In Edwardian England many of the most widely acknowledged qualities of the national character coalesced around the figure of the English gentleman. One of his defining features was his emotional restraint, his ‘stiff upper-lip’. But these were also years during which patriotic and even nationalist sentiment rose to a high tide, and there was considerable tension between the whole-hearted expression of nationalism and the restrain demanded by gentlemanly manners. This article explores this tension as it was staged and negotiated in the folk-song rhapsodies and nature portraits by Vaughan Williams, Holst, Delius and others during the years from 1904 to 1914. As a methodological basis the article adopts the notion of musical subjectivity – that is, the idea that music can offer a virtual persona with which the listener is invited to identify, and as whom he or she may participate in the musical activity. In this context it is possible to identify aspects of musical rhetoric, namely, the manners which regulate the interaction between the virtual subjectivity and the listener. Ultimately the article suggests that it is the embodiment of gentlemanly manners, every bit as much as the use of folk-song or the representation of English landscape, that accounts for the particularly English quality commonly identified in this music.

中文翻译：

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礼貌的爱国主义：1904 年至 1914 年英国音乐中的爱德华时代绅士

在爱德华时代的英格兰，许多最广为人知的民族性格品质都围绕着这位英国绅士的形象。他的一个显着特征是他的情绪克制，他的“僵硬的上唇”。但这也是爱国乃至民族主义情绪高涨的年代，民族主义的全心全意表达与绅士风度所要求的克制之间存在着相当大的张力。本文探讨了这种张力，因为它在 1904 年至 1914 年间在 Vaughan Williams、Holst、Delius 等人的民歌狂想曲和自然肖像中上演和协商。作为方法论基础，本文采用了音乐主体性的概念——也就是说，音乐可以提供一个虚拟角色，邀请听众识别，以及他或她可以参加音乐活动的人。在这种情况下，可以识别音乐修辞的各个方面，即调节虚拟主体与听众之间互动的方式。最后，这篇文章表明，正是绅士风度的体现，与民歌的使用或英国风景的表现一样多，这说明了这首音乐中普遍存在的特别英国品质。