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Engaging and Evading the Bard: Shakespeare, Nationalism, And Engaging and Evading the Bard: Shakespeare, Nationalism, and British Theatrical Modernism, 1900-1964 by Charles Joseph Del Dotto Department of English Duke University Date:_______________________ Approved: ___________________________ John M. Clum, Supervisor ___________________________ Sarah Beckwith ___________________________ Toril Moi ___________________________ Michael Valdez Moses ___________________________ Maureen Quilligan Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Engaging and Evading the Bard: Shakespeare, Nationalism, and British Theatrical Modernism, 1900-1964 by Charles Joseph Del Dotto Department of English Duke University Date:_______________________ Approved: ___________________________ John M. Clum, Supervisor ___________________________ Sarah Beckwith ___________________________ Toril Moi ___________________________ Michael Valdez Moses ___________________________ Maureen Quilligan An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Charles Joseph Del Dotto 2010 Abstract Engaging and Evading the Bard is about British theatrical modernism and its ambivalent relationship to Shakespeare. The conventional narrative of early twentieth- century British theater and drama situates their rise within the broad European context of Continental artistic developments, such as the rise of Henrik Ibsen. Examining the work of George Bernard Shaw, T. S. Eliot, W. H. Auden, and Peter Brook, this dissertation argues that the inauguration of a specifically British theater, theatricality, and dramatic movement in the modernist period is absolutely contingent on a turn to Shakespeare, the icon par excellence of British drama, British culture, British identity, British history, and British power. The turn to Shakespeare enables the emergence of a British tradition formally and politically distinct from its Continental counterparts. This dissertation argues, however, that a modernist logic of paradox, contradiction, and irony governs the dynamics of British theatrical modernism’s turn to Shakespeare: the engagement with Shakespeare is always co-extensive with the evasion of Shakespeare. Engaging and Evading the Bard explores the modernist irony towards Shakespeare. For Shaw, a Fabian-inspired anti-idealist political aesthetic (set forth in The Quintessence of Ibsenism ) motivates his condemnation of “Bardolatry” throughout his career, most notably in Caesar and Cleopatra . In stark contrast to Shakespeare, a high- church, conservative Christian religiosity and ideological investment in medieval modernism lie at the heart of Eliot’s 1935 verse drama Murder in the Cathedral . The interpenetration of media (print and performance) and genre (poetry, criticism, and drama) in The Sea and the Mirror: A Commentary on The Tempest allegorizes Auden’s new-found liminal identity in the 1940s as both a British and American poetic and iv political subject. Post-war, post-imperial, Cold War geopolitical realities and existential anxieties, especially concerning the Bomb and the threat of nuclear annihilation, lead Brook to adopt the late modernist theatricality of Samuel Beckett in his 1962 Royal Shakespeare Company production of King Lear , a production that succeeds in staging Shakespeare’s play as the metatragedy (that is, a tragedy about the failure of tragedy) that it really is. Ultimately, this dissertation problematizes nationalism as an animating force for British theatrical modernism by positioning nationalism in the modernist period in relation to its ethical and political universalist antinomies: socialist internationalism, transatlantic transnationalism, and an emergent utopian postmodernist postnationalism. v For Teresa vi Contents Abstract ......................................................................................................................................... iv Acknowledgements ..................................................................................................................... ix 1. Introduction: Shakespeare and Irony .................................................................................... 1 2. Chapter One: George Bernard Shaw: Beyond Shakes versus Shav ............................... 25 2.1 The Ironic Bridge to the Future .................................................................................... 26 2.2 Against Ireland ............................................................................................................... 40 2.3 The Challenge of Dramaturgy and National-Canon Formation ............................. 44 2.4 Idealism Modernism Manifesto: The Quintessence of Ibsenism and the Avant-Garde ................................................................................................................................................. 48 2.5 Without History: Romance and Violence in Caesar and Cleopatra ........................... 64 2.6 To Restore the Art of Playing to Its Former Use and Dignity: Shaw’s Medievalism and the Great War ........................................................................................ 81 2.7 Out, out, brief candle!: One Last Fight ....................................................................... 92 3. Chapter Two: T. S. Eliot: The High Modernist as Early Modernist and Medieval Modernist ..................................................................................................................................... 95 3.1 On the Poet-Critic ......................................................................................................... 106 3.2 Marlowe, Rostand, and Rhetoric ................................................................................ 110 3.3 Transitional Playwrights: Period and Subjectivity in “Philip Massinger” and “Thomas Middleton” ......................................................................................................... 117 3.4 The Irony of Order: The High Modernist as Medieval Modernist ....................... 123 3.5 From Ritual to Religion and Theater ......................................................................... 138 3.6 From High-Church Nonconsequentialism to High Modernist Anagogical History: Interrogating Ends and Means, Transcending Endings and Beginnings in Murder in the Cathedral ......................................................................................................................... 146 vii 4. Chapter Three: W. H. Auden and Peter Brook: Trans- and Postnational Commentaries on Shakespeare ............................................................................................... 163 4.1 W. H. Auden, Transnationalism, and the Interpenetration of Form in The Sea and the Mirror: A Commentary on Shakespeare’s The Tempest .............................................. 164 4.2 Peter Brook’s King Lear , the Cuban Missile Crisis, and Postnationalist Theatricality ......................................................................................................................... 181 Works Cited ............................................................................................................................... 209 Biography ................................................................................................................................... 226 viii Acknowledgements First off, thank you to my committee: Sarah Beckwith, John M. Clum, Toril Moi, Michael Valdez Moses, and Maureen Quilligan. I am especially grateful to Toril for agreeing to be a part of this project so far into it. Daniel H. Foster read and commented on part of the dissertation, and I want to extent my gratitude for his insights. Although he was not on the committee, Joseph A. Porter was very supportive throughout my time in grad school at Duke. He is a quiet mentor and a friend. The Franklin Humanities Institute included me in its 2008-09 Dissertation Working Group. Many thanks to my fellow DWGers and especially to Christina Chia for overseeing such a wonderful enterprise. Colleagues in the International Shaw Society provided encouragement at every turn. My thanks especially to the Founding President of the organization, Richard F. Dietrich. Katey Castellano and Joseph Fitzpatrick read the Eliot chapter; their constructive feedback has made it a better text. Even more than my work, my life is richer for having such friends as these. Jeff McCurry has been the brother I never had. Our sprawling conversations on matters ranging from literature to music to religion to philosophy have always been a great source of intellectual stimulation, and his emotional support over the years has been sustaining, as well. This dissertation would not have been completed without the care of Dr. Holly Rogers and Dr. Joseph Talley. Duke and its student body are extremely fortunate to have such attentive and capable professionals on staff. My respect and affection for them both knows no bounds. ix Lastly, my dedicatee. Without whom there is nothing. Without whom I am nothing. My final word is for her. x This is the beginning of what I have called the modern, characterizing it as a moment in which history and conventions can no longer be taken for granted; the time in which music and painting and poetry (like nations) have to define themselves against their pasts; the
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