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E. • S. Ex Director of the Departbaent of English SI PHILOSOPHICAL IDEAS IN FIVE PLAYS BY JEAN-PAUL SARTRE APPROVED: F, hjMT ajor Professor / Minor Professor e. • s. ex Director of the Departbaent of English SI Dean of the Graduate School 3 Fii, T jOS OP HIC AI j IDEAS IN FIVE PLAYS JEAN-PAUL. SARTRE THESIS Presented f:o the Graduate Couik.il ot the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS . By Sreuhea G. Porlxnan, B, A. A. * D eri'l'oru T e x a s Juiis;. \ TABLE OF CONTENTS Page Chapter I. INTRODUCTION 1 II. BEING AND NOTHINGNESS; THE FLIES 8 The Structure of Being The~F"iies III. FREEDOM AND BAD FAITH; THE RESPECTFUL . PROSTITUTE ...... .~77 . ~ 7~" , . 33 Bad Fajth and The Structure of Being Patterns of Bad Faith IV. FREEDOM ANDJ3TIiER .PEOPLE: NO EXIT. ..... 54 The Structure of Being and the Other The laexitability of Conflict The Eternal Triangle V. FREEDOM AND ACTION: DIRTY HANDS. , 75 Freedom as the Fundamental Condition, of Action The Intellectual Th," Leader The Worker 'VI. FREEDOM AND RESPONSIBILITY: THE CONDEMNED OF AI.TQNA . "T . 94 Situations as Only Human The Responsibility of Freedom Coif-emnef! to Freedom. VII. CONCLUSION ; <ll0 B JB.L (OCR A PHY . ........ .114 iii CHAPTER I INTRODUCTION Jean-Paul Sartre is one of the -profound arc] Interesting innovators of modern drama today. To know the urmia of Sartre is to know some- thing about the problems that face modern man. To know the drama of Sartre is to know som^thin.i? of en,: -of the most irTluerjtk:il philosophies of the century, i?iis dramatic themes and the char actors in his drama 4** emerge from the structure of his philosophy. Sartre has said that; ''existentialism's first move is to make every man avvsre, oC what he is and to make the full resp./m ibiJily of his existence rest on him. Ha uses the theater to pursue t.ie hl'xi stential task. Hi 3 drama is <A tool of bis philosophy. Beeavse Sartre is primarily a philoaepher, it is r.sces- sa ry to investigate rus phiio:,v phy ui order to thoroughly understand his draffs. Insotar or ne carnc-j his task into the thealer; He is a moral i.st.„ He has a message to convey, and his medium of conimun 3 c a t i on with the ordinary man. is i.he :N.;ater. However, It must not be forgot tea that this ifitssr.go ;s a philosophical message ar.d ihst the serious student of Sartre's drama hat, en obligation to penetrate beneath the surface of .lean-Paul Sir! frc./u;.i i> ted by Bernard Freclmnan (J\e*v York. 1047), y, j Q. • the existential framework. The student of Sartre :f he is r<~ -nderst'-md SarlrVs drama, ravist seek the ''essence15 of the [nwo far 3, s he put.sues the nossenceM oi the s illation, the f^jjiueiit "wil necessarily become eniayj^led m Sartre -- ph d OSO pay. The raior idea behind each of Sartre's dramas is grounded In his philosophy. Sartre js able to,, turn to. to expo and h i s phile & ophy he cans e the^ rne taphy s ^al_g th e ^ ria tur £ ^ut Be ing, for him, is a question of the he i ng^fjiiiap, Sa r t r e! s phi io so < :\h y.. -i s - a pb i 1 o 3 o p h y pji h un xa nac t io a ii^r_u£ ifee Jrama,a_ sit!tia I i o n, B e c a u se !:is philosophy is subjective, it lends itself particularly well to tne theater* Dramazeic j>lots arebjult arcvod a u: na a situatlon action. , Sartre's sub j e c t i vj. he attexnptr3„ tq^^ s tudy man |7titro?roeciiv 'ely and as a bpnclle_ of,cocon fHc *1n g e^ojions, Eric "Rentley In The Plj*.YwZr has characterized ? Sartre1 s drama as ' 'philosophic melodrama. 11There is a, good reason why Sa rrre4 s drama appears meiodrarnac;c, a reason that Beuti ey tax^s into consideration. Because Sartre's philosophy.,is. subjective and sees man in terms of the '"inner eye., n his dramatic characters seem over- a rri() t i o r a 1 an d o v e r d r a w a * B a c h a c t i o a rn a y s e c i n u i \ rx ^ c e s s a r l by paramount, hut: it mast be remembered that a>r Sartre nkn is defined in te Tills oj a is eels, iS ! o be is to act. si Axua on alone changes the world. 1") en u c y. 1di e r - I a y <^ r ^ ^ hi. A s T h i 11 ka; r (N e v./ Y o r k, i ° 4 6) ? p. &$(. Action alone defines the individual; and, the refore, each act Is taken seriously. Each aci is serious because the life o£ Hie actor depends upon it. Action is dangerous because .it changes what_already,.exists ,r}.ew* daiigf;.r_ o£._d/-arnatic and creative language is what the German poet Holderlin^had in mind \yhg.ri..f}<;,\vrote: But man .dwelj,s in hut<s,£ig,p,s, himseIf jLn _ the bashful garment,^ sinco_ he is jrriore fervent and inore^jxttejitive too over e spirit, as the pjJ^gtess the divine flamej thijs is "his .undejc&tajad£rig7~~Cnd therefore he has been given arbitrarine.ss, and to him, godlike, has been fc' lv©n higher Fowec3:Q..^P4msa6.d and. to accomplish*. "and therefore has languoge,. mosx^ange„ixiU,§_ja4M9,ss,e..ssions, so that creating, destroying, %nd perishing and returnirig. to the ever-living. to the mistress *n$J?39#?-2-r' he _affii,r^what.lie., 1 fe.S.e • - tJiX " r> v e s e r vin g lo\"X. J Viheuever man acts, he is creating himself, Ti existential drama 33 LLiLgjordC-_it.i s 1?ecanso creatingJhe meaning of j?xi ste^ic e Js serious. it is cangei oas because tne fixture of tne wor 1 d depends on it. Oresi.cs in _ine r lie:.: i,-? laceo with the problem of creating meaning out oi what Sa.itre calls "the Nothingness of Being, i! Orestes, and all men, roust make something from nothing. He must give his life meaning v/ll?fe t^ere is none. A conte>np_orary_ esample of the encounter with Nothingru'-.vs and the search for Being is the old man in Hemingway's "Martin Heidegger, "Holder]in and the Essence of Poetry, " translated by Douglas Scott, .^istence vnd Bein^ (Chiea go, 1949), p. 296, 4 nA Clean, Well-.Lighted Place. M Hemingway describes the nothingness and loneliness that the old man feels when the lights go out in the only public place in town that is worthy of frequenting. Hemingway asks; What.jdld-.he fear? It was not feax^ax^dxcad. It wa&^nothing that he knew too well. It was all a nothing_and was notjun^ioo. It was onlyj^ J^t jiegded^and a certciin cleanne ss and order. Some lived jn^t and never felt it but he knew it all was nada y pues nada y na-da y pues nada. Our nada who art in nada, nada be thy name thy king- dom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; 7 « pues nada. Hail nothing fall of nothing, nothing is with thee. Ke smiled and stood before a bar with a shilling steam pressure coffee.machine. Like the old man in the cafe, Orestes .Ls faced with a cold and empty life. He tries to overcome his nothingness by making Argos his home and the people of Argos his responsibility. The- lies oecUul Prostitute is a study oi "bad, faith. " Bad faith is <'.h--attitude that grows out of man's inevitable struggle to overcome the Nothingness of Beitig, To i. ho roughly understand The Respectful Pros - tltute it is necessary to understand Sartre's concept of bad faith. If J-.be phcnomenpa is not consjctergtijn ;,bilosophy, ,_then xt ® •pttt" v>f" pla c e andjh^e cha racj:gr s. whjah. illustrate .patterns of b^L«iK",Ll'^"aein ^:t^us f;:d A lack of philosophic understanding cau lead the drama critic to a misinterpretadon of the liJrnef-L Hemingway, "A Clean Well-Light-id Place, " The Snows of Kilimanjaro and Other Stories {New York, 1927), pp. 32-33""" role that each character plays, Frederick Lamley in New Trends in Twentieth Centiiry Drama writes; La Putain respectucuse is an example of the supreme dangers of Sartrian theatre, 'the dangers of trying to over- simplify by crude melodrama and surface logic a problem which defies simplification. In dramatising the colour bar problem in the Southern States, Sartre stumbles into all the pitfalls that a blatant propagandist in the name of Soviet realism might deliberately choose; the result is - so outra- geously false that this treatment is only one stage removed from mock-melodrama. Lumley fails to understand that though Sartre chooses Mthe colourjbar problem in the Southern States" as the particular mode of illustration, the problem under study is universal in nature. Not t?Jdn<7 into account Sartrers philosophy has led him to misinterpret the theme °- 'he drama.
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