Abstract
Nowhere in George Eliot’s fiction is the pattern of musical allusion more delineated — more coherently Shakespearean in the unity it generates — than in her last novel. The quality and register of the voice, what is sung (and what is left unsung), who sings, who hears, what is revealed — all that can attach emotionally and dramatically to music — is of consequence; and, since the pattern of social movement is very complicated in Daniel Deronda, contact between the different strata of its society is schematically dependent on the social function of music.
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Notes
Shirley Frank Levenson, ‘The Use of Music in Daniel Deronda’, Nineteenth-Century Fiction, 24 (Dec 1969) 322.
Barbara Hardy, Introduction to Daniel Deronda, Penguin English Library (1967) p. 25.
Albert R. Cirillo, ‘Salvation in Daniel Deronda: The Fortunate Overthrow of Gwendolen Harleth’, Literary Monographs, i (1967) 222.
See Marghanita Laski, ‘The Music of Daniel Deronda’, The Listener, 96 (26 Sep 1976) 373.
John Pyke Hullah, The History of Modern Music (1862) p. 93.
Edmund Gurney, The Power of Sound (1880) p. 261.
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© 1989 Beryl Gray
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Gray, B. (1989). Daniel Deronda. In: George Eliot and Music. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-10018-7_4
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DOI: https://doi.org/10.1007/978-1-349-10018-7_4
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