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Durham E-Theses Durham E-Theses English verse drama from 1890 - 1935 Gowda, H. H. Anniah How to cite: Gowda, H. H. Anniah (1958) English verse drama from 1890 - 1935, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10451/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ENGLISH VERSE DRAMA FROM 1890 TO 1935 Thesis submitted to the University of Durham for the degree of M.Litt, by H.H.Anniah Gowda, M.A. (Mysore) Department of English, The Durham Colleges in the University of Durham, Durham, Septemher 26, 1958. CONTENTS INTRODUCTION I Chapter 1 CAUSES- OF THE DECLINE OF POETIC DRAMA IN THE NINETEENTH CENTURY ... ' 1 2 DERIVATIVE PLAYS ... ... ... 13 3 DERIVATIVE PLAYS (Contd) 65 4 DOCTRINAIRE PLAYS 135 5 SPECTACULAR PLAYS ... ... ... 184 6 'REALISTIC • V.ERSE DRAMA ... ... 215 7 THE INFLUENCE OF THE NOH PLAYS ON VERSE DRAMA 269 8 RELIGIOUS VERSE DRAMA ... ... ... 314 9 YEATS'S VERSE PLAYS ... ... ... 345 10 CONCLUSION ... 377 APPENDIX A LIST OF VERSE PLAYS TREATED IN THIS WORK AND OF CRITICAL WRITINGS RELAT• ING TO THEM 385 APPENDIX B GENERAL CRITICAL STUDIES ... 402 INTRODUCTION As a research student for the degree of M.Litt., I went to the University of Durham to work under Professor Clifford Leech, whose unfailing inspiration and encouragement to a student in a foreign land need no emphasis. I did a year's work under his constant supervision.. I had planned to spend two years under him, but circumstances beyond my control compelled me to return home at the end of the first year. Prof, Leech was good enough to guide me from across the seas. Thus this work has been done in two countries. I am conscious of my debt to the Department of English of the Durham University and am very grateful to the University of Mysore for having spared me a year to study abroad. CHAPTER ONE THE CAUSES OF THE DECLINE OF POETIC DRAMA IN THE NINETEENTH CENTURY The passing of the high tragedian,- so cheerfully recorded by Charles Hawtrey,- meant the loss of the drama's highest organ - poetic tragedy,- and with it a shrinking of human values. That sense of the greatness of human life, which the most ranting Shakespearian actor conveyed, which the veriest barn-stormer adumbrated, which lingered like the echoes of thunder even in the tragedies of Sheridan Knowles, had vanished from our post-prandial theatre. No wonder that the Germans (whose artisan class in the very stress of Armageddon built for itself a great classic theatre) con• sidered Shakespeare theirs, and the Englishman a 'slacker'.^ These are the words of a writer early in this century. Wliat- ever may be the significance we attach to them, they certainly throw light on the condition of English verse drama. After the Jacobeans, poetic drama gradually gave way to other forms. There have been attempts, many of them fe*ble, to revive poetic drama. Writers of all genres make occasional excursions into this field. Addison felt impelled to write a play in verse, even Samuel Johnson produced Irene. The Romantics showed an irresistible attrac• tion for this form, which became almost an obsession with them. But their very nature went against this way of writing. As they were remote from the general current of life, they could not give what was wanted on the stage. Consequently, their plays had little dramatic merit. They did not regard the drama as a point of contact offered Israel Zangwill, 'Poetic Drama and the War*, The Poetry Review. 1916, ii, pp. 30-31. in the theatre between the writer and the community at large, but only as a suitable form to embody their passions. Unlike the Romantics on the Continent, they lived in isolation: It is perhaps difficult to conceive of Romantic egotists such as Shelley or Byron submitting to the discipline of the theatre; yet the history of nineteenth-century drama elsewhere in Europe suggests that the Romantic approach could find satisfactory expression on the stage. To Schiller or Hugo the theatre offered a challenge which they rejoiced to accept. To the English Romantic poets it was something \rtiich they mostly preferred to ignore,1 It is difficult to agree in detail with Rowell, as so many Continental Romantic plays are not performable. Certainly, having been soaked in the Elizabethan and Jacobean style, the English Romantics were divorced from idiomatic speech, which they could have profitably used on the stage. The Romantic temperament did not realise that the play is something which exists for an audience. 'The Elizabethans, while writing drama, kept both their immediate and their universal audiences in mind'.2 There is a kind of relation between art and the people, which no artist, particularly no drama• tist, can afford to ignore. A drama not related to the climate of popular life becomes a devitalised product and perhaps achieves popularity only in the printed form. On the other hand while the dramatist must not be too remote from life, he should seize on the eternal truths of life. As Wilson Knight puts it: 1 George Rowell, The Victorian Theatre^ 1956, p, 32. 2 L.A,G,Strong, 'Elizabethan Drama and Society', Talking of S^^^egp^ftre, 1954, p. 179: "The time, the humour, the smell of these (Elizabethan) plays are the first evidence of how closely interwoven drama was with the nation's life, the life of the people". We should not look for perfect verisimilitude to life, but rather see each play as an expanded metaphor, by means of which the original vision has been projected into forms roughly correspondent with actuality, con• forming thereto with greater or less exactitude accord• ing to the demands of its nature The persons, ultimately, are not human at all, but purely symbols of poetic vision.1 The letter introducing The Fall of Robespierre throws light on the medium used by the Romantics. Coleridge explains that it is his "sole aim to imitate the impassioned and highly figurative language of the French orators and to develop the characters of the chief actors on a vast stage of horrors".^ Intense emotions are well expressed in verse, which can fasci• nate and hold the hearer. Their expression can have aesthetic merit too; but the use of highly figurative language to the exclu• sion of the language of every day, removes the dramatist from the general tenor of life, and creates an 'ivory tower' for him. There should be a difference between stage-speech and the colloquial speech of the theatre-audience. But the gap between the two should not be too wide. In Murder in the Cathedral, the speech of the Knights after the murder is, no doubt, declamatory. Nevertheless, Eliot is close to the idiom of his audience, and in this respect he is nearer to the Elizabethans than Coleridge, Tennyson, Bridges or even Phillipis. Eliot, discussing the poetry of Murder in the Cathedral^ alludes to the failure of the Romantics in their imitation of Shakespeare's blank verse: G.Wilson Knight, The Wheel of Fire, 1956, p. 16. 2 S.T.Coleridge, Poetical Works,Oxford. 1912, ii, 495. As for the versification, I was only aware at this stage that the essential was to avoid any echo of Shakespeare, for I was persuaded that the failure of nineteenth-century poets when they wrote for the theatre (and most of the greatest English poets had tried their hand at drama) was not in their theatrical technique, but in their dramatic language; and that this was due largely to their limitation to a strict blank verse which, after extensive use for non- dramatic poetry, had lost the flexibility which blank verse must have if it is to give the effect of con• versation,"' William Archer's lively attack sums up the limitations of those sedulous imitators of Shakespeare: Dramatic literature was at a low ebb. The ghost of Romantic drama stalked the stage, decked out in thread• bare flippery and gibbering blank verse What• ever was least essential to Shakespeare's greatness was conscientiously imitated; his ease and flexibility of diction, his subtle characterisation, and his occasional mastery of construction were all ignored. Laboured rhetoric, whether serious or comic, was held%© be the only legitimate form of dramatic utterance.2 Oddly enough, Shakespeare himself, seen through the distorting mirror of the German Romantic drama and the "Gothic" school, is in large part responsible for the divorce in nineteenth-century verse drama between stage life and actual life. Though their study of Shakespeare doubtless influenced their approach to the theatre, Wordsworth and Coleridge turned more for inspiration.to thq^iovelty of the Gothic cult. The outline of The Borderers is manifestly inspired by Schiller, though the play itself has little of the Gothic essence in it.3 Rowell is largely correct, although the scene in which the aged Herbert is left abandoned on the heath by the Borderers, obviously ^ T.S.Eliot, Poetry and Drama, 1950, p.
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