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PALGRAVE MACMILLAN MEMORY STUDIES

Agonistic Memory and

the Legacy of 20th Century
Wars in Europe
Edited by
Stefan Berger · Wulf Kansteiner
Palgrave Macmillan Memory Studies

Series Editors
Andrew Hoskins
University of Glasgow
Glasgow, UK

John Sutton
Department of Cognitive Science
Macquarie University
Macquarie, Australia
The nascent field of Memory Studies emerges from contemporary trends
that include a shift from concern with historical knowledge of events to
that of memory, from ‘what we know’ to ‘how we remember it’; changes
in generational memory; the rapid advance of technologies of memory;
panics over declining powers of memory, which mirror our fascination
with the possibilities of memory enhancement; and the development of
trauma narratives in reshaping the past. These factors have contributed to
an intensification of public discourses on our past over the last thirty years.
Technological, political, interpersonal, social and cultural shifts affect
what, how and why people and societies remember and forget. This
groundbreaking series tackles questions such as: What is ‘memory’ under
these conditions? What are its prospects, and also the prospects for its
interdisciplinary and systematic study? What are the conceptual,
theoretical and methodological tools for its investigation and
illumination?

More information about this series at

http://www.palgrave.com/gp/series/14682
 Stefan Berger • Wulf Kansteiner
Editors

Agonistic Memory
and the Legacy of
20th Century Wars in
Europe
Editors
Stefan Berger Wulf Kansteiner
Ruhr University Bochum Aarhus University
Bochum, Germany Aarhus, Denmark

ISSN 2634-6257     ISSN 2634-6265 (electronic)

Palgrave Macmillan Memory Studies
ISBN 978-3-030-86054-7    ISBN 978-3-030-86055-4 (eBook)
https://doi.org/10.1007/978-3-030-86055-4

© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature
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 Contents

1 Agonistic Perspectives on the Memory of War: An

Introduction  1
Stefan Berger and Wulf Kansteiner

2 Agonistic Memory Revisited 13

Anna Cento Bull, Hans Lauge Hansen, and Francisco
Colom-González

3 The Production of Memory Modes During Mass Grave

Exhumations in Contemporary Europe 39
Francisco Ferrándiz and Marije Hristova

4 Memory Cultures of War in European War Museums 69

Stefan Berger, Anna Cento Bull, Cristian Cercel, David Clarke,
Nina Parish, Eleanor Rowley, and Zofia Wóycicka

5 “Krieg. Macht. Sinn.” An Agonistic Exhibition

at the Ruhr Museum Essen115
Daniela De Angeli, Wulf Kansteiner, Cristian Cercel, and
Eamonn O’Neill

v
vi Contents

6 ‘To Understand Doesn’t Mean that You Will Approve’:

Transnational Audience Research on a Theatre
Representation of Evil149
Diana González Martín and Hans Lauge Hansen

7 Taking Agonism Online: Creating a Mass Open Online

Course to Disseminate the Findings of the UNREST
Project179
David Clarke, Nina Parish, and Ayshka Sené

8 Agonism and Memory203

Wulf Kansteiner and Stefan Berger

Index247
 Notes on Contributors

Stefan Berger is Professor of Social History and Director of the Institute

for Social Movements at Ruhr-Universität Bochum in Germany. He is also
executive chair of the Foundation History of the Ruhr and honorary pro-
fessor at Cardiff University in the UK. He has published widely on the
history of memory, the history of deindustrialization, industrial heritage,
the history of social movements and labour movements, the history of
historiography, historical theory and the history of nationalism and
national identity. Among his most recent publications are A Cultural
History of Memory, co-edited with Jeffrey C. Olick, 6 vols, 2020;
Constructing Industrial Pasts, 2020; (De)Industrial History, co-edited
with Steven High, special issue of Labor: Journal of Working-Class History
16:1 (2019).
Anna Cento Bull is Emeritus Professor of Italian History and Politics at
the University of Bath, UK. Her research interests include the legacy of
political terrorism, political identities and agonistic memory in theory and
practice. She has published widely on this last topic, including ‘On Agonistic
Memory’ (with H. L. Hansen, Memory Studies, 2016, 9(4): 390–404);
‘Agonistic Interventions into Public Commemorative Art: An Innovative
Form of Counter-Memorial Practice?’ (with D. Clarke, Constellations, 2020,
https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8675.12484);
‘Emotions and Critical Thinking at a Dark Heritage Site: Investigating
Visitors’ Reactions to a First World War Museum in Slovenia’ (with D. De
Angeli, Journal of Heritage Tourism, 2020, https://www.tandfonline.com/
doi/full/10.1080/1743873X.2020.1804918).

vii
viii NOTES ON CONTRIBUTORS

Cristian Cercel is researcher at the Institute for Social Movements at

Ruhr-University Bochum. His areas of interest are memory studies, minor-
ity studies, nationalism studies, transnationalism and European history.
He has recently published Romania and the Quest for European Identity:
Philo-Germanism Without Germans (2019).
David Clarke is Professor of Modern German Studies at Cardiff
University. He has published on various aspects of the politics and culture
of memory, on representations of war in museums and on cultural diplo-
macy. His recent book, Constructions of Victimhood: Remembering the
Victims of State Socialism in Germany, was published by Palgrave in 2019.
Francisco Colom-González is Professor of Research of the Centre for
Humanities and Social Sciences at the Spanish National Research Council
(CSIC) in Madrid. Previously he was Associate Professor of Political
Sociology at the Public University of Navarre (Pamplona, Spain). He
holds a PhD in Philosophy from the Universidad Complutense and a
Diploma in Political Science and Constitutional Law from the Centre for
Political and Constitutional Studies, Madrid. His work has mainly dealt
with the normative relations between culture, political identity and social
change. More recently, his research interests have turned towards the
study of political spaces and urban theory. He has recently directed a proj-
ect on The Political Philosophy of the City and is preparing a new one on The
Just City. Among his recent publications is (ed.) Narrar las ciudades. El
espacio urbano a través de los textos (2021).
Daniela De Angeli has more than nine years of experience designing and
evaluating interactive experiences and digital content for museums. She is
co-director of the Community Interest Company Echo Games (echo-
games.co.uk) and a visiting researcher in Human-Computer Interaction
(HCI) at the University of Bath in the UK. Her research is interdisciplin-
ary, ranging from HCI and games to cultural heritage and memory studies.
Francisco Ferrándiz is senior researcher at the Spanish National Research
Council (CSIC). He holds a PhD in Social and Cultural Anthropology
from UC Berkeley (1996). His research focuses on the anthropology of
the body, violence and social memory. Since 2002, he has conducted
research on the politics of memory in contemporary Spain, analysing the
exhumations of mass graves from the Civil War (1936–1939). He is
Principal Investigator (PI) of the research project The Politics of Memory
Exhumations in Contemporary Spain, funded by the Spanish Ministry of
 NOTES ON CONTRIBUTORS ix

Science and Innovation. His main books on this topic are El pasado bajo
tierra: Exhumaciones contemporáneas de la Guerra Civil (Anthropos 2014)
and, as edited volumes, Necropolitics: Mass Graves and Exhumations in the
Age of Human Rights (2015, with A. C.G.M Robben) and ‘Memory
Worlds: Reframing Time and the Past’ (special issue Memory Studies,
2020, with M. Hristova and J. Vollmeyer). He is a senior advisor in the
State Secretariat for Democratic Memory, integrated in the Ministry of the
Presidency in Spain’s central government.
Diana González Martín is Associate Professor of Contemporary Latin
American and Spanish Culture, Media and Society at the Department of
German and Romance Languages, School of Communication and Culture,
Aarhus University (AU), Denmark. She is specialized in performing arts,
aesthetics and cultural memory studies. Her interests focus on social
movements and the relationship between activism and institutions in Latin
American and European societies, on the one hand, and, on the other
hand, methodologies for the societal transformation through the arts.
Among her most relevant publications are the monograph Emancipación,
plenitud y memoria. Modos de percepción y acción a través del arte
(Iberoamericana Editorial Vervuert, 2015) and the articles ‘Going to the
Theatre and Feeling Agonistic: Exploring Modes of Remembrance in
Spanish Audiences’ (Hispanic Research Journal, 21:2, 2020) and
‘Informantes, Escogidos, Ejércitos, Ene Enes, Testimonios: Múltiples
actores de la memoria en la literatura colombiana reciente’ (Iberoamericana,
Nordic Journal of Latin American and Caribbean Studies, 48:1, 2019).
Marije Hristova is Assistant Professor of Hispanic Culture and Literature
at the Radboud University Nijmegen in the Netherlands. Previously she
was a Marie Skłodowska-Curie Cofund fellow at the University of Warwick
and a postdoctoral researcher at the Spanish National Research Council.
She is a researcher in the project ‘Below Ground’, funded by the Spanish
Ministry of Science and Innovation. She is a member of the association
‘Memorias en Red’ and of the advisory board of the Memory Studies
Association. Her research focuses on the remembrance of mass grave
exhumations in art and literature. She has published widely on transna-
tional memory discourses and the production of cultural memories after
the forensic turn in Spain and in Europe. Her most recent publications
include the special issue ‘Memory Worlds: Reframing Time and the Past’,
Memory Studies 13(5) 2020, co-edited with Francisco Ferrándiz and
Johanna Vollmeyer.
x NOTES ON CONTRIBUTORS

Wulf Kansteiner is Professor of Memory Studies and Historical Theory

at Aarhus University in Denmark. His research interests include the meth-
ods and theories of memory studies; the role of visual media—TV, film,
digital culture—in the formation of cultural memory; post-­narrativist his-
torical theory; and Holocaust memory, and historiography. Recent publi-
cations include ‘Prime Time Nationalism: Patterns of Prejudice in TV
Crime Fiction’ in J. Barkhoff und J. Leersen (eds) National Stereotyping,
Identity, Politics, European Crises (2021); ‘Media and Technology’, in
Stefan Berger and Bill Niven (eds), The Twentieth Century, vol. 6 of Stefan
Berger; and Jeff K. Olick (eds), A Cultural History of Memory, 6
vols (2020).
Hans Lauge Hansen is Professor of Spanish and Latin American
Literature and Culture at the Department of German and Romance
Languages, School of Communication and Culture, Aarhus University,
Denmark. His principal research areas are contemporary Spanish and
Latin American narrative, cultural memory studies, narratives of migration
and Cultural Conflict Studies. He has published widely on the Spanish
memory novel of the twenty-first century. Selected recent publications
include ‘A Case for Agonistic Peacebuilding in Colombia’, Third World
Quarterly (forthcoming, co-authored with Diana González Martín y
Agustín Parra); ‘On Agonistic Narratives of Migration’, International
Journal of Cultural Studies, 2:4, 2020; and ‘On Agonistic Memory’ (co-
authored with Anna Cento Bull), Memory Studies, 9:4, 2015.
Eamonn O’Neill is Professor of Human-Computer Interaction at the
University of Bath. His main research interests are in developing, evaluat-
ing and understanding innovative forms of human-technology interaction
and technology-mediated human-human interaction, with the goal of
contributing to an applied science of interactive systems. Topics include
mixed, augmented and virtual reality, and interaction with intelligent
machines and software. Primary application areas in his research include
cultural heritage visitor experiences, multisensory interaction and aug-
mented and virtual reality.
Nina Parish is Professor of French and Francophone Studies at the
University of Stirling, and visiting researcher at the University of Bath. She
works on representations of difficult history, the migrant experience and
multilingualism in the museum space. She is also an expert on the interac-
tion between text and image in the field of modern and contemporary
 NOTES ON CONTRIBUTORS xi

French Studies and has published widely on this subject, in particular, on

the poet and visual artist, Henri Michaux.
Eleanor Rowley is a doctoral candidate at the Department of Politics,
Languages and International Studies at the University of Bath, where she
is exploring the visitor experience at First World War museums. She is
interested in heritage education practices and the ways in which young
people interpret cultural memory messages during school field trips to
museums and heritage sites. She is also contributing to empirical work on
museums and memory to the Horizon 2020–funded project ‘Unsettling
Remembering and Social Cohesion in Transnational Europe (UNREST)’.
Ayshka Sené is a research associate at the University of York working on
the ‘Archiving the Inner-City Project: Race and the Politics of Urban
Memory’. Her research focuses on the history and memory of British
women’s internment in Occupied France. She recently produced a pod-
cast on disease, contagion and confinement in France’s overseas penal
colonies.
Zofia Wóycicka is a researcher at the German Historical Institute Warsaw.
She studied history and sociology at the University of Warsaw and Jena
University and holds a doctoral degree from the Polish Academy of
Sciences. She worked as an educator at the Museum of the History of
Polish Jews, as an exhibition curator at the House of European History/
Brussels, and as a researcher at the Centre for Historical Research Berlin.
Her main research interest lies in Memory and Museum Studies with a
special focus on World War II. She authored, among others, Arrested
Mourning: Memory of the Nazi Camps in Poland, 1944–1950, 2013.
Among her recent publications is ‘A Global Label and its Local
Appropriations. Representations of the Righteous Among the Nations in
Contemporary European Museums’, Memory Studies, Online First (2021).
 List of Figures

Fig. 7.1 Online stakeholder survey—Question 8 186

Fig. 7.2 Online stakeholder survey—Question 9 186

xiii
 List of Photos

Photo 1 Exhibition poster. Copyright: Ruhr Museum; Design: Uwe

Loesch  124
Photo 2 Display window in the chapter “Flight and Expulsion”.
Copyright: Ruhr Museum; Photo: Andrea Kiesendah 128
Photo 3 Chapter “Aerial War”. Copyright: Ruhr Museum; Photo:
Andrea Kiesendahl 132
Photo 4 Still of the game Umschlagplatz ‘43134

xv
 List of Tables

Table 2.1 The defining characteristics of modes of remembering. 17

Table 5.1 Guideline for the interviews 137
Table 7.1 Learner demographics per course run—data gathered
by FutureLearn 189
Table 7.2 Joiner professions per course run—answers in response to
Step 1.3 ‘Tell us about yourself’ 190

xvii
 CHAPTER 1

Agonistic Perspectives on the Memory

of War: An Introduction

Stefan Berger and Wulf Kansteiner

‘Unsettling Remembering and Social Cohesion in Transnational Europe’

(UNREST) was a Horizon 2020–funded project that ran between 2016
and 2019 and involved researchers from different disciplines, principally,
history, literary studies, anthropology and memory studies, coming from
British, Spanish, Danish, Polish and German institutions (www.unrest.eu).
The researchers involved in the project set out to find agonism in different
memory settings across Europe. They analysed cultural memories of war
on display in history museums and took a close look at communicative
memories of war crafted in response to mass exhumations of victims of war
and ethnic cleansing. In addition, UNREST researchers sought to create
new sites of agonistic memory. They collaborated with playwrights, actors
and museum professionals to develop a theatre play and a history exhibit

S. Berger (*)
Ruhr University Bochum, Bochum, Germany
e-mail: stefan.berger@rub.de; Stefan.Berger@ruhr-uni-bochum.de
W. Kansteiner
Aarhus University, Aarhus, Denmark
e-mail: wk@cas.au.dk

© The Author(s), under exclusive license to Springer Nature 1

Switzerland AG 2021
S. Berger, W. Kansteiner (eds.), Agonistic Memory and the Legacy of
20th Century Wars in Europe, Palgrave Macmillan Memory Studies,
https://doi.org/10.1007/978-3-030-86055-4_1
2 S. BERGER AND W. KANSTEINER

promulgating agonistic interpretations of warfare. As a result of these

efforts, we are now in a position to define in more concrete terms what
scholarly, ethical and political potential agonistic memory possesses and
what important questions remain to be solved in future research about
agonistic memory.
In contrast to its predecessors and competitors, that is antagonism and
cosmopolitanism, agonism is seeking to advance a more complex and pre-
cise understanding of social memory processes. In the course of the
UNREST project, it has proven to be a formidable analytical tool to
expose shortcomings and contradictions in Europe’s primarily antagonis-
tically and cosmopolitanly structured memory-scapes. Adopting an ago-
nistic perspective helped the UNREST team identify the political challenges
and dilemmas of contemporary memory politics with greater precision.
The three paradigms of memory—antagonism, cosmopolitanism and
agonism—advocate for different perceptions of the world (Bull and
Hansen 2016). In an antagonistically structured universe, memory politics
serve the ingroup’s competitive mission and sense of superiority in relation
to clearly defined outside others (Anderson 1991; Hirst et al. 2018).
Modern antagonistic memories are, for instance, stories of national hero-
ism based on the kind of nationalistic values captured beautifully by
Donald Trump’s campaign slogan ‘America first’. Another example, not
related to nationalism, comes from the world of communism, where,
throughout the twentieth century, the construction of a working-class ‘us’
stood in an antagonistic relation to a bourgeois ‘them’. Cosmopolitan
memory considers that type of nativism, be it nation or class-based,
responsible for the wars and genocides of the twentieth century and seeks
to establish a different, global set of values and corresponding rules of
international relations. In a cosmopolitanly structured universe, human-
kind safeguards its survival by instituting human rights regimes which
derive legitimacy from vivid recollections of negative events including past
acts of collective violence like the Holocaust. The cosmopolitan vision of
the world relies on supranational legal frameworks and deterrent negative
memories (Levy and Sznaider 2006; Beck 2006).
Consequently, antagonism and cosmopolitanism outline competing
trajectories of collective progress pitching ambition of national superiority
against utopias of transnational reconciliation and cooperation. In contra-
distinction to such stories of progress, agonism is sceptical of progressivist
teleologies. It shares with antagonism the realization that human societies
are ontologically embroiled in all sorts of antagonisms, including national
 1 AGONISTIC PERSPECTIVES ON THE MEMORY OF WAR: AN INTRODUCTION 3

and class antagonisms, that need to be articulated in conflictual political

relations. Yet agonism also agrees with cosmopolitanism in that inevitable
political struggle ought to be contained within a more or less stable nor-
mative framework for the purpose of safeguarding democracy (Mouffe
2005). Within such a democratic frame, agonistic memory strives to cap-
ture the complexity of past conflicts and the diversity of conflicting opin-
ions and feelings about said conflicts in an effort to promote a sense of
human solidarity within and beyond the nation state and end the hege-
mony of neoliberalism (Bull and Hansen 2016). Put succinctly, in the
historical conflict between antagonistic national(istic) memory and cos-
mopolitan transnational memory, agonistic memory claims the messy
middle ground in the name of realism and decency and seeks to overcome
the paralysing impasse between nationalism and cosmopolitanism.
Occupying that middle ground UNREST researchers remained com-
mitted to a left-wing, anti-neoliberal course of action in their desire to
provide useful advice to cultural practitioners. They had to decide in each
case they analysed and each intervention they created which controversial
voice, object or story should be sponsored as a potential site of cultural
memory because the voice, object or story in question is likely to help
subvert existing neoliberal hegemonies and advance a range of liberal
causes. They needed to figure out how agonistic insights can be brought
to bear on specific political and cultural institutions in such a way that said
institutions successfully promote collective solidarity and democratic tra-
ditions and facilitate open-ended dialogue between conflictual and contra-
dictory perceptions of past and present. That required a good grasp of
what is meant by democracy, often referred to as radical democracy in
agonistic parlance, and who is to be included in agonistic visions of collec-
tive solidarity. The task was complicated by the fact that the political the-
ory of agonism and the theory of agonistic memory are hoping to resurrect
left-wing grassroots movements after neoliberalism, but the UNREST
project did not collaborate with stakeholders from social movements—
something that was missing from the initial design of the project. Despite
this shortcoming of the project, its research results and its creation of
cultural products making agonistic interventions in historical debates have
produced a range of results which we believe deserve summarizing in a
volume presenting the key outcomes of the UNREST project.
The theory of agonism, as first formulated by Bull and Hansen, was the
theoretical backbone of the UNREST project and the presence of both as
key UNREST researchers ensured a constant reflection of the empirical
4 S. BERGER AND W. KANSTEINER

research results of UNREST in the light of the theory as well as the refine-
ment of the theory in the light of the empirical research results. In their
assessment of the changes the theory underwent, they are joined here by
Paco Colom, a political philosopher, who was also one of the key research-
ers of the UNREST team with a special interest in the theory of agonism.
Together they outline in Chap. 2 the theory of agonistic memory and
emphasize its heuristic value, underlining that the three categories distin-
guished in this theory, that is antagonistic, cosmopolitan and agonistic
memory, should be understood as ideal types rather than actually existing
social realities. They also significantly revise their original theory of agonis-
tic memory pointing out that their 2016 critique of cosmopolitanism did
not sufficiently take into account the diversity of relevant theories of cos-
mopolitanism. Some of the theories, they argue, have over recent years
made problems of structural power inequalities a key concern of the cos-
mopolitan political agenda. Discussing attempts to merge ideas of cosmo-
politanism with Mouffe’s conceptualization of agonism, they specify that
their main line of attack is not against all forms of cosmopolitanism but
rather at what they now describe as ‘universalistic-cosmopolitanism’.
Furthermore, they highlight how agonistic interventions vitally depend
on local memory frames and political contexts, thereby highlighting that
agonism is not the same everywhere but can change its form and content
significantly depending on local circumstances.
Addressing the impact of the empirical case studies of the UNREST
project, Bull, Hansen and Colom first turn to the analysis of mass grave
exhumations in Spain, Poland and Bosnia-Herzegovina. Especially in the
light of the Spanish case study, the authors conclude that cosmopolitanism
does not necessarily lead to the depoliticization of memory discourses. Yet
they also emphasize, with reference to Bosnia-Herzegovina, how a top-­
down cosmopolitan discourse imposed from outside will only have the
effect of entrenching existing antagonistic memory positions in society.
And they point out that in cases such as Bosnia-Herzegovina, where we
encounter extreme forms of memory antagonism, it might be advisable to
combine cosmopolitan and agonistic interventions in memory debates in
order to allow for a meaningful engagement of antagonistic memory
groups with one another. The authors also suggest some revision in rela-
tion to the link between memory regimes and politics. In light of the
empirical research carried out by UNREST, they now question a direct
link between cosmopolitanism and transnational forms of governance, on
the one hand, and antagonism and national forms of governance, on the
 1 AGONISTIC PERSPECTIVES ON THE MEMORY OF WAR: AN INTRODUCTION 5

other hand. Instead, they point to the possibility of different scenarios

depending on local circumstances. In relation to the empirical case study
on war museums, the authors point out that their original assumptions
had been wrong. The widespread adoption of cosmopolitan memory
frames within the museums did not make them into ‘cold’ memory places
but instead provided a highly emotional approach to the experience of
war, even if the war had taken place outside of living memory for most visi-
tors, as would be the case with the First World War. Distinguishing
between agonistic and cosmopolitan multi-perspectivity, they found more
potential for the former in temporary than in permanent exhibitions.
Overall, they confirm that the empirical research of UNREST as well as
the cultural products created by UNREST underlined agonistic memory’s
potential of revitalizing the memory of past struggles in order to repoliti-
cize the public sphere and in particular counter the antagonistic nationalist
memories that have been on the rise in Europe over recent years. In com-
parison to the original conceptualization of agonistic memory, Bull,
Hansen and Colom now stress that it is valuable to see agonism as fluid,
relational and strongly embedded in specific local contexts.
Chapter 3 subsequently summarizes the results of the analysis of war-­
related mass grave exhumations in Spain, Poland and Bosnia-Herzegovina.
Paco Férrandiz and Marije Hristova understand exhumation sites as
‘potential agonistic fora’ that, however, reveal features of all three memory
regimes, antagonistic, cosmopolitan and agonistic, alongside each other.
The benefits of the chosen comparative approach are very visible in the
results, as it allows the authors to draw out the many differences in the
construction of diverse memory landscapes in the three cases under exami-
nation. In Spain the three case studies reveal how an initially dominant
antagonistic memory mode gave way to more cosmopolitan ways of
remembrance from the beginning of the twenty-first century onwards.
The latter even incorporated some prominent cases of agonistic interven-
tions. In Poland we see the reverse trend with a move from an initial cos-
mopolitan frame of remembrance to more nationalist-minded antagonistic
forms of memory over recent years. The latter was accompanied by strong
top-down policies that included the replacement of museum directors and
the official prescription of antagonistic discourses about the past, espe-
cially the history of the Second World War. The antagonistic memory
regimes promoted by the current Polish government is heavily anti-­
Communist and seeks to promote a historical revisionism that is in line
with key nationalist mythologies in Polish historical consciousness. Yet,
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 A grófot nem átkozta meg anyja. Talán most boldog családapa,
magas rangú tisztviselő, talán épen biró, a ki itél a gyilkosok fölött.
Mindegy! Nekünk valaha találkoznunk kell. Ha eddig nem tudtam
föltalálni, föltalálom ezután. Nem vagyok én vén, csupán a hajam
ősz. Még nincs vége a drámának, – még egy jelenet hátra van. Lesz
tapsoló közönség, koszorú is – a síron.
A szinpad… a szinpad!…
Ti nem tudjátok, mi az? Csak én tudom, én, ki éltem, örültem,
szenvedtem rajta. Ott haljak meg. Desdemona ágya legyen
koporsóm, a taps halotti dalom, a lehulló függöny szemfedőm. De ne
sirasson senki, csak a fekete sugó. Csupán ő szeretett a nagy
világon. Csöngessetek, vége a tragédiának!…
Mégis alusztok? Nem látjátok, hogy hajnalodik már? Napsugár
süt be az ablakon; ébredjetek! Föl élni: sírni, nevetni, szenvedni,
elfáradni, alunni… Oh, ha egy óráig alhatnám, mint a gyermek, mint
a halott! De hijába húnyom be szememet, a lelkiismeret mindig
ébren tart, még álmomban is. Akarnunk kell, csak akarnunk! Hanem
hiú komédiás vagyok, ki erőnek erejével Hamlet szerepét játszsza;
gyáva ember, ki irtózik a vértől. Ne öljünk mást, de magunknak
szabad meghalni… Meghalni, elalunni… talán álmodni is… itt a
bökkenő: itt itt. Mert minő álmok lehetnek a sírban!… Oh az a nem
ismert tartomány, melyből nem tért meg utazó… Oh jaj!
Csöngessetek! vége a tragédiának!
 Lábjegyzetek.
1) Mikszáth Kálmánnak, e vállalat szerkesztőjének elhúnyta
folytán ezt a bevezetést Schöpflin Aladár irta.
 TARTALOM.

Gyulai Pál. Irta Schöpflin Aladár V

Egy régi udvarház utolsó gazdája 1
Nők a tükör előtt 117
A vén szinész 231
 KÉPJEGYZÉK.

1. Gyulai Pál arczképe II

2. A tiszttartó kérdés nélkül is felelt, össze-
vissza beszélt mindent 9
3. Azt a szép erdőt – kiáltá újra Radnóthy –
valóságos prédálás 36
4. Radnóthy kihúzván kardját, egymaga akart
rárohanni a kertészre 42
5. Ah – sóhajtotta Erzsi nem egyszer – én
sokkal boldogtalanabb vagyok, mint édes
néném 68
6. Mányi nem mert szólni és gyertyát gyujtott
107
7. Néztem a kandalló tüzét, a kandalló fölötti
tükröt 122
8. Megkönnyezte rosszul fésült haját, eldurvult
kezét, halvány arczát 143
9. Matild így megnyugtatva lelkiismeretét,
kipirosítá arczát 162
10. Újra fölcsatolta a karpereczet, újra a tükörbe
nézett 178
11. Ez a ruha igazán jól áll, – szólalt meg néha
enyelgéssel 224
 Javítások.
Az eredeti szöveg helyesírásán nem változtattunk.
A nyomdai hibákat javítottuk. Ezek listája:

43 assszonynak asszonynak
59 fogadní fogadni
83 mennnyit mennyit
92 fosgatva forgatva
95 sustorgásbant a sustorgásban, a
132 évve! évvel
137 feiedném feledném
156 kedvencze-a… pon, ot kedvencze, a… pontot
162 babá át babáját
172 mélábbb mélább
176 fülbevrlókat fülbevalókat
176 szekrenyből szekrényből
211 Etelks, hogy Etelka, hogy
236 pajtasaim pajtásaim
256 máik másik
258 tenassszony tensasszony
298 hngy dobjam hogy dobjam
 *** END OF THE PROJECT GUTENBERG EBOOK EGY RÉGI
UDVARHÁZ UTOLSÓ GAZDÁJA; NŐK A TÜKÖR ELŐTT; A VÉN
SZINÉSZ ***

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