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Representations of the Dancer in the Works of Théophile Gautier

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The Eroticised Body and the Transcendent Word: Representations of the Dancer in the Works of Theophile Gautier, Arthur Symons and W.B. Yeats A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Maureen Elizabeth Coulter University of Canterbury 2004 ,c ii Contents Aclrnowledgements iii List of Illustrations v List of Abbreviations vii Abstract xii Preface xiv Introduction 1 Chapter 1 Theophile Gautier: The Art of the Dancer, the Dancer as Art 14 Chapter 2 Theophile Gautier: The Flight to Transcendence 62 Chapter 3 Arthur Symons and the Eroticised Dancer 115 Chapter 4 The Dancer as Image in the Works ofW.B. Yeats 175 Chapter 5 The Dancer and the Dance: The Whirling of the Gyre 233 Conclusion 285 Bibliography 293 7 iii Acknowledgements I should like to thank my supervisors, Dr Rob lackaman and Professor David Gunby. In the years I have been working on this thesis, they have both been wholly supportive and encouraging, always willing to act as sounding-boards for my ideas and to help clarify confusion when it arose. Both have spurred me on at the times when my energy and confidence flagged. I especially thank Professor Gunby for his sound practical advic~, and Dr lackaman for the enthusiasm he has always shown for my topic, and for his whimsical sense of humour. I should also like to thank Pierre Daprini for acting as an advisory supervisor, and for responding to my topic with such verve. I also thank Dr Gordon Spence for his contribution as a supervisor when Dr lackaman was on leave. My thanks go to Ivor Guest who read the drafts of my two chapters on Theophile Gautier, and who so generously secured for me copies of original texts. I value the interest he has continued to show in my progress, and his watm encouragement. A highpoint in my time working on this thesis was the three months I spent conducting research in England and in Paris, in 2000. This was made possible by my having been a recipient of the McCarthy Fellowship; for this I am grateful. I thank the staff at the National Resource Centre for Dance, University of Surrey for their efforts in providing me with material in the time I spent there. I wish to thank my family: my mother for her quiet belief in me, and my father for his regular reminders of how much he looks forward to seeing me graduate; and I thank my brother Anthony for his practical support. I thank my daughters N atasha and iv Miranda for their long-suffering encouragement, and their reminders that I should complete this thesis so I can become more "normal." I thank my two adorable grandsons George and Edward for their blissful unawareness of grandma's work; they have been a constant reminder to me that life exists beyond a doctoral thesis. Above all, I thank my partner Joe. Without his patience and loving support, this journey would have been more difficult and lonely. I dedicate this thesis to George and Edward. v List of Illustrations Fig. 1. The Foyer de la Danse, Opera, Paris 1841. Parmenia Migel, Great Ballet Prints ofthe Romantic Era (New York: Dover, 1981) 37. Fig. 2. Marie Taglioni, La Sylphide. Parmenia Migel, Great Ballet Prints of the Romantic Era (New York: Dover, 1981) B. Fig. 3. A.A.E. Disderi, Les Jambes de l'Opera (carte-de-visite). Abigail S()lomon-Godeau, "The Legs of the Countess," Fetishism as Cultural Discourse, Eds. Emily Apter and William Pietz (Ithaca, New York: Cornell UP, 1993) 287. Fig. 4. Fanny EIssler in the Cachucha. Parmenia Migel, Great Ballet Prints ofthe Romantic Era (New York: Dover, 1981) 27. Fig. 5. Carlotta Grisi in Giselle. Parmenia Migel, Great Ballet Prints o/the Romantic Era (New York: Dover, 1981) 4l. Fig. 6. Carlotta Grisi performing the pas du songe from La Peri. Parmenia Migel, Great Ballet Prints ofthe Romantic Era (New York: Dover, 1981) 49. Fig. 7. Dolores Serral and Mariano Camprubi in the Cachucha. Parmenia Migel, Great Ballet Prints ofthe Romantic Era (New Yorlc Dover, 1981) 25. Fig. 8. Petra Camara. Paris Opera Library, Portrait/Estampe, Cl. B.N. 85 C 125584. Fig. 9. Cyrene at the Alhambra, Sketch [London] 5 April 1893: 608. VI Fig. 10. Edmund Dulac's design for the Hawk Woman's costume inAt the Hawk's Well. Elizabeth Bergmann Loizeaux, Yeats and the Visual Arts, (New Brunswick: Rutgers UP, 1986) figure 34. Fig.H. Maud Allan as Salome. Ann Daly, Done into Dance: Isadora Duncan in America, Bloomington and Indianapolis, Indiana UP, 61. Fig. 12. Anna Pavlova in The Dying Swan. Ann Daly, Done into Dance: Isadora Duncan in America, Bloomington and Indianapolis: Indiana UP, 61. Fig. 13. Ruth St. Denis in a Burmese Solo Dance. Postcard. Photographer, Nickolas Muray, International Museum of Photography, Fotofolio. Fig. 14a. Toulouse-Lautrec, watercolour of Loie Fuller. Richard Nelson CUlTent and Marcia Ewing Current, Loie Fuller: Goddess ofLight, (Boston: Northeastern UP, 1997) between pages 144 and 146. Fig. 14b. Toulouse-Lautrec, watercolour of Loie Fuller. Richard Nelson Current and Marcia Ewing Current, Loie Fuller: Goddess ofLight (Boston: Northeastern UP, 1997) between pages 144 and 146. Fig. 15. Loie Fuller in Danse de Lys. Richard Nelson Current and Marcia Ewing Current, Loie Fuller: Goddess ofLight (Boston: Northeastern UP, 1997) 113. Vll List of Abbreviations Ar Baudelaire, L 'Art romantique. Geneve: Editions d' Art Albeli SIdra, 1945. ASL Beckson, Arthur Symons: A Life. Oxford, (Oxfordshire); New York: Clarendon Press, 1987. ASSL Arthur Symons: Selected Letters, 1880-1935. Eds. Karl Beckson and John M. Mumo. Basingstoke: Macmillan, 1989. Au Yeats, Autobiographies. London: Macmillan, 1955. AV Yeats, A Vision. London: Macmillan, 1937. BLS Guest, Ballet in Leicester Square: The Alhambra and the Empire 1860-1915. London: Dance Books, 1992. CCP Jeffares, A Commentary on the Collected Poems o/W.B. Yeats. London: Macmillan, 1968. CEP Donne, Complete English Poems. 1994. Ed. C.A. Patrides. London: Everyman, 1996. CG Lifar, Carlotta Grisi. Trans. Doris Longley Moore. London: Lehman, 1947. CL Yeats, Collected Letters. Ed. John Kelly. 3 vols. Oxford: Clarendon Press; New York: OUP, 1986-1997. Const Gautier, Constantinople. Paris: Michel Levy Freres, 1865. CP Yeats, Collected Poems. London: Picador, 1990. viii CPI Yeats, The Collected Plays of WE. Yeats. London: Macmillan, 1952. CSI Symons, Cities and Sea-Coasts and Islands. London: Collins, 1918. CW Symons, Complete Works. 9 vols. London: Heineman, 1916. DBL Beaumont, The Diaghilev Ballet in London. London: Putnam, 1940. DP McCarren, Dance Pathologies: Performance, Poetics, Medicine. Stanford, California: Stanford UP, 1998. E&I Yeats, Essays and Introductions. 1961. London and Basingstoke, Macmillan, 1971. Esd Gautier, Ecrits sur la danse. Arles: Actes Sud, 1995. Expl Yeats, Explorations. London: Macmillan, 1962. FMM Yeats, A Full Moon in March, The Collected Plays of WE. Yeats. London: Macmillan, 1952. FRP Hartman, French Romanticism on Progress: Human and Aesthetic. Potomac, Maryland: Studio Humanitatis, 1983. GB Koritz, Gendered Bodies/Performing Art: Dance and Literature in Early Twentieth-Century British Culture. Ann Arbor: U of Michigan Press, 1998. GSD "Gautier on Spanish Dancing." Trans. and ed. Ivor Guest. Dance Chronicle 10.1 (1987): 1-101. GYL Anna White MacBride and A. Norman Jeffares, eds. The Yeats­ Gonne Letters 1893-1938: Always Your Friend. London: Hutchinson, 1992. IX Had Gautier, Histoire de I 'art dramatique en France depuis vingt-cinq ans. 5 vols. Paris: Hetzel, 1858. Identity Ellmann, The Identity of Yeats. London: Macmillan, 1954. It Gautier, Italia. Paris: Editions d' Aujourd'hui, 1978. ITN Stokes, In the Nineties. Hemel-Hempstead: Harvester-Wheatsheaf, 1990. LMu Le Moniteur universe!' Courtesy ofIvor Guest. Copies of original text translated by Guest, "Gautier on Spanish Dancing." Dance Chronicle 10.1 (1987): 1-101. LP La Presse. Comiesy of Ivor Guest. Copies of original text translated by Guest, "Gautier on Spanish Dancing" Dance Chronicle 10.1 (1987): 1-101. LWBY Yeats, The Letters ofWB. Yeats. Ed. Allan Wade. London: Rupert Hali-Davis, 1954. MAS Symons, The Memoirs ofArthur Symons: Life and Art in the 1890s. University Park: Pennsylvania State UP, 1977. MC Mallarme, Correspondance IL 1871-1885. Ed. Henri Mondor and Lloyd James Austin. Paris: Gallimard, 1965. Mem Yeats, Memoirs: Autobiography-First Draft Journal. Ed. Denis Donoghue. London: Macmillan, 1972. MM Gautier, Mademoiselle de Maupin Paris: Garnier-Flammarion, 1966. Myth Yeats, Mythologies. London: Macmillan, 1959. x Oc Mallarme, Oeuvres completes de Stephane Mallarme. Paris: Gallimard, 1945. Oe Gautier, Oeuvres erotiques: Poemes suivis des lettres if la Presidente. Charlieu: La Bartavelle n.d. PAM Symons, Plays, Acting and Music: A Book of Theory. London: J. Cape 1928. Pc Gautier, Poesies completes. Publ. Rene Jasinski. 3 vols. Paris: A.G. Nizet, 1970. PD Kermode, "Poet and Dancer Before Diaghilev." Puzzles and Epiphanies: Essays and Reviews, 1958-1961. London: Routledge and Kegan Paul, 1962. Psi Gautier, Portraits et souvenirs litteraires. Paris: Levy, 1875. RA Keats, Romanticism: An Anthology. Ed. Duncan Wu. 2nd ed. Oxford, U.K., Malden, Massachusetts: Blackwell, 1998. Rf Gautier, Recits fantastiques. Paris: Flammarion, 1981. RI Kermode, Romantic Image. London: Routledge and Kegan Paul, 1957. SML Symons, The Symbolist Movement in Literature. New York: Dutton, 1958. SMP Mallarme, Stephane Mallarme: Selected Poems. Trans. C.F. MacIntyre, Berkel~y and Los Angeles: U of California, Press. 1957. Souv Gautier, Souvenirs litteraires. Paris: Hachette, 1882-3. Xl TBT Nietzsche, The Birth of Tragedy. Trans. Shaun Whiteside. London: Penguin Books, 1993. TD "The Dance, by Arthur Symons (1865-1945)." About the House: The Magazine ofthe Friends of Covent Garden 5.12 (1980): 28-33. TG Richardson, Gautier: His Life and Times. New York: Reinhardt, 1958. TSZ Nietzsche, Thus Spoke Zarathustra: A Bookfor Everyone and No One.
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    Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening.
  • A History of Indian Music by the Same Author

    A History of Indian Music by the Same Author

    68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students.