The Fighting Téméraire

NotesJulian S. Corbett, The Campaign of Trafalgar (London, 1910), p. 45, note.Corbett, p. 343. See also the map opposite p. 384.Southey's Life of Nelson (Edited with Introduction and Critical Notes by Geoffrey Callender, London, 1922), pp. 311-312.Corbett, p. 397. The whole history of the ship is also recounted by Friedrich Haack in Wilhelm Lübke's Grundriß der Kunstgeschichte, 17. Aufl. (Esslingen a. N. 1922), v, 194. Haack is, however, mistaken, as is Thornbury (see note 6), in assuming that the Téméraire took part in the battle of the Nile. This battle was fought in the year that the Téméraire was launched!.See Geoffrey A. R. Callender, Sea Kings of Britain (London, 1911), iii, 336, note.This anecdote is related by Walter Thornbury, The Life of J. M. W. Turner, R. A., revised edition (London, 1897), p. 459.A reproduction of the painting in colors may be found in Turner. From the Works of John Ruskin (“Master Painters.” London: Hodder & Stoughton, s. a.), p. 63. Reproductions in black and white may be seen in W. C. Monkhouse, Turner (London, 1882), p. 119, or Sir W. Armstrong, Turner (London, 1902), opposite p. 117.Charles Johnson, English Painting from the Seventeenth Century to the Present Day (New York, 1932), p. 180.See the description in the Catalogue of the National Gallery at Trafalgar Square in London (1925), p. 337.See Hans Vollmer's article on Turner in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, xxxiii (Leipzig, 1939), 493–496. Vollmer also gives a complete bibliography. See also Karl Woermann, Geschichte der Kunst aller Zeiten und Völker, vi, 2. Aufl. (Leipzig, 1922), p. 154.Philip Gilbert Hamerton, The Life of J. M. W. Turner, R. A. (London & Boston, 1879), p. 286.Sir Walter Armstrong, op. cit., p. 117. Armstrong also points to the fact that in the picture “the mast of the steam-tug is abaft the funnel, an impossible position.”.Thornbury, op. cit., p. 462.See Longman's Magazine, xxx, No. clxxv (May, 1897), 84–85; Henry Newbolt, Admirals All and Other Verses (“Elkin Matthews’ Shilling Garland,” 7th ed. London: Elkin Matthews, 1898), pp. 13–14. The poem has been reprinted several times without change and may also be found in Henry Newbolt's Poems: New and Old (New York: E. P. Dutton & Co., 1921), pp. 18–19.See Henry Newbolt, The Island Race (New York, 1899), p. 61. The same note can be found in Poems: New and Old, p. 267.See Stanley J. Kunitz (editor), Authors Today and Yesterday, 2d ed. (New York, 1934). p. 491.History of the Great War based on Official Documents. Naval Operations. Vol. iv (1928), Vol. v (1931, London & New York).See Hans Vollmer, op. cit., p. 494.See Anton Springer, Handbuch der Kunstgeschichte, v: “Von 1800 bis zur Gegenwart,” 9. Aufl. v. Max Osborn (Leipzig, 1925), p. 140.See Liliencron's letter to Kurt Piper of May 26, 1903 (Detlev von Liliencron, Ausgewählte Briefe, herausgegeben von Richard Dehmel [Berlin, 1910], ii, 246–247): “Sie sehen, mein Kurt Piper, so gehts munter weiter. Dies ist die zweite lustige Ballade. Zum vierten Mal auch die zurückgesandt. Wohin nun damit? Sie können sich denken, welchen Geldverlust ich habe! Grade mir, der drauf angewiesen ist. Ebenso ergehts mir mit ‘the fighting Téméraire’ u. der “nächtlichen Trauung.” Zwei tiefernste Balladen, die 1000 u. 1000mal nach meinem Tode vorgetragen werden! Was ist's denn, daß ich immer abgeschlagen werde? Die Scheißangst der Redacteure vorm Publikum.See Liliencron's letter to Richard Dehmel of June ii, 1903 (op. cit., p. 248): “Nun geht die Correctur meines Buches (am 1. August) zu Ende. Und ich schwitze nach wie vor über der Fighting Téméraire. Beim Allmächtigen: wie furchtbar schwer sind Übertragungen.”.The poem can now be conveniently found in Liliencron's Gesammelte Werke, 9. Aufl. (Berlin, 1921), iii, 296–298.See Albert Soergel, Dichtung und Dichter der Zeit, 19. Aufl. (Leipzig, 1928), pp. 557–558.Heinrich Spiero, Detlev von Liliencron (Berlin, 1913), pp. 510–512, mentions musical settings by Walter Courvoisier (for male chorus and orchestra), Otto Kohlmann, and Georg Vollerthun.The facts mentioned above make it quite evident that Liliencron never saw Newbolt's explanatory note, which, moreover, is not contained in either of the two printings of his poem mentioned in note 14. The German poet appears to have used one of these first published versions

Ancient history · Anecdote · Art · Art history · Battle · Humanities · Literature · Painting · White (mutation · Historical Art and Culture Studies · History