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ZEEB ROAD, ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1R 4EJ, ENGLAND 8107333 G r e in e r, P a t r ic ia A n n THE PLAYS OF TOM STOPPARD: RECOGNITION, EXPLORATION, AND RETREAT The Ohio State University PH.D. 1980 University Microfilms International300 N. Zeeb Road, Ann Arbor, MI 48106 Copyright 1980 by Greiner, Patricia Ann All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark . 1. Glossy photographs ______ 2. Colored illustrations ______ 3. Photographs with dark background ______ 4. Illustrations are poor copy ______ 5. °rint shows through as there is text on both sides of page ______ 6. Indistinct, broken or small print on several pages _______ 7. Tightly bound copy with print lost in spine ______ 8. Computer printout pages with indistinct print ______ 9. Page(s)___ ____ lacking when material received, and not available from school or author 10. Page(s) 155 seem to be missing in numbering only as text follows 11. Poor carbon copy ______ 12. Not original copy, several pages with blurred type ______ 13. Appendix pages are poor copy ______ 14. Original copy with light type ______ 15. Curling and wrinkled pages ______ 16. Other__________________ _____________________________ University M icrofilms International 300 N. ZEEB RD.. ANN ARBOR. Ml 48106 (3131 761 4700 THE PLAYS OF TOM STOPPARD: RECOGNITION, EXPLORATION, AND RETREAT DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Patricia A. Greiner, B.A., M.A. ***** The Ohio State University 1980 Reading Committee: Approved By Mark S. Auburn Katherine H. Burkman Ernest Lockridge Adviser Department of English ACKNOWLEDGMENTS I wish to acknowledge the encouragement and guidance I have re­ ceived throughout my graduate studies from my adviser, Mark S. Auburn. I would also like to thank Grove Press for permission to quote from the works of Tom Stoppard, and Keith Miller, Coordinator of the University of Wyoming-Casper program, for his assistance in securing release time in which I completed this work. Finally, my gratitude and affection are due to my spouse, William C. Howard, Jr., who knew, most important­ ly, when to nudge and when not to. ii VITA November 26, 1953 ................ Born - Lancaster, Pennsylvania 1975 .................... .. B.A. with High Honors and with Distinction in English, Univer­ sity of Delaware, Newark, Delaware 1976 ............................ M.A., The Ohio State University, Columbus, Ohio 1976 - 1978 .................... Teaching Associate, Department of English, The Ohio State Univer­ sity, Columbus, Ohio 1979 - present ........ Instructor, Department of English, University of Wyoming Academic Pro­ grams in Casper, Wyoming PUBLICATION "Tomorrow and Tomorrow." Grover, 3 (Spring 197*0> PP» 30-38. FIELDS OF STUDY Major Fields English Studies in Drama. Professor Mark S. Auburn Studies in Nineteenth-Century American Literature. Professor Thomas Cooley Studies in Modern Literature. Professor John Muste Studies in Applied English Linguistics. Professor Dudley Hascall iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS .................................................... ii VITA ..................................................................iii Chapter I. INTRODUCTION ............................................. 1 II. FIRST PLAY, MEDIA PLAYS, AND DETECTIVE FARCES .... 30 III. ROSENCRANTZ AND GUILDENSTERN ARE DEAD AND JUMPERS . 58 Rosencrantz and Guildenstern Are Dead .... 58 J u m p e r s ........................................ 95 IV. TRAVESTIES, DIRTY LINEN, EVERY GOOD BOY DESERVES FAVOR, PROFESSIONAL FOUL, AND NIGHT AND DAY .... 131 V. STOPPARD'S ACHIEVEMENT .............................. 181 LIST OF WORKS CONSULTED ....................................... 186 iv INTRODUCTION Tom Stoppard's work easily fits some of the tenents laid down by Martin Esslin in his definitive work, The Theatre of the Absurd. In other ways, however, his plays are not strictly absurdist. Since a great portion of this critical analysis will concern the changing re­ lationship between Stoppard's works and the body of work known as ab­ surdist drama, I will begin by reviewing briefly the hallmarks of that form of drama and noting the points at whick Stoppard converges with and diverges from the norm. The greatest characteristic of absurdism is the rejection of tra­ ditional values, beliefs, and philosophies as illusory..- The absur­ dists deny that man can understand any ultimate plan or meaning for life (if indeed such a plan should exist at all, an idea which they cast into doubt). Absurdist theatre thus tries to represent that such ideas as God, divinely inspired standards of behavior, later rewards for present good acts, and the assignment of human beings to a "proper role" are deceptions which man has foisted upon himself in an effort to create comfortable, reassuring, although fictional, living conditions. Accompanying this fundamental recognition of absurdity, the lack of real meaning in human life, is a change in the way in which this perception is transmitted to others. Absurdists reject rationsl, 1 logical agrument as a tool, consigning rationality to the dustheap of illusions along with God and morality. Rather than constructing a step-by-step proof that the world is irrational, they attempt to con­ vey that irrationality in poetic images, reaching the audience on an emotional rather than an intellectual level. This method of work forms the chief separation between the absurdists and such authors as Camus and Sarte, who held basically the same philosophical view of the world but tried to communicate it through logical means. When argument is rejected, language is devalued. The absurdists deny the traditional power of language to encompass the world, and they show it as inade­ quate to facilitate communication between people. Words become ritual­ istic, or nonsensical, or are used deviously, to confuse rather than enlighten. Although rejection of tradition and of rationality are the prime re­ quisites of absurdist theatre, Esslin has also listed its other frequent attributes. He asserts that absurdists are concerned with "the ulti­ mate realities of the human condition, the relatively few fundamental problems of life and death, isolation and communication."^ Esslin fur­ ther notes the lack of conventional linear plots, in which some prob­ lem is resolved or an awaited event actually takes place, and their re­ placement by a single moment expanded in time. Characters in theatre of the absurd are not created with full grounds of motivations and drives; such a practice would imply that ^Martin Esslin, The Theatre of the Absurd, rev. ed. (Garden City, N. Y.: Doubleday and Company, Inc., 1969), p. 353. human beings' acts can be understood in light of psychological factors, a direct contradiction of the first great rule of absurdity. This use or rather shallow characters adds to the feeling of inecplicable non­ sense, as one wonders why the character acts as he or she does. It further aids in frustrating any tendency for the audience to identify with the characters. The alienation of audience from characters helps to keep a comic tone in the plays; if audiences were to see themselves too clearly in the characters on stage, a gloomy sense of purposeless­ ness would be likely to result, rather than the black humor of observ­ ing characters with whom one does not identify undergoing such frus­ trations. Tom Stoppard, in his published work through 1979, clearly accepts some of these provisions for absurdist theatre, rejects others, and adopts a shifting stance on yet others. The first and most important idea of absurdity, the rejection of traditional values and beliefs, is present in Stoppard's works. As Victor Cahn has shown, Stoppard's approach to this idea ranges from offering demonstrations if it to assuming it as a principle in the more complex worlds he creates. His characters are frequently in search of the meaning of life, but they never succeed in their quests. On the second major trait of absurdism, Stoppard has shifted his stance over the years.

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