Culture

Between 1300 and 1900 few things were more dangerous than giving birth. For poor and rich, the mortality rate was high. If the birth itself didn’t kill you, then puerperal fever very well might. Privacy was non-existent. If you were Marie de Medici, there was such a press of people in the lying-in chamber that you couldn’t get from the birthing chair to your bed — and that was not counting the 200 more in the ante-room.  Still worse, though, than giving birth was being born. In 16th- and 17th-century England, 20 per cent of children died before the age of five. If you managed to survive your arrival and four months of swaddled immobility, there was still every chance you might be burned, trodden on, eaten by animals in your home or squashed by your mother in bed.

Grudges make the world go around, according to Sophie Hannah. They are ‘an important and fascinating part of human experience’, which ought to be ‘protective, life-enhancing and fun’. I think this overstates the case somewhat, as I can’t see any pleasurableness, though I am aware that my own ability to harbour resentments is possibly pathological and blood-soaked. The first thing I do each day is scan the obituary pages to see if any enemy has met with a fatal accident — and I fully understand Auden’s line about hearing with satisfaction, much later in life, of ‘the death by cancer of a once hated school master’. Not that being dead lets anyone off the hook.

It’s hard, in Britain, to imagine a popular museum devoted to a single poem. The Polish city of Wrocław hosts just such a shrine. It celebrates Pan Tadeusz, the verse novel written in his Parisian exile by the poet, dramatist and freedom fighter Adam Mickiewicz in the early 1830s, and now taught as a keystone of collective identity to every Polish schoolchild. Even the idea of a ‘national epic’ sounds like a great big bore, especially as the action of this one turns on a sideshow in the Lithuanian backwoods during the Napoleonic wars, while ‘the wide world ran riot/ In blood and tears’.

‘Dark Star’ is a suitable enough title in itself, but the definition makes it a brilliant one: ‘A Dark Star’, we are told in this book, ‘is shadowed, often detectable by its gravitational effect on other bodies. It is often a component of a binary star and can cause the brightness of its visible partner to vary periodically.’ That is to say, Vivien Leigh was bipolar and married Laurence Olivier, and these things dominated her life. She was born in Darjeeling in 1913, her father, Ernest Hartley, a stockbroker. When she was six, she was sent to school in England. This was not unusual, but that does not mean that she did not feel abandoned. She was educated by Roman Catholic nuns and read a lot, including Rudyard Kipling. Vivien had a gift for prophecy.