Exploring Moore’s early years in Paris and his ongoing engagement with the experimental modernity of his French models, these essays offer new insights into this cosmopolitan writer’s work. Moore emerges as a turn-of-the-century European artist whose eclectic writings reflect the complex evolution of literature from Naturalism to Modernism through Symbolism and Decadence.
María Elena Jaime de Pablos - Melancholia and the Feminine in ‘Priscilla and Emily Lofft’
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MARÍA ELENA JAIME DE PABLOS
Melancholia and the Feminine in ‘Priscilla and Emily Lofft’
George Moore’s Bovarysme
At the beginning of his writing career, George Moore ‘was full of France’.1 He had learned a great deal from French writers such as Gautier, Balzac, Zola, Goncourt, and Flaubert, to mention just a few,2 but that last-mentioned author would for decades be ‘the master’. As he confessed in 1894,3 ‘if I have a master it is Flaubert’.4 At that time certainly, he seemed ← 173 | 174 → to admire Flaubert more than any other writer, and he was particularly impressed by Flaubert’s Madame Bovary.5 He worked to organise its publication in England, obtaining a contract from Vizetelly for Eleanor Marx to translate the text, and his influence is apparent in Marx’s introduction:
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