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Introduction Part I Chapter Chapter 2 Notes Introduction 1. Dryden has pointed out that the unity of place is a precept of sixteenth-century French poets and is not to be found directly in Aristotle's writings at all. See 'An Essay on Dramatic Poesy', in Selected Works of John Dryden (London, 1964) pp. 329-40· 2. Modern Tragedy (London, 1966) pp. 56ff. 3· Sociologie du Thiatre (Paris, 1965) p. 41. 4· The Hidden God, trans. by Philip Thody (London, 1964) pp. 313ff. 5· See my Tragic Realism and Modern Society (London, 1977) pp. 41ff. 6. Duvignaud, op. cit., p. 66. 7· Williams, op. cit., pp. 121ff. 8. For the Lukacsian approach see 'Approximation to Life in the Novel and the Play', in Elizabeth and Tom Burns (eds), Sociology of Literature and Drama (Harmondsworth: Penguin, 1973) pp. 286ff. 9· For Auerbach's discussion of figural interpretation and figural realism see Mimesis, trans. by Willard B. Trask (Princeton, 1953) pp. 73~. 156--62, 194-202 and 317f; also his essay 'Figura', in Scenes from the Drama ofEuropean Literature (New York, 1959) pp. 11f. and pp. 7of.; and Orr, op. cit., pp. 42f. Part I Chapter 1. For a sociological discussion of this relationship see Stein Rokkan 'Geography, Religion and Social Class; Cross-cutting Cleavages in Norwegian Politics', in S. M. Lipset and S. Rokkan (eds) Party Systems and Voter Alignments (New York, 1g65); Harry Eckstein, Division and Cohesion in .Norway (Princeton, 1g66) chap. 2; and Francis Castles, The Social Democratic Image ofSociety (London, 1978) chap. 3· 2. 'The Quintessence oflbsenism', in Major Critical Essays (London, 1948) pp. 25- 32, 75-83. 3· On this period in Ibsen's life see Michael Meyer's Henrik Ibsen: The Making of a Dramatist (London, 1967) chaps 7 and 8. Chapter 2 1. The Wild Duck, trans. Michael Meyer (London: Methuen, 1g68) p. 58. 2. Ibid., pp. 73-4. 3· Ibid., p. 101. 4· The Lady from the Sea, trans. Michael Meyer (London: Rupert Hart-Davis, 1g6o) p. 101. TRAGIC DRAMA AND MODERN SOCIETY Chapter 3 1. Ro~mersholm, trans. Michael Meyer (London: Rupert Hart-Davis, 1966) p. 78. 2. Ibid., p. 73- 3· Ibid., P· 97· 4· Ibid., p. 99· 5· Ibid., p. 106. 6. Cited in Meyer, Henrik Ibsen: The Top of a Cold Mountain (London, 1971) p. 55· 7· Hedda Gabler, trans. Michael Meyer (London: Rupert Hart-Davis, 1962) PP· 5 1 - 2 • Chapter 4 1. John Gabriel Borkman, trans. Michael Meyer (London: Rupert Hart-Davis, 1960) P·H· 2. Ibid., p. 45· 3· Ibid., p. 53· 4· Ibid., p. 38. 5· Ibid., p. So. 6. Ibid., p. 81. 7· Ibid., p. 83. 8. For a discussion of these productions see Frederick J. Marker and Lisa-Lone Marker, The Scandinavian Theatre (Oxford: Blackwell, 1975) chap. 9· 9· For an account of Bloch's naturalism see Marker and Marker 'William Bloch and Naturalism in the Scandinavian Theatre', Theatre Survry, xv (~ovember, 1974) pp. 85-104. For an account of the Moscow Arts Theatre productions oflbsen see Konstantin Stanislavsky, .\-lj Life in Art, trans.J.J. Robbins (New York, 1956), pp. 344-6, 378-So. Part II Chapter 5 I. Elizabeth Hapgood (ed. & trans.), Stanislavski's Legacy (New York, 1968) p. 82. 2. Ibid., p. 129. 3· Simon Karlinsky (ed.), Leiters of Anton Chekhov, trans. Michael Heim (London, 1973) pp. 97-9· 4· Ronald Hingley (ed.), The Oxford Chekhov, vol. 2. (London: O.C.P.. 1964-7) p. 20g. 5· Ibid., p. 233· 6. Ibid., pp. 234-5. 7· Ibid., pp. 'l53-4· 8. Ibid., p. 257. 9· Ibid., p. 280. 10. The Oxford Chekhov, vol. 3, p. 74-· I r. Ibid., F· 102. 12. Ibid., p. 148. 13. Ibid., p. 149· 14. Ibid., p. •53· 15. Ibid., p. •57· NOTES 285 16. Ibid., p. 190. 1 7. Stanislavsky, op. cit., pp. 553-4. 18. Ibid., pp. 3g8, 407. Chapter 6 1. For a detailed study of the domestic tragedies see Edward Mcinnes, German Social Drama 184o-Igoo (Stuttgart, 1976) and John Osborne, The. Naturalist Drama in Germany (Manchester, 1972). 2. See Die verspiitete .Nation (Stuttgart, 1959); RalfDahrendorf, Sociery and Democracy in Germa'!)' (London, 1968); Fritz Ringer, The Decline of the German Mandarins: The German Academic Communiry, 1fJ9o-1933 (Cambridge, Mass.: Harvard U. P., 1g6g). 3· Foreword to Pandora's Box, in The Lulu Plays and other Sex Tragedies, trans. Steplien Spender( London: Calder and Boyars, 1977) p. 104. 4· 'The Sociology of Modern Drama', trans. Lee Baxendall, Tulane Drama Review, vol. 9 (1964-5) PP· 166-7. 5· For a detailed study of the relation between the political writings and the drama, see Maurice R. Benn, The Drama of Revolt: a Critical Study of Georg Biichner (Cambridge, 1976) chap. 2. 6. The Plays of Georg Buchner, trans. Victor Price (London: O.U.P., 1971) p. 22. 7· Ibid., pp. 56-7. 8. Ibid., p. 66. 9· Ibid., p. 28. 10. Ibid., p. 58. 11. For this aspect of Brecht's work, see Walter Benjamin's studies of the epic theatre in Understanding Brecht, trans. Stanley Mitchell (London, 1973) pp. 1-25. 12. 'Notes to the Threepenny Opera', in Three German Plays (Harmondsworth: P•cnguin, 1963) p. 228. 13. 'Commitment', trans. Francis McDonagh, in Aesthetics and Politics (London: NLB, 1977)· '4· The Days of the Commune, trans. Clive Barker and Arno Reinfrank (London: Methuen, 1978) pp. 46-7. 15. Ibid., p. 38. 16. Ibid., pp. 73-4. 17. Ibid., p. 8o. 18. For Marx's analysis of the historical significance of the Commune, see The Civil War in France (London, 1941). 19. The transcript of Brecht's testimony can be found in Eric Bentley (ed.), Thirry Years of Treason (New York: Viking Press, 1971) pp. 207-25. 20. The Plebeians Rehearse the Upn.sing, trans. Ralph Manheim (Harmondsworth: Penguin, 1972) p. 44· The 1964 address by Grass to the Academy of Arts and Sciences in Berlin is included as Foreword. Here the author presents a rationale for the drama he was subsequently to write. 21. Ibid., p. 56. 22. Ibid., p. 73· Part III Chapter 7 1. Joseph Holloway 'Impressions of a Dublin Playgoer', Ms. 18oo, August 1902. z86 TRAGIC DRAMA AND MODERN SOCIETY National Library of Ireland, Dublin. 2. Explorations (London: Macmillan, Ig62) p. I85. 3· Ibid., PP· I97-8. 4· See 'The Tragic Theatre' (August I910), in &says and Introductions (London: Macmillan, 1g6I) p. 238ff. 5· Yeats, op. cit., p. 249· 6. For contrasting interpretations of the role of the Fay brothers in the early Abbey productions, see Hugh Hunt, 'Synge and the Actor-a consideration of Style', in Maurice Harmon (ed.) ]. M. Synge: Centenary Papers (Dublin, I972) pp. 63-75; andj. W. Flannery, W. B. Yeats and the Idea rif a Theatre (London, I976) pp. I76- 90· 7· See the recollections of Maire Nic Shiublaigh, The Splendid Years (Dublin, I955) pp. 75ff. 8. Holloway, op. cit., Ms. 18o2, 25 February I904· 9· Ibid., 26 February I904· IO. J. M. Synge, Plays, Poems and Prose (London: Dent, I958) p. 29. II. 'J. M. Synge and the Ireland of his Time', in &says and Introductions, p. 339· For contemporary reactions to the play, see james Kilroy, The 'Playboy' Riots (Dublin, I971l· I2. Holloway, op. cit., Ms. 18o5, March 1907· I3· Selected Plays, (Gerrards Cross: Colin Smythe, 1975) p. I23· I4. Selected Plays (London: Macmillan, I964) pp. 44-5. I5. Ibid., P. 241. I6. 'Notes to Crania', in Lady Gregory, op. cit., p. 216. I7· lbid.,p.241. I8. Synge, op. cit., pp. I96-7. I9· See the important and perceptive remarks by Sean 0 Tuama, 'Synge and the Idea of a National Literature', in J. M. Synge: Centenary Papers, pp. 1-17. 20. Synge, op. cit., pp. 2Dg-IO. 21. Many Irish critics, including Holloway, saw Murray as a genuine tragedian of contemporary rural life in Ireland whose work had not received the prominence or acclaim it deserved elsewhere. Here, for example, are the comments of J. P. O'Reilly in Irish Statesman on Autumn Fire: 'This is one of the finest plays ever written since the founding of the Abbey Theatre. It has not the terrible intensity of Maurice Harte, but the tragedy is nonetheless overwhelming; its appeal is wider. Mr. Murray knows his countryside as only those can who are of the countryside. Here are no unreal peasants talking unreal dialect-the Abbey peasant or neo-stage Irishman is conspicuously absent from Mr. Murray's work. His characters are the ordinary Irishman and Irishwoman seen through the eyes of a playwright fairly and squarely ... but Mr. Murray lacks that touch of genius which makes fine workmanship great-that gift which makes Synge's artificial peasants and their dialect immortal ... It seeiDS that Mr. Murray has not received the promi­ nence of Abbey programmes, the publicity and praise that is his due. Why are we given so much that is third-rate, that is patently shoddy ... when plays like that of Mr. Murray exist, Irish in thought and phrase, real and universal in their appeal. Cited in Holloway, op. cit., Ms. 1899, 23 January 1926. NOTES 22. Autumn Fire (London: Allen & Unwin, 1925) p. 3· 23. The Plays of Eugene O'Neill, vol. 3 (New York: Random House, 1954) p. 144. Chapter 8 1. See Lady Gregory's Jour711Jls, ed. Lennox Robinson (London, 1946) pp. 71-g6. 2. The Story of the Irish Citizen Army (New York, 1977) p. 5· (Originally published in 1919.) On the background to O'Casey's involvement in the ICA, see C. Desmond Greaves Sean O'Casey: Politics and Art (London: Lawrence & Wishart, 1979) P· 561f. 3· Ibid., p. g. 4· Holloway, op.
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