Daniel Deronda · Chapter
Chapter XXXIX explained
Klesmer visits the Meyrick home to hear Mirah sing, offering professional judgment that her voice is suited for private drawing-rooms but not for the stage.
What happens
Klesmer visits the Meyrick home to hear Mirah sing, offering professional judgment that her voice is suited for private drawing-rooms but not for the stage. Meanwhile, Hans Meyrick's romantic interest in Mirah grows, and a discussion arises about the dress she will wear for her public performance, with Hans insisting she appear as a lady rather than a figure of charity.
Themes in this chapter
Art and Performance
Klesmer's professional evaluation of Mirah's singing underscores the tension between artistic ambition and practical limitations, as well as the role of performance in social identity.
Jewish Heritage and Nationalism
Mirah affirms her Jewish identity in conversation with Hans, and the discussion of her dress for a public performance touches on how Jewishness is perceived and represented.
Characters to notice
- Klesmer
Visits the Meyrick home to hear Mirah sing; offers a professional assessment of her voice, praising her musicianship but advising against a stage career.
- Mirah Lapidoth
Sings for Klesmer, demonstrating her talent; discusses her Jewish identity and the dress for her public performance.
- Hans Meyrick
Expresses romantic interest in Mirah; argues against her wearing a theatrical costume, insisting she dress as a lady for her public appearance.
- Mrs. Meyrick
Hosts Klesmer's visit; deliberates with Hans about Mirah's dress for the performance.
- Mab Meyrick
Present during Klesmer's visit; reacts emotionally to his praise of Mirah.
- Kate Meyrick
Present during Klesmer's visit; suggests Hans make a study of Klesmer's head.
Key passages
“Let us shake hands: you are a musician.”
Klesmer acknowledges Mirah's musical talent by offering his hand in congratulations.
Klesmer's praise comes after a tense silence, relieving the Meyrick family's anxiety.
“Not for great tasks. No high roofs. We are no skylarks. We must be modest.”
Klesmer advises Mirah that her voice is not suited for large concert halls or the stage, but only for private settings.
Klesmer tempers his praise with a realistic assessment of Mirah's vocal limitations.