In his preface to The Moonstone , Wilkie Collins declares that his object with the novel has been "to trace the influence of character on circumstances", referring mainly to the conduct of the novel's heroine, Rachel.  In view of the other characters' similar function in this symbol-laden novel, this essay looks closer at the one character with whom Collins brings his extensive tapestry to a close, Ezra Jennings, thereby exposing the deeper significance of this 'detective novel'.  Ezra's added function in this novel, is to be the physical focal point, within the plot, for three crucial themes within the novel: 'Opium', 'Empire' and 'Sacrifice'.  Of course, the other characters incorporate these themes as well, but it is always Ezra who has the ultimate representational power.  He is, literally, the sum of the others' hopes and fears, and Collins's metaphorical 'third eye' of The Moonstone, presenting an alternative aspect of events.

A study of the interrelationship of E.M. Fosters ideas as presented in his five novels, his two volumes of collected essays, and his treatise on the novel.

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.