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Истории за гротеската и арабеската Истории за Гротеската и Арабеската (на английски: Tales of the Grotesque and Arabesque) е сборник на вече публикувани разкази от американския поет и писател Едгар Алън По. За пръв път е публикувана през 1840 г. Публикация[редактиране | edit source] Книгата е публикувана във Филаделфия от "Lea & Blanchard" в два тома. Издателят се съгласява да издаде книгата заради успешния разказ на По „Падането на къщата на Ъшър“. Дори и така да е, авторът не получава никакъв хонорар. Заплащат му само за 20 копия.[1] В допълнение По пише сегашния известен цитат, защитавайки се от критицизма, че неговите истории са част от „Германизма“. Той пише: Сборникът е посветен на полковник Уилям Дрейтън, когото По среща вероятно докато е на военна служба в Чарлстън Южна Каролина. Когато Дрейтън се мести във Филаделфия, Пенсилвания, По продължава кореспонденцията си с него.[2] Полковникът е предишен член на Конгреса, след това става съдия и вероятно е субсидирал публикацията на книгата.[1] Източници[редактиране | edit source] - ↑ а б Jeffrey Meyers - Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992. стр. 113 - ↑ Arthur Hobson Quinn - Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. стр. 129.
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William Wilson (short story) "William Wilson" is a short story by Edgar Allan Poe, first published in 1839, with a setting inspired by Poe's formative years outside of London. The tale follows the theme of the doppelgänger and is written in a style based on rationality. It also appeared in the 1840 collection Tales of the Grotesque and Arabesque, and has been adapted several times. [edit] Plot summary It's a story about William Wilson, a man of "a noble descent" who calls himself William Wilson because, denouncing his profligate past, although he does not accept blame[dubious ]for his actions, saying that "man was never thus [...] tempted before". After several paragraphs, the narration then segues into a description of Wilson's boyhood, which was spent in a school "in a misty-looking village of England". William meeted another boy in his school who shared the same name, who had roughly the same appearance, and who was even born on exactly the same date — January 19 (which was also Poe's birthday). William's name (he asserts that his actual name is only similar to "William Wilson") embarrasses him because it sounds "plebeian" or common, and he is irked that he must hear the name twice as much on account of the other William. The boy also dress like William and walk like him, but he could only speak in a whisper, he imitates that whisper exactly. He begins to give orders to William of an unspecified nature, which he refuses to obey, resenting the boy's "arrogance". One night he stole into the other William's bedroom and saw that the boy's face had suddenly become exactly like his own. Upon seeing this, William left the academy immediately, and in the same week, the other boy followed him. William eventually attends Eton and Oxford, gradually becoming more debauched and performing what he terms "mischief". For example, he stoled a man by cheating at cards. The other William appeared, his face covered, whispered a few words sufficient to alert others to William's behavior, and leaves with no others seeing his face. He also tried to seduce a married woman but the other William did the same thing. At the ball in Rome, William drags his "unresisting" double—who was wearing identical clothes—into an antechamber, and stabs him fatally. After William does this, a large mirror suddenly seems to appear. Reflected at him, he sees "mine own image, but with features all pale and dabbled in blood": apparently the dead double, "but he spoke no longer in a whisper". The narrator feels as if he is pronouncing the words: "In me didst thou exist—and in my death, see [...] how utterly thou hast murdered thyself." [edit] Background The setting of "William Wilson" is semi-autobiographical and relates to Poe's residence in England as a boy. The "misty-looking village of England" of the story is Stoke Newington, now a suburb of north London. The school is based on the Manor House School in Stoke Newington which Poe attended from 1817 to 1820. Poe's headmaster there, the Reverend John Bransby, shares the same name as the headmaster in the story, though, in the latter, he acquires the dignity of being a "Doctor".[1] This school has since been demolished. The church mentioned in the story is based on St Mary's "Old" Church, the original parish church of Stoke Newington. This building is still extant. Additionally, Poe acknowledged that the idea of a story about the irritation one feels by meeting someone with the same name, thereby ruining a feeling of uniqueness, was inspired by an article by Washington Irving. At the end of Irving's tale, the main character kills his double with his sword, only to see his own face behind the mask.[2] [edit] Analysis "William Wilson" clearly explores the theme of the double. This second self haunts the protagonist and leads him to insanity and also represents his own insanity.[3] According to Poe biographer, Arthur Hobson Quinn, the second self represents the conscience.[4] This division of the self is reinforced by the narrator's admission that "William Wilson" is actually a pseudonym. The name itself is an interesting choice: "son" of "will". In other words, William Wilson has willed himself into being along with the double which shares that name.[5] Poe wrote the story very carefully and with subtlety. Sentences are balanced, with very few adjectives, and there is little concrete imagery beyond the description of Wilson's school. Pacing is purposely set as leisurely and measured using a formal style and longer sentences. Rather than creating a poetic effect or mood, as Poe recommends in "The Philosophy of Composition", Poe is creating a tale based on rationality and logic.[6] [edit] Publication history "William Wilson" was published in the October 1839 issue of Burton's Gentleman's Magazine, though it appeared earlier that year in The Gift: A Christmas and New Year's Present dated for 1840.[7] The tale was later translated into French in December 1844, printed in the Paris newspaper La Quotidienne in two installments. This was the first translation of Poe's work to a language other than English and marked Poe's introduction to France.[8] [edit] Critical reception When Poe wrote to Washington Irving asking for a word of endorsement, he specifically requested a response to "William Wilson", calling it "my best effort".[9] Irving responded, "It is managed in a highly picturesque Style and the Singular and Mysterious interest is well sustained throughout".[10] Thomas Mann said of Fyodor Dostoevsky's The Double: A Petersburg Poem, which explores a similar doppelgänger theme, "by no means improved on Edgar Allan Poe's 'William Wilson,' a tale that deals with the same old romantic motif in a way far more profound on the moral side and more successfully resolving the critical [theme] in the poetic".[3] [edit] Adaptations In 1913, "William Wilson" was freely adapted into The Student of Prague, a German film directed by Stellan Rye and Paul Wegener and starring Wegener. A 1926 version was also made in Germany and directed by Henrik Galeen and starred Conrad Veidt. A third German adaptation, made in 1935, was directed by Arthur Robison and starred Anton Walbrook. In 1943, "William Wilson" was adapted as a radio play for The Weird Circle on the Mutual Broadcasting System.[11] A French-Italian collaboration came out in 1968 called Spirits of the Dead or Histoires extraordinaires. The film is composed of three vignettes, directed by Roger Vadim, Louis Malle and Federico Fellini and starring Alain Delon and Brigitte Bardot.[12] The other two segments adapt Poe's "Metzengerstein" and "Never Bet the Devil Your Head". It would also form the basis for the Smithereens' song of the same name, from their 1989 album "11". [edit] References - ^ Quinn, Arthur Hobson Quinn. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 75. - ^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991: 149–150. - ^ a b Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York: Cooper Square Press, 1992: 287. - ^ Quinn, Arthur Hobson Quinn. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 286–287. - ^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. - ^ Stauffer, Donald Barlow. "Style and Meaning in 'Ligeia' and 'William Wilson'", from Twentieth Century Interpretations of Poe's Tales, edited by William L. Howarth. Englewood Cliffs, NJ: Prentice-Hall Inc., 1971: 82. - ^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001: 256. - ^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991: 233. - ^ Neimeyer, Mark. "Poe and Popular Culture", collected in The Cambridge Companion to Edgar Allan Poe. Cambridge University Press, 2002: 207. - ^ Jones, Brian Jay. Washington Irving: An American Original. New York: Arcade Publishing, 2008: 334. - ^ Jerry Haendiges Vintage Radio Logs: The Weird Circle - ^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 256–257. [edit] External links - "William Wilson" with annotated vocabulary at PoeStories.com - "William Wilson", an avant-garde film directed by Michael Van Devere.