The First Four Notes: Beethoven's Fifth and the Human Imagination (40 page)

 64
. See Schumann’s letter to Friedrich Hiller, April 25, 1853, in Gustav F. Jansen,
ed.,
Robert Schumanns Briefe: Neue Folge
(Leipzig: Breitkopf und Härtel, 1904), pp. 370–71.

 65
. See William Malloch, “Carl Czerny’s Metronome Marks for Haydn and Mozart Symphonies,”
Early Music
16, no. 1 (Feb. 1988): 72–82, which also includes a reproduction of Beethoven’s own
metronome-marking table from the December 1817
Allgemeine musikalische Zeitung
.

 66
. Peter Stadlen makes this point in “Beethoven and the Metronome,”
Soundings
9 (1982): 38–73.

 67
. Kielan Yarrow et al., “Illusory Perceptions of Space and Time Preserve Cross-Saccadic
Perceptual Continuity,”
Nature
414 (Nov. 15, 2001): 302–5.

 68
. For effects of musical training, see, for example, Bruno H. Repp, “Sensorimotor
Synchronization and Perception of Timing,”
Human Movement Science
29 (2010): 200–213. For a study of the deafness aspect, see Joanna Kowalska and Elzbieta
Szelag, “The Effect of Congenital Deafness on Duration Judgment,”
Journal of Child Psychology and Psychiatry
47, no. 9 (Sept. 2006): 946–53.

 69
. See Helga Lejeune and J. H. Wearden, “Vierordt’s
The Experimental Study of the Time Sense
(1868) and Its Legacy,”
European Journal of Cognitive Psychology
21 (2009): 941–60. Vierordt’s book has never been translated into English.

 70
. Simon Grondin, “Timing and Time Perception: A Review of Recent Behavioral and Neuroscience
Findings and Theoretical Directions,”
Attention, Perception, & Psychophysics
72 (2010): 581, n. 4.

 71
. Ibid., p. 564.

 72
. One can compare three notable recordings from the 1980s that took up the historically
informed Beethovenian challenge. The Hanover Band, led by Roy Goodman, takes the first
movement of the Fifth at around 104 on their 1984 recording (Nimbus NIM 5007); Christopher
Hogwood and the Academy of Ancient Music hover just under the 108 threshold on their
1987 version (Decca L’Oiseau-Lyre 417–615 2); Roger Norrington and the London Classical
Players (EMI 7–49656–2) deliver their 1989 reading at a solid 108.

 73
. Richard Taruskin, “On Letting the Music Speak for Itself: Some Reflections on Musicology
and Performance,”
The Journal of Musicology
1, no. 3 (July 1982): 338–49.

 74
. Jean-Paul Sartre,
War Diaries: Notebooks from a Phoney War 1939–40
, Quentin Hoare, trans. (London: Verso, 1999), p. 221.

 75
. Jean-Paul Sartre,
Situations
, vol. 4, Benita Eisler, trans. (New York: G. Braziller, 1965), p. 222.

 76
. Jules Michelet,
Historical View of the French Revolution
, Charles Cocks, trans. (London: George Bell and Sons, 1888), p. 439.

 77
. Maynard Solomon, “Beethoven’s
‘Magazin der Kunst,’
 ”
19th-Century Music
7, no. 3 (April 1984): 207.

 78
. The news was duly transmitted by a professor in Beethoven’s hometown of Bonn, B.
L. Fischenich, to Schiller’s wife:

Quoted in Tia DeNora,
Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792—1803
(University of California Press, 1995), p. 85. Settings of the “Ode” were hardly
rare, but Beethoven knew that Fischenich was on letter-writing terms with the Schillers,
and that his own setting might stand a better-than-average chance of standing out
from the crowd. Beethoven’s “Feuerfarbe” was published as op. 52, no. 2.

 79
. Friedrich Schiller,
On the Aesthetic Education of Man
, Elizabeth M. Wilkinson and L. A. Willoughby, trans. (Oxford University Press, 1983).

 80
. Ibid., p. 191.

 81
. Schiller to Goethe, March 2, 1798 (
“die Reiche der Vernunft”
). In Friedrich Schiller,
Schillers Werke. Nationalausgabe. Neunundzwanzigster Band: Schillers Briefe 1796–1798
, Norbert Oellers and Frithjof Stock, eds. (Weimar: Hermann Böhlaus Nachfolger, 1977).

 82
. Solomon, “Beethoven and Schiller,” in
Beethoven Essays
, p. 208.

 83
. Franz Wegeler and Ferdinand Ries,
Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries
, Frederick Noonan, trans. (Arlington, VA: Great Ocean Publishers, 1987), p. 68.

 84
. Solomon,
Beethoven
, p. 182.

 85
. See Nicholas Mathew, “History Under Erasure:
Wellingtons Sieg
, the Congress of Vienna, and the Ruination of Beethoven’s Heroic Style,”
The Musical Quarterly
89, no. 1 (Spring 2006): 17–61.

 86
. Leo Braudy,
The Frenzy of Renown
(New York: Vintage Books, 1997), p. 409.

 87
. Henri Brunschwig,
Enlightenment and Romanticism in Eighteenth-Century Prus
sia, Frank Jellinek, trans. (University of Chicago Press, 1974), p. 139.

 88
. As suggested by Solomon in
Beethoven
, pp. 219–26.

 89
. Thayer-Forbes, p. 536.

 90
.
Beethoven’s Letters
(
1790–1826
)
from the Collection of Dr. Ludwig Nohl
, Lady Wallace, trans. (London: Longmans, Green and Co., 1866), vol. 1, pp. 114–15.

 91
. Quoted in Thayer-Forbes,
Thayer’s Life of Beethoven
, p. 538.

 92
. Quoted in ibid., p. 403, n. 10.

 93
. Rodeina Kenaan. “Staff Try to Save Battered Hotel That Was Journalist’s Haven,”
Associated Press, Feb. 25, 1987.

 94
. All examples from Paul-Édouard Levayer, ed.,
Chansonnier révolutionnaire
(Paris: Éditions Gallimard, 1989).

 95
. Michael Broyles,
Beethoven: The Emergence and Evolution of Beethoven’s Heroic Style
(New York: Excelsior Music Publishing Co., 1987), p. 125.

 96
. Arnold Schmitz,
Das romantische Beethovenbild
(Berlin und Bonn: Ferd. Dümmlers Verlag, 1927), pp. 166–67. Also see Broyles, Ibid.,
pp. 120–23.

 97
. Jean-François Le Sueur, “Chant du 1er Vendémiaire An IX,” in Constant Pierre,
Musique des fêtes et cérémonies de la révolution française
, p. 167:

 98
. Julien Tiersot,
Les Fêtes et Les Chants de la Révolution Française
(Paris: Librairie Hachette et Cie., 1908), pp. 313–15.

 99
. See David Charlton’s preface to his edition: Étienne Nicolas Méhul,
Symphony no. 1 in G minor
(Madison: A-R Editions, Inc., 1985), p. ix.

100
. Robert Schumann,
Music and Musicians: Essays and Criticisms
, Fanny Raymond Ritter, trans. (London: William Reeves, 1891), p. 385.

101
. Jean Mongrédien,
French Music from the Enlightenment to Romanticism 1789–1830
, Sylvain Frémaux, trans. (Portland, OR: Amadeus Press, 1996), pp. 319–20.

102
. Étienne Nicolas Méhul,
Euphrosine, ou Le Tyran Corrigé
, libretto by François Hoffmann (New York and London: Garland Publishing, Inc., 1980)
(facsimile of the first printed edition), p. 2 (mm. 23–27); see also p. 5 (mm. 87–89),
a particularly Beethovenian instance.

103
. Étienne Nicolas Méhul,
Ariodant
, libretto by François Hoffmann (New York and London: Garland Publishing, Inc., 1980)
(facsimile of the first printed edition), pp. 70–73.

104
. Étienne Nicolas Méhul,
Uthal
, libretto by Jacques Benjamin Saint-Victor (New York and London: Garland Publishing,
Inc., 1980) (facsimile of the first printed edition), p. 48.

105
. Although the printed score of Méhul’s G-minor symphony is for a small, Mozart-size
orchestra, some manuscript fragments indicate that Méhul either arranged or made an
arrangement from a version including trumpet and trombone; see appendices to Charlton’s
edition.

106
. Quoted by David Charlton in the preface to his edition of Méhul’s
Symphony no. 1
, p. ix.

107
. Quoted by David Charlton in the preface to his edition of Étienne Nicolas Méhul,
Three Symphonies
(New York and London: Garland Publishing, 1982), p. xiii.

108
. Henri Radiguier, “La Musique Française de 1789 à 1815,” in Albert Lavignac and Lionel
de la Laurencie, eds.,
Encyclopédie de la musique et dictionnaire du conservatoire
, p. 1638. Lavignac famously assigned characteristics to all the keys; his C minor
was “gloomy, dramatic, violent.”

109
. Alexander L. Ringer, “A French Symphonist at the Time of Beethoven: Etienne Nicolas
Méhul,”
The Musical Quarterly
37, no. 4 (Oct. 1951): 551.

110
. Paul Virilio,
Speed and Politics
, Mark Polizzotti, trans. (Los Angeles: Semiotext[e], 2006), p. 43.

111
. Ibid., p. 44.

112
. “The Great Lower Rhine Music Festival at Düsseldorf, Whitsuntide 1830,” in Senner
et al.,
The Critical Reception of Beethoven’s Compositions by His German Contemporaries
, vol. 2, p. 132.

113
. Igor Stravinsky,
An Autobiography
(New York: W. W. Norton & Co., 1962), pp. 116–17.

114
. Priscilla Robertson,
Revolutions of 1848: A Social History
(Princeton University Press, 1959), p. 26.

115
. From “The Eighteenth Brumaire of Louis Bonaparte,” in Karl Marx,
The Essential Marx: The Non-Economic Writings—a Selection
, Saul K. Padover, ed. (New York: New American Library, 1978), p. 234.

116
. “La Marseillaise” was performed in Gossec’s standard orchestration, originally written
for his 1792 opera
L’Offrande à la liberté
. The concert closed with the final “Hallelujah, Amen” from Handel’s
Judas Maccabeus
. See Prod’homme,
“La musique et les musiciens en 1848,” Sammelbände der Internationalen Musikgesellschaft
14, no. 1 (Oct.-Dec. 1912): 158.

117
. Quoted in Beate Angelika Kraus, “Beethoven and the Revolution: The View of the French
Musical Press,” in
Music and the French Revolution
, Malcolm Boyd, ed. (Cambridge University Press, 1992), p. 307.

  1
. Kurt Münzer,
Mademoiselle
, in
Die flammende Venus: Erotische Novellen
, Reinhold Eichacker, ed. (Munich: Universal-Verlag, 1919), pp. 122, 121. (“
Mademoiselle langte nach dem Beethovenband. Sie schlug die Symphonie auf, legte das
Heft auf das Notenpult und setzte sich neben Eduard zurecht. ‘Erste, zweite, drit–te
–,’ begann sie und schlug an. Aber Eduard ließ plötzlich die Hände sinken und sagte,
ohne das Fräulein anzusehen. ‘Heut,’ sagte er leise, ‘heut sprach der Brunner aus
der Obersekunda mit mir, der einmal Klavierkünstler werden will. Ich erzählte ihm,
daß wir diese Symphonie spielten, und da nannte er sie die Schicksals-Symphonie. Diese
ersten Noten, sagte er, bedeuten: so klopft das Schicksal an die Pforte.’ Und er schlug
die Töne an und summte leise dazu: ‘So klopft das Schick- / sal an die Pfor–te.’ ‘Natürlich’,
sagte Mademoiselle gedankenlos. Gott weiß, wo ihre Gedanken waren.”
)

  2
. Anton Schindler,
The Life of Beethoven
, Ignace Moscheles, trans. and ed. (London: Henry Colburn, 1841), vol. 2, p. 150.

  3
. Anton Schindler,
Biographie von Ludwig van Beethoven
, vol. 1, p. 158. As translated by Donald W. MacArdle in Anton Schindler,
Beethoven as I Knew Him
(New York: Dover Publications, 1996), p. 147.

  4
. Felix Weingartner,
On Conducting
, Ernest Newman, trans. (London: Breitkopf und Härtel, 1906), p. 35.

  5
. Margaret Fuller,
Papers on Literature and Art
(New York: John Wiley, 1848), Part I, pp. 86–87.

  6
. William Mason,
Memories of a Musical Life
(New York: The Century Co., 1902), p. 80.

  7
. Ibid., pp. 81–82.

  8
. William S. Newman, “Yet Another Major Beethoven Forgery by Schindler?”
The Journal of Musicology
3, no. 4 (Autumn 1984): 397–422.

  9
. Standley Howell, “Beethoven’s Maelzel Canon: Another Schindler Forgery?”
The Musical Times
(December 1979): 987–90.

 10
. See Peter Stadlen, “Schindler’s Beethoven Forgeries,”
The Musical Times
(July 1977): 549–52, and Dagmar Beck et al.,
“Einige Zweifel an der Überlieferung der Konversationshefte,”
in
Bericht über den Internationalen Beethoven-Kongreß 20. bis 23. März 1977 in Berlin
, Harry Goldschmidt et al., eds. (VEB Deutscher Verlag für Musik Leipzig, 1978), pp.
257–74.

 11
. Philip Hale,
Philip Hale’s Boston Symphony Programme Notes
, John N. Burk, ed. (Garden City, NY: Doubleday, Doran, & Co., 1935), p. 23.

 12
. Emily Anderson, ed.,
The Letters of Beethoven, Collected, Translated and Edited with an Introduction, Appendixes,
Notes and Indexes
(New York: St. Martin’s Press, 1961), pp. 66–68.

 13
. Maynard Solomon, “Beethoven’s Tagebuch of 1812–1818,” In
Beethoven Studies 3
, Alan Tyson, ed. (Cambridge University Press, 1982), p. 212.

 14
. Ibid., p. 249. Beethoven’s original (
“Zeige deine Gewalt Schicksal! Wir sind nicht Herrn über uns selbst; was beschlossen
ist, muß seyn, und so sey es dann!”
) is a slight misquotation of Christoph Martin Wieland’s translation (
“Schiksal, zeige deine Macht: Wir sind nicht Herren über uns selbst; was beschlossen
ist, muß seyn, und so sey es dann!”
). Shakespeare,
Shakespear Theatrikalische Werke
, Christoph Martin Wieland, trans. (Zürich: Orell, Geßner und Comp., 1766), VIItr.
Band, p. 437.

 15
. Solomon, “Beethoven’s Tagebuch of 1812–1818,” p. 232.

 16
. Editha and Richard Sterba,
Beethoven and His Nephew: A Psychoanalytical Study of Their Relationship
(New York: Schocken Books, 1971), p. 10.

 17
. Johann Kasper Lavater,
Hundert Christliche Lieder
(Zurich: Orell, Gessner, Füßli und Comp., 1776), p. 46. Lavater, who once tried to
convert Moses Mendelssohn, was, incidentally, indirectly responsible for the existence
of Beethoven’s death mask; his 1778
Physiognomische Fragmente
spurred the vogue for such casts.

 18
. James Macpherson,
Die Gedichte Ossians eines alten Celtischen Dichter
, Michael Denis, trans. (Vienna: Johann Thomas Edlen v. Trattern, 1769), Dritter Band,
p. 157.

 19
. German:
Der Koran: oder Das gesetz der Moslemen durch Muhammed den sohn Abdallahs
, translated by Friedrich Eberhard Boysen (Halle
:“in der Gebauerschen Buchhandlung,”
1828), p. 343; English:
The Koran
, translated by J. M. Rodwell (London: Williams and Norgate, 1861), p. 204.

 20
. A. W. Schlegel,
Kritische Schriften und Briefe
(Stuttgart: W. Kohlhammer Verlag, 1962), vol. 4, p. 37. See also Nicholas A. Germana,
The Orient of Europe: The Mythical Image of India and Competing Images of German National
Identity
(Cambridge Scholars Press, 2009).

 21
. Friedrich Schiller, “The Mission of Moses,” in
Schiller’s Complete Works
, C. J. Hempel, ed. and trans. (Philadelphia: I. Kohler, 1861), vol. 2, p. 359.

 22
. Thayer-Forbes, p. 240.

 23
. See Maynard Solomon, “Beethoven, Freemasonry, and the
Tagebuch
of 1812–1818,”
Beethoven Forum
8 (2000): 101–46.

 24
. Malcolm C. Duncan,
Duncan’s Masonic Ritual and Monitor
(New York: Dick & Fitzgerald, 1866), pp. 59–60.

 25
. August von Kotzebue,
Theater von August v. Kotzebue
(Verlag von Ignaz Klang in Wien und Eduard Kummer in Leipzig, 1841), vol. 35, p.
17.

 26
. Lewis Lockwood,
Beethoven: The Music and the Life
(New York: W. W. Norton & Co., 2005), p. 230.

 27
. See Frithjof Haas,
Hans von Bülow: Leben und Wirken
(Wilhelmshaven: Florian Noetzel Verlag, 2002), pp. 332–33.

 28
. George Gordon Byron,
Lord Byron’s Cain: Twelve Essays and a Text with Variants and Annotations
, Truman Guy Steffan, ed. (University of Texas Press, 1968), p. 163.

 29
. Ibid., p. 254.

 30
. Richard Wagner to Hans von Bülow, October 10, 1854, in Wagner,
Sämtliche Briefe
, Band VI, Hans-Josef Bauer et al., eds. (VEB Deutscher Verlag für Musik Leipzig,
1986), Band VI, pp. 257–61.

 31
. C. A. Barry, “Hans von Bülow’s ‘Nirvána,’ ”
Zeitschrift der Internationalen Musikgesellschaft
2, no. 9 (June, 1901): 298.

 32
. G. W. F. Hegel,
Hegel’s Philosophy of Right
, S. W. Dyde, trans. (London: George Bell and Sons, 1896), p. xxvii.

 33
. G. W. F. Hegel,
Hegel’s Lectures on the History of Philosophy
, E. S. Haldane, trans. (London: Routledge & Kegan Paul Ltd., 1955), vol. 1, p. 279.

 34
. As translated in Philip Wheelwright,
Heraclitus
(Princeton University Press, 1959), pp. 29, 90.

 35
. See Hegel,
The Difference Between Fichte’s and Schelling’s System of Philosophy
, Walter Cerf and H. S. Harris, trans. (Albany: SUNY Press, 1977). In time, Hegel’s
reputation would eclipse both subjects of his initial foray into philosophy. Schelling,
who outlived his onetime friend, would bitterly claim to have taught Hegel everything
he knew. Fichte’s revenge was more subtle—the simple thesis-antithesis-synthesis dialectic
so often and somewhat inaccurately associated with Hegel’s thought was originally
popularized by Fichte.

 36
. Ibid., p. 172.

 37
. Hegel,
Lectures on the Philosophy of History
, p. 466.

 38
. Ibid., p. 212.

 39
. Ibid., p. 257.

 40
. Hegel,
The Difference Between Fichte’s and Schelling’s System of Philosophy
, p. 92.

 41
. For a discussion that analyzes Hegel’s ambivalence as an attempt to dialectically
mediate between formalism and anti-formalism, see Richard Eldridge, “Hegel on Music,”
in
Hegel and the Arts
, Stephen Houlgate, ed. (Northwestern University Press, 2007), pp. 119–45.

 42
. Hegel,
Aesthetics: Lectures on Fine Art
, T. M. Knox, trans. (Oxford: Clarendon Press, 1975), vol. 2, p. 895.

 43
. Ibid., p. 902.

 44
. Ibid., p. 896.

 45
. Ibid., p. 895.

 46
. Hegel,
Hegel’s Philosophy of Mind
, pp. 172–74.

 47
. Sidney Lanier, “To Beethoven,” in
Poems of Sidney Lanier
(New York: Charles Scribner’s Sons, 1888), p. 98.

 48
. Ludwig Nohl,
Life of Beethoven
, John J. Lalor, trans. (Chicago: Jansen, McClurg & Co., 1881), p. 97. (Emphasis added.)
(Originally published in Germany by Ernst Julius Günther, Leipzig, in 1867.)

 49
. Scott Burnham, “Introduction” to A. B. Marx,
Musical Form in the Age of Beethoven
, Scott Burnham, ed. and trans. (Cambridge University Press, 1997), p.4.

 50
. A. B. Marx,
Musical Form in the Age of Beethoven
, p. 66.

 51
. Ibid., p. 63.

 52
. Ibid., p. 92.

 53
. Charles Rosen,
Sonata Forms
(New York: W. W. Norton & Co., 1980), p. 292.

 54
. A. B. Marx, “A Few Words on the Symphony and Beethoven’s Achievements in This Field,”
in Senner et al.,
The Critical Reception of Beethoven’s Compositions by His German Contemporaries
(University of Nebraska Press, 1999), vol. 1, pp. 59–77, 66.

 55
. Maynard Solomon, “Beethoven’s Tagebuch of 1812–1818,” in
Beethoven Studies 3
, Alan Tyson, ed. (Cambridge University Press, 1982), p. 239.

 56
. Friedrich Engels to Marie Engels, late 1838, in Marx and Engels,
Karl Marx/Friedrich Engels: Collected Works
, vol. 2 (London: Lawrence & Wishart, 1975), p. 403.

 57
. Friedrich Engels to Marie Engels, March 11, 1841, in ibid., p. 430.

 58
. Tristram Hunt,
Marx’s General: The Revolutionary Life of Friedrich Engels
(New York: Metropolitan Books, 2009), pp. 28–29.

 59
. Friedrich Engels to Schlüter, May 15, 1885, in Karl Marx and Frederick Engels,
Karl Marx and Frederick Engels: Letters to Americans, 1848–1895
, Alexander Trachtenberg, ed. (New York: International Publishers, 1953), p. 145.

 60
. Hunt,
Marx’s General
, p. 45.

 61
. Wilhelm Liebknecht,
Karl Marx: Biographical Memoirs
, Ernest Untermann, trans. (Chicago: Charles H. Kerr & Co., 1906), pp. 146, 149.

 62
. Karl Marx,
A Contribution to the Critique of Political Economy
, Salo Ryazanskaya, trans. (New York: International Publishers, 1979), p. 20.

 63
. Marx never finished his critical survey of Hegel’s philosophy; the project’s endpoint
receded from Marx the more he worked on it. He did publish, in 1844, an Introduction
to “A Contribution to the Critique of Hegel’s Philosophy of Right,” which, its tentative
title notwithstanding, finds Marx in his best pugilistic, aphoristic style. It is
here that, combating Hegel’s focus on the Absolute, Marx tosses his most famous antireligious
grenade, calling religion “the opium of the people.” But the next sentence makes it
clear that what Marx is really against is the false comfort he senses in Hegel’s history,
how it seems to let the present off the hook in favor of an Ideal in the future. “The
abolition of religion as the illusory happiness of the people,” Marx writes, “is a
demand for their true happiness” (Marx,
Critique of Hegel’s “Philosophy of Right,”
Joseph O’Malley, trans. and ed. [Cambridge University Press, 1977], p. 131.) Feuerbach’s
subject-predicate stratagem fits hand in glove with Marx’s disdain for religion: Hegel’s
insistence on the agency of the Absolute is inverted into man’s invention of the divine.

 64
. Friedrich Engels,
Dialectics of Nature
, C. P. Dutt, trans. (New York: International Publishers, 1960), p. 27.

 65
. Karl Kautsky,
Terrorism and Communism
, W. H. Kerridge, trans. (
http://​www.​marxists.​org/​archive/​kautsky/​1919/​terrcomm/​index.​htm
), chapter 8.

 66
. Leon Trotsky,
Dictatorship vs. Democracy
(
Terrorism and Communism
)
: A Reply to Karl Kautsky
(New York: Workers Party of America, 1922), p. 45.

 67
. T. S. Eliot, “Tradition and the Individual Talent” (1922), as quoted in Slavoj Žižek,
In Defense of Lost Causes
(London and New York: Verso, 2008), p. 313.

 68
. A. B. Marx, “A Few Words on the Symphony and Beethoven’s Achievements in This Field,”
in Senner et al.,
The Critical Reception of Beethoven’s Compositions
, vol. 1, p. 75.

 69
. Anatoly Lunacharsky,
On Literature and Art
, Avril Pyman and Fainna Glagoleva, trans. (Moscow: Progress Publishers, 1965), p.
112.

 70
. Amy Nelson,
Music for the Revolution: Musicians and Power in Early Soviet Russia
(Pennsylvania State University Press, 2004), p. 187.

 71
. Richard Taruskin, “Public Lies and Unspeakable Truth: Interpreting Shostakovich’s
Fifth Symphony,” in
Shostakovich Studies
, David Fanning, ed. (Cambridge University Press, 1995), p. 29.

 72
. Quoted in Alan N. Nothnagle,
Building the East German Myth: Historical Mythology and Youth Propaganda in the German
Democratic Republic, 1945–1989
(University of Michigan Press, 1999), p. 77.

 73
. “Back Into the Darkness,”
Time
, September 6, 1968,
http://​www.​time.​com/​time/​magazine/​article/​0,​9171,​900324,​00.​html
.