George Eliot, Music and Victorian Culture

266 Pages·2003·1.6 MB·English

by  Delia Da Sousa Correa

George Eliot, Music and
Victorian Culture
Delia da Sousa Correa
George Eliot, Music and Victorian Culture
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
Also by Delia da Sousa Correa
THE NINETEENTH-CENTURY NOVEL: Realisms(editor)
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
George Eliot, Music and
Victorian Culture
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
© Delia da Sousa Correa 2003
All rights reserved. No reproduction, copy or transmission of this
publicationmaybemade without written permission.
No paragraph of this publication may be reproduced, copied or transmitted
savewith written permission or in accordance with the provisions of the
Copyright,Designs and Patents Act 1988, or under the terms of any licence
permitting limited copying issued by the Copyright Licensing Agency, 90 24
TottenhamCourt Road, London W1T 4LP. 03-
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Any person who does any unauthorised act in relation to this publication 20
maybeliable to criminal prosecution and civil claims for damages. ct -
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The author has asserted her right to be identified nn
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astheauthorofthisworkinaccordance with the Copyright, C
e
DesignsandPatentsAct 1988. av
gr
First published 2003 by Pal
PALGRAVE MACMILLAN o -
Houndmills, Basingstoke, Hampshire RG21 6XS and ms
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Companies and representatives throughout the world et i
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ISBN 0–333–99757–3 o U
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A catalogue record for this book is available from the British Library. m - li
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Library of Congress Cataloging-in-Publication Data c
da Sousa Correa, Delia. ect.
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George Eliot, Music and Victorian Culture/Delia da Sousa Correa. n
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p. cm. ec
v
Includes bibliographical references and index. gra
ISBN 0–333–99757–3 al
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1. Eliot, George, 1819–1880—Knowledge—Music. 2. Music—Great Britain— w.
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19thcentury—History and criticism. 3. Wagner, Richard, 1813–1883—Friends w
and associates. 4. Music and literature—History—19th century. 5. Wagner, m
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Richard, 1813–1883—Influence. 6. Musical fiction—History and criticism. al fr
7. Music in literature. I. Title. eri
PR4692.M87 S68 2002 at
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
For Richard and Gwendolen
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
‘O what is it in me that makes me tremble so at voices?’
Walt Whitman,Leaves of Grass (1860)
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
Contents
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List of Illustrations viii 3-2
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Acknowledgements ix 1-
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Introduction: ‘Concords and Discords, ect -
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Cadences and Cries’ 1 Co
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1 Music, Science, Literature: The ‘Large Music gr
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of Reasonable Speech’ 11 o - P
The origin and function of music 12 ms
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The scientific debate 31 Tr
‘Liszt, Wagner, and Weimar’ 45 ket i
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Musical literary criticism 52 bliot
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2 Music and the Woman Question: ets
The ‘Minister of Domestic Concord’ and ersit
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‘the Most Sensuous of Accomplishments’ 59 Uni
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Music and female education 61 d t
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The ‘minister of domestic concord’ 66 ns
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TMhues i‘cm aonsdt stehnes uwooums aonf awcrciotemrplishments’ 7971 om - lic
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3 The Mill on the Floss: ‘A Mind Susceptible ne
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to Music’ 102 co
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The ‘laws of attraction’ 110 gra
Music and memory 118 pal
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Tragedy and hyperbole 126 w
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4 Daniel Deronda: ‘The Other Side of Silence’ 130 al fro
Musical vocation and literary opera 131 eri
Female vocation 145 mat
Racial vocation 169 ght
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Musical sympathies: ‘meeting streams’ 177 p
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Conclusion 192
Notes 195
Bibliography 236
Index 249
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
List of Illustrations
1.1 Musical manuscript in Eliot’s hand 3 24
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1.2 ‘The Opera Box’ 45 1-0
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2.1 ‘Not to be Beaten’ 62 20
2.2 ‘English Songs and Melodies’ 69 ct -
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2.3 ‘The Awakening Conscience’ 85 n
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3.1 ‘Chant d’Amour’ 114 ve
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4.1 Recital in an aristocratic home 138 gr
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa
Acknowledgements
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2
I am grateful to have had access to the resources of the Bodleian Library 03-
1-
and for the assistance of the Upper Reading Room staff over the several 01
2
years of research and writing for this book. More recently I have been ct -
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glad of the support of my colleagues in the Literature Department at the nn
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Open University and for the efficient help of staff in the Arts Faculty e
v
a
and Library. Amongst these I should like especially to thank Trevor gr
al
Herbert and Robert Samuels for advice on musical terminology, Audrey o - P
Linkman and Christine Love-Rodgers for help at the outset of my pic- ms
o
ture research and Yvonne Reynolds for help with clerical tasks. The Arts Tr
Faculty at the Open University made a generous grant towards the cost ket i
e
of illustrations for this book. Thanks are due to the Bridgeman Art bliot
Library, Mary Evans Picture Library, Tate Picture Library, John Burton, of sbi
et
the George Eliot Fellowship, and the Herbert Art Gallery and Museum, sit
er
for permission to reproduce images from their collections. I am grateful v
ni
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also to Emily Rosser and Rebecca Mashayekh at Palgrave Macmillan o
for their editorial assistance and to Keith Povey and Glynis Harris for ed t
s
n
copy-editing. Remaining errors are mine. e
c
I profited greatly from the guidance I received from Kate Flint in the m - li
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first stages of this project. Robert Fox provided helpful advice on the c
ct.
History of Science at an early stage. Heartfelt thanks are due to Sally ne
n
Shuttleworth and Dinah Birch for their valuable comments on the co
e
v
initial version of this book, also for their continued encouragement over gra
the long time of its making, and for the example of their own fine schol- pal
w.
arship. I am also grateful to Gillian Beer for her friendly interest and, w
w
like anyone working on Eliot in recent years, owe her an immense debt m
o
for the inspiration of her work. Sally Shuttleworth provided the oppor- al fr
tunity for me to present a portion of the material later developed in ateri
m
Chapters 3 and 4 as a conference paper and I subsequently benefited ht
g
from her editorial advice when this appeared in a special edition of yri
p
Nineteenth-Century Contexts. Dinah Birch invited me to extend the Co
thoughts on Ruskin contained here as an independent essay under her
editorship and a part of Chapter 4 was originally published in essay
form in George Eliot and Europe, edited by John Rignall.
Special thanks go to Sarah Wood. I have benefited throughout this
project from her incisive comments and invaluable friendship.
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10.1057/9780230598010 - George Eliot, Music and Victorian Culture, Delia da Sousa Correa