Pub Date : 2020-01-02DOI: 10.5325/EDITWHARREVI.35.1.0047
Mary Chinery
Abstract:Edith Wharton’s unpublished Manon Lescaut, A Play in Five Acts, has been overlooked as a significant work in Wharton’s early career. Reduced to the term “adaptation,” which diminishes its importance, Wharton, in fact, revised Abbé Prévost’s treatment of the fallen woman stereotype as she explored literary and dramatic form. New materials from the Paul Kester Papers at the New York Public Library, period newspaper articles, letters from Walter Berry to Wharton, and a second copy of the manuscript itself offer a new history of this drama. Composed in 1900, the play almost made it to the New York stage starring Julia Marlowe after the actress Marie Tempest withdrew. But a fall 1900 dispute with Marlowe’s manager, C. B. Dillingham, regarding Manon’s moral character and the length of the play resulted in Wharton’s defense of her creative choices in three letters and five pages of Notes. Additionally, letters by Walter Berry to Wharton discuss the possibility of replacing Marlowe with Olga Nethersole, the actress who was indicted on indecency charges for her performance in Clyde Fitch’s Sapho. The context of Wharton’s Manon Lescaut shows a playwright in charge of her craft, navigating the complicated theatrical world, and defending her creative vision.
摘要:伊迪丝·华顿未出版的《玛侬·莱斯科:五幕剧》作为华顿早期创作的一部重要作品，一直被人们所忽视。实际上，沃顿在探索文学和戏剧形式的过程中，修改了abb pracimvost对堕落女性刻板印象的处理方式，将其简化为“改编”一词，降低了它的重要性。来自纽约公共图书馆保罗·凯斯特论文的新材料，报纸上的文章，沃尔特·贝里给沃顿的信，以及手稿本身的第二份副本，提供了这部戏剧的新历史。该剧创作于1900年，在女演员玛丽·坦佩斯特退出后，该剧几乎登上了由朱莉娅·马洛主演的纽约舞台。但1900年秋天，她与马洛的经纪人c·b·迪林汉姆(C. B. Dillingham)就马侬的道德品质和剧本长度发生了争执，结果沃顿用三封信和五页笔记为自己的创作选择辩护。此外，沃尔特·贝瑞给沃顿的信中讨论了用奥尔加·那瑟索尔取代马洛的可能性，奥尔加·那瑟索尔因在克莱德·费奇的《萨福》中的表演而被控猥亵罪。沃顿的《玛侬·莱斯科》展现了一位剧作家掌控着自己的技艺，驾驭着复杂的戏剧世界，捍卫着自己的创作愿景。
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Pub Date : 2020-01-02DOI: 10.5325/EDITWHARREVI.34.1.0047
Yuki Miyazawa
Abstract:In her writings about ghost stories, Edith Wharton points out the importance of believing consciously in ghosts in order to enjoy the stories, but it seems that Wharton uses the genre to say something more about belief. Through her ghost stories, Wharton, though she generally emphasizes rationality, places herself between the rational and the irrational, a space where something or someone "not here" could be technically "here." In this respect, Wharton makes her ghost stories a space to speculate on metaphysical questions which, in the context of William James's philosophy of religion and late nineteenth-and early twentieth-century spiritualism, was often regarded as irrational. In "The Fulness of Life," Wharton assumes the afterlife as fact and searches for the possibility of settling difficult earthly matters in the world of the dead. Later, in "Mr. Jones," she seeks the possible path of literary afterlife through the ghost figure and through allusions to dead authors like Edgar Allan Poe. Finally, in "The Looking-Glass," Wharton combines themes from earlier stories, presenting a character who mediates between true and false spiritualism and between spiritualism and Catholicism.
摘要:伊迪丝·华顿在其鬼故事写作中指出了为了欣赏鬼故事而自觉相信鬼的重要性，但华顿似乎更倾向于用这种类型来表达信仰。通过她的鬼故事，沃顿虽然通常强调理性，但她把自己置于理性和非理性之间，在这个空间里，“不在这里”的东西或人可能在技术上“在这里”。在这方面，沃顿让她的鬼故事成为思考形而上学问题的空间，在威廉·詹姆斯的宗教哲学和19世纪末和20世纪初的唯灵论的背景下，这些问题通常被认为是非理性的。在《生命的充实》一书中，沃顿将来世视为事实，并寻求在死者的世界中解决世俗难题的可能性。后来，在《琼斯先生》中，她通过鬼魂形象和埃德加·爱伦·坡(Edgar Allan Poe)等已故作家的典故，寻找文学来世的可能路径。最后，在《镜中奇事》中，沃顿结合了早期故事的主题，呈现了一个介于真假唯灵论、唯灵论与天主教之间的角色。
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