The Virtuous Orphan: Or, The Life of Marianne Countess of * * * * *

Marivaux’s La vie de Marianne was one of the most popular novels of the eight­eenth century. Three different but related English translations appeared between 1736 and 1746 and were reprinted at least a dozen times by 1786. Fielding and Fanny Burney openly admitted the influence of Marivaux. Sterne has been connected with him by scholars, and the Richardson-Marivaux problem (particularly the influence upon Pamela) has been discussed since the eighteenth century. References to the novel and the novelist are to be found in the works, correspondence, or conversations of such figures as Gray, Chesterfield, Johnson, Arthur Murphy, James Beattie, Horace Walpole, and the Earl of Orrery—a clear indication that the work is valuable not only as a direct influence upon the English novel but also as a touchstone of taste during the period. However, no new edition has appeared since 1746, with the exception of a severely condensed and rearranged redaction by Sir Gilbert Campbell in 1889, of which a copy exists in the Bodleian library. To fill this need, the editors of this new edition have selected the 1743 translation of Mrs. Mary Collyer, entitled The Virtuous Orphan; or, The Life of Marianne, Countess of * * * * * as the best version stylistically and as the most interesting, since it includes the eleven parts written by Marivaux and concludes both the story of Marianne and of La Religieuse, which he left unfinished. The Collyer version, therefore, offers students of English and comparative literature an interesting exercise in eight­eenth-century methods of translation and adaptation as well as the instructive metamorphosis (in the added twelfth part) of the French Marianne into an English heroine, who greatly resembles Richardson’s Pamela. Rarely equaled as a psychological study of “the consummate coquette,” the novel also provides an unusually detailed and witty analysis of the early eighteenth-century balance of reason and sensibility, which was to be a key motif in English fiction until the time of Jane Austen and beyond. This edition, prepared with notes and a critical introduction by W. H. McBurney and Michael Shugrue, provides the complex bibliographical history of Marianne, its chronology of editions, and a list of useful studies. Spelling, punctuation, and paragraphing have been modernized without textual change.

Literature & Fiction

MARIVAUX

World Literature

Southern Illinois University Press

Marivaux’s La vie de Marianne was one of the most popular novels of the eighteenth century. Three different but related English translations appeared between 1736 and 1746 and were reprinted at least a dozen times by 1786. Fielding and Fanny Burney openly admitted the influence of Marivaux. Sterne has been connected with him by scholars, and the Richardson-Marivaux problem (particularly the influence upon Pamela) has been discussed since the eighteenth century. References to the novel and the novelist are to be found in the works, correspondence, or conversations of such figures as Gray, Chesterfield, Johnson, Arthur Murphy, James Beattie, Horace Walpole, and the Earl of Orrery—a clear indication that the work is valuable not only as a direct influence upon the English novel but also as a touchstone of taste during the period. However, no new edition has appeared since 1746,with the exception of a severely condensed and rearranged redaction by Sir Gilbert Campbell in 1889, of which a copy exists in the Bodleian library. To fill this need, the editors of this new edition have selected the 1743translation of Mrs. Mary Collyer, entitled The Virtuous Orphan; or, The Life of Marianne, Countess of * * * * * as the best version stylistically and as the most interesting, since it includes the eleven parts written by Marivaux and concludes both the story of Marianne and of La Religieuse, which he left unfinished. The Collyer version, therefore, offers students of English and comparative literature an interesting exercise in eighteenth-century methods of translation and adaptation as well as the instructive metamorphosis (in the added twelfth part) of the French Marianne into an English heroine, who greatly resembles Richardson’s Pamela. Rarely equaled as a psychological study of “the consummate coquette,” the novel also provides an unusually detailed and witty analysis of the early eighteenth-century balance of reason and sensibility, which was to be a key motif in English fiction until the time of Jane Austen and beyond. This edition, prepared with notes and a critical introduction by W. H. McBurney and Michael Shugrue, provides the complex bibliographical history of Marianne, its chronology of editions, and a list of useful studies. Spelling, punctuation, and paragraphing have been modernized without textual change.

Le paysan parvenu (The fortunate peasant)[IN FRENCH]

Classics

Dissertations-G

LA DISPUTE

The Dramatic Publishing Company

Scène à Paris, dans la maison de M Orgon. - Acte 1, Scène 1 - SILVIA, LISETTE... SILVIA - Mais, encore une fois, de quoi vous mêlez-vous ? Pourquoi répondre de mes sentiments ? LISETTE - C'est ce que j'ai cru que, dans cette occasion-ci, vos sentiments ressembleraient à ceux de tout le monde. Monsieur votre père me demande si vous êtes bien aise qu'il vous marie, si vous en avez quelque joie: moi, je lui réponds que oui; cela va tout de suite; et il n'y a peut être que vous de fille au monde, pour qui ce oui-là ne soit pas vrai, le non n'est pas naturel. SILVIA: - Le non n'est pas naturel ! quelle sotte naïveté ! Le mariage aurait donc de grands charmes pour vous ? LISETTE: - Eh bien, c'est encore oui, par exemple. SILVIA - Taisez-vous; allez répandre vos impertinences ailleurs, et sachez que ce n'est pas à vous à juger de mon cœur par le vôtre. LISETTE - Mon cœur est fait comme celui de tout le monde. De quoi le vôtre s'avise t-il de n'être fait comme celui de personne ? SILVIA - Je vous dis que, si elle osait, elle m'appellerait une originale. LISETTE - Si j'étais votre égale, nous verrions. SILVIA - Vous travaillez à me fâcher, Lisette. LISETTE - Ce n'est pas mon dessein. Mais dans le fond, voyons, quel mal ai-je fait de dire à monsieur Orgon que vous étiez bien aise d'être mariée ? SILVIA - Premièrement, c'est que tu n'as pas dit vrai; je ne m'ennuie pas d'être fille. LISETTE - Cela est encore tout neuf. SILVIA - C'est qu'il n'est pas nécessaire que mon père croie me faire tant de plaisir en me mariant, parce que cela le fait agir avec une confiance qui ne servira peut être de rien. LISETTE - Quoi ! vous n'épouserez pas celui qu'il vous destine ? SILVIA - Que sais-je ? peut être ne me conviendra t-il point, et cela m'inquiète. LISETTE - On dit que votre futur est un des plus honnêtes du monde; qu'il est bien fait, aimable, de bonne mine; qu'on ne peut avoir plus d'esprit, qu'on ne saurait être d'un meilleur caractère; que voulez-vous de plus ? Peut-on se figurer de mariage plus doux, d'union plus délicieuse ? SILVIA - Délicieuse ! Que tu es folle avec tes expressions !..................

Jeu de l'Amour et du Hasard : Com�die en Trois Actes

Independently published

Marivaux was the 4th most-performed playwright at the Comedie-Francais. Time Magazine speculated that the 17th century French writer may be "the hottest playwright all over America." This volume will contain an extensive introduction by the author; an essay on the historical context by Christine Pevitt; a Question and Answer section between Janice Paran and the author discussing the process of adapting Marivaux's plays; and production photos of the three plays.

Marivaux: Three Plays

Stephen Wadsworth

Humor & Entertainment

Smith & Kraus Pub Inc

La double inconstance

Essays & Correspondence

Hachette-Livre

Bibliolycée - L'Ile des esclaves, Marivaux

HACHETTE EDUC

SILVIAMais encore une fois, de quoi vous mêlez-vous, pourquoi répondre de mes sentiments ?

Le Jeu De L'amour Et Du Hasard (Petits Classiques) (French Edition)

Dramas & Plays

Larousse, Editions

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