More Stately Mansions: The Unexpurgated EditionOxford University Press, 1988 M11 17 - 326 pages Arguing that the 1964 edition of Eugene O'Neill's unfinished play More Stately Mansions, prepared after the playwright's death, was missing a substantial amount of material that O'Neill intended for inclusion, Martha Bower here presents an entirely new edition of the play with this material--dialogue, character description, an entire scene, the epilogue, and large parts of other scenes--restored. Published to coincide with the centennial of O'Neill's birth, it will stand as an important contribution to O'Neill scholarship. |
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Page vii
... the word ( s ) left out , I suggested probable substitutes and referred to the text in question in a note . In some instances I used " [ sic ] " where O'Neill's syntax seemed unclear , and in one place in act 4 , scene 2.
... the word ( s ) left out , I suggested probable substitutes and referred to the text in question in a note . In some instances I used " [ sic ] " where O'Neill's syntax seemed unclear , and in one place in act 4 , scene 2.
Page viii
... scene 2 I inserted a bracketed space for words left out because the confusion of the syntax did not allow for an edi- torial suggestion . There is one page missing from the typescript , which was missing when Carlotta gave it to Yale ...
... scene 2 I inserted a bracketed space for words left out because the confusion of the syntax did not allow for an edi- torial suggestion . There is one page missing from the typescript , which was missing when Carlotta gave it to Yale ...
Page 4
... scene , admits to his mother : “ I am your Simon and my one longing is to forget she [ Sara ] is alive . ” And in the same scene Deborah passionately declares to her son : " Our love can make a heaven , even in hell if we are together ...
... scene , admits to his mother : “ I am your Simon and my one longing is to forget she [ Sara ] is alive . ” And in the same scene Deborah passionately declares to her son : " Our love can make a heaven , even in hell if we are together ...
Page 5
... scenes - now included in this edition- that retain O'Neill's poetic diction and his intended dramatic impact , pointing up the nuances of character and scene . For example , without act 1 , scene 1 , transitional material that links A ...
... scenes - now included in this edition- that retain O'Neill's poetic diction and his intended dramatic impact , pointing up the nuances of character and scene . For example , without act 1 , scene 1 , transitional material that links A ...
Page 6
... scene 1 again relates to O'Neill's penchant for opposites and contrasts . Act 1 , scene 1 , provides the only Irish setting and introduces the pervasive 3. The word " keen " comes from the Gaelic caoinim . It is an Irish lament for the ...
... scene 1 again relates to O'Neill's penchant for opposites and contrasts . Act 1 , scene 1 , provides the only Irish setting and introduces the pervasive 3. The word " keen " comes from the Gaelic caoinim . It is an Irish lament for the ...
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Common terms and phrases
abruptly afraid Arrah beautiful become bitter bitterly brogue cabin coldly Company CREGAN Darling Dear death DEBORAH smiling DEBORAH stares DEBORAH Yes door dream Ella O'Neill Ethan Eugene O'Neill eyes face fairy tale father feel fool forcing forget forgive forgotten frightened frightenedly GADSBY garden give glance gloating goes greedy guiltily hand happy Harford hastily hate Honey hope Iceman Cometh Irish jealous Joel JONATHAN kape keep kisses knew laugh live look Louis Sheaffer MALOY Mansions mean mind Mother Napoleon never NORA O'Neill O'Neill's passionately peace pity play pride proud rear remember resentful resentfully SARA smiling SARA stares Sara's scene SIMON ignoring SIMON stares sits slave sneer Specie Circular stops strange stupid suddenly summerhouse talk teasingly tell Tenard tensely there's thought tone turns uneasily waiting wife wish woman Yale University