“Poor Butterfly”: F. Scott Fitzgerald and Popular Music
Identifieur interne : 001679 ( Istex/Corpus ); précédent : 001678; suivant : 001680“Poor Butterfly”: F. Scott Fitzgerald and Popular Music
Auteurs : Ruth PrigozySource :
- Prospects [ 0361-2333 ] ; 1977-10.
Abstract
The seventy-one song titles (see chart below) and innumerable lyrics that sprinkle his works indicate the extent of F. Scott Fitzgerald's reliance upon popular music as a source of his art. Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in The Last Tycoon, admits “some of my more romantic ideas actually stemmed from pictures—42nd Street, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. Other writers of our century were influenced in the same way, but it was Fitzgerald who acknowledged his debt to popular culture, who used it with meticulous care, and who evaluated seriously its impact, for better or worse, on the American scene.
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DOI: 10.1017/S0361233300002301
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Scott Fitzgerald's reliance upon popular music as a source of his art. Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in The Last Tycoon, admits “some of my more romantic ideas actually stemmed from pictures—42nd Street, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. 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Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in The Last Tycoon, admits “some of my more romantic ideas actually stemmed from pictures—42nd Street, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. 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Scott Fitzgerald and Popular Music</title><author xml:id="author-0000"><persName><forename type="first">Ruth</forename><surname>Prigozy</surname></persName><note type="biography">Head of the English Department at Hofstra University. Co-Editor of Short Stories: A Critical Anthology (1973) and the author of several articles on F. Scott Fitzgerald, she is now preparing a cultural history of the 1920s.</note><affiliation>Head of the English Department at Hofstra University. Co-Editor of Short Stories: A Critical Anthology (1973) and the author of several articles on F. Scott Fitzgerald, she is now preparing a cultural history of the 1920s.</affiliation></author><idno type="istex">0924A397804BC6C689B31CF37E6F06F0BF6511C6</idno><idno type="ark">ark:/67375/6GQ-PZ5GWHNS-Z</idno><idno type="DOI">10.1017/S0361233300002301</idno><idno type="PII">S0361233300002301</idno><idno type="article-id">00230</idno></analytic><monogr><title level="j">Prospects</title><title level="j" type="abbrev">Prosp.</title><idno type="pISSN">0361-2333</idno><idno type="eISSN">1471-6399</idno><idno type="publisher-id">PTS</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1977-10"></date><biblScope unit="volume">2</biblScope><biblScope unit="page" from="41">41</biblScope><biblScope unit="page" to="67">67</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1977</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="text-abstract"><p>The seventy-one song titles (see chart below) and innumerable lyrics that sprinkle his works indicate the extent of F. Scott Fitzgerald's reliance upon popular music as a source of his art. Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in The Last Tycoon, admits “some of my more romantic ideas actually stemmed from pictures—42nd Street, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. Other writers of our century were influenced in the same way, but it was Fitzgerald who acknowledged his debt to popular culture, who used it with meticulous care, and who evaluated seriously its impact, for better or worse, on the American scene.</p></abstract></profileDesc><revisionDesc><change when="1977-10">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">PTS</journal-id><journal-title>Prospects</journal-title><abbrev-journal-title>Prosp.</abbrev-journal-title><issn pub-type="ppub">0361-2333</issn><issn pub-type="epub">1471-6399</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0361233300002301</article-id><article-id pub-id-type="pii">S0361233300002301</article-id><article-id pub-id-type="publisher-id">00230</article-id><title-group><article-title>“Poor Butterfly”: F. Scott Fitzgerald and Popular Music</article-title><alt-title alt-title-type="left-running">Ruth Pricozy</alt-title><alt-title alt-title-type="right-running">F. Scott Fitzgerald and Popular Music</alt-title></title-group><contrib-group><contrib><name><surname>Prigozy</surname><given-names>Ruth</given-names></name><bio><p>Head of the English Department at Hofstra University. Co-Editor of <italic>Short Stories: A Critical Anthology</italic> (1973) and the author of several articles on F. Scott Fitzgerald, she is now preparing a cultural history of the 1920s.</p></bio></contrib></contrib-group><pub-date pub-type="ppub"><month>10</month><year>1977</year></pub-date><volume>2</volume><fpage seq="4">41</fpage><lpage>67</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1977</copyright-statement><copyright-year>1977</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>The seventy-one song titles (see chart below) and innumerable lyrics that sprinkle his works indicate the extent of F. Scott Fitzgerald's reliance upon popular music as a source of his art. Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in <italic>The Last Tycoon</italic>, admits “some of my more romantic ideas actually stemmed from pictures—<italic>42nd Street</italic>, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. Other writers of our century were influenced in the same way, but it was Fitzgerald who acknowledged his debt to popular culture, who used it with meticulous care, and who evaluated seriously its impact, for better or worse, on the American scene.</p></abstract><counts><page-count count="27"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0361233300002301a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><title>NOTES</title><fn id="fn01" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="other"><italic>The Last Tycoon</italic> (New York: Charles Scribner's, <year>1941</year>), p. <fpage>18</fpage></citation>. Hereafter, page numbers will be given in the body of the paper.</p></fn><fn id="fn02" symbol="2."><label>2.</label><p><citation id="ref002" citation-type="book">“Shadow Laurels,” in <source>The Apprentice Fiction of F. Scott Fitzgerald</source>, ed. <name><surname>Kuehl</surname><given-names>John</given-names></name> (<publisher-loc>New Brunswick, N.J.</publisher-loc>: <publisher-name>Rutgers Univ. Press</publisher-name>, <year>1965</year>).</citation></p></fn><fn id="fn03" symbol="3."><label>3.</label><p>See also, “A Freeze-Out” (1931) where Stravinsky's “Fire Bird” and Beethoven's “Moonlight Sonata” are pointedly contrasted with silly popular tunes. Fitzgerald's other references to classical music are also associated with serious or mature feelings. They occur in <citation id="ref003" citation-type="other"><italic>Tender Is the Night</italic> (pp. <fpage>179</fpage>–80)</citation>, where the second movement of Prokofieff's “Love of Three Oranges” is background music adumbrating the “sombre majesty” of the beginning of Dick Diver's dream; and Debussy's “Le Plus que Lent” in “Babylon Revisited” (1931). In “What A Handsome Pair!” classical music evokes the heroine's feelings on the day her brother had died.</p></fn><fn id="fn04" symbol="4."><label>4.</label><p><citation id="ref004" citation-type="other">“A Woman with a Past” (<year>1930</year>).</citation></p></fn><fn id="fn05" symbol="5."><label>5.</label><p>“Discard,” in the Fitzgerald collection, Manuscript Division, Firestone Library, Princeton Univ. The story, also called “Director's Special,” was written in the mid-thirties for the <italic>Saturday Evening Post</italic>, which declined to publish it.</p></fn><fn id="fn06" symbol="6."><label>6.</label><p>In the revised version, Fitzgerald also omitted entirely a second reference to the songs, possibly because it seemed redundant.</p></fn><fn id="fn07" symbol="7."><label>7.</label><p><citation id="ref005" citation-type="other"><italic>Tender Is the Night</italic> (New York: Charles Scribner's, <year>1934</year>), pp. <fpage>133</fpage>–34</citation>. Hereafter, page numbers will be given in the body of the paper.</p></fn><fn id="fn08" symbol="8."><label>8.</label><p>In his <citation id="ref006" citation-type="other">“Notebooks” in <italic>The Crack-Up</italic> (New York: New Directions, <year>1945</year>), p. <fpage>241</fpage></citation>, Fitzgerald included a list of popular songs, most of them dating from the twenties or the years just preceding the decade.</p></fn><fn id="fn09" symbol="9."><label>9.</label><p>Both this story and “The Debutante” are apprentice works.</p></fn><fn id="fn10" symbol="10."><label>10.</label><p>This passage was interpolated into <citation id="ref007" citation-type="other"><italic>This Side of Paradise</italic> (New York: Charles Scribner's, <year>1920</year>), pp. <fpage>69</fpage>–<lpage>70</lpage></citation>. Hereafter, page numbers will be given in the body of the paper.</p></fn><fn id="fn11" symbol="11."><label>11.</label><p><citation id="ref008" citation-type="other">“The Jelly Bean” (<year>1920</year>).</citation></p></fn><fn id="fn12" symbol="12."><label>12.</label><p>See <citation id="ref009" citation-type="other">“Indecision” (<year>1931</year>)</citation>, <citation id="ref010" citation-type="other">“Flight and Pursuit” (<year>1932</year>)</citation>, <citation id="ref011" citation-type="other">“The Rubber Check” (<year>1932</year>)</citation>, <citation id="ref012" citation-type="other">“New Types” (<year>1934</year>)</citation>, <citation id="ref013" citation-type="other"><italic>Tender Is the Night</italic> (<year>1934</year>), pp. <fpage>156</fpage>–79.</citation></p></fn><fn id="fn13" symbol="13."><label>13.</label><p><citation id="ref014" citation-type="other"><italic>The Great Catsby</italic> (New York: Charles Scribner's, <year>1925</year>), p. <fpage>151</fpage></citation>. Hereafter, page numbers will be given in the body of the paper.</p></fn><fn id="fn14" symbol="14."><label>14.</label><p><citation id="ref015" citation-type="other"><italic>The Beautiful and Damned</italic> (New York: Charles Scribner's, <year>1922</year>), p. <fpage>144</fpage></citation>. Hereafter, page numbers will be given in the body of the paper.</p></fn><fn id="fn15" symbol="15."><label>15.</label><p><citation id="ref016" citation-type="other"><italic>The Crack-Up</italic>, p. <fpage>75</fpage>.</citation></p></fn><fn id="fn16" symbol="16."><label>16.</label><p><citation id="ref017" citation-type="other"><italic>The Crack-Up</italic>, p. <fpage>30</fpage>.</citation></p></fn><fn id="fn17" symbol="17."><label>17.</label><p>Other examples of Fitzgerald's use of popular songs to comment on character and action occur in <citation id="ref018" citation-type="other">“The Freshest Boy” (<year>1928</year>)</citation>, <citation id="ref019" citation-type="other">“The Bridal Party” (<year>1930</year>)</citation>, <citation id="ref020" citation-type="other">“The Ordeal” (<year>1915</year>)</citation>, <citation id="ref021" citation-type="other"><italic>The Last Tycoon</italic>, p. <fpage>69</fpage></citation>, <citation id="ref022" citation-type="other">“Too Cute for Words” (<year>1936</year>)</citation>, <citation id="ref023" citation-type="other">“The Offshore Pirate” (<year>1920</year>)</citation>, <citation id="ref024" citation-type="other">“No Flowers” (<year>1934</year>)</citation>, and <citation id="ref025" citation-type="other"><italic>This Side of Paradise</italic>, p. <fpage>82</fpage>.</citation></p></fn><fn id="fn18" symbol="18."><label>18.</label><p>These do not include “What a Handsome Pair!” where the heroine rejects a suitor because, “You're interested in your music, and I can't even play Chopsticks.”</p></fn><fn id="fn19" symbol="19."><label>19.</label><p>I cannot locate any of these song lyrics or a song, “To Let.” Perhaps Fitzgerald made them up.</p></fn><fn id="fn20" symbol="20."><label>20.</label><p><citation id="ref026" citation-type="book"><name><surname>Sklar</surname><given-names>Robert</given-names></name>, in <source>F. Scott Fitzgerald: The Last Laocoön</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Oxford Univ. Press</publisher-name>, <year>1967</year>)</citation>, asserts that in this story, “Fitzgerald demonstrated his evocative romantic prose style, unimpaired, for the first time since <italic>Tender Is the Night</italic>,” p. 307.</p></fn><fn id="fn21" symbol="21."><label>21.</label><p><citation id="ref027" citation-type="journal"><name><surname>Mooney</surname><given-names>Hughson F.</given-names></name>, “<article-title>Songs, Singers and Society, 1890–1954</article-title>,” <source>American Quarterly</source>, <volume>6</volume> (<year>1954</year>), <fpage>221</fpage>–32.</citation></p></fn><fn id="fn22" symbol="22."><label>22.</label><p>Other writers, like Dreiser in <italic>An American Tragedy</italic> (who uses the record, “Brown Eyes” and “The Love Boat” when Clyde Griffiths goes home with two girls he meets at church), Farrell, in <italic>Studs Lonigan</italic> (who uses “Just a Gigolo” as a refrain in Book III to suggest the despair of the era and of Studs), and John Updike, in <italic>Rabbit, Run</italic> (as Rabbit listens to the sentimental songs of the fifties on his automobile radio on his flight from Pennsylvania), use the technique similarly, but not nearly as masterfully as Fitzgerald.</p></fn><fn id="fn23" symbol="23."><label>23.</label><p><citation id="ref028" citation-type="book"><name><surname>Wilder</surname><given-names>Alec</given-names></name>, in <source>American Popular Song</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>Oxford Univ. Press</publisher-name>, <year>1972</year>)</citation>, remarks on Astraire's influence on many song writers, particularly on Irving Berlin: “… every song written for Fred Astaire seems to bear his mark. Every writer, in my opinion, was vitalized by Astaire and wrote in a manner they had never quite written in before: he brought out in them something a little bit better than their best—a little more subtlety, flair, sophistication, wit, and style, qualities he himself possesses in generous measure. And <italic>Cheek to Cheek</italic> is a case in point” (p. 109).</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>“Poor Butterfly”: F. Scott Fitzgerald and Popular Music</title></titleInfo><titleInfo type="alternative"><title>Ruth Pricozy</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>“Poor Butterfly”: F. Scott Fitzgerald and Popular Music</title></titleInfo><name type="personal"><namePart type="given">Ruth</namePart><namePart type="family">Prigozy</namePart><role><roleTerm type="text">author</roleTerm></role><description>Head of the English Department at Hofstra University. Co-Editor of Short Stories: A Critical Anthology (1973) and the author of several articles on F. Scott Fitzgerald, she is now preparing a cultural history of the 1920s.</description></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1977-10</dateIssued><copyrightDate encoding="w3cdtf">1977</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">The seventy-one song titles (see chart below) and innumerable lyrics that sprinkle his works indicate the extent of F. Scott Fitzgerald's reliance upon popular music as a source of his art. Contemporaneous descriptions of him as “laureate of the Jazz Age” need not be considered derisive; Fitzgerald was thoroughly in touch with his culture, was aware of the meaning of his sources, and was a keen analyst of the effects of popular culture on American lives. Cecilia Brady, in The Last Tycoon, admits “some of my more romantic ideas actually stemmed from pictures—42nd Street, for example, had a great influence on me. It's more than possible that some of the pictures which Stahr himself conceived had shaped me into what I was.” Fitzgerald was shaped by movies, by musical comedies, and not least by popular music. Other writers of our century were influenced in the same way, but it was Fitzgerald who acknowledged his debt to popular culture, who used it with meticulous care, and who evaluated seriously its impact, for better or worse, on the American scene.</abstract><relatedItem type="host"><titleInfo><title>Prospects</title></titleInfo><titleInfo type="abbreviated"><title>Prosp.</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0361-2333</identifier><identifier type="eISSN">1471-6399</identifier><identifier type="PublisherID">PTS</identifier><part><date>1977</date><detail type="volume"><caption>vol.</caption><number>2</number></detail><extent unit="pages"><start>41</start><end>67</end><total>27</total></extent></part></relatedItem><identifier type="istex">0924A397804BC6C689B31CF37E6F06F0BF6511C6</identifier><identifier type="ark">ark:/67375/6GQ-PZ5GWHNS-Z</identifier><identifier type="DOI">10.1017/S0361233300002301</identifier><identifier type="PII">S0361233300002301</identifier><identifier type="ArticleID">00230</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1977</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1977</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/0924A397804BC6C689B31CF37E6F06F0BF6511C6/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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