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Music plays an essential role in Gothic in the years 1789–1820, but it signifies very differently at the end of the period compared with the beginning. In the 1790s, the music of Gothic novels and plays is not Gothic music; it is celebratory, calming or transcendent rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort and unease. Melodrama brings about this change. Its ascendancy had long-lasting effects on the music of the Gothic more generally – in fiction and poetry, on the stage and the screen. The book considers work by writers including Ann Radcliffe, Matthew Lewis, Eliza Fenwick, Samuel Taylor Coleridge and James Boaden in conjunction with music by composers such as Michael Kelly, Stephen Storace and Samuel Arnold. Audio files of the music accompany the book.

Summary

The conclusion moves beyond Richardson, Burney, Austen, and Edgeworth to demonstrate the wide-ranging ramifications of networked authorship for other authors during the period.It was not necessary to be a member of an underprivileged group in order to be situated within an authorship network.Three of their well-educated male contemporaries were influenced by literary networks that inspired significant revisions to their most famous novels: Laurence Sterne’s Tristram Shandy (1759–67), Matthew Lewis’s The Monk (1796), and William Godwin’s Caleb Williams (1794).The case studies of these three novels show that revision was a major tool of eighteenth-century composition practices and was linked to networked authorship, overturning spontaneous, individual conceptions of literary production during the period.The larger consequences of this study are for the categories of novel and author: by concentrating on revision, we can understand the mutability of the novel form and the networked nature of authorship.

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The Music of the Gothic 1789–1820

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The Music of the Gothic 1789–1820

Conclusion

Summary