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DRAMATISTS and DRAMAS 20 TH ANNIVERSARY COLLECTION B20A(Drama) 3/15/05 6:19 PM Page Ii B20A(Drama) 3/15/05 6:19 PM Page i BLOOM’S LITERARY CRITICISM BLOOM’S LITERARY DRAMATISTS AND DRAMAS 20 TH ANNIVERSARY COLLECTION ANNIVERSARY B20A(Drama) 3/15/05 6:19 PM Page ii LITERARY TH BLOOM’SCRITICISM 20 ANNIVERSARY COLLECTION Dramatists and Dramas The Epic Essayists and Prophets Novelists and Novels Poets and Poems Short Story Writers and Short Stories B20A(Drama) 3/15/05 6:19 PM Page iii BLOOM’S LITERARY CRITICISM BLOOM’S LITERARY DRAMATISTS AND DRAMAS 20 TH ANNIVERSARY COLLECTION ANNIVERSARY Harold Bloom Sterling Professor of the Humanities Yale University ® B20A(Drama) 3/15/05 6:19 PM Page iv ©2005 by Chelsea House Publishers, a subsidiary of Haights Cross Communications. ® www.chelseahouse.com Introduction © 2005 by Harold Bloom. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the written permission of the publisher. Printed and bound in the United States of America. 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Bloom, Harold. Dramatists and dramas / Harold Bloom. p. cm. — (Bloom’s 20th anniversary collection) ISBN 0-7910-8226-1 (alk. paper) 1. Drama—History and criticism. I. Title. PN1721.B66 2005 809.2—dc22 2005003094 Cover designed by Takeshi Takahashi Cover illustration by © Al Hirschfeld/Margo Feiden Galleries Ltd., New York. www.alhirschfeld.com Layout by EJB Publishing Services B20A(Drama) 3/15/05 6:19 PM Page v Table of Contents AND DRAMATISTS DRAMAS PREFACE Harold Bloom xiii INTRODUCTION Harold Bloom Aeschylus (c. 525–455 B.C.E.) The Oresteia 1 Sophocles (c. 496–406 B.C.E.) Electra / Oedipus Rex / Oedipus Plays 4 Euripides (c. 484–406 B.C.E.) Bacchae 12 Aristophanes (450–388 B.C.E.) The Birds 16 Christopher Marlowe (c. 1564–1593) Doctor Faustus 19 William Shakespeare (1564–1616) THE COMEDIES Taming of the Shrew / A Midsummer Night’s Dream The Merchant of Venice / Much Ado About Nothing As You Like It / Twelfth Night / Measure for Measure 30 THE TRAGEDIES Romeo and Juliet / Hamlet / Julius Caesar / Othello Macbeth / King Lear / Antony and Cleopatra / Coriolanus 60 THE HISTORIES Henry IV, Parts 1 and 2 / Richard III / Richard II 98 THE ROMANCES The Tempest / The Winter’s Tale 113 Ben Jonson (1572–1637) Volpone 125 John Webster (c. 1580–1632) The Duchess of Malfi 132 Molière (1622–1673) Don Juan/ Le Misanthrope 136 John Gay (1685–1732) The Beggar’s Opera 139 Henrik Ibsen (1828–1906) Brand / Hedda Gabler 142 Oscar Wilde (1854–1900) The Importance of Being Earnest 146 George Bernard Shaw (1856–1950) Man and Superman / Major Barbara / Pygmalion / Saint Joan 155 Anton Chekhov (1860–1904) The Seagull / Uncle Vanya / Three Sisters 179 Luigi Pirandello (1867–1936) Six Characters in Search of an Author 186 B20A(Drama) 3/15/05 6:19 PM Page vii John Millington Synge (1871–1909) The Playboy of the Western World 190 Sean O’Casey (1884–1964) Juno and the Paycock / The Plough and the Stars 195 Eugene O’Neill (1888–1953) Long Day’s Journey Into Night / The Iceman Cometh 206 T.S. Eliot (1888–1965) Murder in the Cathedral 218 Thornton Wilder (1897–1975) The Skin of Our Teeth 222 Bertolt Brecht (1898–1956) The Threepenny Opera / Life of Galileo 224 Samuel Beckett (1906–1989) Waiting for Godot / Endgame 227 Tennessee Williams (1911–1983) Cat on a Hot Tin Roof / The Glass Menagerie /A Streetcar Named Desire 238 Eugène Ionesco (1912–1994) The Lesson / Rhinoceros 248 Arthur Miller (1915–2005) The Crucible / Death of a Salesman / All My Sons 249 Neil Simon (1927–) The Sunshine Boys 258 B20A(Drama) 3/15/05 6:19 PM Page viii Edward Albee (1928–) The Zoo Story / Who’s Afraid of Virginia Woolf? 260 Harold Pinter (1930–) The Caretaker 268 Tom Stoppard (1937–) The Invention of Love 273 Sam Shepard (1943–) Fool for Love 281 August Wilson (1945–) Joe Turner’s Come and Gone 283 David Mamet (1947–) Sexual Perversity in Chicago 285 Tony Kushner (1956–) Angels in America 288 FURTHER READING 293 INDEX 295 ABOUT THE AUTHOR 307 B20A(Drama) 3/15/05 6:19 PM Page ix DRAMATISTS AND DRAMATISTS DRAMAS Preface Harold Bloom I BEGAN EDITING ANTHOLOGIES OF LITERARY CRITICISM FOR CHELSEA House in early 1984, but the first volume, Edgar Allan Poe: Modern Critical Views, was published in January, 1985, so this is the twentieth anniversary of a somewhat Quixotic venture. If asked how many separate books have been issued in this project, I no longer have a precise answer, since in so long a span many volumes go out of print, and even whole series have been discontinued. A rough guess would be more than a thousand individual anthologies, a perhaps insane panoply to have been collected and intro- duced by a single critic. Some of these books have surfaced in unlikely places: hotel rooms in Bologna and Valencia, Coimbra and Oslo; used-book stalls in Frankfurt and Nice; on the shelves of writers wherever I have gone. A batch were sent by me in answer to a request from a university library in Macedonia, and I have donated some of them, also by request, to a number of prison- ers serving life sentences in American jails. A thousand books across a score of years can touch many shores and many lives, and at seventy-four I am a little bewildered at the strangeness of the endeavor, particularly now that it has leaped between centuries. It cannot be said that I have endorsed every critical essay reprinted, as my editor’s notes have made clear. Yet the books have to be reasonably reflective of current critical modes and educational fashions, not all of them provoking my own enthusiasm. But then I am a dinosaur, cheerfully nam- ing myself as “Bloom Brontosaurus Bardolator.” I accept only three crite- ria for greatness in imaginative literature: aesthetic splendor, cognitive power, wisdom. What is now called “relevance” will be in the dustbins in less than a generation, as our society (somewhat tardily) reforms prejudices and inequities. The fashionable in literature and criticism always ebbs ix B20A(Drama) 3/15/05 6:19 PM Page x x PREFACE away into Period Pieces. Old, well-made furniture survives as valuable antiques, which is not the destiny of badly constructed imaginings and ide- ological exhortings. Time, which decays and then destroys us, is even more merciless in obliterating weak novels, poems, dramas, and stories, however virtuous these may be. Wander into a library and regard the masterpieces of thirty years ago: a handful of forgotten books have value, but the iniquity of oblivion has rendered most bestsellers instances of time’s revenges. The other day a friend and former student told me that the first of the Poets Laureate of twentieth-century America had been Joseph Auslander, con- cerning whom even my still retentive memory is vacant. These days, Mrs. Felecia Hemans is studied and taught by a number of feminist Romantic scholars. Of the poems of that courageous wisdom, who wrote to support her brood, I remember only the opening line of “Casabianca” but only because Mark Twain added one of his very own to form a couplet: The boy stood on the burning deck Eating peanuts by the peck. Nevertheless, I do not seek to affirm the social inutility of literature, though I admire Oscar Wilde’s grand declaration: “All art is perfectly use- less.” Shakespeare may well stand here for the largest benign effect of the highest literature: properly appreciated, it can heal part of the violence that is built into every society whatsoever. In my own judgment, Walt Whitman is the central writer yet brought forth by the Americas—North, Central, South, Caribbean—whether in English, Spanish, Portuguese, French, Yiddish or other tongues. And Walt Whitman is a healer, a poet- prophet who discovered his pragmatic vocation by serving as a volunteer, unpaid wound-dresser and nurse in the Civil War hospitals of Washington, D.C. To read and properly understand Whitman can be an education in self-reliance and in the cure of your own consciousness. The function of literary criticism, as I conceive it in my gathering old age, is primarily appreciation, in Walter Pater’s sense, which fuses analysis and evaluation. When Pater spoke of “art for art’s sake’ he included in the undersong of his declaration what D.H. Lawrence meant by “art for life’s sake,” Lawrence, the most provocative of post-Whitmanian vitalists, has now suffered a total eclipse in the higher education of the English-speak- ing nations. Feminists have outlawed him with their accusations of misog- yny, and they describe him as desiring women to renounce sexual pleasure. On this supposed basis, students lose the experience of reading one of the B20A(Drama) 3/15/05 6:19 PM Page xi PREFACE xi major authors of the twentieth century, at once an unique novelist, story- teller, poet, critic, and prophet. An enterprise as vast as Chelsea House Literary Criticism doubtless reflects both the flaws and the virtues of its editor. Comprehensiveness has been a goal throughout, and I have (for the most part) attempted to set aside many of my own literary opinions. I sorrow when the market keeps an important volume out of print, though I am solaced by the example of my idol, Dr. Samuel Johnson, in his Lives of the Poets. The booksellers (who were both publishers and retailers) chose the poets, and Johnson was able to say exactly what he thought of each. Who remembers such wor- thies as Yalden, Sprat, Roscommon, and Stepney? It would be invidious for me to name the contemporary equivalents, but their name is legion.
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