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“... could have helped discredit a cause larger than himself in much the same way as the wretched Richard Gott recently managed, on a smaller scale, to do), waited until 1982 to publish his book After Long Silence. It told the usual story: the high excitement of the Thirties; the precedence given in Cambridge circles to young men of background and pelf ...”

“... they are not participants in its troubles. Even President Hugo Chávez of Venezuela (about whom Richard Gott has recently written in the LRB) has done no more than strike an occasional ‘Bolivarian’ populist attitude. Few countries in the last two centuries have been as little involved as Colombia in international wars, which may be one of the ...”

“... but I found his chapters on lesser writers even more instructive. Robert Burton and Samuel Gott are revealed as more significant ‘utopians’ than has been recognised. Dr Davis is also interesting on William Sprigge’s A Modest Plea for an Equal Commonwealth of 1659, the anonymous Chaos (1659) and The Free State of Noland (1696), which he classifies ...”

“... novelists but who is also a pitiless judge when it comes to evil. But evil is not a category for Richard Cobb. He recognises naughtiness and nastiness, vanity, callousness, lust for blood, but – like a French Impressionist – utter black is not a colour for him. Cobb is most moving and persuasive when he speaks of women and fugitives. ‘A deserter cannot ...”

“... by a housewife. As a way of clearing her mind, a woman makes use of a weekend when her husband, Richard, is away, to set down on paper what has been happening over the previous months. Stella, a teenager, just out of high school, comes to stay as a guest of the family. Under the eyes of his wife, Richard seduces ...”

“... into the treble G of a tiny flute solo, ushering in the chorale ‘Ein’ feste Burg ist unser Gott!’ and the triumph of the Lutheran Church. Todd tells us that this solo was originally a whole recitative, influenced by the finale of Beethoven’s Ninth, but that Mendelssohn found the effect too obvious. The three bars to which he shrunk it have a ...”

“... in many literary quarters to be a major item in that ongoing ‘punishment of England’ (‘Gott strafe England’) that had been on the German agenda since 1914.The composer Hanns Eisler records a meeting between Brecht and Zweig in London. Brecht, who ‘of course never read a line of Zweig’ (one admires the economy of effort), sees him only as a ...”