“啊,苦涩的爱!”她唱道:音乐和无法获得的性欲在Theophilus Marzials的《爱的伪装》中

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
Hayley Smith
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引用次数: 0

摘要

“我从未停止过后悔,”威廉·贝尔·斯科特在他的自传笔记中写道,“西奥菲勒斯·马尔齐亚尔斯的第一卷受到的欢迎使他无法坚持下去”(明托1892194)。考虑到马尔齐亚尔斯的第一本也是唯一一本诗集《鸽子和其他诗歌画廊》(1873年)遭到了评论家的反对,其中包括著名的丹蒂·加布里埃尔·罗塞蒂,他在收到马尔齐亚尔诗歌的免费副本后,写信给作者,坦率地表达了他对收藏的不满——马尔齐亚尔斯的沮丧可以说是非常可以理解的。马尔齐亚尔斯随后写信给斯科特,承认他觉得“[罗塞蒂]说的是真的,我的书粗鲁而不成熟,在我看来更糟糕的是,微不足道”(明托,194)。我的论文强烈反对马尔齐亚尔斯沮丧地认为鸽子画廊不重要或微不足道的说法,相反,他认为他的诗歌表达了19世纪中后期性和性身份最私密(往往是危险的)的方面。在这样做的过程中,我提请大家注意《鸽子画廊》中音乐的运用,主要集中在《爱的伪装》上——这是一首包含在收藏中的十四行诗序列,其中拟人化的爱以不同的伪装出现,并扮演各种性和浪漫的角色——以想象、探索和表达无法获得的性欲;他们的不可获得性源于他们所威胁的社会混乱。关于马尔齐亚尔斯或他的诗歌的文章很少,所以如果没有,写一篇简短的传记可能会有所帮助。Theo Marzials是五个孩子中最小的一个,1850年12月20日出生于Antoine Theophile Marzials和Mary Ann Jackson。尽管马尔齐亚尔斯只出版了前面提到的《鸽子画廊》,但在19世纪的最后几年,他也为文学期刊《黄书》做出了贡献。当鸽子画廊没有得到作者所希望的赞扬时,马尔齐亚尔斯将注意力转向了音乐,因此他把大部分时间都花在了作曲家的工作上。尽管如此,他有时还是将两种艺术兴趣融合在一起;例如,Pan-Pipes(1873)将克里斯蒂娜·罗塞蒂(Dante Gabriel Rossetti的妹妹)的诗歌和沃尔特·克莱恩的插图与马尔齐亚尔斯的音乐作品联系在一起。类似地,马尔齐亚尔斯创作了一个音乐版本
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“‘Ah bitter love!’ she sung”: music and unobtainable erotic desires in Theophilus Marzials’s Love’s Masquerades
“I have never ceased to regret,” William Bell Scott wrote in his Autobiographical Notes, “that the reception [Theophilus Marzials’s] first volume met with has prevented him from persevering” (Minto 1892, 194). Given that Marzials’s first and only collection of poetry, The Gallery of Pigeons, and Other Poems (1873), faced disapproval from critics including the much-celebrated Dante Gabriel Rossetti – who, upon receiving a complimentary copy of Marzials’s poetry, wrote to the author and candidly stated his dissatisfaction with the collection – Marzials’s dejection was arguably very understandable. Marzials subsequently wrote to Scott and admitted that he felt as though “what [Rossetti] says is true, that my book is crude and immature, and, what to my mind is worse, trivial” (Minto, 194). My paper strongly disagrees with Marzials’s dispirited suggestion that The Gallery of Pigeons was unimportant or insignificant, arguing instead that his poetry articulates the most private (and often dangerous) aspects of sexuality and sexual identity in the midto late-nineteenth century. In doing so, I call attention to how music is employed throughout The Gallery of Pigeons, focusing primarily on Love’s Masquerades – a sonnet sequence contained amongst the collection and one within which the personified Love appears in different guises and performs various sexual and romantic roles – to imagine, explore, and express specifically unobtainable erotic desires; their unobtainability arising from the social disruption that they threaten. Very little has been written on Marzials or his poetry, so in its absence a brief biographical note might be helpful. The youngest of five children, Theo Marzials was born on 20 December 1850 to Antoine-Theophile Marzials and Mary Ann Jackson. Although he only published the aforementioned Gallery of Pigeons, Marzials also contributed to the literary periodical The Yellow Book during the final years of the nineteenth century. When The Gallery of Pigeons did not receive the praise that its author might have wished for, Marzials turned his attention to music, consequently spending much of his time working as a composer. Nevertheless, he sometimes amalgamated both of his artistic interests; Pan Pipes (1873), for example, tied together the poetry of Christina Rossetti (the sister of Dante Gabriel Rossetti) and the illustrations of Walter Crane with Marzials’s musical compositions. In a similar vein, Marzials composed a musical version of
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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