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You all would not have guessed some of these. Some imitative words are more surprising than others. How to use a word that literally drives some people nuts. The awkward case of 'his or her'. Which of these things doesn't belong? Can you spell these 10 commonly misspelled words? Build a chain of words by adding one letter at a time. Other Words from revenge Verb revenger noun. Synonyms for revenge Synonyms: Verb avenge , redress , requite , retaliate , venge [ archaic ] Synonyms: Noun payback , reprisal , requital , retaliation , retribution , vengeance Visit the Thesaurus for More.

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Examples of revenge in a Sentence Verb a man who took matters into his own hands and revenged the death of his brother Noun She swore that she would have her revenge. She wants revenge against her enemies. The bombing was in revenge for the assassination of their leader. The team is seeking revenge for the loss earlier in the season.

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First Known Use of revenge Verb 14th century, in the meaning defined at sense 1 Noun circa , in the meaning defined at sense 1. Learn More about revenge. Resources for revenge Time Traveler! Explore the year a word first appeared. Dictionary Entries near revenge revelry Revels Office revenant revenge revengeful revengeless revengement. Phrases Related to revenge revenge oneself on seek revenge for take one's revenge. Time Traveler for revenge The first known use of revenge was in the 14th century See more words from the same century. English Language Learners Definition of revenge.

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Comments on revenge What made you want to look up revenge? Get Word of the Day daily email! Test Your Vocabulary. Love words? When I entered the cemetery, I turned left, disregarding Beethoven and company.

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Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place.

Shortly before he died, in , a story that he had poisoned Mozart went around Vienna. Murray Abraham playing Salieri as a suave, pursed-lipped malefactor.

These were evidence that the man and his music are enjoying a modest comeback. Of his forty-odd operas, more than a dozen have been revived, and artists such as Riccardo Muti , Cecilia Bartoli , and Christophe Rousset have pleaded his case. A German-language biography of Salieri, by the composer and musicologist Timo Jouko Herrmann, was published earlier this year. The real man was a more or less benevolent character who energetically involved himself in the musical life of Vienna and taught dozens of composers, including Beethoven and Schubert.

Having been plucked from orphanhood by a generous mentor, he usually gave composition lessons for free. To be sure, he was a well-connected man who used his power to advance his cause. Yet this formidable operator had a nimble wit and enjoyed jokes at his own expense. Amid the procession of megalomaniacs, misanthropes, and basket cases who make up the classical pantheon, he seems to have been one of the more likable fellows. Above all, his music is worth hearing.

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Mozart was a greater composer, but not immeasurably greater. The classical-music world has fostered a kind of gated community of celebrity composers. Our star fixation produces the artistic equivalent of income inequality, in which vast resources fall into the hands of a few. That arrangement lands particularly hard on contemporary composers, who must compete with a group of semi-mythical figures who are worshipped as house gods. Salieri is better seen as the patron saint of musicians who prefer to live in a republic of like-minded souls rather than in an authoritarian regime where only certain voices count.

In old age, Salieri apologized for his incomplete command of German. Indeed, he was in the city for much longer than any of them. He was born in , six years before Mozart, in Legnago, near Verona. His parents died when he was in his early teens, but he had the good fortune to attract the attention of Florian Gassmann, a visiting composer from the Viennese court. Salieri was soon playing for the Emperor Joseph II, who had assumed the throne the previous year.

He was, in fact, a keenly musical man who acted as a full-time artistic administrator, attending to composers, librettists, singers, and budgets as if there were nothing more important to occupy his time. Joseph was also one of the more enlightened monarchs of the day, noted for his rejection of regal pomp, his expansion of popular education, his integration of Jews into Austrian society, and his cultivation of a modern state bureaucracy. The young Salieri got to know Pietro Metastasio, the reigning librettist of eighteenth-century Italian opera, and Christoph Willibald Gluck, whose lucid, elegant style set the tone for the Viennese Classical period.

Salieri wrote a memoir of his own, which his friend Ignaz von Mosel used as the basis for a biography, published in One anecdote is particularly winning.

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The applause is vigorous, prompting the young composer to follow the audience out into the street, in the hope of soaking up more praise. He overhears a group of operagoers:. It was he who arranged for Da Ponte to obtain a position at court. But Salieri had already had several major successes in Vienna, justifying the faith that the Emperor had placed in him. His ascendance was complete in , when he was appointed Hofkapellmeister. Gluck, in failing health, asked Salieri to help him with the work and soon handed over the entire project.

A recording will be out in June. It is set in Hormuz, on the Persian Gulf, of all places. Salieri adroitly handles the dizzying array of situations that Beaumarchais throws his way, generating Oriental marches, love duets, shepherd masques, and bloodthirsty monologues. Sometimes, though, he keeps pace with events rather than taking charge of them. This is a recurring flaw of his operatic work.

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At his best, though, he not only equals his contemporaries but heralds the future. The story is unpersuasive in large measure because Salieri was in Paris for much of the time he was supposed to have been scheming in Vienna. Furthermore, he had a professional interest in supporting the kind of Italian opera that Mozart was producing.

In Vienna, the genre was in danger of being pushed aside by singspiels. Mozart could never understand why his creations sometimes failed to attract the admiration he knew they deserved, and he looked for conspiratorial explanations. Salieri must have had the sense that an ambitious up-and-comer was breathing down his neck. A plot was indeed afoot against Mozart, but Salieri was not the ringleader.

He is even called a bardasso , a catamite. Whatever tensions arose between Mozart and Salieri, things never got that bad. After the French Revolution reduced opportunities for imperial subjects in Paris, Salieri returned to Vienna for good. Joseph died in , leaving the throne to his sterner-minded brother, Leopold. Perhaps because of that levelling of circumstances, Mozart and Salieri drew closer. In mid-November, , Mozart fell ill with fever and swelling, caused by an unknown malady.

Two candidates are strep infection and kidney failure.