Few scenes in the gamut of film history bring together the importance of scholarly editing and our intimations of eternal life as tightly or as movingly as the following scene from Wit, a play by Margaret Edson that was adapted for the small screen by the incomparable Mike Leigh.
Its main character, Vivian Bearing, is a professor of 17th-century British literature, specializing in the holy sonnets of John Donne. At the start of the play, she receives a diagnosis of advanced ovarian cancer and consents to an aggressive course of chemotherapy. The “full dose” of an experimental chemotherapy plays against the “uncompromising” scholarly rigor that Vivian applies to her study and teaching of Donne’s intricate puzzles. Both efforts are justified for making a “significant contribution to knowledge.”




