In , on Baeyer's recommendation, he was engaged by H. There he remained for thirteen years, and it was during this period that he devised his well-known method for determining vapour densities, and carried out his experiments on the dissociation of the halogens. In , on the death of W. He died on the 8th of August In recognition of his brilliant experimental powers, and his numerous contributions to chemical science, he was awarded the Davy medal by the Royal Society in He studied the pianoforte, first under Lauska, and afterwards under Lauska's master, Clementi.
When seven years old he played Mozart's Concerto in D Minor in public, and at nine he was pronounced the best pianist in Berlin.
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Vogler invited him to Darmstadt, and in received him into his house, where he formed an intimate friendship with Karl Maria von Weber, who also took daily lessons in counterpoint, fugue and extempore organ-playing. At the end of two years the grand duke appointed Meyerbeer composer to the court. These checks discouraged him so cruelly that he feared he had mistaken his vocation. Nevertheless, by advice of Salieri he determined to study vocalization in Italy, and then to form a new style. But at Venice he was so captivated by Rossini that, renouncing all thought of originality, he produced a succession of seven Italian operas — Romilda e Costanza , Semiramide riconosciuta , Eduardo e Cristina , Emma di Resburgo , Margherita d'Anjou , L'Esule di Granata and Il Crociato in Egitto — which all achieved a success as brilliant as it was unexpected.
Against this act of treason to German art Weber protested most earnestly; and before long Meyerbeer himself grew tired of his defection. An invitation to Paris in led him to review his position dispassionately, and he came to the conclusion that he was wasting his powers.
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For several years he produced nothing in public; but, in concert with Scribe, he planned his first French opera, Robert le Diable. This gorgeous spectacle was produced at the Grand Opera in It was the first of its race, a grand romantic opera, with situations more theatrically effective than any that had been attempted either by Cherubini or Rossini, and with ballet music such as had never yet been heard, even in Paris. Its popularity exceeded all expectations; yet for five years Meyerbeer appeared before the public no more. His next opera, Les Huguenots , was first performed in In gorgeous colouring, rhetorical force, consistency of dramatic treatment, and careful accentuation of individual types, it is at least the equal of Robert le Diable.
In two points only did its interest fall short of that inspired by the earlier work. Meyerbeer had shown himself so eminently successful in his treatment of the supernatural that one regretted the omission of that element; and, more important still, the fifth act proved to be an anti-climax. The true interest of the drama culminates at the close of the fourth act, when Raoul, leaping from the window to his death, leaves Valentine fainting upon the ground.
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The opera now usually ends at the fourth act. The libretti of both these operas were furnished.
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This page has been proofread , but needs to be validated. See A. Meyer's Gedichte und Novellen ; K. Kranzos, K. See below.
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CrossRef Google Scholar. However, and as I hope will become clear, I am not so much proposing that narration functions like the unconscious in this tale as that the unconscious functions like the narration. Evans note 14 , Jeziorkowski note 16 and Debo rah S. Meyer , New York For Dante as not overtly recognizing the motivating reality to his own narrative, see David A. My argument stresses not only that this hidden governing reality derives from the operant conditions of narration, but also that its eventual exposure, i.
Jeffrey M. Masson, Frankfurt a.
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Jacques-Alain Miller, tr. Alan Sheridan, New York, , pp. Shoshana Felman Baltimore , — Harvard USA. Personalised recommendations.