Sidebilder
PDF
ePub

66

Analytical Study of The Spanish Gypsy."

BY CHARLOTTE PORTER AND HELEN A. CLARKE.

[ocr errors]

[Inasmuch as The Spanish Gypsy" is becoming a favorite drama with public readers, we give an analytical study, written for Poet-Lore by the editors who discuss The Loyal Daughter in Literature," using for their purpose "The Spanish Gypsy," The Dance to Death," and the "Antigone. We use only the part pertaining to " The Spanish Gypsy," referring those of our readers, who wish the complete article, to the current number of Poet-Lore.-EDITOR.]

[ocr errors]

Μ'

R. CROSS gives, in his "Life of George Eliot," some notes on "The Spanish Gypsy" which he found among his wife's papers. The motive of the poem was suggested to her by a picture in Venice, said to be by Titian, of the Annunciation. It occurred to her that a grand tragic motive was supplied by such a sudden announcement to a young maiden on the eve of marriage that she, as the daughter of the predestined line, was chosen to renounce her own special life and to fulfil, instead, a great destiny "entailing a terribly different experience from that of ordinary womanhood and wifehood." Fedalma embodies such a motive, and her decision symbolizes the part played in human life by the idea of duty, which, says George Eliot, is "entirely made up" of "hereditary claims. Fedalma possesses the consciousness of race and race-obligation, which, according to George Eliot, constitutes the basis of duty. So soon as she knows she is a gypsy she accepts her predestined mission. and is ready to say as Mary did, Behold the handmaid of the Lord!" Fedalma's name-apparently invent ed by George Eliot, and meaning Faith of the Soul, or Spiritual Fidelity-is a further indication of George Eliot's intention. Loyalty to duty is the source of Fedalma's decision. In her the faith she has given her lover has to be overborne by a series of strong arguments which convince her that her own especial happiness is ess momentous than the good of

[ocr errors]

many others; but when she is convinced, she follows a vigorous and persistent course.

Notice that the lover is obliged to choose between religion and love, and that there is not a moment's hesitation on the part of the man in choosing for love. . . Silva is unmoved by the arguments of the prior against his marriage with an infidel. Is this devotion to love the result of indifference to religious duty when personal gratification is at stake, or does Silva realize that there are broader principles of life than those recognized in conventional theology? With Fedalma the choice is for duty against love.

[ocr errors]

Is the choice in the case of the woman to be attributed to her higher sense of duty, or to a narrow interpretation of duty? of duty? Has the author, in portraying this difference between man and woman, been true to the men and women of real life? Is the father's motive not at bottom selfish? Is he animated with the desire of making his child happy, or is he only bent on serving his own ends? The happiness of Fedalma is the last thing he would ever consider. Sketch the arguments Zarca uses to persuade Fedalma. Though showing no concern for her happiness, do they not show all the signs of disinterested concern for the welfare of his people and a desire that Fedalma should not lower her upright nature by fawning in any way upon wealth and position? Does not Silva read Zarca aright in the passage in Book

III., beginning, "and you, Fedalma's father-you who claim the dues of fatherhood-will offer up her youth," etc.? Does the wrong done to Silva trouble Zarca at all? Is Fedalma even as alive to that aspect of the case as she ought to be? Should you excuse Zarca on the score of the bias resulting from his belonging to a persecuted race?

Fedalma's decision is more than renunciation; it is a living sacrifice. She can not love and be happy while she knows others near to her are suffering, and, therefore, she renounces love and happiness; but more than this moved Fedalma; it was the "heavy trust of her inheritance," the "deep energy" of her "people's life" throbbing within her. Would it be more consistent with George Eliot's explication of the deep root of Fedalma's decision if she had made her more capable of leadership, especially after her father's death? Why did she not? Is it a fault, or was this failure desirable in a tragedy, and why? Is duty "entirely made up of hereditary claims?" What argument could be made for the claims of posterity as a constituent of duty, and how would this new factor affect the decision?

How much of George Eliot's action depends upon description given in advance of the dialogue? Silva's dislike of the prior's caution, issuing from his love for Fedalma, and her dislike of restriction and her awe of her father's glance while as yet he is unknown to her, are introduced in Book I., and foreshadow the next steps of the action. There is also much expansion of these elements. and a wealth of possible eventfulness revealed which is more than drama requires and which belongs more easily to the novel; as, for example, Fedalma is in peril both of seizure by the Inquisition and of being claimed by her father. Notice the significance of the necklace as an or

[blocks in formation]

Has the play a distinct dramatic motive which unfolds itself in the course of the action ?

"The Spanish Gypsy" might be described as a novelistic drama. It is not made up entirely of dramatic dialogue, but of description (not put into the mouth of any of the characters) interspersed with dramatic dialogue. It is not divided into acts and scenes like a regular drama, but is there anything answering to such division? The descriptive parts serve in some cases to divide scenes. Point out when this is so, and when not? In "The Spanish Gypsy" where do we find the larger proportion of poetical images, in the dramatic or in the descriptive parts, and what is the nature of the imagery? Notice that along with the richness of the imagery in George Eliot's descriptions runs a continuous vein of philosophizing which often crystallizes into aphorisms. Give examples of these. Are the characters in the drama distinguishable through their use of poetic language, or is the general character of the language the same throughout?

Give a sketch of the history of the Moors in Spain. Is Duke Silva a real personage? Who was El Zagel? Prescott's" Ferdinand and Isabella " will give a history of the time in which the scene of the poem is laid. Washington Irving's "Conquest of Grenada" will also give information about the Moors. What is meant by "the West now enters on the heritage won from the tombs of mighty ancestors?" This and the following

[ocr errors]
[ocr errors]

lines refer to the Renaissance, for any account of which see Symonds's "The Renaissance in Italy," Vernon Lee's studies of the same movement, or Taine's English Literature. Who was the "poet-scholar" of Avignon who could not read Greek? -The "martyed sage?"-The "Attic orator?" What is meant by "the soul of Greece conquers Persia?" What is the story of Pelago and his resolute band? Give a sketch of the gypsies in Spain. The exact year of their first appearance there is not certain, but probably it was early in the fifteenth century when they entered from France. In what European country did they first appear? Is anything positively known of their origin? See Chapter IX. of Borrows's "Gypsies in Spain." He thinks they came originally from India. So also does Mr. Leland in his book "The Gypsies," in which may be found many clever arguments in support of his theory. The origin of the name: Gitanos, or Egyptians, is the name by which the Gypsies have been generally known in Spain. Among themselves they have the words Zincalo, Romano, and Chai. Zincalo is supposed to mean "the black men of Zend or Ind; " Romanö, the race of the husbands. Chai is a modification of the word chal, which by the Gitanos of Estramadura is applied to Egypt, and in many parts of Spain is equivalent to "Heaven;" thus Chai may denote either "the chil

[blocks in formation]

According to Borrows, each band of gypsies had its captain, called its count. To fill this office they chose their most valiant man. He led their predatory excursions, settled their disputes, and received as reward one-third of the booty. For their chief characteristics-love of race, hatred of other races, fortune-telling, singing, and dancing, see Borrows, also article on "Gypsies" in Encyc. Brit. Is there any historical foundation for the incident in George Eliot's poem of the alliance between the gypsies and the Moors? Neither Prescott nor Irving mentions any such. For a few remarks on the relations of the Moors and gypsies, see Chapter V., Borrows. There is little in Borrows to suggest the romantic coloring George Eliot gives the gypsies. She probably derived it from Spanish literature. There are several Spanish poems in which gypsies figure: "La Gitanella," by Cervantes, by Solis y Rivademura, by Montalvan. See also "The Spanish Gypsy" by Middleton and Rowley, and Weber's opera, "La Preciosa."

How much of the story is due to history and how much to invention? Is the author's use of history poetic or realistic!

[ocr errors][merged small]

gr-r-aä-nd--mysterieuse-soo-blime ! You 'ave reads ze Macabess ?--ze scene of Mossieu' Macabess viz ze Vitch-eh? Superb soo-blimitée ! W'en he say to ze Vitch,

[ocr errors]

Ar r-roynt ze, Vitch!" she go away; but what she say when she go away? She say she will do somesing dat 'aves got no naäme ! Ah, ha!" she say, "I go, like ze r-r-aä-t vizout ze tail, but I'll do ! I'll do !" IW'at she do? Ah, ha-voilà le graänd mysterieuse Mossieu' Shak-es-pier. She not say what she do! By-by, Mossieu' Macabess,

ON

[ocr errors]

"MACBETH."

"

he fight wiz Mossieu' Macduffs. He see him come, clos' by; he say (proud empressement), Come o-o-n, Mossieu' Macduffs, and damned be he who first say, 'Enuffs.' Zen zey fi-i-ght moche. Ah, ha! voilà ! Mossieu' Macabess, vis his br-r-ight r-r-apier pink' him, vat you call, in his body. He 'ave gots mal d'estomac; he say "Enoffs!" 'cause he got enoffs-plaänty; and he expire r-right away, 'mediately, pretty quick! Ah, mes amis, Mossieu' Shak-es-pier is rising man in la belle France. He is gr-r-aänd, soo-blime!

Musically Accompanied Recitations.

[This Subject was also discussed in the February Number.]

Miss Laura E. Aldrich, Cincinnati.

N°T

OT being what might be called a public reciter, but a teacher of elocution in one of the high schools of Cincinnati, musical recitations rarely come under my consideration, though, of course, I have my opinions about them. In the first place, I think that musical recitations must be considered from two distinct standpoints, viz., that of the elocutionist, and that of the entertainer. As an earnest worker in the field of "speaking out," I would say: Musically accompanied recitations are as old as history. A thousand years before the birth of Christ, Demodocus, the blind bard of Scheria, with cithara in hand, brought tears to the eyes of Ulysses by his recital of the great deeds done before the walls of Troy. The bards, skalds, minstrels, troubadours, and minnesingers of the middle ages told their tales of love and adventure, to the pleasing strains of the harp. Then why in modern times do "certain persons condemn musical recitations on the ground that they are inartistic?" Because, unfortunately, the majority of such reciters either "use the musical accompaniment to bolster up poor reading," as Mr. Bickford said at the Boston meeting of the N. A. E., or the music is introduced be cause it happens to be mentioned. For instance, in The Last Hymn," imagine the drowning man singing "Jesus, Lover of My Soul" with piano accompaniment. We all surely agree in condemning such work as at least inartistic." When, however, the music forms but a background for a rich, harmonious voice, when the accompaniment is subordinated to the thought expressed, and the component parts are so well blended that the listener is conscious only of the beauty of the whole, then, in my estimation, the musically accompanied recitation deserves to be ranked next to oratory, the highest form of the "greatest of all arts.' Few, very few, elocutionists really succeed in this from an artistic point of view.

"

For him whose business it is merely to entertain a capricious public who has no higher aim than the dollars and cents for which we must all struggle, and to whom elocution as an art is a minor consideration, almost anything seems allowable. That the ordinary mixed audience is not only pleased but delighted with such "hybrid products" as "Money Musk," "How Grandma Danced," etc., is not to be questioned, and people will employ those who have this power of amusing them.

In my own work I have given musically accompanied readings only twice, both times by special request, and I must confess that in both cases they made the hit of the evening," to use a professional term.

"

One of these was Longfellow's "Blind Girl of Castèl-Cuillè," given with tableaux. The musical theme which accompanied the last tableau was continued very softly, to the end of the reading, and seemed to make a very effective close. The second time, I gave a lullaby "Good night," by an unknown author, with Schumann's CradleSong" as the accompaniment.

In closing, allow me to suggest that when, through thorough organization, the elocutionists of this country succeed in raising the standard of public entertainment, and I am glad to say that through the N. A. E. we are well on our way toward accomplishing this end, there will be a great decrease in that kind of work which is unworthy of a place on the dramatic stage or on the elocutionary platform.

Mrs. Cora Worrell-Alford, Philadelphia.

[ocr errors]

In passing judgment upon musical recitations, I hold neutral ground. A few are good, many are bad. Recently I listened to one that violated every law of the artistic code, and grated upon my nerves to such a degree that I almost said Banish them all and forever!" But, to temper this sweeping mandate, comes a vision of bygone days, and before me stands Nella Brown-Pond, in all her womanly dignity and grace, voice and body blending with the strains of melody as she interprets that exquisite poem, "King Robert of Sicily." The accompanist is in perfect sympathy, the music is merely the background. The voice harmonizes with the instrument, yet nothing of the sense is sacrificed. There is no straining for effect, no jarring on ear or on mind. The audience is magnetized and listens with breathless attention. Can I now harshly condemn? No, let the bad flourish with the good rather than lose the worthy few. why do the faulty productions so exceed the correct? Not being in any sense a musical critic, my view must be wholly from the elocutionary standpoint. First: There are comparatively few recitations whose value is enhanced by music; but moderation not being an American virtue, the aim of the day is to clothe with music everything that can possibly wear it. Hence, we have many misfits. We are slowly convalescing from the posture and pantomime fads, and the musical recitation fad bids fair to attack us next. I wish to state clearly that I consider posing, pantomiming, and musical reciting, each good in its place. It is the overdose and the misfit that brings them into disrepute. Second: The music should be suited not only to the sentiment and the interpretation of the poem, but also to the range of the

But

reciter's voice. This often requires transposition, and it is not easy to find an accompanist who has both skill and patience to do this satisfactorily. Much depends upon the accompanist. He must be as familiar with the words and the emotional shadings of the poem as with the music. It requires many rehearsals to gain this sympathy and understanding between reciter and accompanist, without which, though both poem and music be good and their combination excellent, an artistic production is impossible. Yet, we have "artists," so called, who have the assurance to attempt musical recitations to the accompaniment of a schoolgirl picked up at an hour's notice. Third: The reciter should master the sentiment of the poem, and the melody and the rhythm of the music, and harmonize voice and gesture with both; whereas some reciters follow the melody to such an extent that they almost sing the words, and the effect is that of a ludicrous cross between a song and a recitation-a sort of incantation. Others pay no attention whatever to the melody but merely to the time of the music, and in a monotonous undertone scan the lines. Still others seem to aim at nothing unless it be to present two entirely independent performances at the same time, and the listener is at a loss to see any connection between voice and instrument. Fourth: Audiences are ready to accept even a very inartistic production of musical recitation, with attention and with applause, because of its novelty, much as a child turns from a substantial toy to a glittering bauble because it is new and showy. Though the "judicious grieve," the "unskilful laugh." Their name is legion, their applause is loud, and the monstrosity flourishes.

Given a suitable poem, however, music adapted to the rhythm and the sentiment of the poem and to the voice, a sympathetic accompanist, and plenty of time and patience for preparation, and I believe musical recitations are a delight to both audience and performer, and give a pleasing and justifiable variety to a program. Even the best, however, should, in my judgment, be used sparingly; say, one musical number in a whole program, and not in the proportion I recently heard of, when, of five elocutionary numbers on one program, three were

musical recitations.

44

My own experience is limited. I have used only four musical recitations: "King Robert of Sicily," "Money Musk," "The Low Backed-Car," and Grandma at the Masquerade." Of these I consider the fourth showy," but poor both as a literary and as a musical production; the third, only fairly satisfactory; and the second and first, each very good of its style. I have tested the first both with and without musical accompaniment and decidedly prefer the former. Money Musk," because of its brightness, was a general favorite, and was called for again and again till I refused to give it further. Besides these, my pupils have used

"

The Clover Meadow" by Byron W. King, "The Minuet" by Mary Mapes Dodge, and "My Trundle Bed;" for each of which the

music was specially arranged by the accompanist in accordance with my suggestions. Of these three the first-named was the best. I have on my shelves ten other musical recitations which have been used more or less as practice work but not tested publicly.

Miss Grace

Vaughan Bail, Newton
Highlands.

Personally, except in rare instances, I do not believe in musical recitations, for the feeling of the recitation is so very often lost and the music spoiled. They should never be undertaken by anybody but a professional, and the reciter should be sure to be accompanied by the best accompanist that can be procured-one who will not have to be confined to notes, but who can improvise, and will play softly and make the music accompany the voice. It is very difficult to obtain such a person, for usually the musician wishes to be heard, and he can not or will not play except just the way the music is written. Only the most rhythmical selections should be chosen, and the emotion should be subjective. Of course, among 160 pupils I often have someone who wishes to take up this kind of work, and then, in teaching them. I have my hands full, and they seldom come out satisfactory I myself give That Waltz of von Weber's,' An Old Sweetheart of Mine," "My Ships," "Singing in God's Acre," "Baby Looking out for Me," "Break, Break, Break," and the public are always pleased. I have a fine accompanist-one to whom I need never give a thought, nor pay the last bit of attention to, for I know she will keep in time with me, and that the music will simply be an undertone. The most ludicrous thing I ever saw or heard was an artist, or rather a supposed one, who sat at the piano and recited, playing her own accompaniment. To sum up, then Given an artist, a firstclass pianist-or better still, an organistand a rhythmical poem, and the effect will be perfectly satisfactory. Under any other conditions they are most assuredly inartistic.

to me.

[ocr errors]

Miss Marguerite A. Baker, Ontario.

Do I believe in musical selections? Most emphatically, yes. I think nothing grander than beautiful, noble thoughts accompanied by music that is in sympathy with them.

The selections are all right. The question is, By whom and how should they be given? In the first place, the reciter, whom we will take for granted has the necessary requirements for a good reciter of non-musical selections, must have a voice that will blend with the instrument. In the next place, the one who accompanies must have a soul that will get into sympathy with the thought given by the reciter.

In listening to musical (?) selections, it usually seems to me that the most prominent idea is "so many notes to so many words." How often one loses the thought of the poem by the accompaniment being too loudly played. This would be impossible

« ForrigeFortsett »