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CAROL WOOTTON The Lure of the Basilisk Chopin's Music in the Writings of Thomas Mann, John Galsworthy and Hermann Hesse When Robert Sdiumann äs music critic saw basilisk eyes in Chopin's notes äs they appeared on the printed page1, he was perhaps foreshadowing a trend in the way in whidi writers of the late XIXth Century were influenced by Chopin's music. At first, the impact of Wagner's music tended to overshadow that of his less flamboyant predecessor; nevertheless, the music of Chopin was producing its own impact, psychologically, on a group of writers whose early Output reflected the mood of the fin-de-siecle in Europe. Their selection of the Chopin repertoire tuned to one predominant mood, namely its langour, melancholy and ceaseless yearning, mirrored the growing disintegration of a culture whose over-refinement was lapsing into decadence. Thus basilisk, with its overtones both magical and ominous, suggests the symbol for the growing wave of aestheticism with which the cult of Chopin came to be associated. In literature the expression of the Chopin cult found its way into the early writings of Thomas Mann, Hermann Hesse, and eventually John Galsworthy. Later, äs the twentieth Century progressed and the pendulum swung in
Arcadia - Internationale Zeitschrift für Literaturwissenschaft / International Journal for Literary Studies – de Gruyter
Published: Jan 1, 1974
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