The Figure of Music in Nineteenth-Century British Poetry

How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music''s place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination.

How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music''s place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake''s verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot''s use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.