DOCSLIB.ORG

Fragmentingmodernism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fragmentingmodernism HASLAM.JKT 18/11/04 3:08 pm Page 1 Fragmenting modernism Fragmenting modernism Ford Madox Ford, the novel and the Great War MMM rd x Ford, ovel the War LLL LLL MM cover illustratio LL Sketch of Ford c. 1916 by Alfred Cohen (1997 LAM SARA HASLAM © Alfred Cohen Printed in Great Brita 2395 Prelims 7/5/02 8:38 am Page i Fragmenting modernism 2395 Prelims 7/5/02 8:38 am Page ii 2395 Prelims 7/5/02 8:39 am Page iii Fragmenting modernism Ford Madox Ford, the novel and the Great War SARA HASLAM Manchester University Press Manchester 2395 Prelims 7/5/02 8:39 am Page iv Copyright © Sara Haslam 2002 The right of Sara Haslam to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA, UK www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 6055 9 hardback First published 2002 100908070605040302 10987654321 Typeset in Minion by Action Publishing Technology Ltd, Gloucester 2395 Prelims 7/5/02 8:39 am Page v It is above all to make you see. (Ford Madox Ford, Joseph Conrad: A Personal Remembrance (1924)) It was perhaps Turgenev’s extreme misfortune, it was certainly his supreme and beautiful gift – that he had the seeing eye to such an extent he could see that two opposing truths were equally true. (Ford Madox Ford, Mightier Than the Sword (1938)) 2395 Prelims 7/5/02 8:39 am Page vi For my parents 2395 Prelims 7/5/02 8:39 am Page vii Contents Acknowledgements page viii Biography-in-brief of Ford Madox Ford ix Introduction 1 1 The narrative push 20 2 Novel perspectives 41 3 Personal perspectives 65 4 In sight of war 84 5 Imaginative visions 118 6 Visions in colour; religious visions 156 7 ‘These fragments I have shored against my ruins’ 182 Bibliography 223 Index 235 2395 Prelims 7/5/02 8:39 am Page viii Acknowledgements I should like to thank Chris Walsh, at Chester College of Higher Education, for finding me some valuable time to write, and Bob Owens, at the Open University, for encouraging me in the final stages of this book. I am very grateful to those who have commented at various points on the manuscript: Bernard Bergonzi, Arthur Bradley, Paul Clark, Sarah Cooke, Olwen Haslam, Phil Horne, David Mason, Max Saunders, Sita Schutt and Paul Skinner. For kind permission to reproduce copyright material I am grateful to Michael Schmidt and Max Saunders. I remain in Phil Davis’ debt for introducing me to Ford in inspiring circumstances as an undergraduate. My thanks also go to Anna Symon for her support during early drafts of the book. Members of the Ford Madox Ford Society have helped to provide a stimulating environment for my research, and I should like to thank Michela Calderaro, Vita Fortunati, Robert Hampson, Elena Lamberti, Roger Poole, Joe Wiesenfarth and Angus Wrenn. Max Saunders has offered generous and sustaining advice throughout the project and I am partic- ularly grateful to him. Finally, to Paul, my reader, without whom this book would not have been completed, go my thanks and love. 2395 Prelims 7/5/02 8:39 am Page ix Biography-in-brief of Ford Madox Ford Ford Madox Ford was born in Merton, Surrey, to an artistic and bohemian clan on 17 December 1873 – the first child of Catherine Madox Brown’s marriage to Franz Hüffer (or Francis Hueffer, to which he anglicised his name) in 1872. He was Ford Madox Brown’s first grandchild. When Lucy Madox Brown, Catherine’s sister, married William Rossetti, brother to Dante Gabriel and Christina, two years later, Ford’s relationship to significant literary figures of the day, and to the Pre-Raphaelites, was confirmed. There was money, coming mainly from publishing, on his father’s devoutly Catholic side of the family (based in Münster); unfortunately, very little of it filtered down to Francis, the youngest of seventeen children. Although Ford’s father was an atheist, Ford himself entered the Church in November 1892, follow- ing a visit to his continental relatives. His conversion was important in artistic terms; though his practice was irregular, his struggle with reli- gious belief and the sense of tradition Catholicism bestowed was to ferment in much of his writing. However, his relationship with his pan- European family had a deeper impact on his development: it fostered a belief in a common Western culture. Following Ford’s birth, and his christening as Ford Hermann Hueffer, the Hueffers moved to Hammersmith. Ford’s initial, cosmo- politan, schooling was to suit him well. He boarded at the Praetoriuses’ school at Folkstone, with his younger brother Oliver. The Praetoriuses were from Frankfurt, and French and German were spoken on alter- nate days. But it could be said that Ford’s real and abiding education had started much earlier. From a young age, because of his connec- tions, Ford had been surrounded by what he later called the Victorian, and Pre-Raphaelite, Great Figures. Such figures would visit Madox Brown; the stories of these visits would be told and retold. When 2395 Prelims 7/5/02 8:39 am Page x x Biography-in-brief of Ford Madox Ford coupled with the experience of spending time with the Rossetti chil- dren, as well as the young Edward and Olive Garnett (with whom Ford and his sister Juliet mingled after Richard Garnett was made keeper of printed books at the British Museum in February 1890), the shadow that these figures threw would instil in him a sense of his own inferior- ity that would haunt him throughout his adult life. Francis Hueffer died suddenly in 1889, leaving no money. Ford went with his mother and brother to live at Ford Madox Brown’s home in Primrose Hill, two doors away from that of William and Lucy Rossetti where Juliet was lodged. The bond he formed with his grandfather would prove to be one of the most significant of his life, in personal and in artistic terms (perhaps it provided a model for those other, highly significant, relationships with Joseph Conrad, Arthur Marwood and C. F. G. Masterman). Ford is an exceptionally visual artist, one who depicts scenes and textures, colours and images in his work; this applies to his treatment of time as well as of space. In his essay ‘On Impressionism’, published in 1914, he describes this technique, one that he developed with Conrad after meeting and beginning to collab- orate with him in 1898. Ford left Pretoria House school after the death of his father, but a relationship with a fellow pupil, Elsie Martindale, was to continue. It led to an elopement in March 1894. Elsie’s parents did not approve of Ford, partly because of the Rossetti dalliance with anarchism and his own attendance at socialist meetings at Kelmscott House; more seri- ously, however, he was not thought to be a sound financial prospect. Dr Martindale was not wrong in this opinion of Ford’s earning power; the inability to earn sufficient funds was to dog Ford mercilessly for the next forty years. The only brief respite from financial stresses was to come in New York in the 1920s when, as the acclaimed author of Parade’s End, Ford was fêted, and rewarded, as the great man of letters that he was. Elsie and Ford spent their short honeymoon in Germany, and then settled in the Romney Marsh area of southern Kent – their geographi- cal locus for the next ten years. Significantly for Ford’s life as a writer, the area also laid claim to Henry James, Stephen Crane, Joseph Conrad and H. G. Wells. Ford would never lose his love of the country and his sense of the healing power of rural existence. After the war (in which he was an officer, a second lieutentant, with the Welch Regiment), suffer- ing from shell-shock, his instinct would take him back there, to grow vegetables at Red Ford in West Sussex and allow the ghosts of the 2395 Prelims 7/5/02 8:39 am Page xi Biography-in-brief of Ford Madox Ford xi previous four years to do their worst. (It was after the war, in 1919, that he changed his name to Ford Madox Ford.) For the time being, though, his energies were taken up with trying to earn a living by his pen, a task that was made easier in some senses, and more challenging in others, when Edward Garnett brought Conrad to call. Despite Conrad’s seniority (he was 41, Ford was 24), he suggested collaboration. Though the novels that they produced do not seem adequately to describe the sum of their two parts, Ford learnt much of his craft from this difficult, admirable, demanding and great writer. Their relationship wasn’t easy (they broke with one another in 1909 – Ford still published Conrad’s biography in 1924), and nor was Ford’s with Henry James. Ford also eventually quarrelled with his great friend Arthur Marwood, the figure often credited with being the model for Ford’s wartime hero, Christopher Tietjens in Parade’s End. These friendships seemed to founder due either to Ford’s relation- ship with money or to his relationship with women. The English Review, Ford’s initial foray into editing, emerged from discussions with Marwood, Conrad, Edward Garnett and H.
Load more

Recommended publications
  • Bowen Abstract
    The Rise and Fall of the Bass Clarinet in A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. It was used up to 1990 in about sixty works by over twenty composers, including the Ring cycle, five Mahler symphonies and Rosenkavalier. But it last appeared in Messiaen’s Turangalîla-Symphonie (1948, revised 1990), and the instrument is generally regarded as obsolete.1 Several publications discuss the bass clarinet, notably Rice (2009). However, only Leeson2 and Joppig3 seriously discuss the ‘A’ instrument. Leeson suggests possibilities for its popularity: compatibility with the tonality of the soprano clarinets, the extra semitone at the bottom of the range and the sonority of the instrument. For its disappearance he posits the extension of range of the B¨ bass, and the convenience of having only one instrument. He suggests that its history is more likely to be found in the German than in the French bass clarinet tradition. Joppig examines one aspect of this tradition: Mahler’s use of the clarinet family. The first successful4 bass clarinet was the bassoon form, invented by Grenser in 1793 and made in quantity for almost a century. These instruments descended to at least C and had sufficient range for all parts for the bass clarinet in A.5 They were made in B¨ and C, but no examples in A are known so far. Their main use was in wind bands to provide a more powerful bass than the bassoon.6 For orchestral music, they were perceived to be only partially successful as bass for the clarinet family because of their different principle of construction.7 The modern form was invented by Desfontenelles in 1807 and improved by Buffet (1833) and Adolphe Sax (1838).
    [Show full text]
  • The Mid-Twentieth-Century American Poetic Speaker in the Works of Robert Lowell, Frank O’Hara, and George Oppen
    “THE OCCASION OF THESE RUSES”: THE MID-TWENTIETH-CENTURY AMERICAN POETIC SPEAKER IN THE WORKS OF ROBERT LOWELL, FRANK O’HARA, AND GEORGE OPPEN A dissertation submitted by Matthew C. Nelson In partial fulfillment for the requirements for the degree of Doctor of Philosophy In English TUFTS UNIVERSITY May 2016 ADVISER: VIRGINIA JACKSON Abstract This dissertation argues for a new history of mid-twentieth-century American poetry shaped by the emergence of the figure of the poetic speaker as a default mode of reading. Now a central fiction of lyric reading, the figure of the poetic speaker developed gradually and unevenly over the course of the twentieth century. While the field of historical poetics draws attention to alternative, non-lyric modes of address, this dissertation examines how three poets writing in this period adapted the normative fiction of the poetic speaker in order to explore new modes of address. By choosing three mid-century poets who are rarely studied beside one another, this dissertation resists the aesthetic factionalism that structures most historical models of this period. My first chapter, “Robert Lowell’s Crisis of Reading: The Confessional Subject as the Culmination of the Romantic Tradition of Poetry,” examines the origins of M.L. Rosenthal’s phrase “confessional poetry” and analyzes how that the autobiographical effect of Robert Lowell’s poetry emerges from a strange, collage-like construction of multiple texts and non- autobiographical subjects. My second chapter reads Frank O’Hara’s poetry as a form of intentionally averted communication that treats the act of writing as a surrogate for the poet’s true object of desire.
    [Show full text]
  • CAMBRIDGE LIBRARY COLLECTION Books of Enduring Scholarly Value
    Cambridge University Press 978-1-108-06004-2 - The Troubadours: A History of Provençal Life and Literature in the Middle Ages Francis Hueffer Frontmatter More information CAMBRIDGE LIBRARY COLLECTION Books of enduring scholarly value Music The systematic academic study of music gave rise to works of description, analysis and criticism, by composers and performers, philosophers and anthropologists, historians and teachers, and by a new kind of scholar - the musicologist. This series makes available a range of significant works encompassing all aspects of the developing discipline. The Troubadours Born in Germany, where he studied music and philology, Francis Hueffer (1845–89) moved to London in 1869 to pursue a career as a critic and writer on music. He edited a series of biographies of notable musicians, served as music critic for The Times, contributed articles to Grove’s Dictionary of Music and Musicians, and was an early advocate and interpreter to the British of Wagner. In 1872 he married Catherine, the younger daughter of the painter Ford Madox Brown. Their son was the writer Ford Madox Ford. Provençal studies were an abiding interest of Hueffer’s and he intended this work, first published in 1878, to be an approachable English-language study of medieval Provençal literary and musical culture. It won him membership of the Félibrige, the association of Provençal writers, and he gave lectures on the topic at the Royal Institution in 1880. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06004-2 - The Troubadours: A History of Provençal Life and Literature in the Middle Ages Francis Hueffer Frontmatter More information Cambridge University Press has long been a pioneer in the reissuing of out-of-print titles from its own backlist, producing digital reprints of books that are still sought after by scholars and students but could not be reprinted economically using traditional technology.
    [Show full text]
  • In Selected Works by Herman Melville and Joseph Conrad
    The People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific Research Mouloud MAMMERI University of Tizi-Ouzou Faculty of Letters and Languages Department of English A Thesis Submitted in Fulfillment of The Requirements For the Degree of Doctorate in English Option: Literature Title Cross-Cultural and Ideological Representations of The “Other” in Selected Works By Herman Melville and Joseph Conrad Submitted by:Fadhila Sidi-Said Supervised by: Professor Bouteldja RICHE Panel of Examiners Déramchia Yamina, Professor, University of Algiers II, Chair, Riche Bouteldja, Professor, Mouloud Mammeri University, Supervisor, Guendouzi Amar, MCA, University of Tizi-Ouzou, Examiner, Maoui Hocine, Professor University of Annaba Examiner, Bouregbi Salah, MCA, University of Annaba, Examiner. December 2012 ACKNOWLEDGMENTS My greatest intellectual debt is to my advisor Professor RICHE Bouteldja, a remarkable scholar who accompanied both my Magister dissertation and my doctorate thesis. Through his irrepressible curiosity, his tireless enthusiasm, and his resolute devotion to the continuous intellectual development of both his students and himself, he has shown me how to be a professional. I learned so much from him and I am both proud and thankful to have worked with him. I address my thanks to the English Department at Mouloud Mammeri University, which has contributed to this project with various grants supporting my travel to libraries and conferences; and to the staff of the Department Library, for their cooperation and patience. I am also grateful to my family, my friends and my colleagues who have encouraged me to complete this work. I thank them all with all my love. i Abstract This thesis discusses the representation of the “Other” in selected works of Herman Melville and Joseph Conrad.
    [Show full text]
  • Weirdo Canyon Dispatch 2015
    Welcome To… very Roadburn is something special, but the 2015 edition happens to be the 20th Roadburn Festival, and it’s an anniversary being celebrated in grand E style, so if you’re here, kudos. If this is a return trip for you, then you already know the vibe, the spirit of the fest in which you’re about to take part. If you’re new to Roadburn, all I can say is that the weekend you’re about to have is going to change your life. That’s not bullshit. Over the next three or four days (depending on which ticket you got), you’ll see and experience things you never thought you’d witness, and you’ll be part of this thing that Roadburn has become. Whether you’re standing in front of a stage, wandering through an art gallery, checking out the merch or attending a panel, prepare to be swallowed up by the sensory overload that this festival provides, and when you emerge on the other side, expect to have a different perspective than you had coming into it. Because that’s what Roadburn does. Year after year. And as we come together to celebrate the 20th fest, I’m happy to say that the Weirdo Canyon Dispatch will be here for the second year, bringing you daily picks, behind-the-scenes specials and a lot more over the next four days. It’s going to be tiring, and it’s going to take a whole lot of coffee to get to the other end of it, but it’s an opportunity we wouldn’t trade for anything.
    [Show full text]
  • Musical Times and Singing Class Circular, Vol
    Review Source: The Musical Times and Singing Class Circular, Vol. 23, No. 478 (Dec. 1, 1882), pp. 680-681 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358410 Accessed: 05-02-2016 18:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 149.171.67.164 on Fri, 05 Feb 2016 18:50:09 UTC All use subject to JSTOR Terms and Conditions 680 THE MUSICAL TIMES.-DECEMBER I, 1882. Philippi. A Sacred Cantata, or Church Oratorio. The Novello's MuzsicPrimers. Edited by Dr. Stainer. wordsselected from the Scripturesby the Rev. J. Powell The Violoncello. By JulesDe Swert. Metcalfe,M.A. The musiccomposed by Francis Edward [Novello, Ewer and Co.] Mus. Cantab. Ewer and Gladstone, Doc., [Novello, Co.] TIHE demand for able and popular Instruction-books THE words of this Cantata-recording the acts of SS. forstringed instruments has so increased withinthe last Paul and Silas in Macedonia-are exceedinglywell selected fewyears that we may confidentlypredict for this latest for musical illustration,and the composition,avowedly additionto " Novello's Primers" an extensivesale.
    [Show full text]
  • “Stories of Things Remote: (Re)Placing the Self in 19Th-Century Adventure Fiction”
    “Stories of Things Remote: (Re)Placing the Self in 19th-century Adventure Fiction” Timothy Scott Hayes A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature Chapel Hill 2007 Approved by: Professor John McGowan Professor Laurie Langbauer Professor Timothy Marr Professor Jeanne Moskal Professor James Thompson ABSTRACT Timothy Scott Hayes: “Stories of Things Remote: (Re)Placing the Self in 19th-century Adventure Fiction” (Under the direction of John McGowan) In this dissertation, I argue that, rather than offering mere escapist distractions from their own troubled societies or simply reinforcing imperial ideologies, adventure novels by Melville, Stevenson, and Conrad directly explore the challenges of maintaining a stable self in the newly globalized spaces of the nineteenth century. Exploring the myriad possibilities of life in colonial spaces, these novels portray the struggles of European and American characters to adjust to the complex spaces of the colonial world. Departing from their relatively homogeneous societies in search of “adventure,” these characters must create new justifying narratives to explain their tenuous lives in the challenging environments that they encounter. Utilizing narrative theory as well as contemporary definitions of space, I analyze the harrowing realities that these novels often present about the costs of failed imperial ideologies and practices on individual selves. Embarking on their adventures with a strong belief in their own moral superiority, these novels‟ protagonists soon realize, often in shattering ways, that the new world they have entered openly resists the grand narratives they have come to believe.
    [Show full text]
  • To Rococo Rot Tarwater Mapstation Music A.M. Robert Lippok
    SENTIREASCOLTARE online music magazine APRILE N. 30 post-wall music To Rococo Rot Tarwater Mapstation Music A.M. Robert Lippok Hans Appelqvist King Kong Laura Veirs Valet Keren Ann Feist Low Stars Of The Lid Smog I Nipoti del Capitano Cristina Zavalloni sBilly e n t i r e aNichollss c o l t a r e sommario 4 News 8 The Lights On Hans Appelqvist, King Kong, Laura Veirs, Valet 2 Speciali Keren Ann, Feist, Low, Stars Of The Lid, Smog, Post-Wall Music 7 Recensioni Humcrush, Lindstrom, Blonde Redhead, 8 Bill Callahan, Hetero Skeleton, John Cale, Maximo Park, Arctic Monkeys... 8 Rubriche (Gi)Ant Steps Wayne Shorter We Are Demo: Improponibili, Morvida, Damien... Classic Billy Nicholls, i Nipoti del Capitano, The Associates, Fabrizio De Andrè Cinema 28 Cult: l’infernale Quinlan Visioni Diario di uno scandalo, L’albero della vita, Saturno contro... I cosiddetti contemporanei: Intervista a Cristina Zavalloni 75 Direttore Edoardo Bridda Coordinamento Teresa Greco Consulenti alla redazione Daniele Follero Stefano Solventi Staff Valentina Cassano Antonello Comunale Antonio Puglia Hanno collaborato Gianni Avella, Davide Brace, Filippo Bordignon, Marco Braggion, Gaspare Caliri, Roberto Canella, Paolo Grava, Manfredi Lamartina, Andrea Monaco, Massimo Padalino, Stefano Pifferi, Andrea Provinciali, Stefano Renzi, Federico Romagnoli, Costanza Salvi, Vincenzo Santarcangelo, Alfonso Tramontano Guerritore, Giancarlo Turra, Fabrizio Zampighi, Giuseppe Zucco Guida spirituale Adriano Trauber (1966-2004) Grafica Edoardo Bridda, Valentina Cassano in copertina Tarwater SentireAscoltare online music magazine Copyright © 2007 Edoardo Bridda. Tutti i Registrazione Trib.BO N° 7590 diritti riservati. del 28/10/05 La riproduzione totale o parziale, in qualsiasi s e n t i r e a s c o l t a r e Editore Edoardo Bridda forma, su qualsiasi supporto e con qualsiasi Direttore responsabile Antonello Comunale mezzo, è proibita senza autorizzazione 98 Provider NGI S.p.A.
    [Show full text]
  • The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study
    The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost).
    [Show full text]
  • Matthew Lorenzon Marshall-Hall Thesis for Printing Part 1
    The Literary Works of G. W. L. Marshall-Hall: 1888–1915 Matthew Donald Adrian Lorenzon Submitted in total fulfilment of the requirements of the degree of Master of Arts October 2010 Department of English The University of Melbourne Produced on archival quality paper Fig. 1. Arthur Streeton, Portrait of Professor Marshall-Hall, 1892, pen and ink on envelope, image courtesy of the State Library of Victoria. i Abstract The literary oeuvre of the first Ormond Professor of Music at the University of Melbourne, George William Louis Marshall-Hall, registered the key philosophical, scientific, and political debates that raged in English and Australian periodicals during the period 1888–1915. His works, encompassing lectures, poetry, articles, and marginalia, also show Marshall-Hall reacting to his social surroundings, playing an active part in the intellectual communities of London and Melbourne. The thesis divides the author’s literary development into three periods, detailing each period’s principal works and the social and historical catalysts that caused his shifts between them. In the first section, 1888–92, it is argued that Marshall-Hall’s use of the philosopher of evolution Herbert Spencer in his London writings 1888–90 was influenced by his family’s scientific legacy and the progressive publishing rationale of the publisher of The Musical World Francis Hueffer. By participating in London’s Wagnerian literary culture he developed the evolutionary justification of Wagner’s works that he then took to Australia. In Australia 1891–92, conservative newspapers challenged Marshall-Hall’s Wagnerian and Spencerian writings. In response, he revaluated his ideas using the mystical metaphysics of Arthur Schopenhauer.
    [Show full text]
  • Young Nietzsche and the Wagnerian Experience
    Young Nietzsche and the Wagnerian Experience From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Young Nietzsche and the Wagnerian Experience frederick r. love UNC Studies in the Germanic Languages and Literatures Number 39 Copyright © 1963 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Love, Frederick R. Young Nietzsche and the Wagne- rian Experience. Chapel Hill: University of North Carolina Press, 1963. doi: https://doi.org/10.5149/9781469657837_Love Library of Congress Cataloging-in-Publication Data Names: Love, Frederick R. Title: Young Nietzsche and the Wagnerian experience / by Frederick R. Love. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 39. Description: Chapel Hill : University of North Carolina Press, [1963] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 63063585 | isbn 978-0-8078-8039-5 (pbk: alk. paper) | isbn 978-1-4696-5783-7 (ebook) Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900.
    [Show full text]
  • Mr. Pepys the Musician (Continued) Author(S): Francis Hueffer Source: the Musical Times and Singing Class Circular, Vol
    Mr. Pepys the Musician (Continued) Author(s): Francis Hueffer Source: The Musical Times and Singing Class Circular, Vol. 22, No. 457 (Mar. 1, 1881), pp. 116-118 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3359222 Accessed: 14-11-2015 01:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.252.67.66 on Sat, 14 Nov 2015 01:20:15 UTC All use subject to JSTOR Terms and Conditions 116 THE MUSICAL TIMES.-MARCH I, 1881. is one which requires great acting to do it hour upon the contemporary stage in a cleverly de- justice, and to awaken the human interest, monstrative manner. Time is the test of opinions, which, it must be confessed, does not lie on the and Mr. Pepys's utterances about the composers of surface, and which, in almost any other hands, his age have stood that test remarkably well-as we might easily fail to find expression.
    [Show full text]