Friedrich Schiller

The Fortunate Journey

The Escorial: Art and Power in the Renaissance By Henry Kamen (Yale University Press, 291 pp., $35) The historian Henry Kamen has spent a distinguished career presenting what he calls a “revisionist” history of early modern Spain.

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Wall Eyed

READ ABOUT U.S. EFFORTS to seal the Mexican border, and you quickly encounter two words. The first is futile. Take this June 5 dispatch in U.S. News & World Report, which reports on the "deep sense of futility" about illegal immigration in the town of Nogales, on the Arizona-Mexico border. "The number of Border Patrol agents has increased more than 200 percent in less than 15 years.... Yet the number of people estimated to cross the border illegally each year has remained fairly constant, at about half a million.

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For W. H. Auden My topic is Verdi’s “naiveté.” I hope that this phrase will not be misunderstood. To say that Verdi was naive in any ordinary sense is an absurd suggestion. But it seems to me that he was so in a very special—now forgotten—sense, in which this term was once used by Friedrich Schiller. Verdi greatly admired Schiller’s dramatic works, which inspired four of his operas. But it is not this—the affinity of Verdi and Schiller, which has often been remarked—that I wish to discuss.

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