The Idea of Music in Victorian Fiction

Contents......Page 6
Notes on Contributors......Page 8
General Editor’s Series Preface......Page 10
Preface......Page 12
Introduction......Page 14
I: MUSICAL IDENTITIES......Page 22
The voice, the breath and the soul: Song and poverty in Thyrza, Mary Barton, Alton Locke and A Child of the Jago......Page 24
‘Cribbed, cabin’d, and confined’: Female musical creativity in Victorian fiction......Page 48
Music, crowd control and the female performer in Trilby......Page 78
II: GENRE AND MUSICALITIES......Page 102
The piano’s progress: The piano in play in the Victorian novel......Page 104
Female performances: Melodramatic music conventions and The Woman in White......Page 126
Indecent musical displays: Feminizing the pastoral in Eliot’s The Mill on the Floss......Page 150
‘Singing like a musical box’: Musical detection and novelistic tradition......Page 172
III: CONSTRUCTION OF MUSICAL MEANING......Page 192
The ‘perniciously homosexual art’: Music and homoerotic desire in The Picture of Dorian Gray and other fin-de-siècle fiction......Page 194
‘You might have called it beauty or poetry or passion just as well as music’: Gertrude Hudson’s fictional fantasias......Page 218
The music master and ‘the Jew’ in Victorian writing: Thomas Carlyle, Richard Wagner, George Eliot and George Du Maurier......Page 246
Thomas Carlyle and the grain of the voice......Page 266
Bibliography......Page 284
B......Page 308
C......Page 309
E......Page 310
H......Page 311
J......Page 312
M......Page 313
P......Page 314
S......Page 315
T......Page 316
W......Page 317
Z......Page 318