オスカー・ワイルドの「風習喜劇」論考(3) : 『ウィンダミア卿夫人の扇』と『つまらぬ女』について
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概要
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The theme of 'comedy of manners' will be studied, focusing Lady Windermere's Fan (1892), Oscar Wilde's first work and the second, A Woman of No Importance (1893) continuing 13, 14 volumes in the bulletin. Oscar Wilde first found his authentic voice as a playwright and succeeds in formulating a distinctive style and method, because he was familiar with melodrama and superficially depicted Victorian (Puritan) moral values in these comedies of manners. In Lady Windermere's Fan, Lady Windermere, the heroine who misunderstood the relationship between her husband and Mrs. Erlynne, is on the posing of eloping with Lord Darlington. The fact is that Mrs. Erlynne is her real mother and her husband tries to help his mother-in-law. In the end, Mrs. Erlynne tactfully helps her daughter's dilemma with a fan, waking up her maternal instinct. 'A dandy' character was a trade mark in Wilde's two former comedies of manners. But in this debut work, dandies were inadequate to sketch for the dramatist and appeared immature ones. The theme in A Woman of No importance, like Lady Windermere's Fan, concerns a woman with a secret past. Mrs. Arbuthnot and Lord Illingworth, who was her former lover and her son Gerald's natural father but left her mercilessly, meet unexpectedly 20 years later. Lord Illingworth, not knowing who Gerald is but attracted to him, offers him a post as his private secretary. But Mrs. Arbuthnot, the woman of the title, rejects, and insults Lord Illingworth, and her final curtain-line, 'A man of no importance', overturns his 'A woman of no importance' in Act I. To make a strain in the structure, Lord Illingworth, a dandy who is Wilde's incarnation forces a kiss on the young Puritan American, Hester Worsely and accordingly Gerald prepares to strike him in outraged retaliation. In the end, Lord Illingworth is dismissed. But Lord Illingworth is proud of being 'a modern dandy' and declares 'The future belongs to the dandy', retorting 'Puritanism is shallow, selfish and foolish.' Finally he is self-satisfied with his paradoxical victory like Wilde, the true dandy in the Victorian Age. The dramatist tried to challenge his Age through his four 'comedies of manners'.
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