| Thomas Christensen | |||||
The most immediately visible of the editorial alterations of the 1960 edition is the omission of the eipgraphs placed by Richardson at the heads of eight of the chapters. The epigraphs help to illuminate the events of the chapters and to develop the theme of the getting of wisdom. The epigraph to chapter XVII, which offers the comment that "He who cannot lie does not know what truth is," intended by Nietzsche as a criticism of small-minded pedants, is especially pertinent to Laura's experience. Karen McLeod adds that "the act of lying itself demands an imaginative vigour that is valuable, although neither Laura nor her schoolfellows realise it at this stage."24 And McLeod observes that "the injunction that prefaces the final chapter, that Laura should learn to 'dance beyond herself' is vivid, full of possibilities and an enriching of the final paragraphs," a valuable appreciation of the significance of the epigraph to the work. The epigraphs also contribute, I feel, to the book's comic or at least ironic quality, casting a mock epic importance on a schoolgirl's petty trials and preoccupations. In an appendix to her work, McLeod provided these translations of the epigraphs (keyed to the chapters where they occur).25
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*** This essay was the introduction to the 1993 Mercury House reissue of The Getting of Wisdom. return to beginning *** *** Notes 24 McLeod, 85-86. 25 McLeod, 244-45. According to McLeod, the first translation is by W. J. Kaufmann from The Portable Nietzsche and the others are from R. J. Hollingdale's Penguin translations. |
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