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An Exploration of Doppelganger As Found in the Music and Text Of

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An Exploration of Doppelganger As Found in the Music and Text Of ii © 2008 Terri L. Brown All Rights Reserved iii ABSTRACT Jonathan L. Chambers, Advisor This study explores the use of, and reaction to, the music used in Susan Glaspell’s The Verge. Through close textual and musical analysis, and by extension, historical investigation, the argument is made that Glaspell’s The Verge is a virtual “shadow” play, or doppelganger, of Jacques Offenbach’s opera The Tales of Hoffman, from which some of the music is taken. The exploration further contends that through the use of the hymn, Nearer, My God, To Thee, by Lowell Mason and Sarah Flower Adams, Glaspell also extends a vision of gender relations that reaches far beyond Hoffman’s misogynistic, patriarchal space insofar as it creates a compellingly powerful religious viewpoint: an embodiment of the Christian Godhead, as a precursor to the late twentieth century social and existential feminist perspective. iv The dissertation is dedicated to my wonderful husband and eternal companion David, and my two beautiful daughters, Madison and Mackenzie, who have personally sacrificed more than anyone could ever know to help me achieve my personal goals. I will be forever grateful to each of you, now and always. v ACKNOWLEDGMENTS I wish to thank all those who have helped me complete this monumental task: to Jonathan Chambers for being not only a great advisor, teacher, writer, and scholar, but for being a wonderful human being throughout the process; to Ronald Shields and Lesa Lockford for helping me believe that I could actually do this; to Scott Robinson, Department Chair of Theatre Arts at Central Washington University, for his constant support, both personally and professionally – I will follow you anywhere; to Leslee Caul, my incredibly talented editor, and colleague – but most of all, my friend. Late nights, tears of sadness, laughter, and hysteria – now it is your turn, and I will be there for you; to my amazing family: James K. Moore, Kathleen Moore Sasnett, and Linda Moore Jardine, for all the support and love with which a person could be blessed. Our parents would be/are so very proud. Too bad they can’t be here to physically share this with us. Thank you all for being a part of my life. Words cannot express. vi TABLE OF CONTENTS Page INTRODUCTION ............................................................................................... 1 CHAPTER ONE: ROMANTICISM, NATIONALISM AND MUSICAL THEORY ............................................................................................................ 10 The Romantic Period ............................................................................... 11 Romantic Period Opera............................................................................ 18 Jacques Offenbach....................................................................... 18 E.T.A. Hoffman Biography as Source Material for The Tales of Hoffman .................................................................................. 23 Musical Analysis of the Barcarolle: Definition and Significance ........... 25 Form............................................................................................. 33 Melody ......................................................................................... 36 Treatment of Vocal Parts ............................................................. 40 Dynamics ..................................................................................... 44 Texture ......................................................................................... 47 Harmony ...................................................................................... 49 Feminine Cadence........................................................................ 52 Doppelgänger............................................................................... 54 CHAPTER TWO: CHARACTER SIGNIFICANCE IN THE TALES OF HOFFMAN AND THE VERGE:.............................................................................................. 56 The Fragmented Women of Hoffman’s Tales ......................................... 56 vii What’s in a Name?: Glaspell’s Fragmented Men ................................... 90 Exploring the Doppelgänger: The Role of the Helpmeet ....................... 98 CHAPTER THREE: THE FIRST-WAVE FEMINIST MOVEMENT AS FOUND WITHIN THE VERGE ........................................................................................ 111 Susan Glaspell the Woman and Artist ..................................................... 111 The Uprising of the “New Woman” ........................................................ 131 Adelaide/Rose ......................................................................................... 140 Elizabeth/Edge Vine................................................................................ 157 Claire/Breath of Life................................................................................ 179 CHAPTER FOUR: GLASPELL’S USE OF A SACRED HYMN AS THE ULTIMATE FEMINIST STATEMENT............................................................. 198 CHAPTER FIVE: CONCLUSION...................................................................... 225 BIBLIOGRAPHY................................................................................................ 229 APPENDIX A: ROMANTIC OPERATIC TRADITIONS ACROSS WESTERN EUROPE.............................................................................................................. 244 APPENDIX B: MUSICAL STRUCTURE OF NEARER, MY GOD, TO THEE 252 APPENDIX C: OFFENBACH’S ENTR’ACTE AND BARCAROLLE ............ 253 viii LIST OF FIGURES Figure Page 1 Measures 5-13............................................................................................................ 28 2 Measures 23-31.......................................................................................................... 30 3 Measures 1-4.............................................................................................................. 30 4 Measures 18-19.......................................................................................................... 31 5 Measures 23-31.......................................................................................................... 33 6 Measures 32-41.......................................................................................................... 35 7 Measures 42-49.......................................................................................................... 36 8 Measures 50-61.......................................................................................................... 37 9 Measures 67-78.......................................................................................................... 38 10 Measures 79-91.......................................................................................................... 39 11 Measures 42-45.......................................................................................................... 42 12 Measures 50-61.......................................................................................................... 42 13 Measures 71-78.......................................................................................................... 43 14 Measures 79-91.......................................................................................................... 44 15 Measures 50-61.......................................................................................................... 45 16 Measures 83-91.......................................................................................................... 46 17 Measures 54-61.......................................................................................................... 48 18 Measures 61-70.......................................................................................................... 48 19 Measures 83-91.......................................................................................................... 49 20 Measures 50-53.......................................................................................................... 50 21 Measures 54-66.......................................................................................................... 50 ix 22 Measures 67-78.......................................................................................................... 51 23 Measure 78................................................................................................................. 53 24 Measures 87-91.......................................................................................................... 53 1 INTRODUCTION The choice of themes, and specifically musical choices, in Susan Glaspell’s play The Verge1 firmly establish her among the first to introduce the Modernist movement into America theatre, and as a revolutionary at the very forefront of the burgeoning American feminist movement at the dawn of the 20th century. Through historical research, focusing on an extensive examination of all of the primary works referenced in The Verge, the extent and import of Glaspell’s agenda, both as a playwright and a feminist, begin to emerge in a manner that cannot be ignored. The message brought forward through the use of music in The Verge is certainly powerful and foreword thinking, even today, but when placed in a historical context the genius and depth of Glaspell’s revelation becomes stunning in its magnitude. Music has always been a significant part of my life. My mother, Elizabeth H. Moore, was a nationally
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