When he does so, he is obliged to meet his hostess. They recognise each other. Mazilier soon recognises Georges as well. She insists that Georges meet her in her garden to discuss the consequences of their unexpected meeting. The scene changes to the garden. The action begins, rather implausibly, with Dr. Cora and Mazilier then discuss their visit to Toulon four years earlier and the possibility that du Hamel might now be living in Paris. George and Cora recognise each other; she insists that they must talk. Mazilier also recognises George. While she still loves him, she is unwilling to share him with his betrothed.
Who traced it? For which play? The two texts are now more closely aligned. Instead, in the English adaptation, regular references to race replace references to the law. Mazilier warns Cora that her unrelenting jealousy and preoccupation with George s could unsettle her mind. She fears going mad and being locked away for life but does not believe that will happen.
She loves George s and wants him to remember their past, but he refuses. She tells George s he is free to leave and then says he cannot. He denies it, but Cora will not disavow having been his mistress. Marcelle says she is dying and that she could forgive Georges a crime but not his betrayal. He then escorts his wife out the door, looking daggers at Cora as he departs and calling her mad.
Cora wants to punish Georges but momentarily loses her mind. She thinks about revealing his past crime to his wife but realises that he has already confessed it to her.
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In the end there is salvation for the du Hamel-de Rives family. Marcelle takes pity on her. Marcelle pardons George and then comforts and consoles Cora as she dies. While germane to the reworking of French dramas for British audiences, addressing those matters in depth would require more space than is available here. Wills has certainly, in three cases, been very successful in obtaining public recognition of his work when he has aimed at a high standard; I mean in Charles I , Jane Shore , and Olivia.
But how many other plays has he given us which are full of the highest dramatic merit, and yet are comparatively unknown?
To be sure, Cora is not an original work; it is based on a French model. If the English playwright shifts attention from matters of French law, he does not abandon that subject altogether.
In light of this transformation, perhaps we ought to consider translation and adaptation a source of, rather than an impediment to, creativity and declare the concept of national literature an aesthetic construct as artificial and as mutable as the boundary lines drawn on maps. Belot , Adolphe. Paris: Dentu, Le Drame de la rue de la Paix. Le Drame de la rue de la Paix, drame en cinq actes.
Victor Richon. Edinburgh: H.
Adolphe Braun. A European Photography Business and the 19th-Century Visual Arts
Robinson, etc. Contemporary French Drama collection.
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Bradley , Laurel. Paris: E. Dentu, Kenney , James. The Pledge; or Castilian Honour. London: C. Chapple, Manganelli , Kimberly Snyder. Marshall , Frank. Morley , Henry. Oxenford , John, and Horace Wigan. A Life Chase. London: T. Lacy, Stottlar , James F. Book Description Livre de Poche.
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French language. Uniform Title Adolphe. English Author Constant, Benjamin, Other Authors Wildman, Carl. Series The art of the novella Melville House classics Art of the novella. Melville House classics. Subjects Fiction. Commitment Psychology -- Fiction. Commitment Psychology Manners and customs. France -- Social life and customs -- 19th century -- Fiction.