Difference between revisions of "Woman in White (Wilkie Collins, 1860)"
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*20 Walter "mechanically" walking - that word keeps recurring | *20 Walter "mechanically" walking - that word keeps recurring | ||
**40 "dim mechanical drawing" | **40 "dim mechanical drawing" | ||
| + | **497 Mrs Catherick "mechanically smoothing her dress" | ||
*39 "How can I describe her [Ms Fairlie]? How can I separate her from my own sensations, and from all that has happened in the later time?" | *39 "How can I describe her [Ms Fairlie]? How can I separate her from my own sensations, and from all that has happened in the later time?" | ||
**interestinng that the narrator feels the need to decouple description from affect (given his rather cruel description of Mrs Vesey earlier), and the repeated pressure of "later time" and later narrative on the "narrative present": both a device for foreshadowing and for suggesting the contingency of the narrative | **interestinng that the narrator feels the need to decouple description from affect (given his rather cruel description of Mrs Vesey earlier), and the repeated pressure of "later time" and later narrative on the "narrative present": both a device for foreshadowing and for suggesting the contingency of the narrative | ||
Revision as of 17:28, 15 April 2017
Contents
General Notes
Renumber from bantam to Oxford ed
- 14 "We don't want genius in this country, unless it is accompanied by respectability" (Pesca's client when P recommends Walter
- 20 the woman in white appears
- 20 Walter "mechanically" walking - that word keeps recurring
- 40 "dim mechanical drawing"
- 497 Mrs Catherick "mechanically smoothing her dress"
- 39 "How can I describe her [Ms Fairlie]? How can I separate her from my own sensations, and from all that has happened in the later time?"
- interestinng that the narrator feels the need to decouple description from affect (given his rather cruel description of Mrs Vesey earlier), and the repeated pressure of "later time" and later narrative on the "narrative present": both a device for foreshadowing and for suggesting the contingency of the narrative
- 64 "ordinary rules of evidence" (which WH doesn't have to connect Glyde to the WiW): as in Audley an undercurrent of what counts as evidence
- 71 boys at the school think they've seen a ghost
___
- 144 the legal situation of Laura's life interest and property when married is something of a textual crux - before the Married Women's Property Act 1882, her property would pass to her husband on marriage. Cf. Important Victorian Legislation
- 149-52 details the arrangement of the Fairlies' estate
- 183 Marian's "misandry"
- 197 end of "First Epoch" - Sutherland notes that in the Ms Collins wrote for the printer, "End of Vol I (in threee vol edition)".
- 203 how carefully Marian analyzes Laura's character through herletters
- 246ff Laura forced to sign legal document sight unseen
- 278 M's vision of Walter and his visionary promise to "be the instrument of a Design that is yet unseen"
- 280ff Laura and Anne
- 289 using M's journal to confirm events metafictively -- interesting ontologically
- 436 when L is brought to the asylum as A, the nurse::
"Do look at your clothes now! There it is, in good marking ink; and there you will find it on all your old things, which we have kept in the house -- Anne Catherick, as plain as print!"
- 439 God/fate again guiding L and M to see W at the churchyard
- 441 the sale of his drawing-master's practice?
- 442 "great network of streets"
- 446 metafictive account of where the statements of Mrs Michelson, Jane Gould came from at the end of the 2nd Epoch
- 453 documentation is the crux - Kyrle says WH must show diff btwn date of dr's certificate and Laura's journey to london
- 477 Mrs Catherick's relationship with Glyde
- 493 the "modern gloom" of the new country town of Welmingham
