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Quarterly.
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THE MUSICAL STRUCTURE OF DE
QUINCEY'S DREAM-FUGUE
By CALVIN S. BROWN, JR.
the musical structure of the piece, have remembered it, after a single
hearing, so well that he could identify it with certaintyafter an interval
of forty years. Whichever he did required musical understanding far
beyond that of most literarymen. The fact that this piece was a canon-
the musical form most closely related to the fugue-gives the passage
added interest. A critical approach to music is also shown in the con-
cert invitation which has already been mentioned:
There is always great crowding at these concerts, which (as you know) wear a
vulgar, snobbish character, but always offer the attractions of a severely selected
and severely trained orchestra, and partially of good music.7
between the accidentitself and the fugue of dreamsto which it gave rise.
The greatest problem confronting De Quincey was that of suggest-
ing the simultaneous voices of the fugue. It is obvious that, since we
can hear two or more things at once, but can read only one thing at a
time, counterpoint, which is easy enough in music, is impossible in
literature. De Quincey's solution of this difficulty, however, helps to
emphasize the transmuting power of dreams. His subject is not a
group of words, but rather a group of ideas: speed, urgency, and a
girl in danger of sudden death. These ideas remain constant, while
the varying settings and details perform the function of the shifting
contrapuntal accompaniment.1
After a brief prelude, the fugue proper begins with Section I of the
Dream-Fugue. Here we have a group of dancers on a ship covered
with midsummer decorations. Their craft runs under the bows of the
larger ship on which the author is stationed, and vanishes. He is par-
ticularly concernedabout one of the dancers,who is "the unknown lady
from the dreadful vision."l8" 'Where are the lovely women that danced
beneath the awning of flowers and clustering corymbi? Whither have
fled the noble young men that danced with them?' Answer there was
none." A few more lines, however, serve to introduce the answer.19
Section II gives an answer, in both the musical and the general
sense of the word. The dancers'ship reappearsin the distance on a sea
which has suddenly become stormy. It comes on at terrific speed until
it is again almost under the bows of the observer'sship; then it suddenly
veers off and disappearsrapidly into the distance. The girl stands high
in the rigging. "There she stood, with hair dishevelled, one hand
clutched amongst the tackling-rising, sinking, fluttering, trembling,
praying; there for leagues I saw her as she stood . . ." This series of
participles,constant in form, but varying in words, is one of the prin-
cipal structuralelements of the piece. It had already been used in the
original descriptionof the accident 20 and in the prelude to the Dream-
Fugue. In the fugue itself, it is absent from only one statement of the
17 The schematic diagram on page 349 will be found helpful in
reading the following
discussion.
18 Masson, The Collected Writings, XIII, 319.-Because of the brevity of the Dream-Fugue,
page-referencesare not given for further quotations from it.
19 The detailed setting of Section I might be taken as implying counterpoint
along with
this first statement of the theme. The problem here was insoluble, for a bare statement would
have made Section I disproportionatelyshort. As it is, the first three sections are of very nearly
equal length. The use of detail sacrificesa minor considerationof form to the more important
necessity for proper proportion.
20 Ibid., XIII, 317.
346 The Musical Quarterly
The first and third give an atmosphere of tranquility, and are further
connected by De Quincey's habitual associationof the ideas of summer
and death; the second is a contrasting storm-scene.Was De Quincey
consciously trying to suggest the contrast in key between the subject
(I and III) and the answer (II)?
It will be noticed that, whereas the first two sections have only one
paragraph each, the third has two. Its short final paragraph is the
episode which concludes the exposition. It is derived from material
used earlier in the same section, and it leads directly into the middle
section of the fugue.
This middle part begins with Section IV, and is constructedexactly
as it should be. The news of Waterloo and victory, the coach carrying
that news, the cathedral seen in the distance and rapidly approached
and entered-all these are presentationsof material closely connected
with the subject; but there is a definite departure from the set state-
ments of this subject found in the exposition. In the middle section
we expect at least one direct restatement of the subject as well as this
episodic material; hence we look for another vision of sudden death.
We are not disappointed. After a considerableinterval the girl of the
visions, now an infant, appearsdirectly in the path of the coach, which
is now thundering up the aisle of the vast cathedral.There is a moment
of suspense, and then she vanishes, just as death seems certain. After a
The Musical Structure of De Quincey's Dream-Fugue 347
dramaticpause,she reappearsas a full-grownwoman,on an altarof
alabaster,within the cathedraland yet amongthe clouds.On one side
of her is dimlyseenthe shadowof the angelof death,and on the other
herbetterangelpraysfor her.Whatwe havehereis simplya recurrence
of the subjectand answer, the counter-subject appearingwith the
answer only. It will be observedthat the answer always saves the
victimfrom the immediateperilpresentedin the subject,but keepsthe
idea of furtherdanger. In the single instancewhere fugue-formdoes
not demandan answer(SectionIII), the girl goes on to her fate.
The form of the middlesectionis not so easyto follow in detailas
that of the exposition. It would seem that perhapsDe Quinceyhad
some difficultieswith it, and was satisfied(reasonablyenough) with
the generalscheme,without tryingto imitatemusictoo closely. Cer-
tainly almost anything connectedwith the subjectand fitting into
place would be satisfactoryin the earlierpart, and the subjectand
answerare definitelyused. The stone trumpeteris somethingof a
problemfrom the point of view of form, though his dreamdevelop-
ment from the guard'shorn is satisfactorilyexplainedin De Quincey's
note. A numberof explanationsof his positionin the fugue might be
devised,but none would be so obviouslyright as to justifyits presenta-
tion here. In SectionV we shallsee that,towardsthe end of his fugue,
De Quinceyreliedmoreand moreon actualdescriptionsof sound.He
did not abandonthe imitationof musicalform, but the use of the
trumpeter,organ,and chorusin the last sectionshow the additionof
anothertype of musicalsuggestionto strengthenthe climax.
The final sectionof the fugue beginswith SectionV, and the divi-
sion is clearlyindicatedby the openingsentence:"Thenwas completed
the passionof the mighty fugue." This conclusionis a summaryof
what has preceded,and a commenton it, offeringno new vision of
sudden death. The musical suggestionscome into conflictwith the
musicalform in some places,as in the "columnsof heart-shattering
music"from the organ.These"columns"certainlyseemto suggestthe
concludingchords,yet they occurearlyin the section.However,as in
the middle sectionof the fugue, the principalstructuralfeaturesare
clearlydiscernible.The two long sentenceswith which the composi-
tion ends have a weight and a repetitionof phrasesthat may represent
an attemptat suggestinga pedal. The counter-subject appearsfor the
last time, and is followed by a summaryof the visionswhich is an
unmistakablestretto: mentioning the precedingdreams of sudden
deathin a seriesof phrasessecuresthe foreshorteningand telescoping
348 The MusicalQuarterly
effect of the stretto,althoughit is obviouslyimpossibleto make the
phrasesactuallyoverlap.Afterthis stretto,the restof the sentencegoes
on brieflyto the peaceand unityof the final chords. It is worthwhile
to quotetheselast two sentencesin full:
As brotherswe moved together;to the dawn that advanced,to the starsthat fled;
renderingthanks to God in the highest-that, having hid His face through one
generation behind thick clouds of War, once again was ascending, from the
Campo Santo of Waterloo was ascending, in the visions of Peace; rendering
thanks for thee, young girl! whom having overshadowedwith His ineffablepas-
sion of death,suddenlydid God relent,sufferedthy angel to turn aside His arm,
and even in thee, sisterunknown! shown to me for a moment only to be hidden
forever,found an occasionto glorify His goodness. A thousandtimes, amongst
the phantomsof sleep, have I seen thee entering the gates of the golden dawn,
with the secret word riding before thee, with the armies of the grave behind
thee,-seen thee sinking, rising, raving, despairing; a thousand times in the
worlds of sleep have seen thee followed by God's angel through storms,through
desertseas,throughthe darknessof quicksands,throughdreamsand the dreadful
revelationsthatare in dreams;only that at the last, with one sling of His victorious
arm,He might snatchthee backfrom ruin,and might emblazonin thy deliverance
the endlessresurrectionsof His love!
The accompanyingchartpresentsgraphicallythe relationshipbe-
tween this literaryfugue and the musicalform.21Each of the three
lines representsone of the voicesof the fugue. A solid line represents
the subject,S, or the answer,S(A). Long dashesare used for the
counter-subject, CS, and short dashesfor free material. The indica-
tions above the lines refer to the musicalform, and those below to
De Quincey'swork. Those structuralelementswhich cannot be as-
signed to an individualvoice are writtenabovethe entire group for
the music,andbelowit for the prose.A few questionableelementsmay
be noted. It is certainlyunusualfor one voiceto give the subjecttwice
in the courseof a single stretto,but the referenceto "dreamsand the
dreadfulrevelationsthat are in dreams"is neededto make the point
thatthe dreamsgivenareonly specimensfromthe serieswhich extends
endlesslythroughthe apparentinfinityof time and spaceof the opium
dream. Literally,of course,it is a referenceto the cathedralvisionand
the revelation with which the fugue closes. The suggestion of a pedal
involvesthe idea of an extravoice,but neverthelessthe rhetoricof the
last sentencesseemsto havethe purposeof a pedal. Sincein literature
the use of severalvoicescanat bestbe only suggested,thereis no reason
21 This diagram is adapted from a similar general scheme for a four-part fugue in
Ferguson, A History of Musical Thought, p. 215.
The Musical Structure of De Quincey's Dream-Fugue 349
Chartfor Dream-Fugue
EXPOSITION
S I Episode
IIl. Quicksand
S(A) CS
I1.Ship disappears Participles
in storm
S CS
Is -- 4--
(Participles -......j... - ............
1. Ship in danger I sat and wept'
MIDDLE SECTION
Free development
S CS
--IV. Waterloo,I------------
coach, and cathedral
1 Coach endangers --4 -........
Participles Prayer
child
FINAL SECTION
slrcllo
CS S 1 Cadence in tonic
Participles Quicksands
V.
? IsStorms IsDreams "Endlessresurrections
of His love."
Jubilation
Pedal ?