williams drama from ibsen to eliot

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later
Kammarspel.
III
ANTON
CHEKHOV
126
The
sacred
art
of
naturalism
; The
Seagull,
refinement
and
revelation;
The
;
is
in
fact
one
of
the
major
critical
any
independent
Mr.
Priestley
characters.
It
is
the
stage.
partially
understood,
and
there
is
conscious
artist
S.
Eliot
ordered
process,
in
which
the
in real
istic
they
literary
pattern.
But
it
DRAMA FROM
of
the
gods.
1
Shaw,
later,
took
up
this
same
point
about
the
difficulty
of
dramatic
prose,
and
put
nobody ever denied; but it is easy for Shaw to
write
good
him
related.
The
tendency,
at
any
rate,
of
prose
drama
permanent
and
universal
we
of
fact,
whole
range
of
human
experience,
even
while
committed
methods
were
employed.
The
most
important,
perhaps,
since
it
its intensification
into something
with certain
changes, is
religious
revival
not
to
underestimate
the
profound
central
difficulty.
provides
of
Synge
to
that
of
be
referred
to
the
discussion of this point in the note to the chapter on
Synge.)
In
a
rich,
vital,
and
intensely
personal
language
such
as
the
is
as movement
full
power
of
the
drama
is
available
form
In
performance,
whether
women
for
the
representation
of
particular
emotions.
In
the
Greek
drama,
virtually
absolute
formance,
and
real
interest
where
DRAMA FROM
Hamlet,
already
rather
self-consciously
aware
was deliberately
Elizabethan
manner.
which
a
revolution
in
its
principles
this
Introduction,
not
so
much
against
too
often
a
our
future
directions.
38
and that
drain; a loathsome
to
mean.
DRAMA FROM
of
scandals, they
made the
preparation for
account
important
to
be
given
up
for
a
pseudo-biology.
What
Mr.
Eliot
has
said
of
Shakespeare
which
it
was
written,
in
relation
DRAMA FROM
IBSEN TO
The success
Characters
were
similarly
conventional:
of
the
movement
of
present regiment
m :
at Ostraat
method
of
his
drama
at
this
same
essential
method
may
be
the
Lady
Inger
of
Ostraat,
as
of
significant
experience
must
be
the
primary
concern.
Already,
conduct, which, with
the
particular
emotion.
But
The
Pretenders,
as
a
stated
DRAMA FROM
futile.
The
call
is
absolute,
and
so
Crying to
53
be no compromise;
dove
which
will
descend
has
been
the
of
It
would
seem
that
the
verse
of
that they
But
the
formula
which
he
has
chosen
is
religious;
and
question
the
adequacy
of
his
substantiation.
HENRIK IBSEN
of
the
poem
is
be
quit
of
and
he
has
contracted
him
;
place. The material
atmosphere
of
the
play
makes
of
understanding
plays
days
of
Shakespeare.
anatomy into the
DRAMA FROM
and
again,
from
his
rests
on
characteristic
devices:
deliberate
misunderstandings,
substi-
tuted
letters,
complicated
intrigue,
the
careful in
The
anti-romantic
drama,
and
the
concessions
to
theatrical
intrigue
than
all
which
is
reinforced
when
it
is
considered
in
the
context
of
Ibsen's
work
as
a
whole.
The
specific
text
but
they
cling
to
his
life
related
the
Ibsenites
seized.
There
are
not really changed
at root
incompatible
values
is
not
resolved.
Deprived
of
this
essential
consistency,
Ghosts
tends
always
to
the
horror,
that
it
had
better
To call it symbolism is somewhat misleading. It is the
kind of
the
elaborated.
In
An
Enemy
of
true,
as
with
The
they are symbolic. The
it
is
still
alive.
daily
association,
this
-period
at
for
had begun.
thing, in
emotions
behind
the
play,
the
actual
phrase
made
a
pressure-point
for
realises
is
no
himself
but the
the
explicit,
formal
pattern
essential
attitude
to
experience.
It is the
technique which
comes
of
Jew
of
Malta
seems
to
have
been
very
conscious
put
less
emphasis
on
the
pistols,
and
more
on
the
suggests
that
Ibsen
theme
which
he
had
already
formulated
explicitly.
2
The
Critic,
Autumn
1947,
p.
82.
to
his
development,
and
increasingly
HENRIK IBSEN
He is
DRAMA FROM
resembles
John
Gabriel
Borkman.
appear in
appear
also
almost
everywhere
presented
by
his
dogmatic
seen
cost
me,
and
others.
And
every
single
day
high
as
DRAMA FROM
or
it
DRAMA FROM
whom he
us
—those
are.
Borkman,
Gunhild,
and
Ella
can
no
more
break
out
of
their
deadlock
Rita. They
there is
and glory.
But Rubek,
Resurrection
Day
became
and
which
have
to
wash
them
clean
There
is
no
going
forward
or
backward.
94
air, and
pronounces the
unity
parts of
Hedda
permanent
as
of his
judge,
the
literature.
Mention
of
Strindberg,
to
the
average
theatregoer,
usually
brings
as
DRAMA FROM
IBSEN TO
its
demands
for
reform
to
the
stage
also.
Zola
the
power-
ful
theme
and
the
concentrated
form
that
showed
innovation,
me
a
kind
disinterested
enjoyment
and
at
the
any
real
expression.
Take
that
away
and
strong
as
my
will
realism
; a
method,
of
this
is
a
life-
illusion
which
And the
why the plant dies
drama is
consciousness.
But
Strindberg's
definition
of
his
method
of
characterisation
( my
souls
smart
like the
DRAMA FROM
IBSEN TO
the
particular
Each
part
of
the
a drama
again
with
his
unbelief;
convent,
which
the
Stranger
believes
parents,
and
by
the
comfort
they
unto
themselves
more
grievous
than
the
darkness.
'an intelligent man
oneself first.
stranger: Life
bring
atonement.
It
to
Damascus)
and
the
historical
plays
Saga
of
the
uncharacteristic
of
Strindberg.
play
which
of sorrow
framework.
contradiction
of
experience
and
convention.
Strindberg
turned
again
to
experiment,
social
consciousness.
The
people
who
assemble
1907,
and
is
a
summary
of
the
main
no
virtuosity
of
scenic
change.
The
the Student
sir.
had
come
from
her
drama.
But
own
level;
too
often,
the
essential
conventions
became
merely
startling
novelties
and
lishing
a
general
this
way
a
man
comes
along
by
subtlety
she
placed
on
the
table,
with
Trigorin
still
murmuring
I
don't
trick
is
always
worth
playing
twice.
I
am
trying,
rather,
to
assess
the
a
substitute
for
adequate
expression
the
High
School
every
day
and
vein
mentality,
as
it
is
from
the
same
limited
expression.
The
local
is
satirised
man
who
of one's
which
for
one
reason
or
another
cannot
be
faced,
and
to
which,
accordingly,
renouncing
his
control,
and
oppressive
dreams.
Well,
we
have
a
literary
literary
politics
that
the
shortest
cut
wrote
this needed fresh
not only on the play,
but on
. .
.
in its own
Shaw
because
whenever
Shaw
had
to
deal
with
personal
emotion,
little
awe,
feeling
for
the
first
time
the
presence
of
a
keen
sorrow.)
143
DRAMA FROM
ment
rather
to
me
that
the
specta-
tors
laugh :
any
fool
can
isn't
it,
Eugene?
by the
the
cultivate
a
as
his
masterpiece:
and
Saint
Joan
about
the
prose
of
Joan's
DRAMA FROM
IBSEN TO
context is apt
in themselves, but by
a
—
of
the
Satanic
happy ages
a
chink
I think,
or
and one must
knockabout farce. Deirdre
it.)
this
speech
of
Mary
Byrne's
It's
in
terror
from
a
renewed
offer
to
restore
their
sight
of
the
fine
thing
way
I'll
go
romancing
through
hour
to
the
dawning
of
the
judgment
day.
It
is
Pegeen
Mike
is
slight,
all
strength
of
his
own
early
work
it
is
obviously
like
day
Strindberg in
the Preface
with
me.
or
When
we're
dowsing
hin
hon
left
you.
Her eyes
relationships.
The
Weavers
was
different
ofworking people, but none
DRAMA FROM
as
shows the weavers
moves
a
method
that
is
weavers
the
successive
bargainings,
with
the
employer
and
his
creatures;
the
speech
which
DRAMA FROM
IBSEN TO
and
more
the
base
the
staff
room
and
the
vestibule.
The
same
to
the
world
reports
common
grave
we
didn't
;
of naturalism.
the
most
universal
and
most
orthodox
such
an
independ-
ence,
even
of
his
own
author,
a
DRAMA FROM
IBSEN TO
development,
the
father :
No,
sir;
Nothing
of
the
kind
the
father :
What,
haven't
could
wish.
the actors cry:
a method
of
any
such
convention.
early
novelle.
This,
if
nothing
else,
would
confirm
that
his
experiments
were
always
is
such
almost
starting
out
of
his
head,
terrified
by
the
life
of
his
own
be
imitators,
a
matter
given, the
and directs
from
Murder
in
the
Cathedral
it
to
be
be
taken
a
great
deal
further,
and
not
in
the
interest
of
a
demo-
mouths.
he
disagreed.
He
2
particular
influence
of
the exterior illusion,
idea,
rather
theatre
; a
dramatist
could
hardly
be
that;
but
with
his
plays
as
with
the
presentation,
in
a
place
by
itself,
to
put
their
only
be
approached
through
what
is
of ideas,
Countess
versions,
has
moments
of
tenacity,
and
its
ending,
and
dreams,
certain major
the
lively
speech
of
the
have
brought
everything
to
nothing
once
been
destroyed
W. B.
DRAMA FROM
crazy
To
W. B.
of
a
singer
whether
Yeats's
work
in
the
theatre
or
the
actual
achievement
of
to
be
highly
self, he restored to words their ancient sovereignty in the
drama.
222
DRAMA FROM
represent,
not
the
and
DRAMA FROM
IBSEN TO
a
larger
method,
for
which
the
tradition
still
lives;
the
chorus
becomes
a
link
participation.
This
is
The
the theatre
which is
by
Becket,
and
natural
exposition
the
audience
can
be
theoretically
justified,
death
If you call that
minor
reservations,
on
;
the
characters
of
Sweeney
Agonistes,
whose
only
near
modern
rela-
the
familiar
drawing-
rooms
of
naturalism.
total
verse-form
the
play.
It
is
a
form
designed
to
express
gerald
in
prose?
conscious
play
with
interpenetration
the
DRAMA FROM
experience
is
generally
adequate;
but
there
is
T. S.
julia:
Protect
her
from
Protect
to
T. S.
level,
statement,
of
a
deliberate
which is
quite unlike
the normal
That
misery
manner of
but
the
dominant
quite
different
judged,
this
development
of
a
with
the
others
as
part
of
of anything in me
necessary
To
you lose some-
the
poet's
business.
The
difficulty,
however,
arises
with
the
question
DRAMA FROM
have
been
(vi)
Sweeney
brilliantly
sustained
by
the
deliberately
naturalist
T. S.
actually
distracted
attention
from
them.
essential
of Ideas have, after
Dance
of
his
thoughts
are
appropriate
to
the
years
of
which
Mr.
Auden
himself
has
recently
described
mad scene in
DRAMA FROM
choruses
become
ragged.
One
is
confronted
with
passages
like
these
(i)
Men
are
SOME VERSE
but the fourth, which
disparity, is from
presumably, the
from
the
final,
and
positive,
speech
of
Francis.
peak
F6,
in
a
kind
of
quest.
And
like
the
search
for
Francis,
than individual, has
one
of
the
main
tasks
their
final
exchanges
kiss,
There
is
chant
Moments
of
happiness
all
point
is
the
implied
254
of
Bishops.
But
if
there
is
anything
in
made
up
DRAMA FROM
confer
a
choice
of
subject-matter
than
of
style
she
selects
her
material
according
DRAMA FROM
recorded
;
of
except
any
general
end
in
contrivance
because
they
add
so
little
but
a
New
Statesman
and
Nation.
i*
265
incidental
success
of
the
plays,
but
there
is
a
dogged
persistence
about
it
epitaph
for
Mr.
Fry,
but
full
understanding
one
needs
word
image,
in
DRAMA FROM
phrases,
is
a
less
distin-
guishes
from
reviewing)
is
apparently
contrasting
phases
fact,
more
radical
than
which
was
to
be
defined
as
expressionism,
and
had
a
techniques
current
plays.
His
idea
of
contrapuntal
dialogue ,
for
example,
This
dialogue,
providing
his
own
definition
of
seriousness
The
DRAMA FROM
enormous
intellectual
strain
To these
was
the
dominant
literary
form
was this
domination by
the consequent
belief that
the purpose
The speaker
and
been
with
a
an
audience
is,
DRAMA FROM
IBSEN TO

williams drama from ibsen to eliot

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