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147 ELT FORUM We reserve this section for comments on our Conference discussion, criticisms of papers we publish, rebuttals, and somewhat less formal letters to the editors which may also interest our readers. SOME NOTES ON GEORGE MOORE AND PROFESSOR WATSON By Jack Wayne Weaver (Greensboro College) Though Professor Sara Ruth Watson's contention that George Moore used musical knowledge gained from Arnold Dolmetsch as background for EVELYN INNES appears credible, two minor points which she makes seem tenuous at best.' These are that Moore probably gained his knowledge of Palestrina from Dujardin, and that GM, "after the many altercations resulting from . . . collaboration" with Yeats on DIARMUID AND GRANIA, "resigned from the Irish Theatre and lost interest in the whole Celtic Movement." Since Professor Watson, in talking of Moore's knowledge of Palestrlna, focuses on the probabl1 itv of Dujardin's influence, she should consider other possible candidates for the role. One, in addition to Dujardin, who needs to be examined is Edward Martyn, GM's friend, cousin and victim, whose piety and love of music were a constant source of amusement to Moore. In addition to an Interest in Wagner (Martyn had introduced GM to his music2), Martyn had a passion for Palestrlna which becomes his leit-motif in HAIL AND FAREWELL. For the reader's benefit, "Dear Edward" is depicted as "a great bulk of peasantry with a strain of Palestrlna running through him" (SALVE, p. 95), as being interested "in his soul . . ., in Palestrina and in his property in Galway" (AVE, p. 55) and as owning a "small harmonium . . . with a score of Palestrina" upon it (SALVE, p. 129). Furttier, Martyn, "hoping to do something for his church," founded a Palestrina choir In Dublin, but succeeded only in "the emptying of two churches" (AVE, p. x\} also see, AVE, p. 171; SALVE, p. 93; VALE, pp. 179-85). Such citations by Moore, even comically offered, suggest not only Martyn's acquaintance with Palestrina's music but also some degree of technical understanding of it. Joseph Hone's opinion supports this conclusion,3 as does Moore's own testimony that he talked about music with Martyn as well as Dujardin (AVE, p. 153). But to return to the matter of probabi1 i tv—since Moore did not make the acquaintance of Dujardin until 1886 while he certainly knew Martyn as early as 1874 (Martyn also took lodgings near him in London in 1885^), and since any reference to Palestrina seems lacking (although EVELYN INNES is mentioned several times) in GM's letters to Dujardin,5 Martyn appears the more likely person to have interested Moore in Palestrina. The second point to be examined, that "after the many altercations resulting from the collaboration" (i.e., that of GM and Yeats on DIARMUID AND GRANIA), "Moore resigned from the Irish Theatre and lost interest in the whole Celtic Movement,"6 appears even more in need of questioning. To begin with, the "altercations" were based on artistic grounds (Moore was to be responsible for the play's structure, Yeats its style7) and differences in temperament. Each author, the realist and the romantic, was willing to argue about structure and style, realizing perhaps that if the style were to be changed the structure must inevitably be changed also (AVE, p. 269). Still, the play was completed and presented and the authors, if not the best of friends, remained on speaking terms and even planned further 148 collaboration. It Is over this new play, WHERE THERE IS NOTHING, that the serious quarrel occurred, the quarrel which made the two distrust each other for the remainder of their lives. The background of the quarrel (Yeats' version) is that Yeats had, when he thought the Irish Literary Theatre might continue, suggested to Moore the possibility of collaborating upon a subject and plot of Yeats' own devising. Moore, who always had difficulty finding a subject, agreed and began work on the play. In the meantime, Yeats, having been introduced by AE to Frank and Willie Fay, decided to write the play by himself for them. When he notified GM of his decision, Moore threatened an injuction forbidding Yeats to use the subject; Yeats reacted, with the...


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