The Song of the Lark by Willa Cather (best reads .TXT) 📕
Description
The Song of the Lark, Willa Cather’s third novel, was written in 1915. It is said to have been inspired by the real-life soprano Olive Fremstad, a celebrated Swedish-American singer who, like the protagonist, was active in New York and Europe during the time period depicted in the novel.
The work explores how an artist’s early life influences their work. In the novel, Thea Kronborg discovers her talent as a singer, and goes on to achieve great fame and success once she leaves her tiny village of Moonstone. Cather eschewed depicting rural life as being idyllic, instead focusing on the conservative, restricted, patriarchal structures that its inhabitants live by. Her work is thus considered to be one of the earliest so-called “Revolt Novels.” She depicts a time at the end of the 19th century when the American West was expanding rapidly and Americans were gaining sophistication in their understanding of culture and artists, particularly compared to Europe. The title of the novel comes from the name of a 1884 painting by Jules Breton, which is described and considered in the book itself.
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- Author: Willa Cather
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The next morning they left Jersey City by the latest fast train out. They had some misadventures, crossed several States before they found a justice obliging enough to marry two persons whose names automatically instigated inquiry. The bride’s family were rather pleased with her originality; besides, any one of the Ottenburg boys was clearly a better match than young Brisbane. With Otto Ottenburg, however, the affair went down hard, and to his wife, the once proud Katarina Furst, such a disappointment was almost unbearable. Her sons had always been clay in her hands, and now the geliebter Sohn had escaped her.
Beers, the packer, gave his daughter a house in St. Louis, and Fred went into his father’s business. At the end of a year, he was mutely appealing to his mother for sympathy. At the end of two, he was drinking and in open rebellion. He had learned to detest his wife. Her wastefulness and cruelty revolted him. The ignorance and the fatuous conceit which lay behind her grimacing mask of slang and ridicule humiliated him so deeply that he became absolutely reckless. Her grace was only an uneasy wriggle, her audacity was the result of insolence and envy, and her wit was restless spite. As her personal mannerisms grew more and more odious to him, he began to dull his perceptions with champagne. He had it for tea, he drank it with dinner, and during the evening he took enough to insure that he would be well insulated when he got home. This behavior spread alarm among his friends. It was scandalous, and it did not occur among brewers. He was violating the nobless oblige of his guild. His father and his father’s partners looked alarmed.
When Fred’s mother went to him and with clasped hands entreated an explanation, he told her that the only trouble was that he couldn’t hold enough wine to make life endurable, so he was going to get out from under and enlist in the navy. He didn’t want anything but the shirt on his back and clean salt air. His mother could look out; he was going to make a scandal.
Mrs. Otto Ottenburg went to Kansas City to see Mr. Beers, and had the satisfaction of telling him that he had brought up his daughter like a savage, eine Ungebildete. All the Ottenburgs and all the Beers, and many of their friends, were drawn into the quarrel. It was to public opinion, however and not to his mother’s activities, that Fred owed his partial escape from bondage. The cosmopolitan brewing world of St. Louis had conservative standards. The Ottenburgs’ friends were not predisposed in favor of the plunging Kansas City set, and they disliked young Fred’s wife from the day that she was brought among them. They found her ignorant and ill-bred and insufferably impertinent. When they became aware of how matters were going between her and Fred, they omitted no opportunity to snub her. Young Fred had always been popular, and St. Louis people took up his cause with warmth. Even the younger men, among whom Mrs. Fred tried to draft a following, at first avoided and then ignored her. Her defeat was so conspicuous, her life became such a desert, that she at last consented to accept the house in Santa Barbara which Mrs. Otto Ottenburg had long owned and cherished. This villa, with its luxuriant gardens, was the price of Fred’s furlough. His mother was only too glad to offer it in his behalf. As soon as his wife was established in California, Fred was transferred from St. Louis to Chicago.
A divorce was the one thing Edith would never, never, give him. She told him so, and she told his family so, and her father stood behind her. She would enter into no arrangement that might eventually lead to divorce. She had insulted her husband before guests and servants, had scratched his face, thrown hand-mirrors and hairbrushes and nail-scissors at him often enough, but she knew that Fred was hardly the fellow who would go into court and offer that sort of evidence. In her behavior with other men she was discreet.
After Fred went to Chicago, his mother visited him often, and dropped a word to her old friends there, who were already kindly disposed toward the young man. They gossiped as little as was compatible with the interest they felt, undertook to make life agreeable for Fred, and told his story only where they felt it would do good: to girls who seemed to find the young brewer attractive. So far, he had behaved well, and had kept out of entanglements.
Since he was transferred to Chicago, Fred had been abroad several times, and had fallen more and more into the way of going about among young artists—people with whom personal relations were incidental. With women, and even girls, who had careers to follow, a young man might have pleasant friendships without being regarded as a prospective suitor or lover. Among artists his position was not irregular, because with them his marriageableness was not an issue. His tastes, his enthusiasm, and his agreeable personality made him welcome.
With Thea Kronborg he had allowed himself more liberty than he usually did in his friendships or gallantries with young artists, because she seemed to him distinctly not the marrying kind. She impressed him as equipped to be an artist, and to be nothing else; already directed, concentrated, formed as to mental habit. He was generous and sympathetic, and she was lonely and needed friendship; needed cheerfulness. She had not much power of reaching out toward useful people or useful experiences, did not see opportunities. She had no tact about going after good positions or enlisting the interest of influential persons. She antagonized people rather than conciliated them. He discovered at once that she had a merry side, a robust humor that was deep and hearty, like her laugh, but it slept most of the time under
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