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• W174657404 abstract "In inaugural volume of The Harbinger, John Sullivan Dwight, foremost music critic United States, commented that is Musical Movement this country. Our people are trying become musical (Musical Review 12). When making that claim June of 1845, Dwight was correct noting proliferation of interest music that existed throughout United States during antebellum era. But more than just recognizing surge musicality, Dwight's review was continue what he had begun do his earlier music essays: theorize about philosophical underpinnings of music. In these writings and those that would follow, Dwight, his reviews of Boston or New York concert seasons, or discussions of music more generally, articulated what could rightly be considered American Transcendentalist theories of music. This paper will seek give shape what those theories of music were and will show how Herman Melville's albeit brief, but no less important, turn music his 1852 novel Pierre; or, The Ambiguities engages with those theories. In particular, accordance with Melville's well documented epistemological frustration with language and writing, it seems right that Pierre music emerges as an alternative form of expression, for at that time, music was considered ideal human expression, means by which achieve most perfect and profound philosophical utterance. By time Melville had begun writing Pierre, his exasperation with written word was well place. No longer sure, as he was when penning and His Mosses, that there was an Art of Telling (523) or that writing could deliver those occasional flashings-forth of intuitive (522) that he so relished, Melville, as he had done with Moby-Dick, inflected Pierre with narratorial moments that speak of epistemological failings of language. One such moment comes when we are told by Pierre's narrator that if in really profound mood, then merely verbal or written profundities are unspeakably repulsive, and seem downright childish (207). Of Pierre himself, who is described as an author with burning desire deliver what he thought be new, or at least miserably neglected Truth world (283), we are told that the more and more that he wrote, and deeper and deeper that he dived, Pierre saw everlasting elusiveness of Truth; universal lurking insincerity of even greatest and purest written thoughts (339). More than just thematizing Pierre, these passages reflect Melville's own fraught relationship with written word as mode of expression. We know from letter he sent Nathaniel Hawthorne May of 1851 that not unlike Pierre, Melville to get living by (538). Also, like Pierre's narrator, Melville, as he had written Evert December of 1850, at times thought a book man's brain is better off than book bound calf (534). This statement reveals Melville's skepticism about ability of words deliver acceptable statements of Truth. So while certainly being mindful here of James Duban's warning that Melville often dissociated himself from his narrators (345) and maintained similar distance from [his] literary characters (343), there is sense with Pierre, despite his professed love for all men who dive (To Evert A. Duyckinck 79), that philosophically Melville increasingly believed such ventures with written word were bound fail. Melville's struggle with process of writing also displays his difficulty with expressing Truth via language. In Strike Through Mask: Herman Melville and Scene of Writing, Elizabeth Renker has argued that Melville wanted render very page confronting him transparent, dissolve mere paper and type into 'Truth' (xix). As Renker points out, however, Melville chronically experienced page as an obscuring, frustrating, resistant force (xviii) against articulation of that which he sought convey. …" @default.
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• W174657404 date "2005-03-01" @default.
• W174657404 modified "2023-09-23" @default.
• W174657404 title "For Not in Words Can It Be Spoken: John Sullivan Dwight's Transcendental Music Theory and Herman Melville's Pierre; or, the Ambiguities" @default.
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