marie Widor – 6 Mélodies, Op.22

Opera

 * Emmanuel Chabrier – L'étoile
 * Charles Gounod – Cinq-Mars, CG 10, premiered April 5 in Paris
 * Peter Heise – Monarch and Constable
 * Jules Massenet – Le roi de Lahore
 * Camille Saint-Saëns – Samson et Dalila
 * Charles Villiers Stanford – The Veiled Prophet of Khorossan

Musical theater

 * The Chimes of Normandy, adapted from Les Cloches de Corneville, Broadway production opened at the Fifth Avenue Theatre on October 22 and ran for 16 performances
 * Les Cloches de Corneville by Robert Planquette, Paris production opened at the Folies-Dramatique on April 19 and ran for 408 performances
 * Le Grand Mogol, Marseilles production
 * Orpheus in the Underworld by Jacques Offenbach, London revival
 * The Sorcerer, Gilbert & Sullivan London production opened at the Opera Comique on November 17 and ran for 175 performances

Births

 * January 12 – Maude Nugent, songwriter (d. 1958)
 * February 16 – Sergei Bortkiewicz, Russian composer and pianist (d. 1952)
 * March 4 – Aleksandr Gedike, composer (died 1957)
 * April 9 – Hughie Cannon, songwriter (died 1912)
 * May 25 – Billy Murray, singer (d. 1954)
 * June 3 – Theodor Szántó, composer (died 1934)
 * June 8 – Thorvald Aagaard, Danish composer (d. 1937)
 * June 11 – Renée Vivien, lyricist (died 1901)
 * July 14 – Agnes Nicholls, operatic soprano (d. 1959)
 * July 17 – Edward Madden, American lyricist (d. 1952)
 * July 24 – Percy Scholes, English musicologist (d. 1958)
 * July 27 – Ernő Dohnányi, Hungarian composer, conductor and pianist (d. 1960)
 * August 22 – Lucien Garban, French composer (died 1959)
 * September 6 – Buddy Bolden, ragtime musician (d. 1931)
 * September 7 – Petar Stojanović, violinist and composer (d. 1957))
 * September 15 – Daisy Wood, music hall singer (d. 1961)
 * September 20 – Kato van der Hoeven, Dutch cellist (d. 1959)
 * September 26 – Alfred Cortot, Franco-Swiss pianist (d. 1962)
 * October 15 – Helen Ware, stage actress (died 1939)
 * October 24 – Ernst Mielck, Finnish composer (d. 1899)
 * November 21 – Sigfrid Karg-Elert, German composer (d. 1933)
 * December 27 – Otto Gauß, organist (died 1970)

Deaths

 * January 1 – Julie Berwald, opera singer, member of the Royal Swedish Academy of Music.
 * January 18 – George Tolhurst, composer (b. 1827)
 * March 23 – Caroline Unger, operatic contralto (b. 1803)
 * March 30 – Charles Neate, British pianist (born 1784)
 * April 7 – Errico Petrella, opera composer (b. 1813)
 * April 26 – Louise Bertin, composer and poet (b. 1805)
 * June 3 – Ludwig Ritter von Köchel, cataloguer of the works of Mozart (b. 1800)
 * June 13 – Cesare Ciardi, flautist and composer (b. 1818)
 * June 24 – Emilie Edie von Kalchberg, lyricist (born 1796)
 * June 29 – Clorinda Corradi, operatic contralto (b. 1804)
 * August 5 – Luigi Legnani, guitarist and composer (b. 1790)
 * September 12 – Julius Rietz, German cellist, composer and teacher, editor of an edition of Mendelssohn's complete works (b. 1812)
 * October 3 – Thérèse Tietjens, operatic soprano (b. 1831)
 * October 16 – Théodore Barrière, librettist (born 1823)

title: 1877 in music


text:
1872 in music

This article is about music-related events in 1872.

Events

 * May 29 – Franz Liszt's oratorio 'Christus (Liszt)' (composed 1862-"66) premiered in the Protestant church at Weimar.
 * June 5 – closure of the Teatro Re following its final performance, Rossini's The Barber of Seville
 * June 24 – Karl Müller-Hartung founds an "Orchesterschule" ("Orchestra School") at Weimar.
 * – first performance in England of Bach's Brandenburg Concerto No 3 at a Philharmonic Society concert.
 * Friedrich Nietzsche takes up musical composition again after a long break.
 * Tomás Bretón and Ruperto Chapí receive the first prize of the Madrid Conservatory.
 * Anton Rubinstein begins a tour of the United States at the behest of Steinway and Sons.
 * Richard Wagner completes the full draft of Götterdämmerung.

Published popular music

 * "The Gospel Train" by Fisk Jubilee Singers
 * "Moonlight on the Potomac" by John Philip Sousa
 * "Waste Not, Want Not [You Never Miss the Water Till the Well Runs Dry]" by Harry Linn & Rollin Howard
 * "Only a Dream" by George Cooper & William Vincent Wallace
 * "Under the silvery stars," words by Arthur W. French, music by William A. Huntley

Classical music

 * Georges Bizet – L'Arlésienne Suite No. 1 from the incidental music to Alphonse Daudet's play of the same name
 * Anton Bruckner – Symphony No. 2
 * Joseph Callaerts – Grande fantaisie de concert, Op.5
 * Antonín Dvořák – Piano Quintet No. 1
 * César Franck – Veni creator
 * Charles Gounod - Funeral March of a Marionette
 * Franz Paul Lachner -Octet for winds, Op. 156
 * Franz Liszt - Sunt lacrymae rerum
 * Modest Mussorgsky – The Nursery
 * Camille Saint-Saëns
 * Cello Concerto No. 1
 * Cello Sonata No. 1
 * Johan Svendsen – Carnival in Paris, Op.9
 * Pyotr Ilyich Tchaikovsky - Symphony No. 2
 * Charles-Marie Widor – Organ Symphony No.4, Op.13 No.4
 * August Winding - Three Fantasy Pieces, for clarinet or violin and piano, Op. 19

Opera

 * Georges Bizet – Djamileh
 * Gialdino Gialdini – La secchia rapita premiered at the Teatro Goldoni, Florence
 * Alexandre Charles Lecocq – Les cent vierges
 * Miguel Marqués – Justos por pecadores
 * Karel Miry
 * De dichter en zijn droombeeld (opera in 4 acts, libretto by Hendrik Conscience, premiered on December 2 in Brussels)
 * De twee zusters (opera in 1 act, libretto by P. Geiregat, premiered in Brussels)
 * Modest Mussorgsky – Boris Gudonov, Revised Version
 * Jacques Offenbach – Fantasio
 * Camille Saint-Saëns – La princesse jaune, Op. 30

Musical theater

 * La fille de Madame Angot, Brussels production
 * La Vie parisienne, London production

Publications

 * Richard Wagner – Über die Benennung "Musikdrama"

Births

 * January 1 – Hermine Finck, opera singer (d. 1932)
 * January 6 – Alexander Scriabin, Russian composer (d. 1915)
 * January 11 – Paul Graener, conductor and composer (d. 1944)
 * January 16 – Henri Büsser, conductor and composer (d. 1973)
 * January 23 – Adelina de Lara, pianist and composer (d. 1961)
 * March 6 – Ben Harney, ragtime pianist and songwriter (d. 1938)
 * March 7 – Vasily Andreyevich Zolotaryov, Russian composer
 * March 8 – Paul Juon, Russian-Swiss violinist and composer (d. 1940)
 * March 10 – Felix Borowski, composer and music teacher (d. 1956)
 * March 19 – Sergei Diaghilev, choreographer (d. 1929)
 * March 20 – Bernhard Sekles, composer and music teacher (d. 1934)
 * March 30 – Sergey Nikiforovich Vasilenko, composer (d. 1956)
 * April 1 – Tadeusz Joteyko, composer
 * April 29 – Eyvind Alnæs, composer (d. 1932)
 * May 1 – Hugo Alfvén, composer (d. 1960)
 * June 22 – Clara Mathilda Faisst, pianist (died 1948)
 * July 7 – Juan Lamote de Grignon pianist, conductor and composer (d. 1949)
 * July 8 – Harry Von Tilzer, songwriter (d. 1946)
 * July 18 – Julius Fučík, composer (d. 1916)
 * July 20 – Déodat de Séverac, composer (d. 1921)
 * August 10 – Bill Johnson, dixieland jazz double-bassist (d. 1972)
 * August 15
 * Harold Fraser-Simson, composer and songwriter (d. 1944)
 * Rubin Goldmark, composer (d. 1936)
 * September 9 – Josef Stránský, conductor (died 1936)
 * October 12 – Ralph Vaughan Williams, composer (d. 1958)
 * November 29 – Anna von Mildenburg, Austrian soprano (d. 1947)
 * December 17 – Walter Loving, military bandleader (k. 1945)
 * December 20 – Lorenzo Perosi, Italian composer (d. 1956)

Deaths

 * January 20 – Raffaele Sacco, lyricist (b. 1787)
 * February 16 – Henry Fothergill Chorley, music critic (b. 1808)
 * March 22 – Karolina Bock, singer, dancer and actress (b. 1792)
 * March 23? - Hugo Ulrich, composer, teacher and arranger (b. 1827) (poss. born May 23)
 * April 3 – Henriette Widerberg, operatic soprano (b. 1796)
 * April 12 – Nikolaos Mantzaros, composer (b. 1795)
 * May 5 – Johann Kulik, luthier (b. 1800)
 * May 9 – Viktorin Hallmayer, conductor and composer (b. 1831)
 * May 15 – Thomas Hastings, composer of hymns (b. 1784)
 * July 26 – Michele Carafa, opera composer (b. 1787)
 * August 4 – Wilhelm Friedrich Wieprecht, conductor and composer (b. 1802)
 * August 11 – Lowell Mason, organist and composer (b. 1792)
 * September 16 – Gall Morel, choirmaster (b. 1803)
 * November 21
 * Myllarguten, folk musician (b. 1801)
 * Emile Steinkühler, composer (born 1824)
 * November 29 – Giovanni Tadolini, composer

title: 1872 in music


text:
Talk:Cassiopeia

Fame
Do you think maybe the constellation is more famous than the queen in this case (Cassiopeia (constellation) and Cassiopeia (mythology)), or should we just make a disambiguation page? How about Andromeda and the other figures from this particular myth? - Montréalais

Mixup?
The last three paragraphs talk about Andromeda (mythology), not Cassiopeia. They seem to have been copied from there. If nobody gives a good reason for them, then they should be removed! Awolf002 14:55, 5 Jun 2004 (UTC)
 * The last paragraph actually does talk about Casseiopeia, but it isn't immediately clear. I'll fix that. JYolkowski 01:03, 27 Oct 2004 (UTC)

 * What's going on here with the bullet point at the end of the article--71.233.90.88 (talk) 01:10, 4 January 2008 (UTC)

title: Talk:Cassiopeia


text:
1878 in music

This article is about music-related events in 1878.

Events

 * April 9? – Franz Berwald's Symphony No. 4 receives its premiere performance, conducted by Ludvig Norman.
 * May 25 – Gilbert and Sullivan's comic opera H.M.S. Pinafore debuts in London at the Opera Comique with a first run of 571 performances.
 * November 18 – Soprano Marie Selika Williams becomes the first African American artist to perform at the White House.
 * A Dictionary of Music and Musicians edited by George Grove begins publication in the U.K.

Published popular music

 * "Aloha ʻOe" w.m. Queen Liliuokalani of Hawaii
 * "Carry Me Back To Old Virginny" w.m. James A. Bland
 * "De Gospel Raft" by Frank Dumont
 * "Emmet's Lullaby" Joseph K. Emmet
 * From H.M.S. Pinafore: (words by W. S. Gilbert, music by Arthur Sullivan)
 * "I Am the Captain of the Pinafore"
 * "I Am the Ruler of the Queen's Navee"
 * "I'm Called Little Buttercup"
 * "Kind Captain"
 * "Never Mind the Why and Wherefore"
 * "When I Was a Lad"
 * "In The Evening By the Moonlight" w.m. James A. Bland
 * "Keep In De Middle Ob De Road"    w.m. Will Hays
 * "Ten Little Injuns" w. & m. Septimus Winner
 * "When the birds have gone to sleep," words by Arthur W. French, music by William A. Huntley

Classical music

 * Johannes Brahms
 * Motets Op. 74
 * Eight Pieces (for piano) Op. 76
 * Violin Concerto in D major, Op. 77
 * Anton Bruckner
 * Symphony No. 4 – 2nd version
 * Symphony No. 5
 * Ferruccio Busoni – Piano Concerto in D, op. 17, for piano and string orchestra
 * George Whitefield Chadwick – String Quartet No. 1
 * Felix Otto Dessoff – String Quartet in F, Op. 7
 * Antonín Dvořák
 * Serenade for Wind Instruments (Dvořák) (op. 44/B. 77)
 * Three Slavonic Rhapsodies (op. 45/B. 86)
 * Slavonic Dances, Set 1 (op. 46/B. 83)
 * Bagatelles, Op.47
 * String Sextet (Dvořák), (op. 48/B. 80)
 * Gabriel Fauré – Chanson Après un rêve (Op. 7 No. 1)
 * Zdeněk Fibich
 * String Quartet No.2, Op.8
 * Věčnost (Eternity), Concert Melodrama for Narrator and Piano, Op.14
 * Niels Gade – Capriccio for violin and orchestra in A minor
 * Edvard Grieg
 * String Quartet No. 1 in G minor, Op. 27
 * Improvisations on 2 Norwegian Folk Songs, Op.29
 * Albumblad, EG 109
 * Hans Huber – Piano Concerto No. 1 in C minor, Op. 36
 * Vincent d'Indy – La forêt enchantée
 * Joseph Joachim – Elegiac Overture 'In Memoriam Heinrich von Kleist', Op.13
 * Cyrill Kistler – 4 Lieder, Op.20 (including "Am Waldessaume")
 * Édouard Lalo
 * Cello Concerto in D minor
 * Fantaisie norvégienne
 * Giuseppe Martucci
 * Piano Concerto No. 1 in D minor
 * Piano Quintet in C major, Op. 45
 * Siegfried Ochs – 'S kommt ein Vogel geflogen
 * Ole Olsen – Asgårdsreien, Op 10 (symphonic poems)
 * Robert Radecke – Symphony in F major, Op.50
 * Joachim Raff
 * Aus Thüringen, WoO.45
 * Symphony No. 9 Im Sommer, Op. 208
 * Josef Rheinberger
 * Mass in E-flat (Cantus Missæ) for double choir, Op. 109
 * Ouvertüre zu Schillers Demetrius, Op.110
 * Organ Sonata No. 5 in F-sharp Minor, Op. 111
 * Trio for Piano and Strings No. 2 in A, Op. 112
 * Piano Quintet in C, Op. 114
 * Nicolai Rimsky-Korsakov – 6 Variations on the Theme B-A-C-H, Op.10
 * Pablo de Sarasate – Spanish Dances for violin and piano, Book I
 * Bernhard Scholz – String Quintet Op. 47
 * Richard Strauss – Alphorn, TrV 64
 * Sergei Taneyev – Symphony no 2 in B flat minor
 * Pyotr Ilyich Tchaikovsky
 * Symphony No. 4 in F minor, op. 36
 * Violin Concerto in D major
 * Piano Sonata in G major, Op. 37.
 * 6 Romances, Op.38
 * Anton Urspruch – Variationen über ein eigenes Thema, Op.10
 * Anton Urspruch – Variationen über ein eigenes Thema, Op.10

Opera

 * Alfred Cellier – After All!
 * Charles Gounod – Polyeucte (opera)
 * Charles Edouard Lefebvre – Lucrèce
 * Miguel Marqués – El anillo de hierro (libretto by Marcos Zapata, premiered in Madrid)
 * Joseph Parry – Blodwen
 * Emile Pessard
 * Le char premiered on January 18 at the Théâtre de l'Opéra-Comique, Paris
 * Le Capitaine Fracasse premiered on July 2 at the Théâtre Lyrique, Paris
 * Joachim Raff – Benedetto Marcello

Musical theater

 * Gilbert and Sullivan – H.M.S. Pinafore, London production
 * Jacques Offenbach – Madame Favart, Paris production

Births

 * January 4 – Rosa Grünberg, Swedish actress and soprano (d. 1960)
 * January 6 – Carl Sandburg, American poet and lyricist (died 1967)
 * January 22 – Ben Deeley, American actor and lyricist (died 1924)
 * January 23 – Rutland Boughton, English composer (d. 1960)
 * January 26 – Rudolf Alexander Schröder, lyricist (died 1962)
 * January 28 – Walter Kollo, Singspiele composer (died 1940)
 * February 16 – Selim Palmgren, Finnish composer (d. 1951)
 * February 26 – Emmy Destinn, Czech soprano (d. 1930)
 * February 28 – Artur Kapp, Estonian composer (d. 1952)
 * March 4 – Egbert Van Alstyne, American songwriter (d. 1951)
 * March 23 – Franz Schreker, Austrian composer, conductor and teacher (d. 1934)
 * March 29 – Albert Von Tilzer, American songwriter (d. 1956)
 * May 24 – Louis Fleury, French flautist (d. 1926)
 * May 25 – Bill Robinson, American tap dancer, singer, actor (d. 1949)
 * July 3 – George M. Cohan, American songwriter, entertainer (d. 1942)
 * July 5 – Joseph Holbrooke, English composer (d. 1958)
 * July 9 – Eduard Sõrmus, Estonian violinist (d. 1940)
 * July 12
 * Bert Grant, composer (died 1951)
 * Percy Hilder Miles, English composer, violinist and teacher (d. 1922)
 * July 22 – Ernest Ball, American singer-songwriter (d. 1927)
 * July 25 – Heinrich Gebhard, German-born composer (d. 1963)
 * August 18 – Fritz Brun, Swiss composer and conductor (d. 1959)
 * August 22 – Edward Johnson, Canadian operatic tenor (d. 1959)
 * August 28 – Laura de Turczynowicz (née Laura Christine Blackwell), Canadian-born opera singer (d. 1953)
 * September 7 – Adolphe Piriou, French composer and musician (died 1964)
 * September 17 – Vincenzo Tommasini, Italian composer (d. 1950)
 * October 18 – Blind Uncle Gaspard, American Cajun vocalist and guitarist (d. 1937)
 * October 19
 * Hermann Claudius, lyricist (died 1980)
 * Alphonse Picou, American jazz clarinettist (d. 1961)
 * November 4 – Jean Schwartz, Hungarian-born songwriter (d. 1956)
 * November 23 – André Caplet, French composer and conductor (d. 1925)
 * December 23 – Wilfred Sanderson, composer (died 1935)
 * Undated – Ustad Qasim, Afghan musician (d. 1957)

Deaths

 * January 15 – Carlo Blasis, dancer and choreographer (b. 1797)
 * February 2 – Josif Runjanin, composer (b. 1821)
 * April 8 – Henriette "Jetty" Treffz, singer, first wife and business manager of Johann Strauss II (b. 1818)
 * April 21 – Temistocle Solera, librettist and composer (b. 1815)
 * May 6 – François Benoist, organist and composer (b. 1794)
 * May 24 – Franz Espagne, musicologist (born 1828)
 * July 2 – François Bazin, opera composer (b. 1816)
 * August 23 – Adolf Fredrik Lindblad, composer (b. 1801)
 * October 13-October 25 – Ludwig Wilhelm Maurer, violinist, conductor and composer (b. 1789)
 * November – Marco Aurelio Zani de Ferranti, guitarist and composer (b. 1801)
 * November 13 – Carl Heissler, violinist (b. 1826)
 * December 18 – Heinrich Proch, composer (b. 1809)
 * December 28 – José Bernardo Alcedo, composer of the Peruvian national anthem (b. 1788)
 * date unknown – Robert Heller, pianist and magician (b. 1826)

title: 1878 in music