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  (page 46 of 392)
Mar 31, 2026 05:47PM

 
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William Shakespeare
“Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes;
Nothing of him that doth fade,
But doth suffer a sea change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
Ding-dong.
Hark! now I hear them — Ding-dong, bell.”
William Shakespeare, The Tempest

“Mahler’s “Ich bin der Welt abhanden gekommen”—“I am lost to the world”—a beautiful song that forms its own shelter from the flow of linear time, closing with words that bespeak the radical loneliness of attachment to a celestial ideal: “I live alone, in my heaven of love, devotion, and song.”
Jeremy Eichler, Time's Echo: The Second World War, the Holocaust, and the Music of Remembrance

Primo Levi
“The man who is to die in front of us today in some way took part in the revolt. They say he had contacts with the rebels of Birkenau, that he carried arms into our camp, that he was plotting a simultaneous mutiny among us. He is to die today before our very eyes: and perhaps the Germans do not understand that this solitary death, this man’s death which has been reserved for him, will bring him glory, not infamy.

At the end of the German’s speech, which nobody understood, the raucous voice of before again rose up: “Haht ihr verst and en?" Have you understood? Who answered “Jawohl?" Everybody and nobody: it was as if our cursed resignation took body by itself, as if it turned into a collective voice above our heads. But everyone heard the cry of the doomed man, it pierced through the old thick barriers of inertia and submissiveness, it struck the living core of man in each of us: “Kamaraden, icb bin der Letzte!" (Comrades, I am the last one!).

I wish I could say that from the midst of us, an abject flock, a voice rose, a murmur, a sign of assent. But nothing happened. We remained standing, bent and grey, our heads dropped, and we did not uncover our heads until the German ordered us to do so. The trap door opened, the body wriggled horribly; the band began playing again and we were once more lined up and filed past the quivering body of the dying man.

At the foot of the gallows, the SS watch us pass with indifferent eyes: their work is finished, and well finished. The Russians can come now: there are no longer any strong men among us, the last one is now hanging above our heads, and as for the others, a few halters had been enough. The Russians can come now: they will only find us, the slaves, the worn-out, worthy of the unarmed death which awaits us.

To destroy a man is difficult, almost as difficult as to create one: it has not been easy, nor quick, but you Germans have succeeded. Here we are, docile under your gaze; from our side you have nothing more to fear; no acts of violence, no words of defiance, not even a look of judgement.

Alberto and I went back to the hut, and we could not look each other in the face. That man must have been tough, he must have been made of another metal than us if this condition of ours, which has broken us, could not bend him.

Because we also are broken, conquered: even if we know how to adapt ourselves, even if we have finally learnt how to find our food and to resist the fatigue and cold, even if we return home.

We lifted the menaschka on to the bunk and divided it, we satisfied the daily ragings of hunger, and now we are oppressed by shame.”
Primo Levi, Survival in Auschwitz

Ian Kershaw
“The point where hubris takes over had been reached by 1936. Germany had been conquered. It was not enough. Expansion beckoned. World peace would soon be threatened. Everything was coming about as he alone had foreseen it, thought Hitler. He had come to regard himself as ordained by Providence. ‘I go with the certainty of a sleepwalker along the path laid out for me by Providence,’ he told a huge gathering in Munich on 14 March. His mastery over all other power-groups within the regime was by now well-nigh complete, his position unassailable, his popularity immense. Few at this point had the foresight to realize that the path laid out by Providence led into the abyss.”
Ian Kershaw, Hitler

David Vernon
“Above all, Sibelius's music concerns itself with the relationship between a melancholic yet ebullient mind and the wider world outside it; with the function of emotions, the imagination and the intellect in human life; with how art can survey, scrutinize and give meaning to the strangeness of existence.

“Frequently, therefore, not only do the abstract and the programmatic coalesce in Sibelius; the elemental - fire, earth, air, water - are also attached to the psychological. Nature painting in his music is never mere sonic landscaping but a penetrating examination of human mental processes, as well as insecurity and instability. The dark forests of Tapiola (1926) are the gloomy forests of the mind; the harsh, stark landscapes of the Fourth Symphony (1911) are soundscapes of spiritual, cerebral and ecological anguish; the erotic thrills and dangerous liaisons of Kullervo (1892), Lemminkäinen (1896), and the First Symphony (1899) serve as prophetic warnings not just about psychosexual licentiousness but environmental debauchery too.

“In his extraordinary symphonies and tone poems, Sibelius explores the stimulating forces and shadowy agencies lurking behind the locked doors of nature, the dense layers of myth and the misty windows of the soul. His is a captivating and increasingly pertinent musical mind we would do well to heed.”
David Vernon, Sun Forest Lake: The Symphonies & Tone Poems of Jean Sibelius

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