měi lín chū shēng hòu mǔ qīn zhōu lì qióng yīn wù huì yǔ měi lín fù qīn fēn shǒu， dú zì yī rén hùn jì yú gē wǔ shè jiāo chǎng。 měi lín fù qīn wéi bǎo quán jiā tíng míng yù huǎng shuō zhōu yǐ sǐ。 měi lín zhǎngdà hòu jià gěi fù jiā zǐ dì méi zǐ píng。 què wù huì zǐ píng yǔ huà míng wéi lí nǚ shì de zhōu lì qióng jiāo wǎng yǔ zǐ píng nào chū máo dùn。 shēn 'ài zì jǐ nǚ 'ér de lí nǚ shì nìngkě zì jǐ shòu rǔ shǐ měi lín fū fù hé hǎo rú chū， yě shǐ mǔ nǚ de mì mì méi yòu tǒng pò， bǎo quán liǎo nǚ 'ér de míng yù。
The story concerns Lady Windermere who discovers that her husband may be having an affair with another woman. She confronts her husband but he instead invites the other woman, Mrs Erlynne, to her birthday ball. Angered by her husband's unfaithfulness, Lady Windermere leaves her husband for another lover. After discovering what has transpired, Mrs Erlynne follows Lady Windermere and attempts to persuade her to return to her husband and in the course of this, Mrs Erlynne is discovered in a compromising position. She sacrifices herself and her reputation in order to save Lady Windermere's marriage. Mrs. Erlynne was originated by Marion Terry.
The fan in the title can refer to both the physical object - which Lord Windermere buys for her as a 21st birthday present - and to her admirer, Lord Darlington - who pays her deeply flattering compliments and eventually reveals his love for her.
Numerous characters in the play draw their names from places in the north of England: Lady Windermere from the lake Windermere, the Duchess of Berwick from Berwick-upon-Tweed, Lord Darlington from Darlington.
The play's Broadway première on 5 February 1893 at Palmer's Theatre was also the first Broadway performance for stage and screen actress Julia Arthur, who played Lady Windermere.
The story concerns Lady Windermere who discovers that her husband may be having an affair with another woman. She confronts her husband but he instead invites the other woman, Mrs Erlynne, to her birthday ball. Angered by her husband's unfaithfulness, Lady Windermere leaves her husband for another lover. After discovering what has transpired, Mrs Erlynne follows Lady Windermere and attempts to persuade her to return to her husband and in the course of this, Mrs Erlynne is discovered in a compromising position. She sacrifices herself and her reputation in order to save Lady Windermere's marriage. Mrs. Erlynne was originated by Marion Terry.
The fan in the title can refer to both the physical object - which Lord Windermere buys for her as a 21st birthday present - and to her admirer, Lord Darlington - who pays her deeply flattering compliments and eventually reveals his love for her.
Numerous characters in the play draw their names from places in the north of England: Lady Windermere from the lake Windermere, the Duchess of Berwick from Berwick-upon-Tweed, Lord Darlington from Darlington.
The play's Broadway première on 5 February 1893 at Palmer's Theatre was also the first Broadway performance for stage and screen actress Julia Arthur, who played Lady Windermere.
《 kuài lè wáng zǐ》 shí wéi《 kuài lè wáng zǐ jí》， lìng liǎng piān wéi《 zì sī de jù rén》 hé《 nián qīng de guó wáng》。 zuò zhě wáng 'ěr dé wéi shì jiè zhù míng yī liú tóng huà zuò jiā， shēn 'ān tóng huà 'ào miào。 zhè běn tóng huà jí jǔ shì wén míng， kuài zhì rén kǒu， bèi wén xué jiè tuī chóng wéi tóng huà jīng diǎn。 tā de zuò pǐn zhù rén gōng yòu rén lèi， yě yòu jīng líng， hái yòu dòng wù， tā men jù yòu jí qí qiáng liè 'ér bēi zhuàng de xī shēng jīng shén， jí biàn yú shì wú bǔ， tā men yě zài suǒ bù xī， dú lái shí fēn gǎn rén。 cǐ wài， zài zhòng duō yīng hàn duì zhào dú wù zhōng， běn shū hái jù bèi liǎng dú dào zhī chù， qí yī shì yīng wén bǎn miàn gè yè zhōng de zhòng diǎn dān cí（ cí zǔ） jūn yòng qiǎn sè dǐ wén biāo chū， yǐ xǐng 'ěr mù 'ér biàn dú zhě， yòu zhù yú yuè dú hé jì yì， qí 'èr shì yīng wén bǎn miàn měi yè jūn yòu xiáng xì de yīng wén quán zhù， rú “ thestarsandstripes=theAmericanflag 〃，〃 lowing=soundmadebyacow〃 děng děng děng děng， bù jǐn yòu zhù yú dú zhě lǐ jiě dān cí， jìn 'ér hái kě jiā qiáng duì yīng yǔ hé yīng yǔ wén huà jí xiāng guān xí sú de liǎo jiě， shí wéi yī jǔ duō dé。
kuài lè wáng zǐ - qí tā jiǎn jiè
zuò pǐn jiǎn jiè :
wáng 'ěr dé de měi yī gè gù shìdōu shì yī shǒu shī。
kuài lè wáng zǐ shì měi de huà shēn。 tā de zhēn chéng、 shàn liáng ràng wǒ men yóu rán 'ér shēng jìng yì。 ér tā bēi cǎn de jié jú gèng shì zhèn hàn zhe wǒ men de xīn líng， zài wǒ men de xīn zhōng， zhè zhǒng wèile tā rén de xìng fú 'ér xī shēng zì jǐ de jīng shén shì fēi cháng chóng gāo de。
héng héng shàng hǎi qī bǎo zhōng xué gāo jí yǔ wén jiào shī chén wéi lán
wǒ de xīn zài yě wú fǎ píng jìng！ xiǎo yàn zǐ diē dǎo zài dì de shēng yīn zhuàng jī zhe wǒ de xīn líng， ér kuài lè wáng zǐ nà kē pò liè chéng liǎng bàn de qiān xīn gèng ràng wǒ xīn tòng bù yǐ。 xīn dǐ de 'ài xīn màn màn shēng téng qǐ lái， nèi xīn de gǎn dòng yě yī diǎn diǎn mí màn kāi qù ......
héng héng 'ér tóng wén xué yán jiū shēng qián yàn
yòu yī cì， wáng 'ěr dé gěi 'ér zǐ jiǎng gù shì， shuō zhe shuō zhe liú xià liǎo yǎn lèi。 ér zǐ wèn tā wèishénme yào kū， tā shuō：“ zhēn zhèng měi lì de shì wù zǒng huì shǐ rén liú xià yǎn lèi。 ” wáng 'ěr dé jiǎng de jiù shì zhè běn shū zhōng de gù shì ......
héng héng yī wèi pǔ tōng dú zhě
【 tú shū jiǎn jiè】
wáng 'ěr dé chuàng zuò xì jù、 sǎnwén hèshī， bèi yù wéi“ wéi měi zhù yì dà shī”。 1884 nián tā jié hūn shēng zǐ， bǎo hán zhe 'ài wéi hái zǐ xiě tóng huà。 zài tā kàn lái， hái zǐ shì měi yǔ shàn de huà shēn， tā de tóng huà yě yìng gāi shì wēn liáng dūn hòu， zhǎn xiàn chū měi de jīng shén。 tā yī shēng zhǐ xiě liǎo jiǔ gè tóng huà， měi yī piān dū shí xiàn liǎo měi yǔ shàn de tǒng yī， wú kuì shì shì jiè 'ér tóng gù shì de jīng diǎn zhī zuò。 běn shū《 kuài lè wáng zǐ》 shōu lù liǎo wáng 'ěr dé chuàng zuò de quán bù tóng huà， zhè jiǔ gè gù shì shì：《 kuài lè wáng zǐ》、《 yè yīng yú qiáng wēi》、《 zì sī de jù rén》、《 zhōng shí de péng yǒu》、《 liǎo bù qǐ de huǒ jiàn》、《 shàonián guó wáng》、《 xī bān yá gōng zhù de shēng rì》、《 dǎ yú rén hé tā de líng hún》、《 xīng hái》。
yuè dú wáng 'ěr dé de tóng huà， wǒ men yīnggāi bǎ wò sān gè fāng miàn：
yī、 yǔ yán zhǔn què、 jī zhì bù shī qù wèi。 yòu rén shuō wáng 'ěr dé shì zuì shàn yán tán de zuò jiā， tán tù jī fēng mì bù、 lěng juàn yōu mò， tā de tóng huà yě chōng fēn zhǎn shì liǎo tā zhè fāng miàn de cái huá。
èr、 měi de jí zhì， měi de chén zuì。 wáng 'ěr dé zài gěi 'ér zǐ jiǎng shù《 zì sī de jù rén》 shí， zì jǐ jìn bù zhù liú xià liǎo yǎn lèi。 tā duì 'ér zǐ shuō： zhēn zhèng měi lì de shì wù zǒng huì shǐ zì jǐ liú xià yǎn lèi。
sān、 yù yì shēn kè gǎn rén。 wáng 'ěr dé de měi yī piān tóng huà dū yíng zào liǎo yī gè jí měi 'ér yòu yōu shāng de fēn wéi， tā de rén wù dōuyòu zhe qiáng liè de xiàn shēn jīng shén， ràng dú zhě qièshí dì gǎn dào qiáng dà de dào dé lì liàng。
wǒ guó de wén xué dà shī bā jīn xiān shēng shí fēn xǐ 'ài wáng 'ěr dé de tóng huà zuò pǐn， yīn xǐ 'ài jiù jiāng zhè xiē zuò pǐn yī yī jīng xīn fān yì guò lái。 xiàn zài nǐ zhèng yuè dú de shū， kě yǐ shuō shì liǎng wèi dà shī de hé zuò chǎn wù bā。
yuè dú zhè yàng yī běn shū， shì nǐ de fú qì ……
The stories included in this collection are:
* The Happy Prince
* The Nightingale and the Rose
* The Selfish Giant
* The Devoted Friend
* The Remarkable Rocket
The stories convey an appreciation for the exotic, the sensual and for masculine beauty.
kuài lè wáng zǐ - qí tā jiǎn jiè
zuò pǐn jiǎn jiè :
wáng 'ěr dé de měi yī gè gù shìdōu shì yī shǒu shī。
kuài lè wáng zǐ shì měi de huà shēn。 tā de zhēn chéng、 shàn liáng ràng wǒ men yóu rán 'ér shēng jìng yì。 ér tā bēi cǎn de jié jú gèng shì zhèn hàn zhe wǒ men de xīn líng， zài wǒ men de xīn zhōng， zhè zhǒng wèile tā rén de xìng fú 'ér xī shēng zì jǐ de jīng shén shì fēi cháng chóng gāo de。
héng héng shàng hǎi qī bǎo zhōng xué gāo jí yǔ wén jiào shī chén wéi lán
wǒ de xīn zài yě wú fǎ píng jìng！ xiǎo yàn zǐ diē dǎo zài dì de shēng yīn zhuàng jī zhe wǒ de xīn líng， ér kuài lè wáng zǐ nà kē pò liè chéng liǎng bàn de qiān xīn gèng ràng wǒ xīn tòng bù yǐ。 xīn dǐ de 'ài xīn màn màn shēng téng qǐ lái， nèi xīn de gǎn dòng yě yī diǎn diǎn mí màn kāi qù ......
héng héng 'ér tóng wén xué yán jiū shēng qián yàn
yòu yī cì， wáng 'ěr dé gěi 'ér zǐ jiǎng gù shì， shuō zhe shuō zhe liú xià liǎo yǎn lèi。 ér zǐ wèn tā wèishénme yào kū， tā shuō：“ zhēn zhèng měi lì de shì wù zǒng huì shǐ rén liú xià yǎn lèi。 ” wáng 'ěr dé jiǎng de jiù shì zhè běn shū zhōng de gù shì ......
héng héng yī wèi pǔ tōng dú zhě
【 tú shū jiǎn jiè】
wáng 'ěr dé chuàng zuò xì jù、 sǎnwén hèshī， bèi yù wéi“ wéi měi zhù yì dà shī”。 1884 nián tā jié hūn shēng zǐ， bǎo hán zhe 'ài wéi hái zǐ xiě tóng huà。 zài tā kàn lái， hái zǐ shì měi yǔ shàn de huà shēn， tā de tóng huà yě yìng gāi shì wēn liáng dūn hòu， zhǎn xiàn chū měi de jīng shén。 tā yī shēng zhǐ xiě liǎo jiǔ gè tóng huà， měi yī piān dū shí xiàn liǎo měi yǔ shàn de tǒng yī， wú kuì shì shì jiè 'ér tóng gù shì de jīng diǎn zhī zuò。 běn shū《 kuài lè wáng zǐ》 shōu lù liǎo wáng 'ěr dé chuàng zuò de quán bù tóng huà， zhè jiǔ gè gù shì shì：《 kuài lè wáng zǐ》、《 yè yīng yú qiáng wēi》、《 zì sī de jù rén》、《 zhōng shí de péng yǒu》、《 liǎo bù qǐ de huǒ jiàn》、《 shàonián guó wáng》、《 xī bān yá gōng zhù de shēng rì》、《 dǎ yú rén hé tā de líng hún》、《 xīng hái》。
yuè dú wáng 'ěr dé de tóng huà， wǒ men yīnggāi bǎ wò sān gè fāng miàn：
yī、 yǔ yán zhǔn què、 jī zhì bù shī qù wèi。 yòu rén shuō wáng 'ěr dé shì zuì shàn yán tán de zuò jiā， tán tù jī fēng mì bù、 lěng juàn yōu mò， tā de tóng huà yě chōng fēn zhǎn shì liǎo tā zhè fāng miàn de cái huá。
èr、 měi de jí zhì， měi de chén zuì。 wáng 'ěr dé zài gěi 'ér zǐ jiǎng shù《 zì sī de jù rén》 shí， zì jǐ jìn bù zhù liú xià liǎo yǎn lèi。 tā duì 'ér zǐ shuō： zhēn zhèng měi lì de shì wù zǒng huì shǐ zì jǐ liú xià yǎn lèi。
sān、 yù yì shēn kè gǎn rén。 wáng 'ěr dé de měi yī piān tóng huà dū yíng zào liǎo yī gè jí měi 'ér yòu yōu shāng de fēn wéi， tā de rén wù dōuyòu zhe qiáng liè de xiàn shēn jīng shén， ràng dú zhě qièshí dì gǎn dào qiáng dà de
wǒ guó de wén xué dà shī bā jīn xiān shēng shí fēn xǐ 'ài wáng 'ěr dé de tóng huà zuò pǐn， yīn xǐ 'ài jiù jiāng zhè xiē zuò pǐn yī yī jīng xīn fān yì guò lái。 xiàn zài nǐ zhèng yuè dú de shū， kě yǐ shuō shì liǎng wèi dà shī de hé zuò chǎn wù bā。
yuè dú zhè yàng yī běn shū， shì nǐ de fú qì ……
The stories included in this collection are:
* The Happy Prince
* The Nightingale and the Rose
* The Selfish Giant
* The Devoted Friend
* The Remarkable Rocket
The stories convey an appreciation for the exotic, the sensual and for masculine beauty.
wáng 'ěr dé zài yī bā jiǔ sān nián sì yuè tuī chū《 wú zú qīng zhòng de nǚ rén》 hòu zhǐ xiě liǎo jǐ piān wén zhāng， zhí dào liù yuè chū bǎn shī jí《 rén miàn shī shēn xiàng》 shí cái yòu xīn zuò pǐn wèn shì。
Original production
Herbert Beerbohm Tree, actor-manager of London's Haymarket Theatre, asked Oscar Wilde to write him a play following the success of Wilde's Lady Windermere's Fan at the St. James Theatre. Wilde was initially quite reluctant since the character Tree would take was not the sort of part he associated with the actor: "You must forget that you ever played Hamlet; you must forget that you ever played Falstaff; above all, you must forget that you ever played a duke in a melodrama by Henry Arthur Jones." Wilde went so far as to describe Lord Illingworth as himself.
This appears to have made Tree all the more determined and thus Wilde wrote the play while staying at a farmhouse near Felbrigg in Norfolk — with Lord Alfred Douglas — while his wife and sons stayed at Babbacombe Cliff near Torquay. Rehearsals started in March 1893. Tree enjoyed the part of Lord Illingworth and continued to play it outside the theatre, leading Wilde to comment "every day Herbert becomes de plus en plus oscarisé" ("more and more Oscarised").
The play opened on 19 April 1893. The first performance was a great success, though Wilde, while taking his bow as the author, was booed, apparently because of a line stating "England lies like a leper in purple" — which was later removed. The Prince of Wales attended the second performance and told Wilde not to alter a single line.
The play was also performed in New York and was due to go on tour when Wilde was arrested and charged with indecency and sodomy following his feud with the Marquess of Queensberry over the Marquess' son, Lord Alfred Douglas. The tour was cancelled.
Criticisms
A Woman of No Importance has been described as the "weakest of the plays Wilde wrote in the Nineties". Many critics note that much of the first act-and-a-half surrounds the witty conversations of members of the upper-classes, the drama only beginning in the second half of the second act with Lord Illingworth and Mrs Arbuthnot finding their pasts catching up with them.
Lytton Strachey gave a curious interpretation of the relationship between Lord Illingworth and his new-found son Gerald when Tree put on another production of the play in 1907. In a letter to Duncan Grant he described Lord Illingworth (again played by Tree) as having incestuous homosexual designs on his son. Strachey's interpretation of Tree's performance was probably influenced by Wilde's exposure as a homosexual himself.
Themes
Like many of Wilde's plays the main theme is the secrets of the upper-classes: Lord Illingworth discovering that the young man he has employed as a secretary is in fact his illegitimate son, a situation similar to the central plot of Lady Windermere's Fan. Secrets would also affect the characters of The Importance of Being Earnest.
In one scene, Lord Illingworth and Mrs. Allonby (whose unseen husband is called Ernest) share the line "All women become like their mothers. That is their tragedy.", "No man does. That is his." Algernon would make the same remark in The Importance of Being Earnest.
Characters of the play
Lord Illingworth
He is a man of about 45 and a bachelor. He is witty and clever and a practised flirt, who knows how to make himself agreeable to women. He is Mrs. Arbuthnot's former lover and seducer and the father of Gerald Arbuthnot. Also, he has a promising diplomatic career and is shortly to become Ambassador to Vienna. He enjoys the company of Mrs. Allonby, who has a similar witty and amoral outlook to his own, and who also engages in flirting. His accidental acquaintance with Gerald, to whom he offers the post of private secretary, sets in motion the chain of events that form the main plot of the play. Illingworth is a typical Wildean dandy.
Mrs. Arbuthnot
Apparently a respectable widow who does good work among the poor and is a regular churchgoer. She declines invitations to dinner parties and other social amusements, although she does visit the upper class characters at Lady Hunstanton's, since they all appear to know her and her son, Gerald. However, the audience soon realise that she has a secret past with Lord Illingworth who is the father of her son, Gerald.
Gerald Arbuthnot
The illegitimate son of Mrs. Arbuthnot and Lord Illingworth. Gerald's young and rather inexperienced character represents the desire to find a place in society, and gain high social standing. His naivety allows him to accept uncritically what society deems as proper, and his belief in honour and duty is what leads him to insist upon his parents' marriage.
Mrs. Allonby
A flirtatious woman who has a bit of a reputation for controversy. She is not the stereotypical female character and exchanges witty repartee with Lord Illingworth, indeed she could be viewed as a female dandy. It is she who dares Illingworth to "kiss the Puritan."
Miss Hester Worsley
As an American Puritan and an outsider to the British society in the play, Hester is in an ideal position to witness its faults and shortcomings more clearly than those who are part of it. Hester is both an orphan and an heiress, which allows her to "adopt" Mrs. Arbuthnot as her mother at the end of the play.
Jane, Lady Hunstanton
The host of the party. Means well but is quite ignorant, shown in her conversation and lack of knowledge. Could be seen as portraying the typical Victorian aristocrat.
Lady Caroline Pontefract
A very strong bully, shown by her belittling of Mr. Kelvil whom she constantly refers to as Mr. "Kettle". Her traditionalist views are in direct contrast to Mrs Allonby.
The Ven. Archdeacon Daubeny, D.D.
Seen as the 'ultimate priest' his willingness to 'sacrifice' his free time for the benefit of his wife who is seen as an invalid of dramatic proportions. Shows his discomfort at being within the upper-class social circle.
Lady Stutfield
A naive and intellectually restricted character that shows her lack of vocabulary with constant repetitions such as her use of the phrase, "Quite, Quite". However this view is a misconception, and those who study the women characters in depth will find Lady Stutfeild to be full of ulterior motives and desperate for male attention.
Mr. Kelvil, M.P.
A stuffily and thoroughly modern progressive moralist. He earnestly wishes to improve society and in particular the lot of the lower classes, but seems to lack the charisma and charm to succeed — for example, he chooses to discuss the monetary standard of bimetallism with Lady Stutfield.
Lord Alfred Rufford
A stereotypically lazy aristocrat who is constantly in debt with no intentions of paying back his debtors due to him spending other peoples money on luxury items such as jewelry.
Sir John Pontefract
Husband to Lady Caroline Pontefract, he is a quiet man who allows his wife to control their relationship. He seems weary of his wife's behaviour, constantly correcting her mispronounciation of Mr. Kelvil's name.
Farquhar, Butler
Francis, Footman
Alice, Servant
Original production
Herbert Beerbohm Tree, actor-manager of London's Haymarket Theatre, asked Oscar Wilde to write him a play following the success of Wilde's Lady Windermere's Fan at the St. James Theatre. Wilde was initially quite reluctant since the character Tree would take was not the sort of part he associated with the actor: "You must forget that you ever played Hamlet; you must forget that you ever played Falstaff; above all, you must forget that you ever played a duke in a melodrama by Henry Arthur Jones." Wilde went so far as to describe Lord Illingworth as himself.
This appears to have made Tree all the more determined and thus Wilde wrote the play while staying at a farmhouse near Felbrigg in Norfolk — with Lord Alfred Douglas — while his wife and sons stayed at Babbacombe Cliff near Torquay. Rehearsals started in March 1893. Tree enjoyed the part of Lord Illingworth and continued to play it outside the theatre, leading Wilde to comment "every day Herbert becomes de plus en plus oscarisé" ("more and more Oscarised").
The play opened on 19 April 1893. The first performance was a great success, though Wilde, while taking his bow as the author, was booed, apparently because of a line stating "England lies like a leper in purple" — which was later removed. The Prince of Wales attended the second performance and told Wilde not to alter a single line.
The play was also performed in New York and was due to go on tour when Wilde was arrested and charged with indecency and sodomy following his feud with the Marquess of Queensberry over the Marquess' son, Lord Alfred Douglas. The tour was cancelled.
Criticisms
A Woman of No Importance has been described as the "weakest of the plays Wilde wrote in the Nineties". Many critics note that much of the first act-and-a-half surrounds the witty conversations of members of the upper-classes, the drama only beginning in the second half of the second act with Lord Illingworth and Mrs Arbuthnot finding their pasts catching up with them.
Lytton Strachey gave a curious interpretation of the relationship between Lord Illingworth and his new-found son Gerald when Tree put on another production of the play in 1907. In a letter to Duncan Grant he described Lord Illingworth (again played by Tree) as having incestuous homosexual designs on his son. Strachey's interpretation of Tree's performance was probably influenced by Wilde's exposure as a homosexual himself.
Themes
Like many of Wilde's plays the main theme is the secrets of the upper-classes: Lord Illingworth discovering that the young man he has employed as a secretary is in fact his illegitimate son, a situation similar to the central plot of Lady Windermere's Fan. Secrets would also affect the characters of The Importance of Being Earnest.
In one scene, Lord Illingworth and Mrs. Allonby (whose unseen husband is called Ernest) share the line "All women become like their mothers. That is their tragedy.", "No man does. That is his." Algernon would make the same remark in The Importance of Being Earnest.
Characters of the play
Lord Illingworth
He is a man of about 45 and a bachelor. He is witty and clever and a practised flirt, who knows how to make himself agreeable to women. He is Mrs. Arbuthnot's former lover and seducer and the father of Gerald Arbuthnot. Also, he has a promising diplomatic career and is shortly to become Ambassador to Vienna. He enjoys the company of Mrs. Allonby, who has a similar witty and amoral outlook to his own, and who also engages in flirting. His accidental acquaintance with Gerald, to whom he offers the post of private secretary, sets in motion the chain of events that form the main plot of the play. Illingworth is a typical Wildean dandy.
Mrs. Arbuthnot
Apparently a respectable widow who does good work among the poor and is a regular churchgoer. She declines invitations to dinner parties and other social amusements, although she does visit the upper class characters at Lady Hunstanton's, since they all appear to know her and her son, Gerald. However, the audience soon realise that she has a secret past with Lord Illingworth who is the father of her son, Gerald.
Gerald Arbuthnot
The illegitimate son of Mrs. Arbuthnot and Lord Illingworth. Gerald's young and rather inexperienced character represents the desire to find a place in society, and gain high social standing. His naivety allows him to accept uncritically what society deems as proper, and his belief in honour and duty is what leads him to insist upon his parents' marriage.
Mrs. Allonby
A flirtatious woman who has a bit of a reputation for controversy. She is not the stereotypical female character and exchanges witty repartee with Lord Illingworth, indeed she could be viewed as a female dandy. It is she who dares Illingworth to "kiss the Puritan."
Miss Hester Worsley
As an American Puritan and an outsider to the British society in the play, Hester is in an ideal position to witness its faults and shortcomings more clearly than those who are part of it. Hester is both an orphan and an heiress, which allows her to "adopt" Mrs. Arbuthnot as her mother at the end of the play.
Jane, Lady Hunstanton
The host of the party. Means well but is quite ignorant, shown in her conversation and lack of knowledge. Could be seen as portraying the typical Victorian aristocrat.
Lady Caroline Pontefract
A very strong bully, shown by her belittling of Mr. Kelvil whom she constantly refers to as Mr. "Kettle". Her traditionalist views are in direct contrast to Mrs Allonby.
The Ven. Archdeacon Daubeny, D.D.
Seen as the 'ultimate priest' his willingness to 'sacrifice' his free time for the benefit of his wife who is seen as an invalid of dramatic proportions. Shows his discomfort at being within the upper-class social circle.
Lady Stutfield
A naive and intellectually restricted character that shows her lack of vocabulary with constant repetitions such as her use of the phrase, "Quite, Quite". However this view is a misconception, and those who study the women characters in depth will find Lady Stutfeild to be full of ulterior motives and desperate for male attention.
Mr. Kelvil, M.P.
A stuffily and thoroughly modern progressive moralist. He earnestly wishes to improve society and in particular the lot of the lower classes, but seems to lack the charisma and charm to succeed — for example, he chooses to discuss the monetary standard of bimetallism with Lady Stutfield.
Lord Alfred Rufford
A stereotypically lazy aristocrat who is constantly in debt with no intentions of paying back his debtors due to him spending other peoples money on luxury items such as jewelry.
Sir John Pontefract
Husband to Lady Caroline Pontefract, he is a quiet man who allows his wife to control their relationship. He seems weary of his wife's behaviour, constantly correcting her mispronounciation of Mr. Kelvil's name.
Farquhar, Butler
Francis, Footman
Alice, Servant
kǎo chá wáng 'ěr dé zài《 lǐ xiǎng zhàng fū》 zhōng miáo mó de nǚ xìng shēng cún zhuàng kuàng hé chū lù , tàn tǎo tā yǔ shí dài nǚ xìng guān de qì hé yǔ chōng tū , zhǐ chū tā de nǚ xìng rén wù yòu yǐ xià sān gè tè diǎn : dì yī , xìng bié jiè xiàn mó hú , bù shǎo shàng céng shè huì nǚ xìng shēn shàng tǐ xiàn liǎo zuò zhě běn rén de“ wán kù zǐ” jīng shén ; dì 'èr , bù fēn nǚ xìng bǎ zì wǒ shí xiàn děng tóng yú wù yù hé quán yù de mǎn zú , zài zhuī qiú zì wǒ de guò chéng zhōng wēi xié dào nán xìng de shēng cún kōng jiān ; dì sān , lǐ xiǎng de nǚ xìng shì dú lì hé zì zài zì wéi de , tā jiān chí zì jǐ de zì yóu yě chéng rèn tā rén de zì yóu。
Background
In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. At this point in his career he was accustomed to success, and in writing An Ideal Husband he wanted to ensure himself public fame. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed. After opening on January 3, 1895, it continued for 124 performances. In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. On April 6, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from April 13–27. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Dramatis Personae
* The Earl of Caversham, K.G.
* Lord Goring, his son. His Christian name is Arthur.
* Sir Robert Chiltern, Bart., Under-Secretary for Foreign Affairs
* Vicomte De Nanjac, Attaché at the French Embassy In London
* Mr. Montford, secretary to Sir Robert
* Mason, butler to Sir Robert Chiltern
* Phipps, butler to Lord Goring
* James, footman to the Chilterns
* Harold, footman to the Chilterns
* Lady Chiltern, wife to Sir Robert Chiltern
* Lady Markby, a friend of the Chilterns'
* The Countess of Basildon, a friend of the Chilterns'
* Mrs. Marchmont, a friend of the Chilterns'
* Miss Mabel Chiltern, Sir Robert Chiltern's sister
* Mrs. Cheveley, blackmailer, Lady Chiltern's former schoolmate
Plot
An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor and lover, Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing both the ruin of career and marriage, Sir Robert submits to her demands.
When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.
In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.
In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former loves, angrily storms out of the house.
When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal: claiming still to love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession: apparently Mrs. Cheveley stole it from his cousin years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejeweled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.
The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but he has mistaken it for a letter of forgiveness written for him. The two reconcile. Lady Chiltern initially agrees to support Sir Robert's decision to renounce his career in politics, but Lord Goring dissuades her from allowing her husband to resign. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.
Film, television and radio adaptations
1947 film
Main article: An Ideal Husband (1947 film)
A lavish 1947 adaptation was produced by London Films and starred Paulette Goddard, Michael Wilding and Diana Wynyard
1998 film
Main article: An Ideal Husband (1998 film)
It was adapted for the screen in 1998. It starred James Wilby and Jonathan Firth
1999 film
Main article: An Ideal Husband (film)
It was adapted once more for the screen in 1999. It starred Julianne Moore, Cate Blanchett and Rupert Everett
Television and Radio
The BBC produced a version which aired in 1969 and starred Jeremy Brett and Margaret Leighton. It is available on DVD as part of the The Oscar Wilde Collection.
BBC Radio 3 broadcast a full production in 2007 directed by David Timson and starring Alex Jennings, Emma Fielding, Jasper Britton, Janet McTeer and Geoffrey Palmer. This production was re-broadcast on Valentine's Day 2010.
L.A. Theatre Works produced an audio adaption of the play starring Jacqueline Bisset, Rosalind Ayres, Martin Jarvis, Miriam Margolyes, Alfred Molina, Yeardley Smith and Robert Machray. It is available as a CD set, ISBN 1-58081-215-5.
Background
In the summer of 1893, Oscar Wilde began writing An Ideal Husband, and he completed it later that winter. At this point in his career he was accustomed to success, and in writing An Ideal Husband he wanted to ensure himself public fame. His work began at Goring-on-Thames, after which he named the character Lord Goring, and concluded at St. James Place. He initially sent the completed play to the Garrick Theatre, where the manager rejected it, but it was soon accepted by the Haymarket Theatre, where Lewis Waller had temporarily taken control. Waller was an excellent actor and cast himself as Sir Robert Chiltern. The play gave the Haymarket the success it desperately needed. After opening on January 3, 1895, it continued for 124 performances. In April of that year, Wilde was arrested for 'gross indecency' and his name was publicly taken off the play. On April 6, soon after Wilde's arrest, the play moved to the Criterion Theatre where it ran from April 13–27. The play was published in 1899, although Wilde was not listed as the author. This published version differs slightly from the performed play, for Wilde added many passages and cut others. Prominent additions included written stage directions and character descriptions. Wilde was a leader in the effort to make plays accessible to the reading public.
Dramatis Personae
* The Earl of Caversham, K.G.
* Lord Goring, his son. His Christian name is Arthur.
* Sir Robert Chiltern, Bart., Under-Secretary for Foreign Affairs
* Vicomte De Nanjac, Attaché at the French Embassy In London
* Mr. Montford, secretary to Sir Robert
* Mason, butler to Sir Robert Chiltern
* Phipps, butler to Lord Goring
* James, footman to the Chilterns
* Harold, footman to the Chilterns
* Lady Chiltern, wife to Sir Robert Chiltern
* Lady Markby, a friend of the Chilterns'
* The Countess of Basildon, a friend of the Chilterns'
* Mrs. Marchmont, a friend of the Chilterns'
* Miss Mabel Chiltern, Sir Robert Chiltern's sister
* Mrs. Cheveley, blackmailer, Lady Chiltern's former schoolmate
Plot
An Ideal Husband opens during a dinner party at the home of Sir Robert Chiltern in London's fashionable Grosvenor Square. Sir Robert, a prestigious member of the House of Commons, and his wife, Lady Chiltern, are hosting a gathering that includes his friend Lord Goring, a dandified bachelor and close friend to the Chilterns, his sister Mabel Chiltern, and other genteel guests. During the party, Mrs. Cheveley, an enemy of Lady Chiltern's from their school days, attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. Apparently, Mrs. Cheveley's dead mentor and lover, Baron Arnheim, convinced the young Sir Robert many years ago to sell him a Cabinet secret, a secret that suggested he buy stocks in the Suez Canal three days before the British government announced its purchase. Sir Robert made his fortune with that illicit money, and Mrs. Cheveley has the letter to prove his crime. Fearing both the ruin of career and marriage, Sir Robert submits to her demands.
When Mrs. Cheveley pointedly informs Lady Chiltern of Sir Robert's change of heart regarding the canal scheme, the morally inflexible Lady, unaware of both her husband's past and the blackmail plot, insists that Sir Robert renege on his promise. For Lady Chiltern, their marriage is predicated on her having an "ideal husband"—that is, a model spouse in both private and public life that she can worship: thus Sir Robert must remain unimpeachable in all his decisions. Sir Robert complies with the lady's wishes and apparently seals his doom. Also toward the end of Act I, Mabel and Lord Goring come upon a diamond brooch that Lord Goring gave someone many years ago. Goring takes the brooch and asks that Mabel inform him if anyone comes to retrieve it.
In the second act, which also takes place at Sir Robert's house, Lord Goring urges Sir Robert to fight Mrs. Cheveley and admit his guilt to his wife. He also reveals that he and Mrs. Cheveley were formerly engaged. After finishing his conversation with Sir Robert, Goring engages in flirtatious banter with Mabel. He also takes Lady Chiltern aside and obliquely urges her to be less morally inflexible and more forgiving. Once Goring leaves, Mrs. Cheveley appears, unexpected, in search of a brooch she lost the previous evening. Incensed at Sir Robert's reneging on his promise, she ultimately exposes Sir Robert to his wife once they are both in the room. Unable to accept a Sir Robert now unmasked, Lady Chiltern then denounces her husband and refuses to forgive him.
In the third act, set in Lord Goring's home, Goring receives a pink letter from Lady Chiltern asking for his help, a letter that might be read as a compromising love note. Just as Goring receives this note, however, his father, Lord Caversham, drops in and demands to know when his son will marry. A visit from Sir Robert, who seeks further counsel from Goring, follows. Meanwhile, Mrs. Cheveley arrives unexpectedly and, misrecognized by the butler as the woman Goring awaits, is ushered into Lord Goring's drawing room. While she waits, she finds Lady Chiltern's letter. Ultimately, Sir Robert discovers Mrs. Cheveley in the drawing room and, convinced of an affair between these two former loves, angrily storms out of the house.
When she and Lord Goring confront each other, Mrs. Cheveley makes a proposal: claiming still to love Goring from their early days of courtship, she offers to exchange Sir Robert's letter for her old beau's hand in marriage. Lord Goring declines, accusing her of defiling love by reducing courtship to a vulgar transaction and ruining the Chilterns' marriage. He then springs his trap. Removing the diamond brooch from his desk drawer, he binds it to Cheveley's wrist with a hidden device. Goring then reveals how the item came into her possession: apparently Mrs. Cheveley stole it from his cousin years ago. To avoid arrest, Cheveley must trade the incriminating letter for her release from the bejeweled handcuff. After Goring obtains and burns the letter, however, Mrs. Cheveley steals Lady Chiltern's note from his desk. Vengefully she plans to send it to Sir Robert misconstrued as a love letter addressed to the dandified lord. Mrs. Cheveley exits the house in triumph.
The final act, which returns to Grosvenor Square, resolves the many plot complications sketched above with a decidedly happy ending. Lord Goring proposes to and is accepted by Mabel. Lord Caversham informs his son that Sir Robert has denounced the Argentine canal scheme before the House. Lady Chiltern then appears, and Lord Goring informs her that Sir Robert's letter has been destroyed but that Mrs. Cheveley has stolen her letter and plans to use it to destroy her marriage. At that moment, Sir Robert enters while reading Lady Chiltern's letter, but he has mistaken it for a letter of forgiveness written for him. The two reconcile. Lady Chiltern initially agrees to support Sir Robert's decision to renounce his career in politics, but Lord Goring dissuades her from allowing her husband to resign. When Sir Robert refuses Lord Goring his sister's hand in marriage, still believing he has taken up with Mrs. Cheveley, Lady Chiltern is forced to explain last night's events and the true nature of the letter. Sir Robert relents, and Lord Goring and Mabel are permitted to wed.
Film, television and radio adaptations
1947 film
Main article: An Ideal Husband (1947 film)
A lavish 1947 adaptation was produced by London Films and starred Paulette Goddard, Michael Wilding and Diana Wynyard
1998 film
Main article: An Ideal Husband (1998 film)
It was adapted for the screen in 1998. It starred James Wilby and Jonathan Firth
1999 film
Main article: An Ideal Husband (film)
It was adapted once more for the screen in 1999. It starred Julianne Moore, Cate Blanchett and Rupert Everett
Television and Radio
The BBC produced a version which aired in 1969 and starred Jeremy Brett and Margaret Leighton. It is available on DVD as part of the The Oscar Wilde Collection.
BBC Radio 3 broadcast a full production in 2007 directed by David Timson and starring Alex Jennings, Emma Fielding, Jasper Britton, Janet McTeer and Geoffrey Palmer. This production was re-broadcast on Valentine's Day 2010.
L.A. Theatre Works produced an audio adaption of the play starring Jacqueline Bisset, Rosalind Ayres, Martin Jarvis, Miriam Margolyes, Alfred Molina, Yeardley Smith and Robert Machray. It is available as a CD set, ISBN 1-58081-215-5.
wéi měi zhù yì de dài biǎo rén wù 'ào sī kǎ . wáng 'ěr dé de xǐ jù《 rèn zhēn de zhòng yào xìng》 miáo huì liǎo yī fú wéi duō lì yà shí qī shàng céng shè huì de shēng huó fēng jǐng huà。 jù zhōng liǎng wèi zhùjué de shuāngchóng shēng huó gěi měi yī wèi dú zhě liú xià liǎo shēn kè de yìn xiàng bìng qiě chéng wéi cǐ jù chōng tū de guān jiàn。 xiàn shí shēng huó zhōng de wáng 'ěr dé yě guò zhe yī zhǒng yǐn mì de shuāngchóng shēng huó , zhè bù dé bù shǐ rén lián xiǎng dào 'èr zhě de nèi zài lián xì。 jiè zhù jīng shén fēn xī de yī xiē lǐ lùn , běn wén zhuólì yú jiē kāi biǎo miàn shuāngchóng shēng huó xià suǒ yǐn cáng de shēn kè de xīn lǐ hé shè huì gēn yuán。
Set in late Victorian England in 1895, the play's humour derives in part from characters maintaining fictitious identities to escape unwelcome social obligations. It is replete with witty dialogue and satirises some of the foibles and hypocrisy of late Victorian society. It has proved Wilde's most enduringly popular play.
The successful opening night of this play marked the climax of Wilde's career but also heralded his impending downfall. The Marquess of Queensberry, father of Wilde's lover Lord Alfred Douglas, attempted to enter the theatre, intending to throw vegetables at the playwright when he took his bow at the end of the show. Wilde was tipped off and Queensberry was refused admission. Nonetheless, Queensberry's hostility to Wilde was soon to trigger the latter's legal travails and eventual imprisonment. Wilde's notoriety caused the play, despite its success, to be closed after only 83 performances. He never wrote another play.
Set in late Victorian England in 1895, the play's humour derives in part from characters maintaining fictitious identities to escape unwelcome social obligations. It is replete with witty dialogue and satirises some of the foibles and hypocrisy of late Victorian society. It has proved Wilde's most enduringly popular play.
The successful opening night of this play marked the climax of Wilde's career but also heralded his impending downfall. The Marquess of Queensberry, father of Wilde's lover Lord Alfred Douglas, attempted to enter the theatre, intending to throw vegetables at the playwright when he took his bow at the end of the show. Wilde was tipped off and Queensberry was refused admission. Nonetheless, Queensberry's hostility to Wilde was soon to trigger the latter's legal travails and eventual imprisonment. Wilde's notoriety caused the play, despite its success, to be closed after only 83 performances. He never wrote another play.
wáng 'ěr dé de wéi měi zhù yì yì shù guān zài tā de xiǎo shuō《 dào lín . gé léi de huà xiàng》 zhōng yòu chōng fēn de tǐ xiàn , zhù yào bāo kuò yì shù yǔ xíng shì , yì shù yǔ shēng huó , yì shù yǔ dào dé sān gè fāng miàn yǔ qí yì shù guān xiāng duì yìng de wáng 'ěr dé de rén shēng guān , zài qí rù yù qián hòu fā shēng liǎo míng xiǎn de gǎi biàn。 yì shù yǔ rén shēng de chōng tū hé róng hé yě jiù shì wáng 'ěr dé de yì shù mèi lì suǒ zài。
The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, believing his beauty is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfillment of the senses. Realizing that one day his beauty will fade, Dorian expresses his desire to sell his soul to ensure the portrait Basil has painted would age rather than himself. Dorian's wish is fulfilled, plunging him into debauched acts. The portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.
The Picture of Dorian Gray is considered a work of classic gothic horror fiction with a strong Faustian theme.
The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, believing his beauty is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfillment of the senses. Realizing that one day his beauty will fade, Dorian expresses his desire to sell his soul to ensure the portrait Basil has painted would age rather than himself. Dorian's wish is fulfilled, plunging him into debauched acts. The portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.
The Picture of Dorian Gray is considered a work of classic gothic horror fiction with a strong Faustian theme.