ABSTRACT
This conclusion presents some closing thoughts on the concepts discussed in the preceding chapters of this book. The book shows how an array of imaginative figures formed central points of intersection between British romance fiction and domestic music during the early nineteenth century. It also shows how the work of Walter Scott as romance author was aligned with his role as ballad editor, and how his dual stance was beneficial commercially. The book argues how music and the romance both had an equivocal relationship with the religion but that the contrast between virtuous and perverted Christians as intersectional figures clearly established the behavioural parameters for consumers. It explains how both Edward Bulwer and Charles Kingsley upheld Christianity in their novels but, although Christian music functioned in their writing in similar ways to the earlier romances, they debated the religion on a deeper philosophical level and made the boundary between virtuous and perverted Christianity less oblique.
