When he became minister-president in 1862 Bismarck inherited the Prussian Constitution of 1850, a hybrid compromise between modern representative government with civil rights and the remains of the absolutism of
Frederick the Great. The parliament established by the Constitution of 1850 had no power over military or civil appointments.
The issues discussed in the Deutsche Schriften range from the significance of blood sacrifice as represented by the figures of Oedipus and Iphigenie to the contribution of Voltaire and Goethe to the cultural identity of modern Europe, but the prime focus is on the romanticization of the German past through the figure of
Frederick the Great. Hegemann allows the sceptical intelligence of the outsider figure, Ellis, to challenge the historical authority of arguments that had been publicly advanced since 1914 to characterize Germany's national identity, while presenting himself in the text as the ingenuous young German patriot who would dearly love to hear Ellis's allegations refuted.
He argues convincingly that both
Frederick the Great and Napoleon possessed significant advantages over their opponents because of their status as soldier-kings.
Frederick the Great, with his passion for the exotic, would have been proud of the place which, after the close of the exhibition, will be run by the Cinemax company as a commercial attraction for 20 years under a lease from the city.
Casanova,
Frederick the Great, and the novelist Frederick Tristan, among others, figure in stories that examine some aspect of the fantastic or cross some threshold into unknown or forbidden domains.
Court flutist at Dresden and later flute tutor to King
Frederick the Great of Prussia, Quanta was also an innovator in flute making and a pathbreaking composer for the transverse flute, for which he wrote some five hundred sonatas and concertos as well as a substantial number of trio sonatas and other works.
This jewel of a theater, originally built as a riding school, was converted in 1753 by Queen Lovisa Ulrika (the cultivated sister of
Frederick the Great) into a court theater for plays, comic operas, and divertissements.
Delbruck based his first published writings on the assumption that
Frederick the Great had fought with the strategy of attrition, the paradigmatic eighteenth-century strategic form.
Picky readers will also note one factual error: Kant's nemesis Frederick William II was the nephew, not the son, of
Frederick the Great. Naturally, however, such quibbles do not detract from the worth of this excellent book to both students and scholars.
(Although this last was part of the Bibliotheque Royale's collection, stylistically it seems to me to be a German rococo piece, almost certainly from
Frederick the Great's court in Berlin, where the viol had a late flowering.) Most relevant to the theme is the Cloches ou carillons by Marin Marais, who in Le Blanc's eyes was the father of the French school of viol playing and 'withstood the assault delivered against France ...
With Cabanis (1832), a story of the age of
Frederick the Great, Alexis embarked on a cycle of novels intended to bring to light forgotten but significant periods of Prussian history.
Sources: Duffy, Christopher J.,
Frederick the Great's Army.
