Via Trilby was, nevertheless, a fictional character, and moreover one whose metamorphosis from tone-deaf grisette (working class young Frenchwoman) to world-famous concert soprano belongs to the realm of the fantastical.

In 1839, Bishop caused a scandal by leaving her husband for Boscha, and to his musical accompaniment, the legend went, she sang as she never had before.Īn engraving by George du Maurier for the first edition of the novel.

had the same camaraderie, the same boyish attraction, the same funny shy reserve.” Another inspiration was Anna Bishop, an opera star reputed to be in sinister thrall to her older lover-manager, the French harpist and composer Robert Nicolas-Charles Bochsa. Her soul, Moscheles later claimed, “was steeped in the very essence of Trilbyism.” Du Maurier’s granddaughter, the novelist Daphne du Maurier, concurred: “Carry. With her “rich crop of brown hair, very blue inquisitive eyes, and a figure of peculiar elasticity,” Carry modeled nude for them and allowed herself to be hypnotized. Irish-Scotch-French model and laundress Trilby O’Ferrall was partly based on real women, including a 17-year-old girl, nicknamed Carry, whom du Maurier and his friend Felix Moscheles knew as art students-and amateur mesmerists-in Belgium in the late 1850s. Perhaps he appreciated that when it came to Trilby, emotions ran high.

Luckily for the woman, the injured party declined to give evidence in court. In Brooklyn, meanwhile, a woman had a disagreement with her husband over Trilby’s morals, culminating in her smashing an earthenware jar over his head. When free from mesmeric influence, she lived with him as his daughter, and was quite innocent of any other relation.” His assurance was published in The Argonaut, a San Francisco weekly, thus alleviating any similar fears for the girl’s reputation among that paper’s readership. Du Maurier replied politely but briefly: “I beg to say that you are right about Trilby. The concerned correspondent asked that his mind be put to rest regarding the decorousness of relations between Trilby, the young heroine, and musical genius Svengali, under whose hypnotic spell she becomes an overnight opera sensation.

In the fall of 1894, a New Jersey reader wrote to George du Maurier, the Franco-British author and satirical cartoonist whose Harper’s Monthly serial, Trilby, had just come out as a novel. Emma Garman | Longreads | February 2017 | 6 minutes (1,788 words)

Trilby de george du maurier