In this chapter, pianos made by firms such as Broadwood, Érard, Graf, Pleyel, Stein, Streicher, and others owned or used by composers and virtuosi such as Beethoven, Brahms, Chopin, Liszt, Mendelssohn, Moscheles, Schumann, and others are discussed and technically described. Histories of the piano making firms are provided.

In letters to friends and in interviews later in life, Elizabeth Bishop repeatedly made clear her low opinion of critical writing. At the same time, much of her own criticism and review work is audacious, original and witty, particularly the long essays she completed as an undergraduate student at Vassar. She also admired the work of contemporary poet-critics like William Empson and Randall Jarrell and once pitched for the job as poetry reviewer of The New Yorker. Close analysis of her own prose and poetry demonstrates the extent to which her own writing was itself a form of informal criticism. She engaged with and incorporated the ideas and words of literary critics into her poetry throughout her career, rebuffing reductive assessments of her writing as “calm” and “modest.”

Towards the end of the war against Napoleon, the Allies declared that they were fighting a ‘noble war’, to restore European equilibrium. They presented themselves in stark contrast to Napoleon’s hegemonic ambitions. The Allies agreed on the need to create a ‘just equilibrium’ by curtailing French imperialism, but also harboured imperial ambitions to further their own respective interests in Europe as they negotiated for peace. When the First Treaty of Paris was signed on 30 May 1814, the French constitution was revised to be more liberal. The resulting Charte Constitutionelle, adopted on 4 June 1814, was an important instrument in the fight against terror. Finally, the Congress of Vienna was marked by Napoleon’s return to France: as he marched towards Paris, the Allies confirmed the statutes and treaties that would shape the occupation of France and ensure the ‘safety of Europe’. The final battle against Napoleon saw the Duke of Wellington at the helm of the alliance. The Allied sense of communality and solidarity in the name of Europe’s safety would see Napoleon defeated, but it would also invite tensions and inconsistencies in times of peace and the Allied occupation of France.

This chapter follows on from the last to trace the development of the prosthetic modernism discernible at the turn of the twentieth century, as it works through the modernist novel from Proust, Joyce, Stein and Woolf up to the extended late modernist work of Samuel Beckett. The chapter reads Beckett’s reception of Proustian and Joycean modernism, from his novels of the thirties and forties up to his late work Company and suggests that this reception might best be understood as a poetics of twining. Beckett offers an extended reflection on the ways in which the modernist novel performs a mode of twining, a joining together of mind with prosthetic extension; but he also enacts a specific form of untwining, which demonstrates how the novel has always shown the unbound, the disaggregated, to be a constituent part of the terms in which it conducts its binding properties.