The Longest Journey, Pocket Edition (London, 1947), 13-14. All future references are to this edition and will be included in the text.
2.
Letter from King Ludwig to Wagner, 1880, quoted in Ernest Newman, The Life of Richard Wagner (London, 1947), IV, 589.
3.
Raymond Mander and Joe Mitchenson, The Wagner Companion (London, 1977), 187, 189.
4.
Published in London by B. Schott's Sohne, Mainz, with the libretto translated by Margaret H. Glynn Unless otherwise indicated, references to Parsifal are to this edition.
5.
For accounts of the popularity of Wagner and his great influence on British and European culture see: William Blissett, "Wagnerian Fiction in English" , Criticism, v (1963), 239-60;
6.
John DiGaetani,
7.
Richard Wagner and the Modern British Novel (London, 1978);
8.
John Lucas, "Wagner and Forster: Parsifal and A Room with a View", E.L.H, xxxiii (1966), 92-117;
9.
Bryan Magee, Aspects of Wagner (London, 1968), 73-88.
10.
A Room with a View, ed. Oliver Stallybrass (Abinger Edition, London, 1977), 233. Mr Stallybrass notes the likelihood of Forster having seen at least part of the 1908 Covent Garden production of the Ring cycle.
11.
Diary in the Forster Collection at King's College Library, Cambridge. (We must assume that Forster's memory was very slightly at fault when he writes in "Revolution at Bayreuth", The Listener , 4 November 1954, p. 755:
The Pocket Edition and the World's Classics edition (1960) have "Bennett", as does the manuscript in the Forster Collection. The Penguin edition (1960), p. 87, has "Bennet".
15.
Wolfram von Eschenbach, Parzival, trans. A. T. Hatto (Harmondsworth, 1980).
16.
Ernest Newman , Wagner Nights (London, 1949), 722.
17.
Diary in the Forster Collection.
18.
P.N. Furbank , E. M. ForsterA Life, vol. i: The Growth of the Novelist (1879-1914) (London, 1977), 112.
19.
Letter to R. C. Trevelyan, 28 October 1905. The surviving correspondence between Forster and Trevelyan is in the Forster Collection. Where Angels Fear to Tread, ed. Oliver Stallybrass (Abinger Edition, London, 1975), 149-52, contains the exchange of letters about that novel.
20.
R.C. Trevelyan , The Birth of Parsival (London, 1905). All references to the play are to this edition and will be included in the text. I am grateful to Mr Julian Trevelyan for permission to quote from The Birth of Parsival
21.
. DiGaetani, op. cit. (ref. 5), 162.
22.
Ibid., 105-6.
23.
Op. cit. (ref. 5). Page references to this essay will be indicated in the text.
Stuart Hampshire , Modern Writers and Other Essays ( London, 1969), 47.
26.
Richard Ellmann , "The Two Faces of Edward", in Edwardians and Late Victorians, ed. R. Ellmann (English Institute Essays, 1959 (London, 1960)), 196.
27.
In this important essay, discussed in detail by Lucas, Ellmann demonstrates that though most Edwardian writers had rejected Christianity, the writing of the period, including that of Forster, is rich in religious imagery. It is used, however, for essentially pagan purposes, to celebrate these writers' rejection of the inhibited attitudes of the Victorians and to assert a vision of the wholeness of human life, a healthy integration of body and spirit, a "conviction that we can be religious about life itself".
28.
See H.F. Garten , Wagner the Dramatist (London , 1977), 141, and Newman, Wagner Nights, 687, 696.
Furbank, E. M.Forster, i, 15-19. The Longest Journey is dedicated "Fratnbus" and Goldsworthy Lowes Dickinson is dedicated "Fratrum Societati".
31.
Parsifal, 167.
32.
Glen Cavaliero , A Reading of E. M. Forster ( London, 1979), 81.
33.
Newman, Wagner Nights , 740.
34.
Erich Neumann , The Great Mother (London , 1955), 98.
35.
Ibid., 166 and 22-23.
36.
Parsifal, 172.
37.
E.M. Forster , "Aspect of a Novel", The Bookseller, 10 September 1960, p. 1228. The Madingley dell, the undergraduate brotherhood's sanctuary, is never actually referred to in the novel as a shrine. In Wagner's libretto, the Grail's sanctuary is referred to as a "Schrein" (Parsifal, 234).
38.
John Colmer, E. M. Forster: The Personal Voice (London, 1975), 83.
39.
The first reference to The Longest journey (diary entry for 18 July 1904). See Forster, "Aspect of a Novel", 1228.
40.
Quoted in The Wagner Companion, ed. Peter Burbidge and Richard Sutton (London, 1979), 205.
41.
Charles Osborne , Wagner and His World (London , 1977), 112.
42.
Ernest Newman , Wagner as Man and Artist ( London, reissue 1963), 376.
43.
The Longest Journey was consistently Forster's favourite among his novels: "in it I have managed to get nearer than elsewhere towards what was in my mind - or rather towards that junction of mind with heart where the creative impulse sparks" ("Aspect of a Novel", 1228).
44.
Furbank, E'. M. Forster , 1, 118.
45.
Ibid., 116-17.
46.
Compare, for example, Whitman's "When I Heard at the Close of the Day" in the Calamus poems. Forster quotes Section 31 of "Song of Myself" In the chapter describing the love of Mrs Elliot and Robert (p. 264). He quotes the same passage in an essay contributed in 1911 to The Working Men's College journal; the essay, entitled "The Beauty of Life", makes constant reference to Whitman and ends by urging the students to read him. See Albergo Empedocle and Other Writings, ed. George H. Thomson ( New York, 1971), 169-75.
47.
Forster, "Aspect of a Novel", 1229.
48.
Forster, Albergo Empedocle, 129-45. Page numbers in the cited essay are included in the text
49.
Parsifal, 59-60, 179-82.
50.
"Forster's Earlier Life", The Listener , 16 July 1970, 82.
51.
Furbank, E. M. Forster , i, 16, 19, 21-22.
52.
Francis King, E. M. Forster and His World (London, 1978), 13.
53.
Diary entry, 10 October 1901. All the letters referred to and the diary which Forster kept during his Italian journey are in the Forster Collection.
54.
Letter to G. L. Dickinson, March 1902.
55.
Letter to E. J. Dent, undated (probably early 1902).
56.
Letter to E. J. Dent, 11 May 1902.
57.
Furbank, E. M. Forster , i, 84.
58.
Letter to G. L. Dickinson, 25 March 1902.
59.
See the account in Furbank, E. M. Forster , i, 90-91, of Forster's essay "Via Nomentana", and also Where Angels Fear to Tread, 154, 158.
60.
The Lucy Novels: Early Sketches for "A Room with a View", ed. Oliver Stallybrass (Abinger Edition, London, 1977), 85.
61.
Ibid., 68.
62.
Parsifal, 76-77.
63.
Benjamin Britten, "Some Notes on Forster and Music", in Aspects of E. M. Forster , ed. Oliver Stallybrass (London, 1969), 82-83.
64.
Parsifal, 228-31.
65.
Ibid., 212.
66.
"The Art of Fiction: 1, E. M. Forster", The Paris Review, i ( 1953), 38.
67.
Philip Gardner , E. M. Forster (London, 1977), 18. See also Colmer, E. M. Forster, 82, and Wilfred Stone, The Cave and the Mountain (London, 1966), 212-13.
68.
Garten, Wagner the Dramatist , 150.
69.
Carpenter discusses racial evolution and racial memory in The Art of Creation (London, 1904), which was reviewed by Lowes Dickinson in The Independent Review, iv (January 1905), 634-40.
70.
Dickinson's review (p. 638) takes issue with Carpenter's discussion of the nature of subjectivity and objectivity, whether an object can exist without anyone being present to see it. Carpenter replied in the next issue (February 1905), 106-7.
71.
Magee, Aspects of Wagner , 54, 62. Magee (p. 56) specifically points out the exploration of oedipal sexuality in Siegfried and Parsifal
72.
Ibid., 62-63, 66.
73.
See the examination by John Magnus of these aspects of the novel, in "Ritual Aspects of E. M. Forster's The Longest Journey", M.F.S., xiii (1967), 195-210,
74.
and also the discussion of the novel in G. H. Thomson, The Fiction of E. M. Forster (Detroit, 1967). Thomson also sees Forster as having "liberated a whole constellation of deeply felt and profoundly significant symbols" from his subconscious (pp. 154-5).
75.
Magee, Aspects of Wagner , 60.
76.
These lines, from Pindar's Eighth Pythian Ode, were a favourite maxim of Forster's. In his old age he had them, written on a scrap of paper, tucked into his barometer; see Furbank, E. M. Forster , i, 101.
