Appendix: The Maid of Artois

Set in the reign of Louis XV, the plot of this now-forgotten is melodramatically constructed around the plight of a pair of sundered lovers: Jules - a penniless and grieving who is in Paris searching for his missing 'faithless mistress' - and Isoline, who, far from faithless, had hoped to ensure Jules's advancement by sacrificing her own claims. However, she has fallen into the hands of a marquis with the usual dishonourable intentions, and whose offers of fortune and station she has predictably resisted. Jules opens the opera with a conventionallament:

My soul is one unbroken sigh Breathes forth its love for thee; And all the thoughts that treasured lie Within my memory Were first engendered and will die For thee and only thee.

Not 'all the waves of wine/That have o'et memory roll'd' could drown his 'rooted grief'. To hirn enters an ostensible friend who offers him money; but the 'friend's' name - Sans Regret - and his cynical philosophy that 'There is no grief that is not calm'd/By but a sight of gold', warn the audience of his untrustworthiness. BeIieving the money to be offered in good faith, Jules accepts it in order to be able to continue his search for IsoIine, but it so on becomes clear that Sans Regret' s generosity is merely a device to get Jules to sign a 'receipt', which turns out to be an enlistment paper. We first behold Isoline awakening from a swoon caused by the news of Jules' s enIistment. Her returning thoughts - the 'wreckage' of her past happiness - 'Like truants, chid by memory - at length are welcom' d back'. From them, she assembles her retrospective moral:

120 The Maid of Artois 121

The heart that once had fondly teem' d With hopes, which it the fondest deem' d Should keep them treasur' d, gem by gem For love to deck its diadem! For the first springs of feelings drawn When our beliefs are in their dawn, Before the nipping touch of care Hath press' d his icy fingers there. They are so pure, that in the range Of our affections after change, No hope, so free from sorrow's stain Can ever wake the heart again!

The emphasis on the 'first springs of feeling' and the 'dawn' of 'our beliefs', and the contrast between the purity of those early hopes and 'the range/Of our affections after change', seems to reach beyond the essential prescription for operatic lovers' grief: there is an attempt to comment on the nature and engendering of feeling - on the relationship between love-longing and the forma­ tive memories. The memories of the days when she and Jules were together are associated by Isoline with peace 'priz' d beyond a crown', but now she is suffering the 'sad reverse of one whose object has been to consult the welfare, and it may be, the happiness of others' . In return for Jules's freedom, Isoline promises to 'belong' to the marquis, who exits in triumph, leaving her in an 'agony of grief and shame'. Jules, 'pale and distracted', enters through a window, but their plan to flee is thwarted by an ever-increasing storm: 'I would not expose the form I love to violence so rude', declares Jules. Their delay is fatal: the marquis returns, he and Jules fight, the marquis is wounded, and Jules is seized by soldiers. As the lovers are violently parted, they join in a trio with the marquis, whose reactions are unusual for a foiled seducer:

Oh, though I am destined to lose the heart Which my own had no charm to bind, The blow which such anguish doth now impart In my feelings shall yet no rankling find; And the sting which resentment often leaves Has passed from me ever away, 122 George Eliot and Music

And the only sorrow my bosom grieves, Is to know that theirs I can never allay.

His reform means that the plot must (and does) become complicated by the need to replace hirn with another malevolent figure. This turns out to be the slave-driver Synnelet, whose prisoner in a fortress in Sinamari we find Jules to be at the opening of Act 11. A vessel arrives containing a cargo of convicts - and Isoline, 'in male attire', in search of Jules. She is immediately desired by Synnelet, who is just about to have his evil way with her when Jules comes to the rescue. The pair escape. Despite the melodrama, Synnelet' s lust is merely the expression of the moment: his threat to Isoline' s chastity is no more sustained than the marquis's. These brief flarings are all that the opera offers in the way of sexual passion, for there is no hint of fever on the part of the lovers. Unconcerned as they are with each other' s personal attributes, their love is essentially represented as the most important aspect of their history . It is expressed by Isoline as she arrives at the fortress as a primal affiliation:

Oh, what acharm it is to dwell On long departed years E' en though we recollect too weIl How stained they were with tears. And though their days, in fondness nurst, Were yet in sadness past, For ties that were engender'd first Are those forgotten last.

The most enchanting words of aIl That passion' d lip can pour, However sweet they be, recall But sweeter heard before! And throbs which seem the heart to burst But echo back the past; For ties that were engender'd first Are those forgotten last.

After Jules and Isoline have made their escape, the marquis arrives to reveal that his passion has purified into a lament for the past: The Maid of Artois 123

The light of other days is faded, And all their glory past; For grief with heavy wing hath shaded The hopes to bright to last. The world which morning's mantle clouded Smiles forth with purer rays; But the heart ne' er feels, in sorrow shrouded, The light of other days!

The leaf which autumn's tempests wither, The birds which then take wing, When winter' s winds are past, come hither To welcome back the spring! The very ivy on the ruin In gloom fulllife displays, But the heart alone sees no renewing The light of other days.

Act III finds the lovers 'in a vast sandy desert in French Guiana'. While Jules lies in a swoon, Isoline sings of being 'An outcast from my kindred, and from all communion hurled'. But Jules recovers, explaining,

My sense which had pondered Too long on the past, From reason had wandered And sunk down at last.

When it is her turn to sink to the ground, Isoline first assures Jules that she will die 'tranquilly' provided he will mourn her, and asks forgiveness for all her past wrongs. However, a procession led by the marquis providentially arrives, and Isoline is revived. At first, the marquis does not realise who the fugitives are; but, after the first shock of recognition, he assures them he is their enemy no longer and joins their hands together. The chorus adds its blessing:

Cherished for ever be The feelings now we see, The smile, all smiles above, Which friendship lends to love. 124 George Eliot and Music

Isoline' s concern to consult the welfare of others is shared by Maggie; and Maggie, when she returns to St Ogg's after her fateful river-journey, is, like Isoline, to be the victim of an assumption that her virtue has been surrendered. Apart from these considerations, though, the reason why George Eliot chose The Maid of Artais to provide Stephen with an excuse to visit Maggie lies, as I have said, in its dominant memory motif: Isoline' s mistake was to think that she could sacrifice a future that followed naturally from the past. Notes

PREFACE

1. Henry James, 'The Novels of George Eliot', in A Century ofGeorge Eliot Criticism, ed. Gordon S. Haight (1966) pp. 43-54. The article first appeared in the Atlantic Monthly, 18 (Oct 1866) 479-92. 2. Hugh Witemeyer, George Eliot and the Visual Arts (1979). 3. George Eliot, ['Westward Ho! and Constance Herbert'], Essays of George Eliot, ed. Thomas Pinney (1963) p. 126. The article first appeared in the Westminster Review, LXIV (July 1855) 288-96. 4. See Witemeyer, George Eliot and the Visual Arts, p. 20. 5. George Eliot, 'The Lifted Veil', in Silas Marner, The Lifted Veil, and Brother Jacob, p. 279. 6. Dr Mann's illuminating essay, 'George Eliot and Wordsworth: the Power of Sound and the Power of Mind', Studies in English Literature, 20 (1980) 675-94, centres on an examination of the relationship between Wordsworth's poem 'On the Power of Sound' and George Eliot's much longer poem 'The Legend of Jubal'. 7. George Eliot Journal, 14 Apr 1858. See Gordon S. Haight, George Eliot: A Biography (1968) p. 256. 8. In Persuasion, for example, Anne Elliot's musical sensitivity is one of the qualities which mark her out from her more superficial kin; but, though she plays the piano for private and intense pleasure, we are told so liule about the music that we observe, rather than penetrate, the experience. 9. Albert R. Cirillo, 'Salvation in Daniel Deronda: The Fortunate Overthrow of Gwendolen Harleth', Literary Monographs, I (1967) 219.

CHAPTER 1 A BRIEF MUSICAL BIOGRAPHY

1. Percy A. Scholes, The Oxford Companion to Music, 10th edn (1970) p.796. 2. Rubinstein was presented to George Eliot by Franz Liszt in Weimar on 18 September 1854. 3. From Henry Rowley Bishop's opera Clari: The Maid of Milan (1823). The words are by John Howard Payne. 4. In George Eliot's time this was attributed to Matthew Locke. Other contenders are Eccles, Leveridge and Purcell. 5. There is more than one connection between the sacred and the profane here. The music for a set of hymns and anthems that George Eliot

125 126 Notes

played and sang together with Sara Hennell was also composed by Eliza Flower. Eliza Flower (1803-46) was the eIder daughter of Benjamin Flower, and the cousin of Edward Fordham Flower, Unitar­ ian brewer, four times mayor of Stratford-on-Avon, friend of the Brays, and, through them, well known to Mary Ann. Eliza' s Hymns and Anthems were arranged to appear in five parts. The first was published in 1842; three more appeared in 1846; and the last has still not been published. 6. For Mr Lyon (who is confessedly 'not endowed with an ear to seize those earthly harmonies, which to some devout souls have seemed, as it were, the broken echoes of the heavenly choir'), the laws of music are significant only insofar as they are indicative of a sacred gual, when 'one law shall be written on all hearts, and be the very structure of all thought, and be the principle of all action' (Felix Holt, I, 227). 7. George Eliot's translation of David Friedrich Strauss's Das Leben lesu was pubhshed in 1846. 8. John Sibree - the son of the minister of the Independent Chapel in Vicar Lane, Coventry, and three years Mary Ann's junior -lived near her in Foleshill. They shared a pleasure in the life of the mind, and when he went to Springfield College, Birmingham, with a view -later abandoned - to entering the Independent ministry hirnself, he began a correspondence with her that, as Gordon Haight has said, 'elicited some of her most spirited letters' - George Eliot: A Biography (1968) p.63. 9. Probably the most notable of these is her review (16 March 1849) of James Anthony Froude's The Nemesis ofFaith (1849). 10. John Chapman's diary, 12 Jan 1851. See Gordon S. Haight, George Eliot and lohn Chapman, 2nd edn (1969) p. 131. 11. Chapman boasts frequently to hirnself in his diary of his effect on Marian's emotions. Since the household included his wife Susanna (who was guilty of being fourteen years older than her husband) and his mistress, Elizabeth Tilley, his not infrequent private audiences with Marian were likely to cause satisfactory (to hirn) outbreaks of jealousy. He certainly stimulated this emotion in his circle of women by selectively revealing or ostentatiously refusing to reveal to one member the contents of his correspondence with another. 12. Chapman's diary, 2 Feb 1851; Haight, George Eliot and lohn Chapman, p.138. 13. John Pyke Hullah - singing-teacher, music historian, lecturer, and the composer of a successfully mounted opera on a by Dickens (of which all the music was destroyed by fire during its run in Edinburgh) - gave concerts at St Martin's Hall, Long Acre from 1850 until it burnt down in 1860. 14. Chapman's diary, 16 Apr 1851; Haight, George Eliot and lohn Chapman, p.154. 15. Herbert Spencer, 'The Origin and Function of Music', Literary Style and Music (1950) p. 77. This essay is an augmented version of that Notes 127

which first appeared in Fraser's Magazine, CCCXXXIV (Oct 1857) 396-- 408. 16. Transporting herself in imagination to the countryside, the twenty­ one-year-old Mary Ann wrote, 'I hear the swirl of the scythe as I watch the delicate grasses trembling under the eager and restless alighting of the humming insects' (L, I, 86). Appropriately modified, this fancy is transmitted to Adam Bede, when 'the swirling sound of the scythe' (I, 243) is very pleasant to Arthur Donnithorne as he rides past the meadow that will one day be his, luxuriously contemplating the confession he intends to make to Mr Irwine of his entanglement with Hetty. Early in the novel, the narrator establishes a particular moment in summer through 'the sound of the scythe being whetted', which 'makes us cast more lingering looks at the flower-sprinkled tresses of the meadows' (I, 23). 17. Spencer, Literary Style and Music, pp. 60--1. 18. George Eliot, 'Liszt, Wagner, and Weimar', Essays ofGeorge Eliot, ed. Thomas Pinney (1963) p. 103. The essay first appeared in Fraser's Magazine, LU Guly 1855) 48--62. 19. Ibid., p. 104. 20. In fairness to George Eliot, it should be acknowledged that her attitude to Wagner was far less dismissive than that of many of her contemporaries, and generally more tolerant than Lewes's, who stated in 1872 that Wagners music 'remains to us a language we do not understand' (L, v, 317). George Eliot at least found Der fliegender Holländer 'a charming opera', and Tannhäuser 'still the music of men and women, as weIl as Wagnerites'. The real difficulties began with Lohengrin, which 'to us ordinary mortals seemed something like the whistling of the wind through the keyholes of a cathedral' (Essays, ed. Pinney, p. 102). 21. William Wordsworth, 'Three years she grew', Lyrical Ballads, 1800. 22. George Eliot's 'Middlemarch' Notebooks, ed. John Clark Pratt and Victor A. Neufeldt (1979) p. xiii. 23. James J. Sylvester, The Laws ofVerse: or, Principles ofVersification (1870). 24. Charles Burney, A General History of Music from the Earliest Ages to the Present (1776--89). 25. Berg Notebook, f. 13v. See George Eliot's 'Middlemarch' Notebooks, pp. 177-8. 26. Beth-Zion Lask Abrahams, 'George Eliot: Her Jewish Associations - A Centenary Tribute', ]ewish Historical Society of England Transactions, XXVI (1979) p. 56. In an otherwise celebratory article these remarks are slightly puzzling, since Mrs Abrahams goes on to praise 'The Death of Moses' 'as a great Jewish poem which no born Jew could have bettered' (ibid., p. 57). 27. 'Versification (1869)' was copied by George Eliot into a notebook now in the Beinecke Rare Book and Manuscript Library, Yale University. First published in 1880 by the Halfpenny Press, Wisconsin, in a limited edition, the essay appears in George Eliot: A Writer's Notebook 1854- 1879, and Uncollected Writings, ed. Joseph Wiesenfarth (1981) pp. 286-- 90. 128 Notes

28. Ibid., p. 288. 29. Ibid., p. 287. 30. Ibid., p. 286. 31. Ibid. 32. Ibid. 33. Sylvester, The Laws ofVerse, pp. 66-7. 34. Christopher Wordsworth, Greeee, Pictorilll, Descriptive, and Historical, rev. ed. (1853) p. 267. 35. Folger Notebook, f. 76. See George Eliot's 'Middlemareh' Notebooks, p.43. 36. George Eliot Journal, 1 Jan 1869. See L, v, 3. 37. See George Eliot's 'Middlemareh' Notebooks, p. 13. 38. Ibid., pp. 180-2. 39. Ibid., pp. 191-3. 40. Ibid., p. 187. 41. 'He lived 50 years later than Alcman, the Spartan poet, & the irnprovements he introduced into the chorus are so distinct from those of Alkman [sie] & so far in advance of them that he justly shares the honour of being the inventor of choral poetry. He was the first to break the monotony of the strophe & antistrophe by the epode, & his metrics were much more varied, & the structure of his strophes more elaborate than those of Alcman. His odes contained all the essential elements of the perfect choral poetry of Pindar & the tragedians. The subjects of his poems were chiefly heroic; he transferred the subjects of the old epic poetry to the lyric form, dropping of course the continuous narrative, and dwelling on isolated adventures of his heroes. Stesichorus was one of the nine chiefs oflyric poetry recognized by the ancients' (Berg Notebook, f. 35; George Eliot's 'Middlemarch' Notebooks, pp. 191-2). George Eliot made briefer notes on Epicharmus and Sophron. 42. George Eliot's 'Middlemareh' Notebooks, p. 177. Burney discusses theories regarding the barring of Greek music in his History of Musie, I, 1~. 43. The New Grove Dictionary of Musie and Musicians (198O) VII, 853. 44. Edmund Gurney, The Power of Sound (1880) p. vii. 45. Article on Edmund Gurney, The Dictionary ofNational Biography. 46. Gurney became a member of the Bach Choir, which was founded in 1875 by Jenny Lind' s husband, Otto Goldschmidt - though, according to George Eliot, the choir was 'a society of Ladies and Gentlemen got together by Jenny Lind, who sings in the middle of them, her husband acting as conductor' . George Eliot found it 'pretty to see people who might be nothing but empty fashionables taking pains to sing fine music in tune and time with more or less success' (L, VI, 321). To Gurney's other musical credentials was added the publication in 1876 of a lucid article entitled 'On Some Disputed Points in Music', Fortnightly Review, n.s., xx Ouly 1876) 106-30. In this article, Gurney dismisses Inany of Spencer' s theories (which, incidentally, are entirely ignored by Grove). Spencer found time to retaliate only when Gurney was safely dead. See Spencer, Literary Style and Musie, pp. 88-106. 47. This piano is on permanent display in the Museum and Art Gallery, Notes 129

Nuneaton, where it is on loan from the Herbert Art Gallery and Museum, Coventry. 48. Rudolph Charles Lehmann, Memories of Half a Century (1908) p. 132. 49. John Walter Cross, George Eliot's Life as Related in her Letters and Journals (1885) III, 333-4. 50. In George Eliot (1986), Gillian Beer indieates (p. 204) a relationship between the signifieance of amateur music-making in George Eliot's work and Hullah's lecture 'The Duty and Advantage of Learning to Sing'. But Hullah published his theories (which are essentially - and influentially - concerned with the benefits of choral singing) in 1846, at least four years after George Eliot' s own experience of social music­ making had taught her its advantages.

CHAPTER 2 THE MILL ON THE FLOSS

1. A. S. Byatt (ed.), Introduction to The Mill on the Floss, Penguin English Library (1979) p. 32. 2. Ibid. 3. Ibid., p. 38. 4. Ibid., p. 35. 5. In The Art of George Eliot (1961), W. J. Harvey points to the chapters 'ironieal title, "A Duet in Paradise", reinforced within the chapter by references to "The Creation", part of whieh Lucy plays' (p. 138), but does not refer us to the equally indicative title of the book. 6. Harvey calls it 'this second paradise' (ibid., p. 138). This is to overlook the significance of the form in which Paradise presents itself between childhood and adulthood, however. 7. U. C. Knoepflmacher, in George Eliot's Early Novels (1968), also establishes a relationship between Milton's poem and the novel. His allusions, however, are confined to the Flood, or contained in the passage which explains that 'the squatting toad, the allusions to demons and serpents, the "temptation" whieh causes Tom and Lucy to walk to the forbidden end of the garden, Maggie' s revolt against Tom's male superiority, her sudden outburst of passion, the tree she leans against so impenitently, the "justice" which will soon punish both boy and girl, invest this scene with mock-heroie dimensions. The "passions at war in Maggie" are clearly analogous to those which led another female in another garden to commit an action which was of the proper magnitude. The link is ironie, of course, but we are not allowed to escape it: '''0 Tom, dare you?' said Lucy, 'Aunt said we mustn't go out of the garden.'" God in this child-world is any adult, even one as severely limited in authority and understanding as Mrs Tulliver's favourite sister' (pp. 185--6). 8. John Milton, Paradise Lost (1667) IV. 14S-9. (I have used Christopher Ricks's edition of 1968.) 9. See Harvey, The Art ofGeorge Eliot, p. 138. 10. The golden gates which give the chapter its title, and to which George Eliot refers in both the passages quoted above, are possibly simply 130 Notes

her own invention: I have not found them in Milton, Bunyan or the Bible. However, it is perhaps worth noting that the annotator of an edition of The Pilgrim's Progress that was published when she was writing the Mill uses the phrase to describe the gates of the kingdom of heaven. At the point where Christian and Hopeful triumphantly arrive at their destination, the Revd R. Maguire explains, 'They have ascended the hill of the Lord; and now they enter by those golden gates, the object of their longing, hope, and expectations' - The Pilgrim's Progress and the Holy War, with a life of Bunyan by the Revd John Brown, and annotations by the Revd R. Maguire (1859) p.224n. 11. U. C. Knoepflmacher also emphasises the need for us to hear, as weil as to see, the world of the novel. See George Eliot's Early Novels, p. 187. 12. I think the lion rather than any other adversary of Hercules, since Minny has pride of place in Lucy's menagerie. 13. William J. Sullivan's view in 'Music and Musical Allusion in The Mill on the Floss', Criticism, 16 (Summer 1974) 243, that, in conjunction, the title ofthe chapter, the oratorio and the aria 'characterize the (culpably?) innocent world of Stephen and Lucy, a world which only apparently paralleis the innocent world of Maggie' s childhood and a world to which she vainly seeks admittance', oversimplifies the relationship between character, setting and theme. The world depicted here in fact belongs not to Stephen and Lucy, but to Lucy only, whose innocence­ and that of her world - is neither culpable nor blemished. It is Stephen and Maggie who introduce culpability into Paradise. Stephen has his own world of Park House, and is in 'Paradise' only as Lucy's guest (as his surname implies). Maggie is also a guest. She does not 'vainly seek admittance', but - properly, though temporarily, admitted - becomes the unwilling usurper. 14. For an illuminating discussion of the origins of the libretto for The Creation, see H. C. Robbins Landon, Haydn: Chronicle and Works, IV: Haydn: The Years of'The Creation' 1796-1800 (1977) pp. 345-9. 15. Milton's 'savoury fruits' are to be found in Paradise Lost, v. 304. 16. The Creation (1798; 1st edn 1800): 'Graceful consort'. 17. As early as 1842 she had written to Cara Bray, 'Miss B[rabant] begs me to tell her all I know of Rosehill and the inhabitants of "that Paradise". I shall hope to see its Eve tomorrow; in the meantime, will you tell your Adam, who "with front serene governs" [Paradise Lost, VII. 509] in your Paradise ... that the trees are condemned to fall and be sold to Mr Webb' (L, I, 154). 18. Paradise Lost, IV. 296-307. 19. Having himself dismissed the oratorio as 'ersatz prelapsarianism', Sullivan asserts that 'Philip Wakem sees the music for what it iso ... [His] judgement coincides, even to the choice of adjective, with George Eliot' s own view, expressed in a letter to Sara Hennell in 1880: "About Mozart, I am at one with you when I think of him in comparison with Handel, Beethoven and Schubert and some more modern composers­ that is, I feel his kinship to the Italian 'sugared' view. But I find him, Haydn, and the Italians a welcome rest from more searching music" [L, VII, 344]' (Criticism, 16, p. 243). Notes 131

It is significant that Sullivan makes no reference to Lucy's introduc­ tory remark concerning Philip's 'invectives'. In the light of the spirit in which Philip's judgement is made, I think Sullivan is wrong in claiming that it is endorsed by George Eliot. In her letter to the unremittingly earnest Sara Hennell (written, it should be noted, twenty years after the publication of the Mill) she is accepting a contrast between the weightiness of one group of composers and the less exacting qualities of the other without accepting her friend' s implied condemnation of the latter: even the enclosure of 'sugared' in inverted commas suggests that she is only tactfully acknowledging the term before going on to find the Italians (whom it specifically describes), Mozart (who bears the direct comparison to them) and Haydn 'a welcome rest' - a response that does not in the least correspond to Philip's outburst against the oratorio. In 'Liszt, Wagner, and Weimar', - Essays ofGeorge Eliot, ed. Thomas Pinney (1963) p. 105- George Eliot cited Mozart as one of the composers she most enjoyed, but even more to the point is the fact that in March 1852 (that is, seven years before starting on the novel) she had deferred a visit to the Brays in order to go with Herbert Spencer to hear Rossini's William Tell, and with Bessie Parkes to hear The Creation, because 'I have had so little music this quarter and these two things are exactly what I should like' (L, 11, 16). In the precis of her 1974 George Eliot Memorial Lecture, 'Music and the Visual Arts in the Novels of George Eliot', printed in the George Eliot Fellowship Review, 5 (1974), Gillian Beer also offers the pleasure Stephen and Lucy take in 'Haydn's Creation, with its lovely musical literalism and social propriety' as evidence of 'their stauneh, perhaps complacent, musical appetite' (p. 19). Against this 'is set Maggie's feeling for Purcell' (ibid.). But, of course, Maggie only hears Purcell's music because Stephen (encouraged by Lucy) likes to sing that as weIl as to sing Haydn (in fact, PureeIl provides Stephen with his 'best songs'); and Maggie's feeling for PureeIl must in turn be set against her enthralled response to Auber (see II, 234-5), and her delight in country dancing (see 11, 271-2). 20. These textual alterations are noted by Byatt in her edition of The Mill on the Floss, p. 669. 21. Stephen is not alone in patronising Lucy. Dismissing her, in Will and Destiny: Morality and Tragedy in George Eliot's Novels (1975), as 'a sweet but dull creature' (p. 205), Felicia Bonaparte argues that Stephen's choice of her for a wife is evidence of his mediocrity. 22. In the air 'The people that walked in darkness', from Handel' s Messiah, the composer gives the the option either appropriately to conduct that walk towards the low G and F sharp, or to settle for the mid­ range (and therefore less awesome) E and F sharp:

~ Er Fli ~ j' that walk - ed in dark -- ness, 132 Notes

Raphael - required to reach a semitone lower (though without, it is true, having to take such a vocal plunge as Handel's bass) - is given no such option. 23. John Walter Cross, George Eliot's Life as Related in her Letters and Journals (1885) I, 315. 24. Paradise Lost, IV. 154--6. 25. Ibid., IV. 208. 26. George Eliot and Lewes heard Acis and Galatea (1720; text by John Gay) on 25 May 1859 at St James's Hall (see L, 111, 71). One week later, she was in the middle of the fight between Tom and Bob (when Bob flings Yap into the river), which takes place in book I, chapter 6 - that is, just three chapters before the Garum incident. The use of Aeis and Galatea is therefore a nice example of creative transference. 27. A musical box that had belonged to Richard Johnson, the husband of George Eliot's aunt Elizabeth (nee Pearson) - who is deemed to be the prototype of Aunt Pullet - is exhibited in the Museum and Art Gallery, Nuneaton, where it is described as 'Unde Pullet's Musical Box'. 28. Sullivan considers that here Maggie is articulating 'her natural impulses to excess' (Criticism, 16, p. 235). He is perhaps forgetting that Maggie is only sixteen at this point, and is still trying to reconcile the realities of her lot to the needs of her nature. Her longings are excessive because her circumstances cannot satisfy them, not because they are intrinsically inappropriate. The self-criticism of a young girl is by no means necessarily authorial criticism. 29. Gordon Haight, for example, says that the '''inexorable power of sound" still sways her in the same way' in adolescence as in childhood­ 'The Mill on the Floss', in A Century of George Eliot Criticism, ed. Haight (1966) p. 341. This essay first appeared in the Riverside edition of the novel (1961). Sullivan similarly asserts that 'the magic music of childhood, the thrilling and solemn music of adolescence, and the romantic music of young womanhood, provoke identical responses in Maggie' (Criticism, 16, p. 235). 30. Waiting for her intended venomous confrontation with Captain Wybrow (which his fatal heart-attack will of course thwart), Caterina 'sat down to the harpsichord in the sitting-room. It seemed as if playing massive chords - bringing out volumes of sound, would be the easiest way of passing the long feverish moments before twelve o'dock. Handel's "Messiah" stood open on the desk, at the chorus, "All we like sheep", and Caterina threw herself at once into the impetuous intricacies of that magnificent fugue. In her happiest moments she could never have played it so weIl; for now all the passion that made her misery was hurled by a convulsive effort into her music' (Seenes of Clerical Life, I, 276-7). The fugue expresses Caterina's moral condition as weIl as her passion, for, like the choral (and of course biblical) flock, she has 'gone astray'. 31. Haight, in A Century ofGeorge Eliot Critieism, p. 342. 32. F. R. Leavis, The Great Tradition (1948) p. 42. 33. Haight, in A Century ofGeorge Eliot Criticism, p. 343. Notes 133

34. Byatt, in her edition of The Mill on the Floss, p. 689. 35. See Leslie Stephen, 'George Eliot', in A Century of George Eliot Criticism, p. 144. The essay first appeared in the Cornhill Magazine, 43 (Feb 1881) 152-68. 36. Byatt, in her edition of The Mill on the Floss, p. 689. 37. Haight, in A Century ofGeorge Eliot Criticism, p. 345. 38. William Buckland's treatise Geology and Mineralogy Considered with Reference to Natural Theology (1836) is the last of aseries of Treatises on the Power, Wisdom and Goodness of God, as Manifested in the Creation (which were produced in response to a bequest of f:8000 by the Revd Francis Henry, 8th Earl of Bridgewater, for the best work on the subject). Buckland's method of reconciIing the Mosaic account of the stages of Creation with the phenomena of geology is to punctuate stages of his account with laudatory acknowledgements to the Almighty. A typical example comes at the end of chapter 15, seetion III: 'Proofs of Design in the Mechanism of Fossil Chambered Shells': 'If, in all these famiIies, it can be shown that the same principles of mechanism, under various modifications, have prevailed from the first commencement of organic life unto the present hour, we can hardly avoid the conclusion which would refer such unity of organisation to the will and agency of one and the same intelligent First Cause, and lead us to regard them all as emanations of that Infinite Wisdom, that appears in the shape and structure of all created beings' (I, 332). His lyricism when describing the revelations of geology, however, is often that of the beholder of an Eden. Of the Bohemian coal-mines, for example (eh. 18, seetion I: 'General History of Fossil Vegetables') he says, 'The most elaborate imitations of living foliage upon the painted ceilings of Italian palaces, bear no comparison with the beauteous profusion of extinct vegetable forms, with which the galleries of these instructive coal mines are overhung. The roof is covered as with a canopy of gorgeous tapestry, enriched with festoons of most graceful foliage, flung in wild, irregular profusion over every portion of its surface. The effect is heightened by the contrast of the coal-black colour of these vegetables, with the light ground work of the rock to which they are attached. The spectator feels himself to be transported, as if by enchantment, into the forests of another world; and he beholds Trees, of forms and characters now unknown upon the surface of the earth, presented to his senses almost in the beauty and vigour of their primeval life; their scaly stems, and bending branches, with their delicate apparatus of foliage, are all spread forth before him; little impaired by the lapse of countless Ages, and hearing faithful records of extinct systems of vegetation, which began and terminated in times of which these relics are the infallible Historians' (1,453). Music in these coal-mines would not be expected. Nevertheless, the primeval beauty of the world to which Buckland's spectator is transported does unite it with those other Edens to which George Eliot alludes, while the 'wonderful geological story' itself unites her imagination with Maggie' s; for George Eliot was twenty- 134 Notes

one when she read the treatise 'with much pleasure' (L, VIII, 8) - not much older than Maggie when she listens to Stephen's account of it. In the light of the fact that a Darwinian influence on the Mill is often detected (Barbara Hardy, for example, describes it as 'a very Darwinian novel'), it is perhaps worth suggesting that, in the attention it gives to records of the past (like those broken ends of branches of the trees in the Red Deeps which are the records of past storms), The Mill on the Floss has as much affmity with Buckland's 'infallible Historians' as with Darwin's struggle for existence. For Professor Hardy's comment, see 'The Mill on the Floss', Particularities: Readings in George Eliot (1982) p. 69. The essay first appeared in Critical Essays on George Eliot, ed. Barbara Hardy (1970). 39. '[TJhe rhythmic movements of the oars' is a telling alteration to the manuscript, which origina11y read, 'the idea that she should like to row'. 40. Paradise Lost, IV. 180, 196. 41. In Paradise Lost, Ix.71-5, Satan returns to Eden by finding the place 'Where Tigris at the foot of Paradise /Into a Gulf shot underground, ti11 part/Rose up a Fountain by the Tree of Life;/In with the River sunk, and with it rose / Satan'. 42. 's opera The Maid ofArtois (1836; text by A. Bunn) has now passed into total obscurity: even Kobbe's Complete Opera Book, ed. and rev. by the Earl of Harewood (1976), provides no account of it. In view of its significance to George Eliot's scheme, I have made a synopsis (see Appendix). 43. Italian and English title of D. F. E. Auber's opera La Muette de Portici (1828), first performed in London in 1829. It is in fact unlikely that the duet would have been known to anyone in Lucy's music-party. Not only was it omitted flom the fIrst performance of the opera in England, but I have been unable to fInd any evidence whatsoever that it was performed in any production until that given by the Royal Italian Opera at Covent Garden in 1849 - too late for Lucy and company. Masaniello certainly seems to have been popular in England before that date, but predominantly in the form of a balletic hybrid, with the music adulterated, and Scribe's and Delavigne's libretto translated and interpreted with much fleedom. The popularity of the work is reflected in the plethora of published arrangements of pieces flom the opera for all sorts of combinations of instruments, and voice and instruments - but the duet seems not to have existed for English musical society. Similarly, English versions of the libretto - notably that published by James Kenney in 1831, who claims to have limited his alterations to lopping off 'redundancies', and making some 'slight additions' - seem to dispense with it: perhaps it was generally considered too inflamatory, since a performance of the opera in Brussels in 1830 apparently inspired the liberation of Belgium flom the Dutch. See Gerhart von Westerman, Opera Guide (1963) p. 161. When the opera was presented in 1849 by the Royal Italian Opera, the ecstatic review in The Times of 17 March 1849 (quoted in the Musical World of the same date) deplores the fact that 'The five acts were Notes 135

reduced to three; many pieces were omitted, and more spoiled by mutilation. Last night, the five acts were restored, and, with a few exceptions of comparatively small importance, the whole of the music was given ... .' In the summary introducing his translation of the libretto that was used for this production (published 1849), Manfredo Maggioni says, 'Although La Muette de Portici has enjoyed such European celebrity for upwards of twenty years, it is the first time that Auber's ehef­ d'oeuvre has been produced in this country in its integrity and in an Italian adaptation. The overture, the music of the incidental dances, and some of the choruses have, indeed, been highly popular in this country by [sie] an English version and by aballet bearing the name Masaniello, but some of the finest pieces were suppressed, and music by other composers interpolated in the most curious style.' There is no indication in that description of a place for the duet. One could argue that the music and libretto of the original version had been procured by Lucy or her friends from Paris - but, in that unlikely event, Lucy would surely have referred to the opera by its original French title. The fact that George Eliot uses the English or Italian title suggests that she was thinking of an English or Italian - a familiar - production: the introduction into the novel of the reference has the air, and is to be given the details, of intimate acquaintance. George Eliot was a frequent and enthusiastic opera-goer, and what I think probably happened is that she heard the opera in Italian at Covent Garden sometime in the early 1850s when she was living in London, and simply assumed that what she had heard - or, alterna­ tively, what had been released in printed form subsequent to the production - had been accessible to her characters. (Among other dates, the production was revived in April 1853, a possible time for her to have seen it. Unfortunately her journal for this period is not extant.) 44. Since the opera was sung in Italian when George Eliot was first likely to have heard it, I give the Italian words as translated from the French by Manfredo Maggioni. See note 43. 45. These exchanges can be translated into English as folIows: 'Oh, infamous power that oppresses me./Think of my sister raped by a pitiless monster./Will she perhaps be the victim of this seducer? I Whoever he is, I swear I will kill him.' 46. It is interesting to compare Maggie's reaction to Stephen's singing with the effect on the titular heroine of Geraldine Jewsbury's novel Marian Withers (1851) of the singing of a philandering young called Albert. Marian - whose musical faculty has never yet been tested - is entirely overwhelmed when she hears Albert (under whose magnetic influence she has temporarily - and unconvincingly - fallen) rehearsing the title role of Mozart's Don Giovanni.

She was tranquilly sitting at a table, looking at a book of engravings, when the first notes came upon her ear. She sat in a trance, feeling as if a stream of life was being poured into her; the intense enjoyment 136 Notes

almost amounted to pain, her whole being seemed fused and permeated by celestial frre; it was as if a spirit had entered into her, and taken possession of her whole being, and carried her out of herself into a world where sound was the only reality. Her senses were quickened, and filled to overfiowing with delight; they seemed too limited to grasp or to receive the flood of new sensation let in upon them. After a while, she lost all consciousness of herself, and became, as it were, transfused into the unutterable element of lovely sounds that surrounded her. It was like madness, or like being possessed by ademon; she sat crouched into a corner of the sofa, her face buried in the cushions, and the tears streaming from her eyes, until the speIl was broken by the announcement that 'Mr Glynton's carriage was come ....' (I, 131-2)

However, although Marian's behaviour is clearly intended to indicate her profound sensibility, musically speaking her author is holding nothing in reserve. The parallel between Albert and his operatic role is obvious, and is underscored when, at the actual presentation of the opera, he disturbs the soul of the newest object of his desire, Lady Wollaston, by addressing his performance directly to her. (Three pages before the novel's end he gets his come-uppance when his nose is shot off by a jealous husband. Disfigured for life, he is dispatched to 'the back woods of Canada, where appearances were not of much consequence' .) From George Eliot's review in the Westminster Review for July 1855 of Geraldine Jewsbury's Constance Herbert (1855) - in which, with regretful courtesy, she finds 'neither the true doctrine of renunciation, nor a true representation of the realities of life' (Essays, ed. Pinney, p. 134), it seems virtually certain that she had also read Marian Withers, which may have suggested some of the elements in her treatment of the relationship between Maggie and Stephen. To the extent that a comparison is appropriate, books VI and VII of The Mill on the Floss read like a psychological and moral corrective to Marian Withers. (I am grateful to Angus Easson for referring me to this novel.) 47. Newman Flower, George Frideric Handel: His Personality and his Times (1923) p. 173. 48. Rinaldo (1711), text by Giacomo Rossi, adapted from Tasso. 49. The words are Let us take the road; Hark! 1 hear the sound of coaches. The hour of attack approaches, T'your arms, brave boys, and load. See the ball 1 hold? Let the chemists toillike asses, Our fire their fire surpasses, And turns all our lead to gold.

50. George Eliot uses another song from The Beggar's Opera to similar purpose in Adam Bede. Arthur Donnithorne's mood of heroic jubilation Notes 137

as he prepares himself for a fishing expedition that will remove hirn from the temptations of Hetty Sorrel is refIected in his ringing rendition (I, 183-4) of Macheath's 'If the heart of a Man is deprest with Cares.' This rather risque song ('Press her, Caress her/With Blisses,/Her Kisses/Dissolve us in Pleasure, and Soft Repose') suggests that Arthur's imagination cannot help relishing Hetty even as he congratu­ lates hirnself for his quite sincere resolution to give her up. 51. La Sonnambula (1831), text by Felice Romani. 52. Philip's portrait of Maggie (which catches Wakem's eye in 'Wakem in a New Light') is 'not quite so good a likeness' (n, 246) as is the miniature he had made of the child Maggie. 53. George Wither, Sonnet 4 in Faire-Virtue, the Mistresse of Phil' arete (1622). 54. Sullivan, in Criticism, 16, p. 235. 55. In George Eliot's day, this was assumed to be by Purcel!. However, Margaret Laurie has convincingly argued that the only song composed by him for The Tempest is 'Dear pretty youth', the attribution to hirn of the rest of the music (which inc1udes the items that George Eliot must have had in mind for this scene) having arisen in the mid­ eighteenth century. See 'Did Purcell Set The Tempest?', 1963-1964 Proceedings of the Royal Musical Association, 90th Session (1964) pp. 43- 56. (I am grateful to Clifford Bartlett for drawing my attention to this paper.) 56. Sullivan suggests (Criticism, 16, p. 246) that Stephen probably sings 'See, see the Heavens smile' here. I agree, but not with Dr Sullivan's reason for the supposition, which is that it 'is especially relevant to Maggie's pseudo-idyllic situation'. As we have seen, the relationship between musical allusion and the action of 'The Great Temptation' tends to be much more definite than this suggests. I think it is likely that George Eliot had this air (the last in the music for The Tempest) in mind for the following reasons. First, it is preceded by 'Halcyon days now wars are ending', which belongs to Amphitrite (soprano), and which would therefore occupy Lucy while Stephen administers to Maggie. Secondly, it is immediately followed by a duet for the reconciled Amphitrite and Neptune ('No stars again shall hurt you from above'), which would ironically indicate the seeming harmony between the singers. Thirdly, there is a joyous run accompanying the words 'Heavens smile' which perfectly accords both with the 'pouring in' description of Stephen's voice, and with the corresponding moods of Stephen and Neptune, who alike are triumphantly in command of their circumstances. (I have consulted editions of 1786 and 1787.) 57. In Dante's Inferno, the sun remains silent ('tace') at I. 60 and light is mute at v. 28. The eloquence of light is manifested through the singing souls - the lights - in Paradiso. 58. Developed from the preceding allusion to Dante's light, the dominant, controlling image here is that of the sun - or, rather, Apollo, since that was the character unwittingly impersonated by Stephen in the previous chapter. After the bazaar, he seeks solitude in the library, where he throws hirnself astride achair and sits staring at the wall 'with a frown which would not have been beneath the occasion if he 138 Notes

had been slaying "the giant Python'" (11, 262). In Greek mythology, Python was slain by Apollo. God of light, Apollo was also associated with music. 59. This allusion to Tasso glances at the earlier allusion, when Stephen sang the 'purloined' march from Rinaldo. 60. In 'Boyand Girl', Maggie explains to Mr Riley that the devil is 'oftener in the shape of a bad man than any other, because you know, if people saw he was the devil ... they'd run away, and he couldn't make 'ern do what he pleased' (I, 21). 61. Haight, in A Century ofGeorge Eliot Criticism, p. 345. 62. See ibid. 63. Ben Jonson, 'Song. To Celia', The Forrest (1616). 64. Haight, in A Century ofGeorge Eliot Criticism, p. 346. 65. She is in a condition akin to that which George Eliot's acquaintance the mesmerist Dr Elliotson called 'sleepwaking' - the state of conscious, will-Iess sleep in which a mesmerised subject is entirely at the command of the mesmeriser. George Eliot's interest in mesmerism is discussed in my Afterword to The Lifted Veil, Virago Modem Classics edn (1985) p. 77f. Sullivan's view, on the other hand, is that 'the physical malady which troubles Bellini's heroine, Amina, is a natural and meaningful metaphor for Maggie's moral self-hypnosis' (Criticism, 16, p. 244) - a view that springs from his claims that there is a parallel between George Eliot's use of 'romantic' music and 'Maggie's persistent escapist inclinations' (p. 242), and that 'in the fairy-tale romanticism of the opera, Eliot postulates Maggie' s failure to accommo­ date her life to "Reality''' (p. 243). But the fact that Philip's aria left Maggie sadly distanced - 'touched, not thrilled' - is an indication that she is remote from the romanticism of· the opera, which rather (I suggest) reflects Philip's. Her ultimate refusal to accept Stephen because she would be unable to live with the reality of her own conscience is a further indication that she cannot accommodate herself to 'romanticism'. 66. See Knoepflmacher, George Eliot's Early Novels, p. 182. 67. The tendency to undervalue Maggie's renunciation is sustained by Sally Shuttleworth, who asserts that the "'moral" action [of leaving Stephen] is accomplished in astate of lapsed consciousness' - George Eliot and Nineteenth-Century Science (1984) p. 74. Since every argument, every statement made by Maggie at Mudport is conscious and decisive, the 'moral' part of her purpose is already accomplished before she takes the responsible action that is the fulfilment of that purpose. The difference between her trance as she drifts with Stephen and her sensations as she leaves him is the difference between an actual condition and its resemblance: her departure 'was like an automatic action ..... What came after? A sense of stairs descended as if in a dream ...' (emphasis added). 68. Leavis, The Great Tradition, p. 44. 69. It is interesting to compare these words with Richard Challoner's translation, which George Eliot recommended to Mrs Richard Con­ greve (see L, III, 440) - though her own original copy of De Imitatione Notes 139

Christi (which she gave to Sara Hennell in 1851) is in Latin. Challoner's translation reads, 'Happy Ears, which receive the veins of the divine Whisper, and take no notice of the Whisperings of this World. Happy Ears indeed, which hearken to Truth itself teaching within, and not to the Voice which soundeth without.' The inexact correspondence between this version and George Eliot's suggests that she was either so familiar with the passage (which is from book III, eh. I) that she reproduced it from memory, or that she was providing her own translation. Her own copy of De Imitatione Christi is part of the George Eliot Collection in the Local Studies Library, Coventry City Libraries.

CHAPTER 3 MIDDLEMARCH

1. See Barbara Hardy, Particularities: Readings in George Eliot (1982) p. 84. 2. 'Versification (1869)', in George Eliot: A Writer's Notebook 1854-1879, and Uncollected Writings, ed. Joseph Wiesenfarth (1981) p. 288. 3. George Eliot shared Dorothea's contempt for this song. It is from Friedrich von Flotow's opera Martha (1847, text by Wilhelm Friedrich), which George Eliot condemned in her Journal (18 Sep 1854) as 'trash'. See Gordon S. Haight, George Eliot: A Biography (1968) p. 156. 4. John Cross said that George Eliot had 'a naturally rich, deep voice, rendered completely flexible by constant practice: with the keenest perception of the requirements of emphasis; and with the most subtle modulations of tone .... The Bible and our eIder English poets best suited the organ-like tones of her voice, which required, for their full effect, a certain solemnity and majesty of rhythm' - George Eliot's Life as Related in her Letters and Journals (1885) III, 369-70. 5. Celia's objection to the facial contortions of singers is reminiscent of Christopher Wordsworth's account (which George Eliot had read; see above, p. 10) of Minerva's disgusted reaction to her own flute-playing reflection. According to Wordsworth, the Athenians, jealous of the musical prowess of the Boeotian flautists, 'feigned that [their] own Goddess, Minerva, had been the first to play upon the flute, but that having observed, while so doing, the distorted reflection of her face in a brook, she threw away in disdain the instrument which disfigured her divine countenance' - Greece: Pictorial, Descriptive, and Historieal, rev. edn (1853) p. 267. 6. From Giuseppe Sarti's opera Giulio Sabino (1781). 7. 'Lungi dal caro bene' was certainly not composed for a baritone. It was popularised by the Italian castrato and composer Luigi Marchesi (175)-1829), whose 'greatest London success was his debut' in Giulio Sabino - The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (1980) 11, 659. He published an arrangement (c. 1790) of the aria. 8. In misquoting Handel, Caleb is also misquoting Luke 2:13: 'And suddenly there was with the angel a multitude of the heavenly host, praising God, and saying.' 140 Notes

9. The Welsh air known as 'All through the nighf.

CHAPfER 4 DANIEL DERDNDA

1. Shirley Frank Levenson, 'The Use of Music in Daniei Deronda', Nineteenth-Century Fiction, 24 (Dec 1969) 322. 2. Barbara Hardy, Introduction to Daniei Deronda, Penguin English Ubrary (1%7) p. 25. 3. Albert R. Cirillo, 'Salvation in Daniel Deronda: The Fortunate Overthrow of Gwendolen Harleth', Literary Monographs, I (1967) 222. 4. See Marghanita Laski, 'The Music of Daniel Deronda', The Listener, 96 (26 Sep 1976) 373. 5. Ibid., p. 374. 6. Joachim - who at eighteen and under Uszfs direction had been the leading violin at Weimar, and whose playing the Leweses enjoyed many times throughout the 1860s and 1870s - is Marghanita Laski' s suggestion in 'The Music of Daniel Deronda', The Listener, 96, p. 373; Palestrina is William Baker' s in volume I (MS 707) of Some George Eliot Notebooks: An Edition 0/ the Carl H. Pforzheimer Library' 5 George Eliot Holograph Notebooks (1976). George Eliot was certainly very interested in Palestrina (see below, pp. 114-17), but the 'meeting point' claimed by Baker 'between the styles of Klesmer and Renaissance High Art as represented by Palestrina' (p. 32) is elusive, and his further assertion that the kind of music Klesmer extols to Gwendolen 'is to be found in many of Palestrina' s best motets and madrigals, in his paeans of praise to God' (p. 32) is somewhat strained. Much more appropriately, Baker also identifies a Wagnerian element in Klesmer's own work (p. 73), but, although Wagner greatly admired Palestrina (as also did Uszt), the styles of the two composers are not obviously reconcilable - and it is Baker who makes the (questionable) suggestion (p. 74) that Klesmer is unlikely to have been interested in the development of music before the invention of his own instrument, the piano. Any similarities between Palestrina and Klesmer are reducible to artistic commitment and, possibly, effectiveness - qualities that Gwendolen's stern admonisher has in common with a host of other musicians mentioned by George Eliot. 7. 'The Romantic School of Music. Uszt on Meyerbeer-Wagner', The Leader, 28 Dct 1854, p. 1027. 8. Ibid. 9. 'For the flrst time in my life I beheld real inspiration - for the flrst time I heard the true tones of the piano.... There was nothing strange or excessive about his manner. His manipulation of the instrument was quiet and easy, and his face was simply grand - the lips compressed and the head thrown a little backward. When the music expressed quiet rapture or devotion a sweet sInile flitted over his features; when it was triumphant the nostrils dilated. There was nothing petty or egoistic to mar the picture' - George Eliot Journal, Weimar, 10 Aug 1854; see L, 11, 170. Notes 141

10. In the next chapter (11, 242), Oeronda refers (self-depreciatingly, of course) in a conversation with Lady Pentreath to his recitals of Schubert, whose 'difficult' songs especially delighted his author (L, 111, 178). 11. Levenson, in Nineteenth-Century Fiction, 24, p. 331. 12. Leslie Stephen's suggestion, in George Eliot (1902) p. 191, that George Eliot drew 'some touches in Oeronda from ... Edmund Gumey, a man of remarkable charm of character, and as good-Iooking as Deronda', is rejected by Gordon Haight, in George Eliot: A Biography (1968) pp. 488-9, probably because Gumey's intense musicality and sodal idealism (see above, pp. 12 and 128 n.46) seem to have struck neither biographer. Oeronda is of course by no means drawn directly from Gumey, but he c1early does owe 'some touches' to George Eliot's young friend. 13. Otello (1816), text by Marchese F. Berio di Salsa, after Shakespeare. 14. Usually identified by the introductory words of its recitative: 'Ah, perfido!' 15. George Eliot translates these lines, '00 none of thy children defend thee? Arms! bring me arms! alone I will fight, alone I will fall' (111, 22). 16. Some George Eliot Notebooks, ed. Baker, I, 95-9. Fetis's essay appears in his Biographie universelle des musiciens et bibliographie generale de la musique (1835-44) VII, 139-49. 17. See Some George Eliot Notebooks, ed. Baker, p. 98. 18. John Pyke Hullah, The History of Modern Music (1862) p. 93. 19. Ibid., p. 15. 20. Ibid., p. 73. 21. Ibid., p. 94. 22. Palestrina died in 1594, Allegri in 1652. 23. Hullah, The History of Modern Music, p. 31. 24. William Baker says that 'George Eliot's knowledge of music and its his tory was so extensive that it is likely that she did not take notes from Hullah purely for educational purposes' (Some George Eliot Notebooks, p. 72), and that the reasons for these notes 'remain obscure' (p. 74). Extensive though her musical knowledge indeed was, George Eliot's education would not have inc1uded in the normal course of events a full analysis of the development of the art before the seventeenth century. She was undoubtedly using Hullah to augment what her own tastes and experience had taught her. 25. Edmund Gumey, The Power ofSound (1880) p. 261. 26. Although the Miserere was intended for the exc1usive use of the papal choir, the copy that Mozart made from memory and gave to posterity bridges the gulf between the esoterically distant and the familiar. 27. In the light of George Eliot's own youthful anti-Semitism (which extended to disgust at hearing 'such words as "now then we are ambassadors for Christ" from the lips of a Jew' (L, I, 13), the fact that the highly musical society in which she and Lewes now moved inc1uded many Jewish members not only strengthened her sympathetic interest in Jewish history and Judaism (as Beth-Zion Lask Abrahams suggests), but also manifested the power of the language of music to 142 Notes

transcend racial differences. For Mrs Abrahams' comment, see 'George Eliot: Her Jewish Associations - a Centenary Tribute', Jewish Historical Society of England Transactions, XXVI (1979) 58. Bibliography

PRIMARY SOURCES

Cross, J. W. (ed.), George Eliot's Life as Related in her Letters and Journals (Edinburgh and London, 1885). Eliot, George, Essays of George Eliot, ed. Thomas Pinney (London, 1963). --, George Eliot: A Writer's Notebook 1854-1879, and Uncollected Writings, ed. Joseph Wiesenfarth (Charlottesville, Va, 1981). --, George Eliot's 'Middlemarch' Notebooks, ed. John Clark Pratt and Victor A. Neufeldt (Berkeley, Los Angeles and London, 1979). --, The Letters of George Eliot, ed. Gordon S. Haight, 9 vols (New Haven, Conn., and London, 1954-78). --, The Mill on the Floss, autograph MS, 3 vols, British Library MS Add. 34,023--5. --, Some George Eliot Notebooks: An Edition of the Carl H. Pforzheimer Library's George Eliot Holograph Notebooks, MSS 707, 708, 709, 710, 711, ed. William Baker (Salzburg, 1976--85). --, The Works of George Eliot, Cabinet edition, 20 vols (Edinburgh and London, 1878--80). Haight, Gordon S., George Eliot and John Chapman, with Chapman's diaries, 2nd edn (Hamden, Conn., 1969).

SECONDARY SOURCES

Abrahams, Beth-Zion Lask, 'George Eliot: Her Jewish Associations - a Centenary Tribute', Jewish Historical Society of England Transactions, XXVI (1979) 53--6l. Austen, Jane, Persuasion (London, 1818). Baker, William, The George Eliot - George Henry Lewes Library: An Annotated Catalogue of their Books at Dr Williams's Library, London (New York and London, 1977). Beer, Gillian, George Eliot (Brighton, 1986). --, 'Music and the Visual Arts in the Novels of George Eliot', George Eliot Fellowship Review, 5 (1974) 17-20. Bonaparte, Felicia, Will and Destiny: Morality and Tragedy in George Eliot's Novels (New York, 1975). Brown, Howard M., Music in the Renaissance (Englewood Cliffs, NJ, and London, 1976). Buckland, William, Geology and Mineralogy Considered with Reference to Natural Theology, no. 6 of the 'Bridgewater Treatises' (London, 1836). Bunyan, John, The Pilgrim's Progress and the Holy War, with a life of Bunyan

143 144 Bibliography

by the Revd John Brown, and Annotations by the Revd R. Maguire (London, 1859). Burney, Charles, A General History of Music, from the Earliest Ages to the Present Period (London, 1776-89). Cirillo, Albert R., 'Salvation in Daniel Deronda: The Fortunate Overthrow of Gwendolen Harleth', Literary Monographs, 1(1967) 201-43. Coleridge, Samuel Taylor, Coleridge: Poems, ed. John Beer, Everyman paperback (London and New York, 1974). Daniel, Samuel, Delia (London, 1592). Dante Alighieri, Inferno, ed. Allan Gilbert (Durham, NC, 1969). Eliot, George, Daniel Deronda, ed. Barbara Hardy, Penguin English Library (Harmondsworth,1967). --, The Lifted Veil, with an Afterword by Beryl Gray, Virago Modern Classics (London, 1985). --, Middlemarch, ed. W. J. Harvey, Penguin English Library (Har­ mondsworth,1965). --, The Mill on the Floss, ed. A. S. Byatt, Penguin English Library (Harmondsworth,1965). Elkin, Robert, The Old Concert Rooms ofLondon (London, 1955). Fetis, F. J., Biographie universelle des musiciens et bibliographie generale de la musique (Paris and Brussels, 1835-44). Feuerbach, Ludwig, The Essence of Christianity, tr. Marian Evans [George Eliot] (London, 1854). Flower, Newman, George Frideric Handel: His Personality and his Times (London, 1923). Gurney, Edmund, 'On Some Disputed Points in Music', Fortnightly Review, n.s., xx Guly 1876) 106-30. --, The Power of Sound (London, 1880). Haight, Gordon S., George Eliot: A Biography (Oxford, 1968). --(ed.), A Century ofGeorge Eliot Criticism (London, 1966). Hardy, Barbara, The Novels ofGeorge Eliot: A Study in Form (London, 1959). --, Particularities: Readings in George Eliot (London, 1982). --(ed.), Critical Essays on George Eliot (London, 1970). --(ed.), Middlemarch: Critical Approaches to the Novel (London, 1967). Harewood, Earl of (ed.), Kobbe's Complete Opera Book, rev. edn (London, 1976). Harvey, W. J., The Art ofGeorge Eliot (London, 1961). Hullah, John Pyke, The Duty and Advantage of Learning to Sing. A Lecture (London, 1846). --, The History of Modern Music. A Course of Lectures (London, 1862). Jewsbury, Geraldine, Marian Withers (London, 1851). Jones, R. T., George Eliot (Cambridge, 1970). Keats, John, Keats: The Complete Poems, ed. Miriam Allott, Longman paperback (London, 1970). Knoepflmacher, U. c., George Eliot's Early Novels: The Limits of Realism (Berkeley, Los Angeles and London, 1968). Landon, H. C. Robbins, Haydn: Chronicle and Works, IV: Haydn: The Years of'The Creation' 1796-1800 (London, 1977). Laski, Marghanita, 'The Music of Daniel Deronda', The Listener, 96 (23 Sep 1976) 317-34. Bibliography 145

Laurie, Margaret, 'Did Purcell Set The Tempest?', 1963-1964 Proceedings of the Royal Musical Association, 90th session (1964) 43-56. Leavis, F. R., The Great Tradition: George Eliot, Henry James, Joseph Conrad (London, 1948). Lehmann, Rudolph Charles, Memories of Half a Century: ARecord of Friendships (London, 1908). Levenson, Shirley Frank, 'The Use of Music in Daniel Deronda', Nineteenth­ Century Fiction, 24 (Dec 1969) 317-34. Liszt, Franz, 'The Romantic School of Music', tr. George Eliot, The Leader, 28 Oct 1854, pp. 1027-8. Mann, Karen B., 'George Eliot and Wordsworth: The Power of Sound and the Power of Mind', Studies in English Literature, 20 (1980) 675-94. Milton, John, Paradise Lost and Paradise Regained, ed. Christopher Ricks, Signet Classic (New York, Scarborough, Ont., and London, 1968). Peskin, S. G., 'Music in Middlemarch', English Studies in Africa, 23, no. 2 (1980) 75-8l. Piggott, Patrick, The Innocent Diversion: Music in the Life and Writings ofJane Austen (London, 1979). Pope, Alexander, The Poems of Alexander Pope, ed. John Butt, University paperback (London, 1965). Rosenthai, HalOId, Two Centuries ofOpera at Covent Garden (London, 1958). Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians (London, 1980). Scholes, Percy A., The Oxford Companion to Music, 10th edn, ed. John Owen Ward (London, 1970). Shuttleworth, Sally, George Eliot and Nineteenth-Century Science: The Make­ Believe of a Beginning (Cambridge, 1984). Spencer, Herbert, Literary Style and Music (London, 1950). --, 'The Origin and Function of Music', Fraser' s Magazine, CCCXXXIV (Oct 1857) 396-408. Stephen, Leslie, George Eliot (London, 1902). Sullivan, William J., 'George Eliot and the Fine Arts' (Ph.D. dissertation, Wisconsin, 1970). --, 'Music and Musical Allusion in The Mill on the Floss', Criticism, 16 (Summer 1974) 232-46. Sylvester, James J., The Laws ofVerse; or, Principles ofVersification (London, 1870). Tasso, Torquato, Jerusalem Delivered, tr. John Hoole (London, 1763). Thomas a Kempis, The Imitation of Christ, tr. Richard Challoner (London, 1737). Westerman, Gerhart von, Opera Guide, ed. with an introduction by Harold RosenthaI (London, 1963). Witemeyer, Hugh, George Eliot and the Visual Arts (New Haven, Conn., and London, 1979). Wordsworth, Christopher, Greece: Pictorial, Descriptive, and Historieal, rev. edn (London, 1853). Wordsworth, William, William Wordsworth, ed. Stephen Gill, Oxford Authors (Oxford, 1984). Index

Abrahams, Beth Zion Lask, 127n26, Bishop, Henry Rowley 141n27 'Horne, Sweet Horne', 1, 86 Adam and Eve, see Milton; Paradise Blackwood, John, 14 Adam Bede Bonaparte,Felicia,131n21 memory, 47 Bray, Caroline (Cara), 2, 13 song, 136nSO Bray, CharIes, 2, 4 sound, 127n16 Rosehill, 3, 4, 5, 13 voice, x, 7, 85, 106 Buckland, VVilliam, 36, 133n38 Alcman, 128n41 Bulwer Lytton, Edward, 14 allegory, 15, 66, 70-1, 73 Bunyan,John,129n10 see also Bunyan; metaphor Bumey, Charles, 8-9, 11 Allegri, Gregorio, 114-17 Byatt, A. 5., 14,34, 131n20 Miserere, 114, 117, 141n26 Challoner, Richard, 138n69 Ambrose, St, 115 Chapman, John, 2, 5-6, 126n11 Apollo, 137n58 Chapman, Susanna, 5, 126n11 Arcady, see Paradise Charon, 63-4 Aretino, Guido, 115 see also Lethe Auber, Daniel, 76 Chopin, Frederic, 1 LA Muette de Portici (Masaniello), 44-8, Christ, 72-3, 77 130n19, 134n43, 135n44, 135n45 see also God; soul Austen, Jane, x Christianity, 73, 112-13, 116-17 Persuasion, 125n8 see also Christ; God; Judaism; Paradise; song; the Virgin Cirillo, Albert R., 102 Bake~ VVilliam, 14On6, 141n22 composers, see by name Balfe, Michael VVilliam 2, 5 The Maid of Artois, 37, 41, 120-4, Coventry Herald, Creation,36,133n38 134n42 see also Haydn Bartlett, Clifford, 137n55 Cross, John VVaIter ('Johnnie'), 27 Beer, Gillian, 129nSO, 13On19 Beethoven, Ludwig van, 1, 13On19 D' Albert-Durade, Alexandre, 2, 4 'Adelaide', 12 dance, see music party 'per pieta' ('Ah, perfido!'), 109-11 Daniel, Samuel, 80 and GE, 2, 7, 12, 13, 109, 130n19 DanieI Deronda, x, xi, 100-19 Daniel Deronda, 12, 109-11 Leo, Joseph, 101, 110-12 BeIlfui, Vincenzo, 101, 102, 103, 109 'Fruit and Seed', 110 I Puritani, 3 'Gwendolen gets her Choice', 113-14 Norma,6 characters' response to music, 103, LA Sonnambula, 49, 51, 69, 138n65 104, 108, 112, 117 Beringer, Otto, 1 defects in, 117-18 Bible, the, 96, 139n4, 139n8 see also Beethoven; Christianity; feel­ bird, 17-18,27,28,36,44, 57, 69, 86, 87, ing; gaze; harmony; hearing; 109 instrument; Judaism; memory; Stephen as, 38, 58 metaphor; morality; music party; see also Satan; sound soul; voice; will

146 Index 147

Dante, Alighieri, 56, 108-9, 137n57, Elysium, see Paradise 137n58 Evans, Mary Anne, see George Eliot Darwin, Charles, 42, 133n38 Evans, Robert, 3, 4, 27 Devil, see Satan Donizetti, Gaetano feeling and music I Martiri, 6 love, 6, 15, 24, 112 Lucrezia Borgia, 105, 106 mixed feelings, 44, 104-5, 110 dream,53-4,56,70-2 rapture, 32-3,45,55-6, 135n46 see also gaze; magnetism; memory; selfishness, 90-1, 99, 100, 107 trance; will sexual, 23, 30-1, 41, 79-80, 122 duet, 3, 12-13 spiritual, ix, 3-4, 7, 79-80, 81-2, 9~7, GE,13 103,114-19 Middlemarch, 83-4, 90-1, 97-8 sympathy, x-xi, 3-4, 13, 99, 118-19 Mill on the Floss, 19-27, 34, 44-8 see also duet; gaze; hearing; memory; see also composers by name; feeling; morality; past; prose fiction by hearing; instrument; music party; title; sound; soul; title; voice; will voice Felix Holt, 99 listening, ix Easson, Angus, 136n46 music and religion, 3, 126n6 Economist, The, 6 Fetis, F. J., 11~16 Eden, see Paradise Flotow, Friedrich von Eliot, George 'The Last Rose of Summer', 80 Life: Feuerbach, Ludwig, xi anti-Semitism, 141n27 Flower, Eliza, 3, 125n5 attends performances, 2, 4-6, 11, 12, Flower, Newman, 48 29, 132n26 forgetfulness, see memory hearing, ix, 6-7, 16, 101 see also dream; hearing; past; soul; imagination, ix-xi, 11, 99 temptation; trance; voice musical friendships, 2-6, 11-13 musical taste, 2-5, 12, 102-3, 109, 140n9, 140nl0, 141n24 Gay, John and the past, 6, 11, 13, 35, 47, 82 The Beggar's Opera, 48-9, 52, 136n50 and piano, 2-5, 12-13, 33, 128n47 'Let us take the road', 52, 136n49 response to music, ix, 2-8, 11-13, 47, gaze 118,I40n9 Daniel Deronda, 104, 108, 109 and violin, 5 Middlemarch, 87 voice, 81, 139n4 Mill on the Floss: Maggie, 35-6, 39-40, see also composers by name; prose 64-5, 75; Philip, 43; Stephen, 32, fiction by title; Works 35, 38-9, 45, 47, 52-6, 58, 62-3, Works: 65,67-8,74 see also dream; feeling; unity of, x-xi, 11, 98-9, 111 magnetism; morality; silence; poetry, 8-11, 85 trance; voice; will Essays and reviews: God, 26, 61, 72, 74, 75, 95 'Constant Herbert', 135n46 and geology, 133n38 'Liszt, Wagner and Weirnar', 7, 130n19 Providence, 81 'The Romantic School of Music', 103 see also Christ 'Versification', 9-10, 127n27 Goddard, Arabella, 1, 12 Miscellaneous: Gregory, Pope, 115 Journal, 2 Gurney, Edmund, 12, 116, 128n46, 'Middlemarch' Notebooks, 8-11, 141n12 128n41 Notebooks, ed. Baker, 115, 140n6 Haight, Gordon, 34, 37, 60, 64, 67, see also GE Life, prose fiction by title 132n29, 141n12 Elliotson, John, 138n65 Halle, Charles, 2 148 Index

Halevy, Jacques in Daniei Deronda, 101 La Juive, 6 in Middlemarch, SO, 83, 87-9, 97-8 Handel, George Frideric, 2, 48, 13On19 in Mill on the Floss, 18, 33, 65 Acis and Galatea, 29-31, 132n26 see also composers by name; GE; per­ 'Hush ye pretty warbling choir', 29- formance; song; voice 31 James, Henry, 2 'Love in her eyes', 30 Jewsbury, Geraldine Messiah, 2, %-7, 131n22 Constance Herbert, 135-6n46 Rinaldo, 48 Marian Withers, 135-6n46 Hardy, Barbara, 79, 102, 133n38 Joachim, Joseph, 103, l4On6 harmony, x, 3 Jonson, Ben Daniel Deronda, 106, 112 'Drinke to me, onely', 63 Mill on the Floss, 16, 26, 44, 69 Jove, 26, 53 see also feeling; hearing; soul Judaism, 107-8, 114, 117-18 Harvey, W. J., 17, 129n5, 129n6 see also Christianity, feeling Haydn, Franz Joseph, 2, 19, 25, 88, 13On19 Knoepflmacher, u. c., 73, 129n7, l3On11 The Creation, 19-27, 28, 64, 75, 13On19 landscape, see sound 'Graceful Consort', 19-26 Laski, Marghanita, 102, l4On6 'In Native Worth', 27 Laurie, Margaret, 'Did Purcell set The 'Now Heaven in fullest glory', 25--6 Tempest?', 137n55 see also Paradise Leader, 103 hearing, ix-xi, 6-7, 16, 79 Leavis, F. R., 34, 77 deafness, x, 82 Lehmann, Frederick, 12-13 rrrishearing, 79-81,87-8,93 Leo, Joseph, see Daniei Deronda Daniel Deronda, 101, 104 Leopardi, Giacomo Mill on the Floss, 16, 69-70, 76-7 'Ode to Italy', 110--12 see also feeling; memory; morality; Lethe, 64, 70 music; silence; soul; sound; see also forgetfulness; memory temptation; trance; voice Levenson, Shirley Frank, 101-2, 105 heaven, see Paradise Lewes, Charles Lee, 12 HennelI, Charles Christian, 2 Lewes, George Henry, 11, 12 HennelI, Sara Sophia, 2, 3 musical taste, 12, 103 Hercules, 19 sings,13 Hullah, John Pyke, 115-16, 126n13, 'The Romantic School of Music', 103 129n50 Lewis,Maria,2 humanism, 95 'Lifted Veil, The', ix, 125n5 (Pref.), hypnotism, see trance 138n65 Lind, Jenny, 128n46 imagination Linnefs Life, The,27 GE's, ix-xi, 11,99 listening, see hearing inspiration, 7-8 Liszt, Franz, 1, 102, 104, 125n2 (Ch. 1), Mill on the Floss, 28, 40, 66 14On6, 14On9 Romola, 79 'The Romantic Schoo!', 103 see also hearing; memory; past Locke, Matthew (attrib.) instrument Macbeth,3 Aeolian harp, 81 love, see feeling clavichord, 1 flute, 97-8, 139n5 Maggioni, Manfredo, 134n43 harp,54 Maid 01 Artois, The, see Balfe harpsichord, 1, 7, 33, SO, 132n30 magnetism, 42,50, 54, 67, 135n46 organ, SO see also dream; feeling; gaze; temp­ piano, 1-2,4-5, 14On9 tation; trance; will violin, x, 5, 83 Mann, Karen B., x Index 149

Marchesi, Luigi, 139n7 Maggie's response to music, 13-15, Masaniello, see Auber 29-33, 35, 45, 47-50, 52, 55, 77, memory, 6,95, 120-4 103 Daniel Deronda, 113 Minny' s response to music, 26 Mil/ on the Floss, 28, 32, 36, 41, 47, 61- see also aIlegory; dream; duet, feeling; 2,64,67 gaze; harrnony; hearing; imagin­ forgetfulness, 64, 67-73 ation; instrument; memory; see also feeling; hearing; imagination; metaphor; morality; music party; morality; soul; temptation; Paradise; past; silence; sound; trance; will soul; trance; voice; will Mendelssohn, Felix, 1, 5 Milton, John, 22 Elijah,3 Paradise Lost, 16, 2~1, 28, 38, 58, metaphor 129n7, 134n41 musical, x, 7-8, 16, 84, 97, 98--9, 100, Minerva, 139n5 114-15 mock-heroic, 19, 129n7 see also aIlegory Monteverde, Claudio Meyerbeer, Giacomo, 102, 103 Grfeo, 116 Les Huguenots, 6 morality Robert le Diable, 103 dangers, 54, 59-62, 67, 70, 75 Middlemarch, xi, 8, 11, 79-99 development, 53, 78, 97-8, 102, 105 defects in, 85--6 and memory, 32, 71-3 'Three Love Problems', 82 and music, ix-xi, 7-8, 15, 25--6, 48, 97- 'Waiting for Death', 93 9, 100, 118--19 'The Widow and the Wife', 93 see also feeling; gaze; hearing; Para­ characters' response to music, 79,82- dise; temptation; trance; voice; 3,85,93,99 will see also duet; feeling; gaze; instru­ Mozart, Wolfgang Amadeus, 5, 13~ ment; metaphor; morality; music In19, 141n26 party; Paradise; soul; voice; will mass, 5 Mil/ on the Floss, The, xi, 13, 14-78, 79 sonata, 13 corrections to MS, 24-5, 134n39 Don Giovanni, 135n46 defects in, 14-15, 69 Muette de Portici, La, see Auber 'Borne along by the Tide', 36 music, see aIlegory; bird; composers by 'The Christrnas Holidays', 71 name; Christianity; duet; feeling; 'Conclusion', 75 gaze; GE Life; GE works; harrnony; 'A Duet in Paradise', 16, 18--28, 44, hearing; imagination; instrument; 48,54 Judaism; memory; metaphor; mora­ 'The Final Rescue', 15,42,72,76 lity; musical box; music party; Para­ 'First Impressions', 28, 31-3, 34-6, 48, dise; past; performance; prosody 71 see also prose fiction by title; society; 'The Golden Gates are passed', 16 song; soul; sound; temptation; 'The Great Temptation', 15, 41-53, voice 137n56 music party 'The Last Conflict', 42, 76 GE at, 4-5, 6, 12-13 'A Love Scene', 16 Daniel Deronda, 1~5, 109-12 'Maggie and Lucy', 42 Middiemarch, 87-8 'Philip Re-enters', 64-5, 69 Mill on the Floss, 29, 31-2, 43-5, 63, 'School Time', 71 64-5 'Showing that Old Acquaintance', dance, 55-7 42 see also composers by name; duet; 'The SpeIl seems Broken', 55-7 feeling; gaze; hearing; instru­ 'VaIley of Humiliation', 18 ment; voice 'A Voice from the Past', 77 musical box, 29, 132n27 'Wheat and Tares', 18 Myers, Fredric, 12 150 Index natural sound, see sound Rubinstein, Anton, 1, 102, 125n2 (Ch. Nemean lion, 19 2) Neptune, 53 see also PureeIl, The Tempest (attrib.) Sarti, Giuseppe New Grove Dictionary of Music and Musi­ 'Lungi dal caro bene', 84, 139n7 cians, 12, 128n46 Satan, 15, 23, 28, 96, 138n60 in Maggie, 35 Palestrina, Giovanni, 115-16, 117, l4On6 in Stephen, 35, 38, 58, 63, 76 Magnificat, 114 see also Milton; Paradise; temptation Paradise, 130nI7, 133n38 Scenes ofClerical LiJe, 6 Adam and Eve, 17, 19--27, 48, 64 'Amos Barton', 13 expulsion from, 16--17 'Mr Gilfil's Love-story', 7, 13, 33, golden gates of, 17, 129nl0 132n30 Middlemarch, 86, 88--9 Scholes, Percy A., 1, 2 Mill on the Floss, 56, 59--61, 70, 129n7 Schubert, Franz, 1, 104, 13On19, 141n1O Lucy's home as, 15-19, 23, 27--8, 29, Schumann, Clara, 1 32-3, 64, 130n13 Schumann, Robert, 1 see also Haydn; Milton; morality; Scott, Walter Satan; soul; temptation; voice the novels, 3 past Ivanhoe, 118 GE and, 6, 11, 13, 35, 82 Scribe, Augustin, 102, 103, 134n43 Adam Bede, 47 Robert le Diable, 103 MiddlemaTch, 95 sexuality, see feeling Mill on the Floss, 43, 47--8, 58--9, 61 Shuttleworth, Sally, 138n67 see also feeling; memory; morality; will Sibree, John, 3, 126n8 Paul, Saint, 22 Silas Marner, x, 7--8 performance silence, xi, 3, 41, 46--7 brass bands, 2 Mill on the Floss, 16, 52, 56--7, 68--9, 73 concerts, 1-2, 5, 12 see also gaze; listening; sound; trance; concert halls, 1, 2, 3, 12 voice Covent Garden, 6,12,49, 134n43 Smith, William, 11 domestic,1 society and music, 1-2, 100, 105 see also composers by name; duet; GE; see also GE Life; GE works; instru­ instrument; music party; prose ment; music party; performance; fiction by title song Polyphemus, 31 song see also Handel, Acis and Galatea anthem, 3 Pope, Alexander aria, 3, 81, 101, 109 The Rape of the Lock, 19 choral societies, 2, 128n46 prosody, 8--10 glee, 3 Purcell, Henry, 31-2, 48, 76, 130n19 hymn, 3,117 The Tempest (attrib.) 52-3, 137n55, liturgy, 114, 116 137n56 mass, 4, 5 opera, 2, 19, 48 rapture, see feeling oratorio, 2, 96 Reeves, John Sims, 12 plainsong, 115, 116 register, see voice recitative, 81, 111 religion, see Christianity; feeling; see also composers by name; duet; humanism; morality instrument; music party; Para­ Romola, x, 11, 79, 99 dise; performance; prose fiction Rossini, Gioacchino, 103 by title; sound; voice BarbeT of Seville, 13 soul Otello, 108--9 Daniel DeTonda, 100, 101, 118 William Tell, 6 'The Lifted Yeil', ix Index 151 soul - continued trance, 39-40, 56, 67-70, 135n46, 138n65, Middlemareh, 81-2, 84, 87-8, 95-6, 97, 138n67 99 see also dream; gaze; magnetism; Mill on the Floss, 43, 45, 47, 57, 62, 63, memory; morality; soul; will 71-4,77 see also feeling; hearing; memory; Virgin, the, 64, 70, 117 Paradise; temptation; voice voice, x-xi, 4-5, 7-8, 12 sound (natural), xi, 6 GE, 81, 139n4 Mill on the Floss, 17-18, 27-8, 44, 56, Daniel Deronda, 100-2, 104-9 62, 69, 71, 127n16 Middlemareh, 79, 81-7, 93-5, 106 ofwork,95 Mill on the Floss, 15, 18--35, 39, 42-54, see also bird, trance 56, 63, 65, 69, 71, 74, 76-7, 85, Spencer, Herbert, 2, 6, 8, 102 106 'Origin & Function of Music', 6-7 see also duet; feeling; gaze; listening; spirituality, see Christ; feeling; God; soul morality; music party; silence; Stephen, Leslie, 34, 141n12 song; temptation; Adam Bede; Felix Stesichorus, 10, 11, 128n41 Holt; Seenes of Clerieal Life; Silas Strauss, David Friedrich, 5 Marner Das Leben Jesu, 3 Styx, 63 Wagner, Richard, 7, 103, 127n20, l4On6 Sullivan, WiIIiam J., 130n13, 132n28, Westerman, Gerhart von, 137n56, 138n65 Opera Guide, 134n43 Swieten, Gottfried van, 20, 28 Westminster Review, 5 Sylvester, James J., 8--10 Wiesenfarth, Joseph, 9 sympathy, see feeling will Daniel Deronda, 106 Tasso, Torquato Middlemareh, 92 Jerusalem Delivered, 58 Mill on the Floss: Maggie, 35, 36, 43, Tempest, The, see Purcell 68, 69, 74; Stephen, 34, 39, 41, 45, temptation, 15, 35, 52, 59, 61-2, 68--9, 60,67 71-4, 76-8, 129n7 see also dream; feeling; gaze; magne­ see also gaze; memory; morality; Para­ tism; morality; temptation; trance dise; Satan; soul; trance; voice; Witemeyer, Hugh, ix will Wither, George Thomas a Kempis 'Shall I wasting', 50-2 Imitation ofChrist, 77-8, 139n69 Wordsworth, Christopher, 10, 139n5 Tilley, Elizabeth, 5, 126n11 Wordsworth, William, 8, 125n6