By George Eliot
The Lifted Veil's sickly narrator, Latimer, believes himself to be cursed being able to see the long run and experience the innovations and emotions of these round him. Disgusted by way of what he sees within the minds of others, he accepts that he'll lead an unobtrusive existence, regularly overshadowed by way of his extra energetic elder brother. that's, until eventually he meets and turns into eager about Bertha, his brother's appealing and coquettish fiancée.
The Lifted Veil sits along works resembling Mary Shelley's Frankenstein and Robert Louis Stevenson's The unusual Case of Dr. Jekyll and Mr. Hyde as a definitive piece of Victorian-era horror fiction, and was once a departure for writer George Eliot who as a rule serious about realism in her writing. still, via The Lifted Veil Eliot proves expert at incorporating the mysterious topics of the horror fiction style into her designated writing style.
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Extra info for The Lifted Veil
Sample text
What has given rise to singing here is not alcohol but spiritual experience, though this is left out of the narrative. It is as if such a tender moment is so alien to the men’s lives that even the narrating voice cannot find words to utter it. In retrospect the characters are so embarrassed to have revealed so much, they could not admit it happened. In the context of A Child of the Jago, neither the hymn (as a genre) nor the voice are in themselves signifiers of spirituality. But at that moment spiritual experience is articulated by means of religious song.
In a Latin sonnet written in honour of the singer Leonora Baroni, Milton tells her: ‘The music of your voice bespeaks the presence of God. 27 For Hegel in 1830, the best and highest way of expressing inner sentiments was by means of singing, wailing and moaning – all sustained vocal sounds that allow the soul to rid itself of feelings that are causing irritation. 29 This small number of examples suggests that symbolically, experiences of vocal meaning which lie beyond speech might be read in profoundly mystical ways over extensive historical periods.
30 The singing voice, then, has been in a unique musical position to merge different worlds of meaning: self-authority, human emotion, and the most slippery of them all, the soul itself. 32 However, they are set apart from other working-class fictional characters by their ability to sing. 33 Unlike middle and upper-class singers, Thyrza and Margaret perform simple songs in public houses and damp rooms. These locations are associated with poverty, and differ significantly from comfortable drawing rooms and concert halls – spaces that function as shrines to High Art.