Undergraduate Review
Volume 4 | Issue 1
Article 5
1991
Willa Cather and Thea Kronborg: Two Stories of
an Artist's Development
Claudia Svoboda '89
Illinois Wesleyan University
Recommended Citation
Svoboda '89, Claudia (1991) "Willa Cather and Thea Kronborg: Two Stories of an Artist's Development," Undergraduate
Review: Vol. 4: Iss. 1, Article 5.
Available at: http://digitalcommons.iwu.edu/rev/vol4/iss1/5
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©Copyright is owned by the author of this document.
Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
:; EDITORS•..
t, "To my own artistic sensibil­
,bundant youthful strength and
active." This year's UR, a
st two years, is our "joyful
les its end of spotlighting the
, writers and their writing.
joint editors we have been
>e supported by a gifted DR
nd an encouraging Dean
t to Dr. Bray for his needed
lly important support - and to
this project completed.
the student body who have
pursuance of intellectual
dual achievement possible ­
ro you this book is dedicated.
Willa Cather and Thea Kronborg:
Two Stories of an Artist's
Development
Cfauaia Svo6oaa
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
Critical and biograp
art of Willa Cather often nc
biographical fiction she eVE
and biographers also seem
sequences of the novel haVI
Cloud, Nebraska childhoo(
to be striking similarities, n
Kronborg's friends and ind
"Literature always anticipates life. It does
not copy it, but moulds it to its purpose."
-
Cather's early life. Under I
inconsistencies between Ca
the gap between life and fi,
OscarWiUe
autobiographical veneer m
the final analysis, definitel}
double.
One immediately 01:
hoods of Cather and Thea I
Thea Kronborg is of solidI}
very much a part of her ev.
guage in the Kronborg hoc
children are told involve a.
Willa Cather, on the other
background. The tales tha
the escapades of her mater
girl escape to the North-~
Cather lived the first nine
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house, while Thea Kronbc:
Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
Critical and biographical literature dealing with the life and
art of Willa Cather often notes The Song of the Lark as "the most au to­
biographical fiction she ever wrote" (Woodress 266). Cather scholars
and biographers also seem to agree that particularly the early
sequences of the novel have a firm basis in the author's own Red
Cloud, Nebraska childhood. At first glance, there do indeed appear
to be striking similarities, most notably between young Thea
Kronborg's friends and individuals who figured prominently in
ticipates life. It does
•its purpose."
-
Oscar 'WiUfe
Cather's early life. Under more careful scrutiny, however, there arise
inconsistencies between Cather's background and Thea's that widen
the gap between life and fiction. Although these cracks in the
autobiographical veneer may initially appear negligible, they do, in
the final analysis, definitely distinguish the author from her fictitious
double.
One immediately obvious discrepancy between the child­
hoods of Cather and Thea lies in their respective ethnic backgrounds.
Thea Kronborg is of solidly Swedish descent, and this heritage is
very much a part of her every-day family life. The dominant lan­
guage in the Kronborg household is Swedish, and the stories the
children are told involve adventures of their Scandinavian ancestors.
Willa Cather, on the other hand, came from a Southern patrician
background. The tales that she heard in early childhood-such as
the escapades of her maternal grandmother, who once helped a slave
girl escape to the North-were entirely American (Woodress 19-27).
Cather lived the first nine years of her life in a Virginia plantation
house, while Thea Kronborg-although her story begins at precisely
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the time that the Cathers moved to Nebraska-was apparently born
contrast, seems to have had t
in the Southwest.
Aunt Tillie. By all descriptio
possessed a class-consciousn
Although her family definitely fits the standard definition of
"pioneers" because of their trek from the east coast to frontier
upbringing. She took great i
country, Willa Cather's pioneer ideal involves an additional, foreign
considerable amount of atter
element. This is evident in two of her most highly acclaimed
styles-an unheard-of luxur:
novels-O Pioneers! and My Antonia-in which the central characters
32). The very thought of Mr
are foreigners, most notably Bohemians (Beranger 54).
society matron seems incon~
While Willa Cather was growing up, several of the homesteads
mother" image. Although tl
surrounding Red Cloud were fanned by Bohemians, and the young
mother-daughter relationsh:
girl spent many an afternoon listening to these people tell of their
as she is represented by Car
homes in the old country. Perhaps the reason she was so impressed
daughter's life than Mrs. Ca
by these immigrants was that their frontier experience was com­
ensures that Thea has the pc
pounded by the necessary adjustment to a completely new culture.
the piano, and, realizing the:
They were, in many ways, facing two "frontiers"-new land and a
courages Thea to pursue he­
Cather's relationshiF
new country-and it is understandable that they would have repre­
sented to Cather the ultimate in pioneer spirit. In all likelihood
appear to have been closer!
Cather may have given Thea Kronborg a Bohemian ancestry as well,
attached to her youngest br
had the character not been based on the Wagnerian soprano Olive
other brothers and sisters, F
Fremstad, a Swede who grew up in Minnesota (Beranger 55). By
placement in the family alSi
combining Fremstad's ethnic background with images from her own
second-youngest Kronborg
more traditionally American upbringing, Cather was able to suffi­
seven Cather children. Wh
ciently "embellish" Thea's childhood to make it fit her pioneer ideal.
have been extremely close I
A comparison of the personalities of Mrs. Kronborg and
triumvirate," as one biogra
Virginia Boak Cather, Willa's mother, brings to light another funda­
dedicated to them, and she
mental difference between fact and fiction. Mrs. Kronborg is won­
and planned at moonrise,!
derfully characterized as a pillar of strength and the head of her
conquest of the world toge
family. She personifies the wann, earthy, yet unbending spirit so
adored her youngest broth.
typical of Cather's vision of pioneer spirit. Virginia Cather, in
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adversarial relationship wi
Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
~braska-was
apparently born
contrast, seems to have had traits much more characteristic of Thea's
Aunt Tillie. By all descriptions a very proud woman, Mrs. Cather
fits the standard definition of
possessed a class-consciousness that bespoke her genteel Southern
the east coast to frontier
upbringing. She took great interest in fashion and commanded a
nvolves an additional, foreign
considerable amount of attention by always dressing in the latest
most highly acclaimed
styles-an unheard-of luxury in a frontier community (Bennett 29­
in which the central characters
32). The very thought of Mrs. Kronborg as a fashion-conscious
lS
(Beranger 54).
society matron seems incongruous; it detracts from her "earth
'p, several of the homesteads
mother" image. Although there is no evidence of a particularly close
'y Bohemians, and the young
mother-daughter relationship in either case, Mrs. Kronborg-at least
to these people tell of their
as she is represented by Cather-seems to be a greater force in her
reason she was so impressed
daughter's life than Mrs. Cather was in young Willa's. It is she who
ltier experience was com­
ensures that Thea has the parlor to herself so that she may practice
to a completely new culture.
the piano, and, realizing that her daughter has an unusual talent, en­
'frontiers"-new land and a
courages Thea to pursue her music.
~
that they would have repre­
Cather's relationships with her siblings, on the other hand,
r spirit. In all likelihood
appear to have been closer than Thea's with hers. Thea is very much
•a Bohemian ancestry as well,
attached to her youngest brother, Thor, but she has little to say to her
~
other brothers and sisters, particularly Anna. Her chronological
Wagnerian soprano Olive
nnesota (Beranger 55). By
placement in the family also differs from Cather's: Thea is the
nd with images from her own
second-youngest Kronborg, whereas Willa was the oldest of the
g, Cather was able to suffi-
seven Cather children. While she was growing up, Cather seems to
I
make it fit her pioneer ideal.
~s
of Mrs. Kronborg and
have been extremely close to her two oldest brothers; "they were a
triumvirate," as one biographer notes. Cather's first book was
rings to light another fund a­
dedicated to them, and she recalled in the inscription how they "lay
on. Mrs. Kronborg is won­
and planned at moonrise,IOn an island in a western river,/Of the
ngth and the head of her
conquest of the world together" (qtd. in Robinson 79). She also
y, yet unbending spirit so
adored her youngest brother and sister, but apparently had an
tit. Virginia Cather, in
adversarial relationship with her middle sister, Jessie, the"Anna" of
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
the Cather clan (Woodress 25). Overall, however, the Cather chil­
shadows of her life and is OpE
dren were a much more closely-knit group than the young Kron­
to her art, the "William" year
borgs; perhaps Thea's comparative alienation from her siblings is a
obvious explanation is that b~
device to set her apart and make her appear "different" from the
was able to construct an effec
start.
Victorian platitudes of femini
By alienating herself at so yO!
For her part, Willa Cather certainly needed no help in distin­
guishing herself from the crowd. While Thea shows no outward
Cather may have precluded I
signs of nonconformity-it would perhaps be more accurate to
with her prescribed gender n
This analysis, althoug:
describe her as a "loner" rather than a nonconformist-eather went
~
out of her way to set herself apart in this respect. As one biographer
overly simplistic, however.
notes,
recent (and most open in terr
Cather biography, argues the
She developed a wide streak of nonconformity. Before
interplay of social and psych
she was thirteen she had cut her hair shorter than
Victorian society in which be
most boys and was signing her name William Cather, Jr.,
dictated how a lady should e
or Wm. Cather, M.D. She expressed a vast contempt
Unfortunately for the buddir
for skirts and dresses, wore boys' clothes, a derby,
woman-which promised ar
and carried a cane.
bership in worthy organizati
!
(Woodress 55)
Temperance Union-was noIn a late nineteenth-century small town environment, this behavior
natures. The prospect of one
would certainly have won her considerable attention. Years after
matron no doubt stirred in y
Willa Cather had left Red Cloud, those who remembered her re­
"and so," writes O'Brien, "tt­
called that her "unorthodox dress and manner brought her...
avoid becoming.. , .a conver
.notoriety and made her the subject of much talk around town"
110). Willa Cather herself m
(O'Brien 97).
struggle with her identity as.
destined to take the route of
Cather's possible reasons for undergoing this metamorphosis
to "William"-a role she did not relinquish until her third year in
to a friend that she felt "No\i
college-have puzzled and intrigued her biographers over the
in common the unique and r
decades. Now that Willa Cather's lesbianism has emerged from the
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very skin of another human
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Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
I, however, the Cather chil­
shadows of her life and is openly discussed as a contributing factor
uup than the young Kron­
to her art, the "William" years begin to make more sense. The most
mation from her siblings is a
obvious explanation is that by assuming a masculine role, Cather
Jpear "different" from the
was able to construct an effective barrier against the confining
Victorian platitudes of femininity that she was expected to observe.
nly needed no help in distin­
By alienating herself at so young an age from the "female norm,"
Ie Thea shows no outward
Cather may have precluded her chances of ever fully identifying
lapS be more accurate to
with her prescribed gender role.
nonconformist-Cather went
This analysis, although it may be valid to some extent, is
is respect. As one biographer
overly simplistic, however. Sharon O'Brien, author of the most
recent (and most open in terms of exploring Cather's lesbianism)
Cather biography, argues that "William resulted from a complex
nonconformity. Before
interplay of social and psychological factors" (O'Brien 97). The
r hair shorter than
Victorian society in which both Thea and Cather were raised firmly
name William Cather, Jr.,
dictated how a lady should or (more importantly) should not behave.
~ssed
a vast contempt
Unfortunately for the budding artists, the world of the Victorian
's' clothes, a derby,
woman-which promised among its more colorful activities mem­
,s55)
bership in worthy organizations such as the Women's Christian
,
Temperance Union-was not entirely suited to their more passionate
I
environment, this behavior
natures. The prospect of one day becoming a respectable Red Cloud
'able attention. Years after
matron no doubt stirred in young Willa the liveliest apprehension,
who remembered her re-
"and so," writes O'Brien, "the adolescent girl became William to
manner brought her...
avoid becoming....a conventionally assigned identity" (O'Brien
nuch talk around town"
110). Willa Cather herself may have interpreted this adolescent
struggle with her identity as an early indication that her life was not
:iergoing this metamorphosis
destined to take the route of other Red Cloud girls'; she later wrote
llish until her third year in
to a friend that she felt "Novelists, opera singers, even doctors have
~r biographers
over the
anism has emerged from the
in common the unique and marvelous experience of entering into the
very skin of another human being. What can compare with it?" (qtd.
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
hand, does very little-if al
in O'Brien 92). The evolution of "William" may therefore have
marked the beginning of Willa Cather's awareness of herself as an
Willa Cather's early
artist; at this point she realized that she was "different." It is inter­
Thea's. Music is a dominal
esting to note that although Thea Kronborg shows no obvious signs
be her constant companion
of such an awakening during her adolescent years, it is during this
during the Moonstone yeal
time that she first experiences feelings of exhilaration from a power
which direction-her art w
she knows to be singularly hers.
inkling that the intangible·
strongly is in some way re]
Willa Cather's father, Charles Cather, may have considerably
influenced his daughter's early preference for a male identity as well.
strive from the cradle to bE
A quiet, well-read man with a gently and somewhat effeminate
(barring a voracious appet:
manner, Mr. Cather was by all descriptions the antithesis of the full­
considered a literary caree:
blooded American frontiersman (O'Brien 14-16). Young Willa was
rather, to become a surgeo
extremely close to her father, and she may have felt that since he did
young girl growing up in ,
not fit the standard male image, she could somehow be like him by
one unlikely to increase hE
not conforming to her own expected role. At first glance, Peter
(Bennett 109). An excerpt
Kronborg, Thea's father, appears to share many of Mr. Cather's
article on the proper beha,
character traits: he, too, is soft-spoken and altogether atypical of the
attitude of Cather's towns:
traditional picture of the western settler. Although they may share
would ever marry a wom~
certain surface characteristics, the personalities of these two men
Argus (qtd. in O'Brien 98-S
Cather's idol and IT
differ considerably in the final analysis. The quiet manner that may
be attributed to intellectual activity in Charles Cather appears as
certain Dr. McKeeby, the (
nervous timidity in Peter Kronborg. In general Mr. Kronborg is
the primary inspiration fo
characterized as likeable but somewhat foolish and more than a little
McKeeby had treated ten-:
dull, and he certainly does not enjoy an exceptionally close relation­
is now thought to have be
ship with Thea. Willa Cather seems to have channeled most of her
care of Thea when she is il
father's positive aspects into the character of Dr. Archie and left just
Although in both cases thl
the shell for Mr. Kronborg. Charles Cather, albeit inadvertently,
on the young girls' develo
appears to have influenced his daughter a great deal: it was he who
their influence. Dr. Archil
opens the world of literatt
gave her an early passion for books. Peter Kronborg, on the other
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Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
lliam" may therefore have
~r's awareness
of herself as an
hand, does very little-if anything-to fuel Thea's artistic ambitions.
Willa Cather's early ambitions differed quite drastically from
he was "different." It is inter­
Thea's. Music is a dominant force in Thea's life; the piano seems to
mborg shows no obvious signs
be her constant companion from earliest childhood on. Although
)lescent years, it is during this
during the Moonstone years she could never dream how far-and in
s of exhilaration from a power
which direction-her art would take her, Thea nevertheless has an
inkling that the intangible "possession" whose presence she feels so
Cather, may have considerably
strongly is in some way related to music. Cather, in contrast, did not
~ence for
strive from the cradle to become a writer; there exists no evidence
a male identity as well.
and somewhat effeminate
(barring a voracious appetite for books) that she even fleetingly
ptions the antithesis of the full­
considered a literary career while she was growing up. She aspired,
rien 14-16). Young Willa was
rather, to become a surgeon, certainly an unusual ambition for a
may have felt that since he did
young girl growing up in the Nebraska of the 1880's and 90's, and
ould somehow be like him by
one unlikely to increase her popularity in conservative Red Cloud
~ole.
(Bennett 109). An excerpt from a mid-1880's Red Cloud newspaper
At first glance, Peter
lare many of Mr. Cather's
article on the proper behavior of young ladies attests to the critical
1 and
attitude of Cather's townspeople: "Why, what man in his right mind
altogether atypical of the
er. Although they may share
would ever marry a woman doctor?" grumbled theWebster County
sonalities of these two men
Argus (qtd. in O'Brien 98-99).
s. The quiet manner that may
Cather's idol and mentor during these rebellious years was a
Charles Cather appears as
certain Dr. McKeeby, the Cather family physician and presumably
n general Mr. Kronborg is
the primary inspiration for Dr. Archie in The Song of the Lark. Dr.
it foolish and more than a little
McKeeby had treated ten-year-old Willa during her bout with what
n exceptionally close relation­
is now thought to have been childhood polio, just as Dr. Archie takes
)have channeled most of her
care of Thea when she is ill with pneumonia (Bennett 111-114).
cter of Dr. Archie and left just
Although in both cases these relationships have considerable impact
.ther, albeit inadvertently,
on the young girls' development, they differ in the specific nature of
er a great deal: it was he who
their influence. Dr. Archie plays a key role in Thea's education; he
'eter Kronborg, on the other
opens the world of literature to her. It is Archie who introduces
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
Thea to the books that ultimately shape the dreams and ideals that
presentation of material; the (
she carries with her as an integral part of her Moonstone legacy-the
the task of the reader. Music,
very ideals, perhaps, that feed the "passion" recognized by Harsanyi
role as the voice of the soul.
as the force responsible for the magic in her artistry. Willa Cather's
degree scientific, its performa
familiarity with literature was, in contrast, cultivated at a much
far more esoteric realm of hUl
earlier age and under the guidance of her father. Residents of Red
to grasp something as mecha
Cloud later recalled young Willa perched on the counter of the
through her voice, into a tool
town's general store, spouting passages from English literature with
writing required her to careft
amazing accuracy under the watchful eye of Mr. Cather (Woodress
she did her toads, and then I
53). Her interest in Dr. McKeeby was not due to any remarkable
Her experiences with Dr. Mc:
knowledge he may have had of the classics; she was far more
as was her position as some~
interested in his profession, for he was her link to the world of
able to observe people and si
medicine. McKeeby often allowed her to accompany him on calls,
these impressions invariably
1
Thea's artistic "trainir
and these experiences left interesting impressions on her: the
teenage Willa Cather's idea of perfect bliss was, as she wrote in a
considered as such-require!
friend's album, "slicing toads and amputating limbs." Her relish for
too, has the child's perspecti·
the latter of these delightful procedures undoubtedly stemmed from
has access to a world notabl>
the fact that McKeeby once allowed her to administer chloroform
Mexican settlement. AlthouJ
while he performed such an operation on a young boy (Bennett 112­
supposedly based on a Mexi·
114). While Thea Kronborg may have had some tomboyish tenden­
regular intervals, there was 1
cies, it would be difficult to imagine her deriving any degree of
community (Woodress 267).
pleasure from the mutilation of bodies, amphibian or human. She is
Lark who are responsible for
far too sensitive to beauty-as evidenced by her love of nature-to
artist-Archie, Wunsch, the
be capable of Cather's rather brutal scientific curiosity.
directly traced to one or ano
These differences in childhood ambitions may also represent a
and their music, however, al
subtle demarcation between Thea's art and that of Cather. Writing is
ences natural, uninhibited al
perhaps one of the more "scientific" art forms; it requires sharp
tions of conventional theory
powers of observation and logical interpretation. It naturally seeks
natural passion of art.
to evoke certain emotions, but it usually does so through fairly direct
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Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
lpe the dreams and ideals that
presentation of material; the creation of a spiritual effect is ultimately
rt of her Moonstone legacy-the
the task of the reader. Music, on the other hand, traditionally plays a
lassion" recognized by Harsanyi
role as the voice of the soul. Although its composition may be to a
: in her artistry. Willa Cather's
degree scientific, its performance demands an understanding of the
Itrast, cultivated at a much
far more esoteric realm of human feelings. Thea's art calls upon her
f her father. Residents of Red
to grasp something as mechanical as a written note and transform it,
ched on the counter of the
through her voice, into a thrill of emotion. Conversely, Cather's
~es from
writing required her to carefully observe life, dissect it as neatly as
English literature with
I eye of Mr. Cather (Woodress
she did her toads, and then present it to her readers for digestion.
, not due to any remarkable
Her experiences with Dr. McKeeby were surely beneficial to this end,
lassies; she was far more
as was her position as somewhat of the village eccentric. She was
IS her link to the world of
able to observe people and situations from unusual perspectives, and
!r to accompany him on calls,
these impressions invariably resurfaced in her writing.
impressions on her: the
Thea's artistic "training"-if the Moonstone years may be
.bliss was, as she wrote in a
considered as such-requires a greater degree of fine-tuning. She,
putating limbs." Her relish for
too, has the child's perspective of a small rural community, but she
es undoubtedly stemmed from
has access to a world notably absent in Cather's Red Cloud: the
er to administer chloroform
Mexican settlement. Although the character of Spanish Johnny is
1 on
supposedly based on a Mexican man who came to Red Cloud at
a young boy (Bennett 112­
e had some tomboyish tenden­
regular intervals, there was no significant Spanish population in the
ler deriving any degree of
community (Woodress 267). Most of the characters inThe Song of the
5,
amphibian or human. She is
lArk who are responsible for shaping Thea as a person and as an
:ed by her love of nature-to
artist-Archie, Wunsch, the Kohlers, and even Lily Fisher-may be
ientifie curiosity.
directly traced to one or another Red Cloud citizen. The Mexicans
ambitions may also represent a
and their music, however, are Thea's own; through them she experi­
t and that of Cather. Writing is
ences natural, uninhibited artistic expression, free from the restric­
rt forms; it requires sharp
tions of conventional theory....they expose her, in short, to the
'rpretation. It naturally seeks
natural passion of art.
ly does so through fairly direct
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
Willa Cather had no Mexican community to explore as she
hailed from a settlement in Cc
was growing up. Her nearest equivalent to Thea's experiences in
Thea's home town in that stab
this regard was her fascination with the immigrant farm people
explanation stems from an ex)
living around Red Cloud. In a 1921 interview, when asked what
years before The Song of the l.o.
triggered her desire to become a writer, she commented:
of that year, she and one of he
Southwest, and the last stop c
I grew fond of some of the immigrants, particularly
cave dwellings called Walnut
the old women, who used to tell me of their home
apparently deeply moved by
country. I used to think them underrated, and
reappears in what is perhaps
wanted to explain them to their neighbors.
Thea Kronborg's story-the F
Their stories used to go round and round in my
first real awakening as an arti
head at night. This was....the initial impulse.
Southwest is also mirrored in.
I didn't know any writing people. I had an
Moonstone; she has a respect
enthusiasm for a kind of country and a kind of
sand hills and the desert that
people rather than ambition. (Bohlke 20)
ings toward the immigrants.
In critical analyses, Th.
These people first introduced Cather to ideals that were to surface
often referred to as a Kiinstler
again and again in her writing. They inspired her in a manner very
velopment. Since this is a sui
similar to the Mexicans' effect on Thea, for their values were as
identify, the urge to make the
natural and unaffected as Spanish Johnny's music.
doubt great. In the course of
One difference between Cather's life and Thea's that may be
discovered that molding her:
overemphasized by many Cather biographers is the fact that Moon­
simple task; artists of differer
stone is located not in Nebraska but in southwestern Colorado. This
different patterns of developl
variation in geography is not important as far as the towns them­
after her death, she wrote:
selves are concerned; for all practical purposes, Moonstone and Red
Cloud share a single civic and social topography. One reason that
Nobody can paint tl
Cather may have changed Moonstone's location is the importance of
the tricks that shade
the Mexican community-a sizeable Hispanic quarter would seem a
forms. He cannot e'
bit out of place in Nebraska. Perhaps the real "Spanish Johnny"
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Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
ommunity to explore as she
hailed from a settlement in Colorado, giving her the idea to place
ent to Thea's experiences in
Thea's home town in that state. Another, even more probable
le immigrant farm people
explanation stems from an experience Cather had in 1912, three
lterview, when asked what
years before The Song of the Lark was published. In the late summer
'r, she commented:
of that year, she and one of her brothers travelled extensively in the
Southwest, and the last stop on their itinerary was a site of ancient
migrants, particularly
cave dwellings called Walnut Canyon (Woodress 9-10). Cather was
ell me of their home
apparently deeply moved by the beauty of this dead city, and it
underrated, and
reappears in what is perhaps one of the most important sequences in
ir neighbors.
Thea Kronborg's story-the Panther Canyon chapters that mark her
and round in my
first real awakening as an artist. Cather's fascination with the
~
initial impulse.
Southwest is also mirrored in Thea's love of the land surrounding
pIe. I had an
Moonstone; she has a respect and admiration for the beauty of the
try and a kind of
sand hills and the desert that is very similar to Willa Cather's feel­
(Bohlke 20)
ings toward the immigrants.
In critical analyses, The Song of the Lark is, fittingly enough,
) ideals that were to surface
often referred to as a Kilnstlerroman -a novel tracing an artist's de­
nspired her in a manner very
velopment. Since this is a subject with which Cather could strongly
, for their values were as
identify, the urge to make the book largely autobiographical was no
my's music.
doubt great. In the course of writing the novel, however, Cather
s life and Thea's that may be
discovered that molding her life to fit that of an opera singer was no
raphers is the fact that Moon­
simple task; artists of different genres must necessarily follow
southwestern Colorado. This
different patterns of development. In an unfinished essay published
It as far as the towns them­
after her death, she wrote:
urposes, Moonstone and Red
pography. One reason that
Nobody can paint the sun, or sunlight. He can only paint
5 location
the tricks that shadows play with it or what it does to
is the importance of
ispanic quarter would seem a
he real "Spanish Johnny"
forms. He cannot even paint those relations of light and
shade-he can only paint some emotion they give him,
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 5
some man-made arrangement of them that happens
WOR}
to give him personal delight. ...that make one nerve
in him thrill and tremble. (Cather 123)
Bennett, Mildred R. The We
University of Nebraska Pr
Both Willa Cather and Thea Kronborg are such "painters," and
Beranger, Elizabeth. "Le RE
l'immigrationdans 0 Pion
Annales du Centre de Rec
(1986): 54-56.
although their paints and brushes may be the same, their methods of
applying them to the canvas differ considerably. Each chooses to
express herself through a different medium, and it is from this fact
Bohlke, L. Brent, ed. Willa I
Letters. Lincoln: Universi
that the need for certain discrepancies in their respective back­
grounds arises.
Cather, Willa. "Light on Al
Writing as an Art. New Yc
O'Brien, Sharon. Willa Catk
Fawcett Columbine, 1987.
Robinson, Phyllis C. Willa:
bleday and Company, Inc
Woodress, James. Willa Caf
of Nebraska Press, 1987.
http://digitalcommons.iwu.edu/rev/vol4/iss1/5
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14
Svoboda '89: Willa Cather and Thea Kronborg: Two Stories of an Artist's Devel
I1t of them that happens
....that make one nerve
WORKS CITED
::ather 123)
Bennett, Mildred R. The World of Willa Cather. 3rd. ed. Lincoln:
University of Nebraska Press, 1969.
; are such "painters," and
y be the same, their methods of
lsiderably. Each chooses to
Beranger, Elizabeth. "Le Regard de Willa Cather sur
l'immigrationdans 0 Pioneers!, The Song of the Lark, et My Antonia."
Annales du Centre de Recherche sur l' Amerique Anglophone
(1986): 54-56.
dium, and it is from this fact
,in their respective back-
Bohlke, L. Brent, ed. Willa Cather in Person: Interoiews, Speeches, and
Letters. Lincoln: University of Nebraska Press, 1986.
Cather, Willa. "Light on Adobe Walls." On Writing: Criti-Studies on
Writing as an Art. New York: Alfred A. Knopf, 1949.
O'Brien, Sharon. Willa Cather: The Emerging Voice. New York:
Fawcett Columbine, 1987.
Robinson, Phyllis C. Willa: The Life of Willa Cather. New York: Dou­
bleday and Company, Inc., 1983.
Woodress, James. Willa Cather: A Literary Life. Lincoln: University
of Nebraska Press, 1987.
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