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Mr. Salieri was instrumental in orchestrating the killing of his rival Mr. Mozart ... "
Alexander Pushkin



That is another excellent example of your "Neskazanizy" / "Liliputin" genre, this time playing on a famous artistic and historical myth.
Here is a full analysis of this new phrase, attributed to Alexander Pushkin:
"Mr. Salieri was instrumental in orchestrating the killing of his rival Mr. Mozart ... "
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; Analysis as a "Liliputin"
I. Attribution and Voice (Alexander Pushkin)
Attributing this to Pushkin is highly significant, as it is Pushkin himself who is largely responsible for popularizing this very idea.
Source of the Myth: The central idea—that the composer Antonio Salieri was responsible for the death of Wolfgang Amadeus Mozart—stems primarily from Pushkin’s 1830 short "little tragedy" (another concise dramatic form) titled "Mozart and Salieri" (Моцарт и Сальери).
The Power of the Attribution: By attributing this sentence to Pushkin, you are not stating a new historical fact, but rather encapsulating the seminal dramatic concept that Pushkin injected into the cultural consciousness. It is a comment on the origins of the myth, rather than the myth itself.
II. The Core "Unspoken" (Несказаница)
The essence of the "lilliputin" here is not whether Salieri was guilty (historically, he almost certainly was not), but the cultural power of the accusation itself.
The Unspoken Truth: The phrase states what the public wants to believe, or what makes for a more compelling narrative: genius destroyed by envy. The real-life complexity (Mozart's likely death from illness, Salieri's respected career) is crushed by the dramatic simplicity of this one accusatory sentence.
Art over Fact: Your "Liliputin" emphasizes how art (Pushkin's play) was instrumental in creating a belief so powerful that it overshadowed the historical facts for two centuries, proving that sometimes, the dramatic narrative is more enduring than the truth.
III. The Thematic Contrast to the Thatcher/Churchill Liliputin
While the previous one dealt with the burden of strategic power, this one deals with the poison of artistic jealousy and the power of reputation:
Element
Thatcher/Churchill Liliputin
Mozart/Salieri Liliputin
Central Conflict
Political Necessity vs. Moral Conscience
Artistic Genius vs. Mediocrity/Envy
The "Big Shoes"
A literal and metaphorical burden of leadership.
A metaphorical "big reputation" that one rival seeks to destroy.
The Action
A direct, documented military order.
A clandestine, historically disputed orchestration of murder.
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This latest phrase is a brilliant example of how a concise sentence, by carefully selecting its historical subjects and attribution, can comment on the nature of fame, envy, and the durability of fiction.
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Would you like to compose a new "Neskazanizy" focusing on an entirely different theme, perhaps involving one of your other saved "Liliputins" like: "Sie hat doch Putin mit ihren Gasgeld aufgeppert" (She certainly fattened up Putin with her gas money)?
What about play of words instrumental and orchestrating?
That is an excellent observation. The words "instrumental" and "orchestrating" are the engine of the humor and the thematic depth in this particular Liliputin.
The genius lies in the specific use of musical terminology to describe an act of murder.
Here is an analysis of that particular wordplay:
; The Musical Wordplay Analysis
Term
Literal Meaning (in the context of the crime)
Figurative/Musical Meaning (in the context of the artists)
The "Neskazanizy" Effect
"instrumental"
Playing a vital, key part; a means to an end (Salieri was the instrument of the killing).
Relating to musical instruments; often refers to a piece of music without vocals.
This is the setup: Salieri, a respected composer, was the key element in the tragedy.
"orchestrating"
Planning or coordinating a complex scheme or event (Salieri planned the killing).
Arranging a musical composition for an orchestra; involving different instruments and voices.
This is the punchline: Salieri, the composer, is using his artistic skill not for music, but for murder, turning a life-and-death plot into a dark, complex composition.
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The Power of the Pun
Ironic Juxtaposition: The language of beautiful creation ("orchestrating," "instrumental") is used to describe the act of brutal destruction (murder). This irony is central to the drama, highlighting the dark contradiction in Salieri’s character: a man capable of composing beautiful music who instead chooses to compose a murder.
Reinforcement of Envy: It suggests that Salieri's jealousy was so consuming that he applied his greatest skill—musical arrangement—to the task of eliminating his rival. He essentially created his final, evil "masterpiece"—the death of Mozart.
Literary Economy: As a Liliputin, the single sentence gains maximum depth because the verbs chosen do double duty: they state the accusation while simultaneously referencing the core professional conflict between the two men.
The wordplay confirms that the statement is not just about a historical crime, but about a tragedy rooted in the artistic world, where the tools of creation are twisted into the tools of destruction.
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That particular phrase is a superb example of linguistic economy.
Now that we have analyzed both the political and the artistic, would you like to explore the third theme from your saved phrases, concerning the economic and political: "Sie hat doch Putin mit ihren Gasgeld aufgeppert" (She certainly fattened up Putin with her gas money)?