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Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Informaticn and Learning 3(X) North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMÏ ORPHEUS' LYRE: A STUDY OF SYMBOLIST AND POST-SYMBOLIST MUSIC AND POETRY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James Stephen Hsu, B.A., M.A., M.F.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor Sebastian D. G. Knowles, Adviser Professor Morris Beja Adviser Professor Barbara Rigney English Graduate Program UMI Number 9971567 UMI UMI Microform9971567 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 Copyright by James Hsu 2000 ABSTRACT This dissertation reconsiders a central matter in the field of modernism; the replacement of religion with art in the symbolist and post-symbolist domains. It argues that music was critical to the formulation of the new aesthetic religion. While the role of music as a model for French symbolist poetry is well-known, most writing on the subject dismisses it as a vague aspiration based on hazy understandings. Beginning with the violent audience response to Wagner's 1861 Paris concerts, the dissertation traces the evolution of the music/poetry relationship from its inception in Baudelaire, through its culmination in Debussy and Mallarmé, to its legacy in Stevens and Stravinsky. Through close readings of historical and literary texts, as well as musical scores, "Orpheus's Lyre" makes die case that symbolist aesthetics represent a collective response to a common crisis. Rather than falling into the interdisciplinary trap of cataloging cliches regarding "the music of poetry" and "the poetry of music," this stutfy aims not only to reconstruct an important episode of aesthetic history, but also to identify corresponding developments in musical and literary form. Far from conventional notions of a musicalized poetry, the dissertation concludes tiiat symbolist music U and poetiy conspired in a unique alliance that resulted in an enduring transformation of western language and tfiought 111 For my mother, Anna S. Hsu, and in memoiy of my father, Abraham Yu-Hsiang Hsu (1929-1997) IV ACKNOWLEDGMENTS I must begin by dianking my dissertation committee. Barbara Rigney and Morris Beja offered careful reading and valuable comments. 1 am grateful for dieir patience and support. Sebastian Knowles, my adviser, has been—from die beginning—an invaluable personal and professional friend. 1 came to OSU to work with Seb; his generosity and oversight made diis project possible. A dissertation is as much a psychological ordeal, as it is an intellectual one. Many friends have helped me. 1 would like to menton four whose constancy saw me through: Marie-Paule Ha and Steve Weninger, who made sure 1 had at least one good meal a week; Jeanie Hodges, who watched over me with sister-like care; and Tom Kane, who, no matter how busy, always made himself available to talk. Finally, most importantly, my most profound debt and gratitude is to my parents. My father passed during the beginning stages of this writing. I cannot begin to describe the immense feeling 1 carry for my parents. Any intelligence or beauty I bring to my work, began with them. VITA May 3, 1962 ....................................... Bom - Bangkok, Thailand 1986 .................................................... B.A., Indiana University, Bloomington 1990.................................................... M A , University of Texas, Austin 1993 .................................................... M.F.A. University of Pittsburgh, Pittsburgh FIELDS OF STUDY Major Field: English VI TABLE OF CONTENTS Page A bstract............................................................................................................... ii D edication ............................................................................................................. iv Acknowledgments ................................................................................................. v V ita ......................................................................................................................... vi List of Figures ....................................................................................................... vii Chapters: 1. The Orphie Song: An Overview of Symbolist Music and Poetiy ................. 1 2. Baudelaire and the Wagnerian Musical M odel ..................................................23 3. Mallarmé and Debussy: Poésie Pure, Absolute M usic ..................................... 53 4. Stevens and Stravinsky: Aesthetic Objectivity ................................................ 120 E pilogue ................................................................................................................... 195 Works Cited .............................................................................................................198 vu LIST OF FIGURES Figure Page 3.1 Mozart, Piano Concerto in A Major, K. 488 (1786), measures 1-9 ................. 64 3.2 Haydn Symphony No. 77 in Bb Major, Hoboken I: 77 (1782), Finale, measures 1-8 ............................................................................................ 65 3.3 Beethoven, Sonata in C minor. Opus 10, No. 1, measures 1-8 ........................66 3.4 Wagner, Prelude to Tristan undIsolde (1857-59), measures 1-21 .................. 72 3.5 Debussy, Prélude à l’Après-midi d’un faune (1894), measures 1-10..............93 3.6 First three intervals of the overtone series ......................................................... 95 3.7 Debussy, Prélude à l'Après-midi d'un faune (1894), measures 11-21........... 97 3.8 Debussy, Prélude à l'Après-midi d'un faune (1894), measures 32-33 measures 35-36 .................................................................................................. 105 4.1 Petrouchka chord ................................................................................................ 139 4.2 Stravinsky, Le Sacre du printemps (1 9 1 3 )....................................................... 141 4.3 Stravinsky, Le Sacre du printemps (1913)..................................................... 144 4.4 Debussy, La Cathédrale engloutie (1 9 1 0 )..................................................... 147 4.5 Stravinsky, Symphony o f Psalms (1930), from 1st movement ......................162 4.6 Stravinsky, Symphony o f Psalms (1930), from 2nd movement ...................... 170 viii 4.7 Stravinsky, Symphony o fPsalms (1930), from 3rd movement ................... 179 4.8 Stravinsky, Symphony o f Psalms (1930), from 3rd movement (coda). 183 IX CHAPTER 1 THE ORPHIC SONG: AN OVERVIEW OF SYMBOLIST MUSIC AND POETRY As Ovid tells the story. Hymen, the god of marriage, had an uneasy premonition about the marriage of Orpheus and Eurydice. Though he had traveled a long distance to bless the wedding, "the torch he held kept sputtering with smoke that drew tears and would not bum despite vigorous shaking" (10. 7-8). Unfortunately, this ominous beginning augured the tragedy that was to befall. While walking through the grass widt a band of Naiads, Eurydice was bitten on the ankle by a snake. The venom was swift; she collapsed dead. After mourning in the upper world, Orpheus descended to the lower world. In an attempt to rescue his new bride, the "bard" pleaded his case in song: "By these places full of fear, by this yawning Chaos, and by the silent vastness of this kingdom, reweave I pray the thread of Eurydice's destiny cut off too soon!" (10. 32-34). Widi the power to subdue beasts, and move rocks and trees, Orpheus' song—a divine union of music and poetiy—held deaüi's very home spell bound. Moved as never before. Hades and Persephone could not resist his suit. As he made this plea and sang his words to the tune of his lyre, the bloodless spirits wept; Tantalus stopped reaching for the receding waters, the wheel of Ision stopped in wonder, die vultures ceased tearing at die liver of Tityus, the Danaid descendants of Belus left dieir urns empty and you,