The cover page is adapted from A Confession, a painting completed in 1902 by John Collier. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/John_Collier_(painter)www.theleagueofmoveabletype.com/
Man and Wife
章节(77)
- Prologue: The Irish Marriage 0:00
- I: The Villa at Hampstead 0:07
- II: The March of Time 56:17
- The Story: First Scene: The Summerhouse 1:19:59
- I: The Owls 1:20:08
- II: The Guests 1:26:29
- III: The Discoveries 1:49:47
- IV: The Two 2:12:49
- V: The Plan 2:33:14
- VI: The Suitor 2:43:46
- VII: The Debt 3:10:19
- VIII: The Scandal 3:27:23
- Second Scene: The Inn 3:51:32
- IX: Anne 3:51:40
- X: Mr. Bishopriggs 4:26:12
- XI: Sir Patrick 4:47:17
- XII: Arnold 4:58:10
- XIII: Blanche 5:24:47
- Third Scene: London 5:53:42
- XIV: Geoffrey as a Letter-Writer 5:53:50
- XV: Geoffrey in the Marriage Market 6:06:50
- XVI: Geoffrey as a Public Character 6:17:42
- Fourth Scene: Windygates 6:38:00
- XVII: Near It 6:38:06
- XVIII: Nearer Still 6:50:21
- XIX: Close on It 7:16:52
- XX: Touching It 7:54:24
- XXI: Done! 8:26:49
- XXII: Gone 9:09:50
- XXIII: Traced 9:43:47
- XXIV: Backward 10:18:59
- XXV: Forward 10:36:54
- XXVI: Dropped 10:53:20
- XXVII: Outwitted 11:07:28
- XXVIII: Stifled 11:32:47
- Fifth Scene: Glasgow 11:45:48
- XXIX: Anne Among the Lawyers 11:45:56
- XXX: Anne in the Newspapers 12:01:05
- Sixth Scene: Swanhaven Lodge 12:10:53
- XXXI: Seeds of the Future (First Sowing) 12:11:01
- XXXII: Seeds of the Future (Second Sowing) 12:49:43
- XXXIII: Seeds of the Future (Third Sowing) 13:19:03
- Seventh Scene: Ham Farm 13:35:42
- XXXIV: The Night Before 13:35:51
- XXXV: The Day 13:52:35
- XXXVI: The Truth at Last 13:59:01
- XXXVII: The Way Out 14:33:09
- XXXVIII: The News from Glasgow 14:58:46
- Eighth Scene: The Pantry 15:25:24
- XXXIX: Anne Wins a Victory 15:25:32
- Ninth Scene: The Music-Room 15:46:38
- XL: Julius Makes Mischief 15:46:47
- Tenth Scene: The Bedroom 16:28:57
- XLI: Lady Lundie Does Her Duty 16:29:04
- Eleventh Scene: Sir Patrick’s House 17:11:36
- XLII: The Smoking-Room Window 17:11:45
- XLIII: The Explosion 17:21:16
- Twelfth Scene: Drury Lane 17:43:17
- XLIV: The Letter and the Law 17:43:26
- Thirteenth Scene: Fulham 18:17:13
- XLV: The Footrace 18:17:21
- Fourteenth Scene: Portland Place 18:54:15
- XLVI: A Scotch Marriage 18:54:23
- Fifteenth Scene: Holchester House 19:56:31
- XLVII: The Last Chance 19:56:40
- Sixteenth Scene: The Inn 20:11:04
- XLVIII: The Place 20:11:12
- XLIX: The Night 20:19:24
- L: The Morning 20:47:43
- LI: The Proposal 21:06:19
- LII: The Apparition 21:21:56
- LIII: What Had Happened in the Hours of Darkness? 21:42:23
- LIV: The Manuscript 22:03:46
- LV: The Signs of the End 23:07:51
- LVI: The Means 23:45:51
- LVII: The End 23:52:09
- Epilogue 24:19:54
Man and Wife is the ninth novel by Wilkie Collins, and was published in serial form in 1870. Like many of his other novels it has a complex plot and tackles social issues, in this case the then-lax state of the marriage laws, particularly in Scotland and Ireland. As always, Collins deals carefully but frankly with human personal behavior. To avoid offending Victorian morals too greatly, much is implied rather than stated outright. Nevertheless, even dealing with such matters at all led to his novels being derided as “sensation fiction” by his critics. By today’s standards, of course, they wouldn’t even raise an eyebrow.
In Man and Wife, the main character Anne Silvester has fallen pregnant to a muscular and handsome, but boorish man, Geoffrey Delamayn, to whom she is not married. She is working as a governess at a house in Scotland. Anne arranges to meet Delamayn secretly at a garden party and angrily demands that he fulfill his promise to marry her, that very day. He very reluctantly agrees to a secret, private marriage, knowing that a public marriage would badly affect his inheritance prospects. How is the marriage to be arranged quickly but kept quiet? Anne has a plan based on her understanding of the looseness of the marriage laws in Scotland. Naturally, of course, things go badly wrong with this plan and many complexities arise.
Collins is deeply critical of the state of contemporary marriage laws, both in how loosely they were framed, and in how little power over their own lives they gave to women once they were married, even if married to a brutal man. He also uses this novel to denounce the worship of sporting heroes and the obsession with physical prowess rather than mental superiority as a primary indication of male virtue.
Though not as popular as his novels The Woman in White and The Moonstone, Man and Wife received a good critical reception when it was released and was a commercial success.