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The Representation of Music in Oscar Wilde's Earlier Poems

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The Representation of Music in Oscar Wilde's Earlier Poems View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open-access Collection and Electronic Archives for academic Navigator “The art most nigh to tears and memory”: The Representation of Music in Oscar Wilde’s Earlier Poems オスカー・ワイルドの初・中期詩における音楽の表象 次世代教育学部教育経営学科 中村 仁美 NAKAMURA, Hitomi Department of Educational Administration Faculty of Education for Future Generations Keywords： Oscar Wilde, fin de siècle poetry, music and literature Abstract：Oscar Wilde (1854-1900), an Anglo-Irish author of the nineteenth century, is known to have embraced music both as culture and as an idea. In examining his appreciation of music, musical representations in his earlier poetry should not be overlooked. As observed in this paper, Wilde’s appreciation of music as the supreme art form was almost synonymous with writing poetry. The paper explores how the idea and figure of music played a role throughout Wilde’s early career, and it unveils the process in which his references to Classical images were replaced by contemporary discourse over the course of time. Introduction The Ballad of Reading Gaol (1898), written after his release from prison in 1897, Wilde’s poetry remained An increasing amount of attention has been paid largely unappreciated until a century after his death. to the interaction between Victorian literature It is, however, highly significant that he reverted to and music in recent decades. No critical work of poetry after a long silence as a poet, when he wrote consequence, however, has been written about Oscar The Ballad during the most tragic moments of his Wilde, who is not popularly perceived as an artist life. with strong connections to music. It is a biographical A brief introduction to Wilde’s earlier career as fact that Wilde was neither a musician nor a music a poet may be useful at this point. His first phase is aficionado such as his contemporaries, Arthur marked by the publications of Ravenna and Poems Symons and George Bernard Shaw. Nevertheless, (1881). Wilde, whose mother Speranza was an Irish Wilde’s belief that music is the perfect art form nationalist poet, made an auspicious start as an recurs in his writings,1 and this view undeniably Oxford poet. Although Poems sold well at that time, informed the aestheticism of the author who followed Wilde’s earliest poems have not always received the l’art pour l’art movement. good reviews. It is a cliché among critics that Wilde’s This paper deals with how Wilde’s appreciation poetry suffered the suspicion of insincerity and of music occurred and was presented in his earlier unoriginality. Many critics have argued that his poems, which previous studies have mostly missed. models ranged from canonical writers such as Sir It is not irrelevant that the author started and ended Philip Sidney, John Donne and Lord Byron, to his his literary career with poetry, which is a sister art to contemporaries Matthew Arnold and William Morris. music. Wilde’s career as a poet did not fulfil his early While Wilde did not draw upon their texts directly, promise as an ambitious youth at Oxford, where he there appeared a critic’s voice which considered received the Newdigate Prize for his Ravenna (1878). Wilde’s poems to be “committed ― in form, if not in With the exception of the successful narrative poem, substance ― to retrospect rather than innovation” 135135 (Buckley 23). Arthur Ransome, in his 1912 critical The earliest forms of music probably arose study of Wilde, similarly commented that “Wilde, out of the natural inflections of the voice in so far from inventing a new poetry, happened to speaking. It would be very easy to sustain the summarize in himself the poetry of his time” (46), sound of the voice on one particular note, and though the details must be left for another time. to follow this by another sustained note at a The publication of The Sphinx (1894) can be seen as higher or lower pitch. This, however rude, the second phase, when Wilde as a poet was greatly would constitute music. (86) influenced by the French Decadence Movement. Herbert Spencer reached a similar conclusion, Wilde started the title poem when he was still at arguing that “when speech became emotional the Oxford and finished it in Paris in 1883. Intriguingly, sounds produced spanned a greater tonal range it was later published in book form at a time when and thus came closer to music” (Storr 10-11). It Wilde was pursuing a career as a well-known was Spencer who started an examination of the journalist and an author of popular fiction. Kaijima psychological effect which music could engender. discerns in the poem the influence of the French Earlier in the eighteenth century, Jean-Jacques poet Stéphane Mallarmé and his “The Afternoon of a Rousseau, himself a music composer as well as a Faun (L’après-midi d’un faune)” (9-10). Mallarmé, and social theorist, had an idea very different from these Claude Achille Debussy who composed a symphonic scientific conclusions. In Rousseau’s theory, music poem inspired by the piece, are both known to have preceded or accompanied human speech. The human been acquaintances of Wilde. practice of music and poetry began simultaneously, Before embarking upon a close reading of these which was an understanding still influential in Wilde’s texts, the first chapter aims at uncovering Wilde’s time. The following passage is from Rousseau’s Essay notion of a poet. As a youth, Wilde particularly on the Origin of Languages (Essai sur l’origine des appreciated the role of poet as a word-musician langues), published in 1781: and a supreme artist. As I intend to show in the Along with the first voices were formed second chapter, Poems is full of musical contrivance the first articulations or the first sounds, for this reason. The chapter then investigates the depending on the kind of passion that transition of his characteristic references to music, dictated the one or the other. Anger wrests by an in-depth reading of the poems collected in menacing cries which the tongue and the Poems and others written by the late 1880s. Wilde’s palate articulate; but the voice of tenderness representation of the Greek past was replaced is gentler, it is the glottis that modifies it, and by an indulgence towards popular contemporary this voice becomes a sound. Only its accents discourses, as evidenced in the chapters that follow. are more or less frequent, its inflections more or less acute depending on the feeling that 1. To Be a Poet is joined to them. Thus cadence and sounds arise along with syllables, passion makes all First of all, it is worthwhile mentioning that the the vocal organs speak, and adorns the voice Victorian era saw a flourishing of theories regarding with all their brilliance; thus verses, songs, and the origin of music and poetry. Charles Darwin, speech have a common origin. (317-318) whose The Descent of Men sensationally appeared in As we all know, music and poetry could never be public in 1871, claimed that the very origin of music separated in Greek culture. In ancient Greece, a poet can be traced back to birdsong for courtship. Later, used to be identified as a musician, and vice versa. William Pole, a man of many achievements, published It was customary for poets such as Homer to recite The Theory of Music in 1879. His view was that their tales while playing a lyre or other musical music ― whatever its definition is ― developed from instrument. Wilde, born and raised by scientific adult speech: yet literary parents, visited the Pierian Spring as a 136136 student. The speaker of the poem titled “The Garden manuscript, “Do you think this verse good? I fear it is of Eros,” addressing himself as “the last Endymion” out of harmony, but wish you were here to talk about (227), questions the scientific era (229-234).2 it” (Letters 635). After finishing it, he wrote to another In fact, Wilde’s talent as a poet was nurtured friend of his that the 225th line in the poem ― “We through his vast and passionate reading of Greek banged the tins, and bawled the hymns” ― is a bad literature and language, which he found more musical rhyme and “perfectly out of tune” (More Letters 198- than Latin. Quoting Part One of “The Critic as Artist” 199). These episodes assure us of his deep attachment (1890), Wright mentions the writer’s liking of the to rhyming and making sounds in his poems. language for its melodic nature: In this context, it would be fruitful to remember From an early age Wilde displayed a Wilde’s own definition of a poet. As a response to preference for Greek language and literature the lecture given by James McNeill Whistler, who over Latin. This may have been due to the maintained that the supreme artist was a painter, light and melodic nature of Greek, compared Wilde stated: to the heavier, more precise, Latin language. But the poet is the supreme artist, for he is Wilde . described the idiom of the most the master of colour and of form, and the real famous of all ancient Greek poets as a species musician besides, and is lord over all life and of word-music, characterising Homer as “a all arts; and so to the poet beyond all others true singer,” who builds “his song out of are these mysteries [the secret laws of artistic music.” (48) creation] known; to Edgar Allan Poe and to Hence it was rather natural that Wilde began his Baudelaire, not to Benjamin West and Paul literary career with the metric translation of various Delaroche.
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