The Philanderer
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The Philanderer's Wife
Author: Katherine Trelawney
language: en
Publisher: M-Y Books Limited
Release Date: 2014-12-01
Paddy is the charismatic film producer who has got used to having his cake and eating it. Joscelyn has tolerated her husband's philandering for years, and has always been confident that their unusual union is happy and secure. But when one of Paddy's girlfriends becomes pregnant all the relationships involved come under immense strain. Paddy has the competing demands of wife and mistress, and they come under threat from a third woman who is hoping to take both their places. There are difficult decisions to be made, and this prompts a dramatic end in which the Philanderer's Wife has to decide on the future of her marriage.
The Philanderer
'The Philanderer' begins with a young widow, Grace Tranfield, in love with Leonard Charteris, the 'philanderer' of the title. Grace is shocked to find that Charteris has been in a similar position with other women and learns that his affair with a woman named Julia has never been broken off. Charteris argues that it is not his fault that half the women he speaks to fall in love with him when suddenly Julia enters, has a wild outburst of emotions, attacks Grace, and announces her intention of staying until Charteris has given her up. Several interesting events follow the story of the "philanderer."
Shaw
SHAW 18 offers fourteen articles that illuminate aspects of Shaw's family history, relations with contemporaries, evolving reputation, and dramatic works. Dan H. Laurence presents an authoritative genealogy of the Shaw and Gurly sides of Shaw's family. Among discoveries that have long eluded Shaw's biographers is the birthdate of Elinor Agnes "Yuppy" Shaw, Shaw's sister. Michael W. Pharand assesses Shaw's intense dislike of Sarah Bernhardt. Stanley Weintraub analyzes Shaw's presence in the plays of Eugene O'Neill. Shaw's Advice to Irishmen, a newspaper account of Shaw's 1918 Dublin lecture "Literature in Ireland," records Shaw's comments on George Moore, J. M. Synge, and James Joyce. Robert G. Everding surveys Shaw festivals from 1916 in Ireland to the present-day Shaw festivals in Ontario and Milwaukee. In a review of Frank Harris on Bernard Shaw (1931), Richard Aldington dismisses Shaw as human being, thinker, and dramatist: "You must be a Shavian to admire and love Shaw the artist." In an interview with Leon Hugo, biographer Michael Holroyd discusses his biography of G.B.S., responses to his biography, and future work involving G.B.S. Jeffrey M. Wallmann argues that alienation in Shaw's plays enhances their contemporary value. Bernard F. Dukore investigates Shaw's reasons for discarding the original final act of The Philanderer. Rodelle Weintraub argues persuasively that You Never Can Tell requires the audience to choose between "Crampton's reality" and "Crampton's dream." Mark H. Sterner, weighing the various charges against Ann Whitefield's character in Man and Superman, concludes that Shaw's treatment of her and Tanner "as significantly different, but nevertheless equal . . . in itself was a revolutionary change in the status of sexual power relationships." Julie A. Sparks identifies W. W. Henley's sonnet "'Liza" as a likely source not only for some of Eliza's traits in Pygmalion but also for images in Man and Superman and Major Barbara. Charles A. Carpenter considers Buoyant Billions and Farfetched Fables in the context of Shaw's response to the birth of the atomic age. Paul Bauschatz, evaluating the differences between My Fair Lady and Pygmalion, illustrates why the film can reflect Shaw's play "only uneasily." SHAW 18 includes five reviews of recent additions to Shavian scholarship as well as John R. Pfeiffer's "Continuing Checklist of Shaviana."