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Music in the Fiction of Willa Caxhek

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Music in the Fiction of Willa Caxhek MUSIC IN THE FICTION OF WILLA CAXHEK approved ' V, J\oAfc Ksfor., Mia®* Pr#f««*or Ci^cte* of the ©f JCagliiriii ^ffrCSfc dOQss Beaa^&f the Graduate School MUSIC IN THE FICTION OF W2LLA CATHE& THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements F or the Degree of MASTER OF ARTS ®y 223542 William Winf red Johnston, B. A., B. S, in I*. S. Holliday, Texas August, 1953 223512 9RKJTAC M Some two «r three years ago, during a course la American literature, 1 was Again Mooted to the works of WiUa Cather after not having read them for several years. After 1 bad started reading all the novels in chronological order, X was amaated to note tin defi- nite use of music made by Gather in these works. At 1 completed the novels, I decided that there must be something more to this use than mere chance; hence I began the study with a more definite pur- pose in mind than the mere reading of the various stories as such. The short stories I found to he a veritable treasure house of musical references and allusions. After I finished reading them, 1 decided that X should like to pursue the subject even further. This study is a result of that interest. While X have not quoted every mu- sical reference or allusion in the many works of Cather, S believe I have used enough of them to show Willa Cather1 s true Insight into the use of music. J have been able to read all the novels, and most all of the short stories. Those I have not been able to obtain are three of the stories included in the first collection compiled by Cather, That Troll Garden, iii and "Jack-a-boy, M published in the March 30* 1901, issue of The Saturday Evening Post. In the recently published Willa Gather Living, this statement may be found: Malic, for Willa Cather, . was an emotional ex- perience that had a potent influence on her own imaginative processes—quickening the flour of her ideas, suggesting new forma and associations, translating itself into parallel movements of thought and feeling. I think no critic Ms sufficiently emphasised, how much musical forms infiu- enced her composition, and how her style, her beauty of cadence and rhythm, were 'the result of a sort of trans- posed musical feeling and were arrived at almost uncon- sciously instead of being a conscious effort to produce definite effects with words. * 2 have in no way made a specific attempt to show musical influ- ence upon Gather's style of writing, though many of the quoted ex- cerpts will show such. X have merely used those definite and posi- tive references to music, either by implication ©r actual mention of a song or of a musical selection, la other words, I am merely using the obvious, trying to show how Cather used that so effectively. — W. W. J. iEdith Lewis, Willa Cather living, pp. 4?-48. iv TABLE OF CONTENTS Page PIUCFACE iii Chapter I. BIOGRAPHICAL BACKGROUND . I Introduction: The Artist From Virginia to Nebraska The University Ttara The Pittsburgh Years The McCIure Interlude "Write it as It is . H Honors Writing and Music as Art The Last Years An Evaluation IL THE SHORT STORIES . 38 First Publications The Home Monthly and The Library "Eric' Herroaanson's Soul''"' Miscellaneous Uncollected Works The Collected Works Youth and the Bright Medusa Obscure Destinies The OXd Beauty and Others III. THE NOVELS 95 Alexander's Bridge O Pioneers! My Antonia One of Oars The Lost Lady The Professor's House Chapter Page My Mortal Enemy Death Comes for tke Ayehbishop - Shadows on "the RocK Sapphlra andThg SUve Girl Uafiaitlud Works" IV. ARTIST'S AWAKEKXKOt THE SOMO OF THE LARK 148 V. REFLECTIONS IN THE TW«LI@HTj LUCY GAYHEART 176 VL "RESTLESSNESS SUCH AS OURS ..." » . 189 BIBJLIOQRAPHY 194 vi CHAPTER I BIOGRAPHICAL. BACKGROUND Introduction: The Artist At an interview is Omaha, Nebraska, la 1921, Willa Gather re- marked: "A book is made with one's own flesh and Mood of fears. , It is cremated youth, it is all y»*r«~M one else gave it to yon, m1 And ia I9Z5, when writing a preface for the Mayflower edition of Sarah Orne Jewett's stories* she said: The artist spends a lifetime in pursuing the things that haunt him, in having hiirimind "teased" by them, ia trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their ..-character; trying this method and that, as a painter tries different lightings and differ sat attitudes wfth his subjects to catch the one that presents it more suggestively than any other. And at tike end of a lifetime he emerge® with much that is happy esqperimenting, and comparatively little that is the very flower of himself and his genius. ^ Willa Gather's works are "made of her own flesh and blood of years," and for that reason a fairly complete biographical background is needed in order that this study of her use of music may be made more meaningful. For "a great memory and a great devotion were the things she lived upon. 1 Mildred Bennett, The World of Willa Gather, p. xi. 2Willa Gather, "Miss Jewett, ** Wot Under Forty, p. 80. * Willa Cather, "A Chance Meeting, " Wot Under Forty, p. 34. i From Virginia to Ntbraika 'V The Un&b0b»c of Willa Cather in Jaflrey, Mew Hampshire, ikovi a birth date of December 7, 1876. * X. If 14 letter from Gather's s secretary verifies tMs information. That this date is incorrect is indicated by several circumstances. Who's Who ia America did act change ita 1875 date, first used ia the 1910-lfll edition, until the 1920-1921 issue. Since then it baa need the 1876 date. Three different entire* «n file ia the office of the registrar 6 at the University of Nebraska show an 1874 date. Information secured from W. W. ©lass* Archivist at Winchester, Virginia, shows that the birth date of December 7, 1876, is an obvious impossibility. While the Register of Births of Frederick County, Vir- ginia, does not show Willa Gather' s birth, it does show that Roscae Boak Cather, younger brother of Willa, was born on June 24, 1877, thus making the December, 1876, birthdate of Willa Cather an impos- sibility. * Charles Cather, father of Willa, wrote to his brother George in Nebraska that Willa was born in 1873. ® ^Bennett, og. cit., p. 9. ®Madge Davis, "The Evolution of Wilia Cather* s Art, H Unpublished M. A. Thesis, University of Texas, 1934, p. 3. * James R. Shively, Writings from Willa Cather1 s Campus Years, p. 14. 7Ibid., pp. 115-119. 8 Bennett, oj>. cit., p. 9. | Willa Cather, the daughter of Charles F«etigue Cather and Vir- ginia Sibert Soak, was bora near Winchester, Frederick County, Vir- f|\ ginia.Originally christened Willa Love Cather, she changed tha middle name to Sibert in honor of an uncle who had died in the Civil War.10 The Gathers had been interested in moving Vest aim©#! as early at the birth of their daughter Willa. The stories told about the new country by relatives who had already gone to Nebraska did much to persuade them to leave Virginia. The damp climate of their section of Virginia and tuberculosis in th« family were major reasons for thair leaving; the burning of the four-storied Cather sheep barn, however, was the final reason. Packing their belongings ia Confederate money, the Gathers took a train to Nebraska, arriving there in 1882. After living in the community of Cather ton about a year, Charles Cather moved his family to the growing railroad town of Red Cloud, Nebraska. Mere young Willa spent a short time in the public schools, though she was educated largely by her mother and her grandmothers, whose schooling of her in the Bible and classical literature was to be found reflected in the purity of Cather* s written style. She also studied Greek and French from two townsmen. ** She studied JLatin ^ Grant Overton, The Women Who Make Our Novels, p. 256. Bennett, oj>. cit., p. 9. Hfihively, op. cit., pp. 14-IS. with an old English gentleman whose scholarly enthusiasm and inter- est did much to inspire her, and whose company and advice she was accustomed to seek even after she had begun her work at the -univer- sity. ** /" During these formative years in Red Cloud she saw and heard much that was to he incorporated into her writing many years later] The foreigners were a constant source of delight to her. From the women she learned much of their backgrounds in the Old World. Slue was delighted by their secrets of the culinary arts. /^Years later she was to be acclaimed as one of the world's best cooksf) /From some of the older men she learned of the culture of Europe, especially music* and discovered that they often missed the cultural centers of their homelands, and that many of them would not or could not adjust themselves to the rigorous life required of settlers on the Mebraska prairies. Some of these pioneer immigrants had played in the orches- tras of the great music halls of Surope or had studied music there It was not surprising* then, that a number of them committed suicide rather than face the dreary life in the New World. ** Another person who afforded Willa Cather training in cultural pursuits was her aunt, Mrs.
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