Grim Death

Dickens, Charles: Dombey and Son. Complete with 62 illustrations by F. Barnard. Mit einem Vorwort des Verfassers. London, Chapman and Hall, no date, ca. 1894.
Befriedigender Zustand. Einband gedunkelt. Buchrücken am Fuß mit einem kleinen Ausriß (2 cm). Seiten papierbedingt leicht gebräunt. The cover is darkened. Satisfying Condition. Aus der Bibliothek der Gräfin Ledebur. - Dombey and Son is a novel by the Victorian author Charles Dickens. It was first published in monthly parts between October 1846 and April 1848 with the full title Dealings with the Firm of Dombey and Son: Wholesale, Retail and for Exportation. Dickens started writing the book in Lausanne, Switzerland, but travelled extensively during the course of its writing, returning to England to begin another work before completing Dombey and Son. ... Critical appreciation: Dombey and Son was conceived first and foremost as a continuous novel. A letter from Dickens to Forster on 26 July 1846 shows the major details of the plot and theme already substantially worked out. According to the critic George Gissing, 'Dombey was begun at Lausanne, continued at Paris, completed in London, and at English seaside places; whilst the early parts were being written, a Christmas story, The Battle of Life, was also in hand, and Dickens found it troublesome to manage both together. That he overcame the difficulty-that, soon after, we find him travelling about England as member of an amateur dramatic company-that he undertook all sorts of public engagements and often devoted himself to private festivity-Dombey going on the while, from month to month-is matter enough for astonishment to those who know anything about artistic production. But such marvels become commonplaces in the life of Charles Dickens.'[5] George Gissing, Chapter VII: Dombey and Son, The Immortal Dickens, London: Cecil Palmer, 1925] As with most of Dickens' work, a number of socially significant themes are to be found in this book. In particular the book deals with the then-prevalent common practice of arranged marriages for financial gain. Other themes to be detected within this work include child cruelty (particularly in Dombey's treatment of Florence), familial relationships, and as ever in Dickens, betrayal and deceit and the consequences thereof. Another strong central theme, which the critic George Gissing elaborates on in detail in his 1925 work The Immortal Dickens,[6] is that of pride and arrogance, of which Paul Dombey senior is the extreme exemplification in Dickens' work. Gissing makes a number of points about certain key inadequacies in the novel, not the least that Dickens's central character is largely unsympathetic and an unsuitable vehicle and also that after the death of the young Paul Dombey the reader is somewhat estranged from the rest of what is to follow. He notes that 'the moral theme of this book was Pride-pride of wealth, pride of place, personal arrogance. Dickens started with a clear conception of his central character and of the course of the story in so far as it depended upon that personage; he planned the action, the play of motive, with unusual definiteness, and adhered very closely in the working to this well-laid scheme'. However, he goes on to write that,'Dombey and Son is a novel which in its beginning promises more than its progress fulfils' and gives the following reasons why: " Impossible to avoid the reflection that the death of Dombey's son and heir marks the end of a complete story, that we feel a gap between Chapter XVI and what comes after (the author speaks of feeling it himself, of his striving to "transfer the interest to Florence") and that the narrative of the later part is ill-constructed, often wearisome, sometimes incredible. We miss Paul, we miss Walter Gay (shadowy young hero though he be); Florence is too colourless for deep interest, and the second Mrs. Dombey is rather forced upon us than accepted as a natural figure in the drama. Dickens's familiar shortcomings are abundantly exemplified. He is wholly incapable of devising a plausible intrigue, and shocks the reader with monstrous improbabilities such as all that portion of the denouement in which old Mrs. Brown and her daughter are concerned. A favourite device with him (often employed with picturesque effect) was to bring into contact persons representing widely severed social ranks; in this book the "effect" depends too often on "incidences of the boldest artificiality," as nearly always we end by neglecting the story as a story, and surrendering ourselves to the charm of certain parts, the fascination of certain characters.'[7] ^ George Gissing, Chapter VII: Dombey and Son, The Immortal Dickens, London: Cecil Palmer, 1925] ... The growth of the railways: A strong theme is the destruction and degradation (of people and places) caused by industrialisation, illustrated in particular by the building of the new railway through Camden Town (assumed to represent the London and Birmingham Railway constructed between 1833 and 1837). This reflects Dickens's apparent antipathy towards railways[citation needed], later reinforced by his involvement in a train crash in 1865. Soon after this incident he wrote two short stories (Mugby Junction and The Signal-Man) which projected a morbid view of the railways. Final thoughts: Gissing refers to Dickens's instinctive genius for reflecting the thoughts and morals of the common man in his writing. He observes that the author was in constant communication with Forster, " ... as to the feeling of his readers about some proposed incident or episode; not that he feared, in any ignoble sense, to offend his public, but because his view of art involved compliance with ideals of ordinary simple folk. He held that view as a matter of course. Quite recently it has been put forth with prophetic fervour by Tolstoy, who cites Dickens among the few novelists whose work will bear this test. An instinctive sympathy with the moral (and therefore the artistic) prejudices of the everyday man guided Dickens throughout his career, teaching him when, and how far, he might strike at things he thought evil, yet never defeat his prime purpose of sending forth fiction acceptable to the multitude. Himself, in all but his genius, a representative Englishman of the middle-class, he was able to achieve this task with unfailing zeal and with entire sincerity.[11] " George Gissing, Chapter VII: Dombey and Son, The Immortal Dickens, London: Cecil Palmer, 1925] Karl Smith, in his turn, gives his specific reasons for what makes Dombey and Son - and the works of Dickens as a whole - worth reading again and again. He observes that this is based in part on Dickens's 'recognition that solemn themes require humour and verbal vigour to accompany and complement them' and goes on to conclude: "Grim psychological realism, social commentary, comic absurdity and symbolic transcendence are here brought together more than in any previous novel with the possible exception of Oliver Twist. Dombey and Son not only prepares the ground for Dickens's later masterpieces, but demands to be enjoyed for its own energy and richness.[12] ^ Dombey and Son, Introduction, Karl Smith, Wordsworth Classics] wikipedia--wiki-Dombey_and_Son Aus: wikipedia-

Household edition. x, 449 pages with sixty-two Illustrations by F. Barnard. 423 Seiten mit zahlreichen schwarz-weißen Ilustrationen in Holzstich im Text und auf Tafeln. 25,5 x 19,5 cm. Rotes Leinen mit goldgeprägten Rücken- und Deckeltiteln, blindgeprägten Deckelverzierungen, farbigen Vorsätzen und Kopffarbschnitt.

[SW: Englische Literatur des 19. Jahrhunderts, Literaturtheorie, Englische Literatur, Anglistik, Englische Sprach- und Literaturwissenschaft, Britain, Literaturgeschichte, Literaturwissenschaften, Geschichte, Gesellschaft, Politik, Originalsprache, Book is written in english, englisch, englische Sprache, Roman, Romane, Prosa, Literatur, Gesellschaftsroman, Liebesgeschichte, Familienroman, Weltliteratur, prose, literature, fiction and poetry, society novel, love story, family saga, world literature, Illustrationen, Illustrierte Ausgaben, Illustrierte Bücher, illustrated]

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Cornelius, Peter: Gemischte Chöre (komplett) Choruses for mixed voices (complete edition)

S. 114, Peter Cornelius (geb. Mainz, 24. Dezember 1824 - gest. Mainz, 26. Oktober 1874) Gemischte Chöre Vorwort Vorliegender Band enthält die für den 1905 aufgelegten zweiten Band der von Max Hasse edierten, im Verlag Breitkopf & Härtel erschienenen Musikalischen Werke von Peter Cornelius ('Erste Gesamtausgabe - im Auftrage seiner Familie herausgegeben') ausgewählten Werke für gemischten Chor. Im Vorwort schrieb Hasse: "Auch die Grundlagen zum zweiten Bande dieser Quellenausgabe bildeten ausschließlich Originalmanuskripte und nachgesehene Erstdrucke." Detailliertere Auskunft über die einzelnen Werke erteilt Hasse in der Inhaltsübersicht, aus der nachfolgende Informationen entnommen sind. 1. Beethovenlied Das war vor hundert Jahren op. 10. Gedicht von Peter Cornelius. Komponiert Bogenhausen bei München. (Erstdruck 1871 bei Fritzsch, Leipzig.) 2. Der Tod, das ist die kühle Nacht op. 11 Nr. 1. Gedicht von Heinrich Heine. 3. An den Sturmwind op. 11 Nr. 2. Gedicht von Friedrich Rückert. 4. Die drei Frühlingstage op. 11 Nr. 3. Gedicht von Friedrich Rückert. Nr. 2-4: Komponiert München, Mai 1871. (Erstdruck 1871 bei Fritzsch, Leipzig.) 5. Bußlied op. 13 Nr. 1. Text von Peter Cornelius im Anschluß an Psalm 88. Musik nach der Sarabande aus der 1. Französischen Suite von Johann Sebastian Bach. 6. An Babels Wasserflüssen op. 13 Nr. 2. Gedicht von Peter Cornelius nach Psalm 137. Musik nach der Sarabande aus der 3. Englischen Suite von Johann Sebastian Bach. 7. Jerusalem op. 13 Nr. 3. Text von Peter Cornelius im Anschluß an Psalm 122. Musik nach dem 2. Menuett aus der 1. Partita BWV 825 von Johann Sebastian Bach. Nr. 5-7: Komponiert München, erste Oktoberhälfte 1872. (Erstdruck 1873 bei Fritzsch, Leipzig.) 8. Trost in Tränen op. 14. Gedicht von J. W. von Goethe. Komponiert München, Juli/August 1872. Hans von Bronsart gewidmet. (Erstdruck 1873 bei Fritzsch, Leipzig.) 9. Liebe, dir ergeb' ich mich! op. 18 Nr. 1. 10. Ich will dich lieben, meine Krone! op. 18 Nr. 2. 11. Thron der Liebe, Stern der Güte! op. 18 Nr. 3. Alle 3 Texte des Opus 18 aus Schefflers "Heilige Seelen-Lust oder geistliche Hirtenlieder der in Herrn Jesus verliebten Psyche". Klavierauszüge vom Komponisten. Komponiert Bernau, August 1872. (Erstdruck 1877 bei Fritzsch, Leipzig.) 12. Das Tanzlied op. 20 Nr. 4. Gedicht von Peter Cornelius. Musik nach dem Tanzlied des Baldassare Donati aus "Il Primo Libro di Canzon. Villanesche alla Napolitana a 4 voci" (Venezia, Ant. Gardano 1550). 13. Blaue Augen. Gedicht von Peter Cornelius. Musik nach einer von Hasse nicht identifizierten "alten Choralmelodie mit Anklängen an 'Valet will ich dir geben'" (Hasse). 14. Amor im Nachen op. 20 Nr. 3. Gedicht von Peter Cornelius. Musik nach dem 'Amor vittorioso' des Giovanni Gastoldi aus dessen "Balletti a cinque voci" (Venezia, Ricc. Amadino 1591). 15. Liebeslied op. 20 Nr. 2. Gedicht von Peter Cornelius. Musiknach dem 'L'innamorato' des Giovanni Gastoldi aus dessen "A lieta Vita" (Venezia, Ricc. Amadino 1591). 16. Zug der Juden nach Babylon op. 20 Nr. 1. Gedicht von Peter Cornelius. Musik nach Orazio Vecchi aus dessen "Con vito Musicale" (Venezia, Ang. Gardano 1595 17. Freund Hein. Gedicht von Peter Cornelius. Musik nach dem Choral aus dem Streichquartett a-moll op. 132 von Ludwig van Beethoven, "Dankgesang eines Genesenen an die Gottheit". Nr. 12. - 17: Komponiert München, 1. August 1872. (Nr. 12, 14, 15 und 16: Erstdruck 1877 bei Fritzsch, Leipzig. Nr. 13 und 17: Erstdruck 1905 bei Breitkopf & Härtel, Leipzig.) 18. Die Vätergruft op. 19. Ballade von Ludwig Uhland. Komponiert München, 2. Februar 1874. Felix Draeseke gewidmet. (Erstdruck 1877 bei Fritzsch, Leipzig.) 19. Requiem Seele, vergiß' sie nicht, Seele, vergiß' nicht die Toten!. Gedicht von Friedrich Hebbel. Komponiert Wien, nach Hebbels Tod am 13. Dezember 1863, endgültige Fassung zu Bernau, 21.-31. Juli 1872. (Beide Originalmanuskripte sind erhalten geblieben, "mit nur teilweise unterlegtem Texte, ohne alle Vortragsbezeichnungen".). "Das Requiem widme ich den Manen des Dichters Hebbel." (Cornelius an seine Schwester Elise in einem Brief vom 26. Dezember 1872). Klavierauszug vom Komponisten. "Der Chor ist vom Komponisten a cappella gedacht. Indem der Herausgeber das Streichquintett hinzusetzte, glaubte er die großen modulatorischen Schwierigkeiten etwas zu paralysieren." (Hasse) (Erstdruck 1905 bei Breitkopf & Härtel, Leipzig.) 20. So weich und warm. Gedicht von Paul Heyse. Ursprünglich als Duett komponiert in Berlin, vermutlich 1848. "Dieser vierstimmige Satz entstand nach mündlicher Überlieferung durch Frau Bertha Cornelius, kurz vor dem Tode des Dichterkomponisten." (Hasse) Original-Manuskript ohne Vortragszeichen. (Erstdruck 1905 bei Breitkopf & Härtel, Leipzig.) Aufführungsmaterial (nach der Ausgabe von Cornelius' Werken) ist vom Verlag Breitkopf & Härtel, Wiesbaden erhältlich. top of page Peter Cornelius (born Mainz, 24th December 1824 - died Mainz, 26th October 1874) Choruses for mixed voices Preface The present volume contains those works for mixed choir chosen for publication in 1905 as the second volume of the compositions of Peter Cornelius; it was edited by Max Hasse and published by Breitkopf & Härtel (as the "First complete edition - at his family's request"). Hasse wrote in his preface: "For this second volume we drew once again for our source material solely on the original manuscripts, as well as examining first editions." A detailed survey of the individual works is given by Hasse in the table of contents, from which the following information is taken. 1. Beethoven Song A hundred years ago 'twas, Op. 10. Poem by Peter Cornelius. Composed in Bogenhausen near Munich. (First edition, Fritzsch, Leipzig, 1871). 2. Grim death, it is the cooling night, Op. 11, no. 1. Poem by Heinrich Heine. 3. To the Stormwind, Op. 11, no. 2. Poem by Friedrich Rückert. 4. Days of Springtime, Op. 11, no. 3. Poem by Friedrich Rückert. Nos. 2-4: composed in Munich in May 1871. (First edition, Fritzsch, Leipzig, 1871). 5. Song of Repentance, Op. 13, no. 1. Words by Peter Cornelius after Psalm 88. Music after the Sarabande from the First French Suite by Johann Sebastian Bach. 6. By the Waters of Babylon, Op. 13, no. 2. Poem by Peter Cornelius after Psalm 137. Music after the Sarabande from the Third English Suite by Johann Sebastian Bach. 7. Jerusalem, Op. 13, no. 3. Words by Peter Cornelius after Psalm 122. Music after the Second Minuet from the First Partita, BWV 825, by Johann Sebastian Bach. Nos. 5-7: composed in Munich, first half of October 1872. (First edition, Fritzsch, Leipzig, 1873). 8. Consolation in Tears, Op. 14. Poem by J. W. von Goethe. Composed in Munich, July/ August 1872. Dedicated to Hans von Bronsart. (First edition, Fritzsch, Leipzig, 1873). 9. Love, I give myself to thee!, Op. 18, no. 1. 10. I'll love thee ever, my Redeemer!, Op. 18, no. 2. 11. Throne of Mercy, Star of Goodness!, Op. 18, no. 3. All 3 texts of Opus 18 from Scheffler's Heilige Seelen-Lust oder geistliche Hirtenlieder der in Herrn Jesus verliebten Psyche. Piano reductions by the composer. Composed in Bernau, August 1872. (First edition, Fritzsch, Leipzig, 1877). 12. Song of ther Dance, Op. 20, no. 4. Poem by Peter Cornelius. Music after the 'Dance Song of Baldassare Donati' from Il Primo Libro di Canzon. Villanesche alla Napolitana a 4 voci (Venice, Ant. Gardano 1550). 13. Blue Eyes. Poem by Peter Cornelius. Music after an unidentified "old choral tune, echoing 'Valet will ich Dir geben'" (Hasse). 14. Cupid in the Boat, Op. 20 no. 3. Poem by Peter Cornelius. Music after the 'Amor vittorioso' of Giovanni Gastoldi from his Balletti a cinque voci (Venice, Ricc. Amadino 1591). 15. Love Song, Op. 20 no. 2. Poem by Peter Cornelius. Music after the 'L'innamorato' of Giovanni Gastoldi from his 'A lieta Vita' (Venice, Ricc. Amadino 1591). 16. March of the Jews toward Babylon, Op. 20 no. 1. Poem by Peter Cornelius. Music after Orazio Vecchi from his Con vito Musicale (Venice, Ang. Gardano 1595). 17. Friend Death. Poem by Peter Cornelius. Music after the chorale from the string quartet in A minor, op. 132 by Ludwig van Beethoven, Dankgesang eines Genesenen an die Gottheit. Nos. 12-17: composed in Munich, 1st August 1872. (Nos. 12, 14, 15 & 16: first edition, Fritzsch, Leipzig, 1877. Nos. 13 & 17: first edition, Breitkopf & Härtel, Leipzig, 1905). 18. The Ancestral Vault, Op. 19. Ballad by Ludwig Uhland. Composed in Munich, 2nd February 1874. Dedicated to Felix Draeseke. (First edition, Fritzsch, Leipzig, 1877). 19. Requiem Soul, O, forget them not, Never forget the departed!. Poem by Friedrich Hebbel. Composed in Vienna after Hebbel's death on 13th December 1863. Final version in Bernau, 21-31st July 1872. (Both original manuscripts are extant, "with text only added in parts and without any expression markings"). "This Requiem I dedicate to the manes of the poet Hebbel." (Cornelius in a letter dated 27th December 1872 to his sister Elise.) Piano reduction by the composer. "The composer intended the chorus to be sung a cappella. By adding the string quintet, the composer attempted to paralyse somewhat the immense difficulties of the modulations." (Hasse). (First edition, Breitkopf & Härtel, Leipzig, 1905). 20. So soft and warm. Poem by Paul Heyse. Originally composed in Berlin as a duet, presumably in 1848. "According to the oral records related by the composer's wife, Bertha Cornelius, this four-part movement originated shortly before the death of our composer-poet" (Hasse). Original manuscript without expression markings. (First edition, Breitkopf & Härtel, Leipzig, 1905). For performance materials (according to the edition of Cornelius's works) please contact the publisher Breitkopf & Härtel, Wiesbaden.

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Trent Jamieson: Business of Death A Steven de Selby novel, ORBIT, 091 ISBN: 1841498610
Reaping - it's a grim job but someone's got to do it. Welcome to the dark world of Stephen de Selby in this larger than life omnibus edn containing DEATH MOST DEFINITE, MANAGING DEATH and THE BUSINESS OF DEATH.

NEW 2011 200 mm x 128 mm x 45 mm

[SW: Amerikanische Belletristik / Science Fiction, Englische Bücher / Belletristik / Fantasy, Fiction / Fantasy / General]

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Mary Shaw: Grim Reaper's Road Map, Policy Press, Oktober 2008 ISBN: 1861348231
With over 100 colour-coded and accessible maps, this atlas presents the geography of death in Britain. It presents data from more than 14 million deaths over a 24-year period in Britain. It details over 100 separate categories of cause of death, including various cancers, suicides, assault by firearms, multiple sclerosis, pneumonia, and falls.

NEW 302X19X243

[SW: Social Science / Death & Dying]

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