. - " t f ; , f.• ;.. l '.' '" . ~ î t l , " , , 1 1. 1 ... f , ! , .· .- , 1 • " f. f " , ' . , t, ,1 àermà.o. Jesui't TheatJ:'e" BrêC,Jtt ~ , . '. and' th'e Concept,. of persuaaio ' l ,"''' _ ( , . , 'j " " , , " R~ber't .G ~ Sull i van , . " " " '.' . :~ "1 , ' ' , ! " , ....,. l' ' • . ' . ' , , - A thesis '·sub~'it'titd .. to' tbè . raè:!ulty ~f Graduate ' 'Studles 'anel. " Re.ea~ch 'in P-BJ'tial ~u.lfilDlent o.f ,t~e réquir~.nt. for the ,de.gree of Master of Arts. ,:',' ,;"," ." " ; "\ - '. " \ ...neparf'ÎDent' of Ger.man; MeGill tJn'ivers'i'tt,' , . Montr.al" Qu.bec, Canada . ~, , , ' , .. ... ,~ " . ... ' " .., , ~~ober, 19~' èopyright ,c,R9~rt G. Sulliva~ , ,. 1 • , , , " , '. , , , ' . , . ~. ~- .....-_____.-: ....... ..-----:-;..r .~ __.::.-~.;....... __ " ~ -.~.;;I._.~ ..... :--:____ y_,'--~~~ '.4\! il: , 1 _'", __ ' ..~. - "",1 " ,'- -._'---...,.-. '. 1, ~ , .. ',- y 1 , .. w " " - : _;..h. , " ~ . , . " , '. \, ,,' :. ~bstr.ac,t . ,- ( '~ , , .- ' l. : 'Ii 1. " , .,.. " .. " '. { • ' J " ,. .. - ;, Th~"Germ~n· "-Jesui t dr.ama of the 17th centur3 *nd the , . i . .', '" '. , p~ayl!l Brecht may be contrasted and c·.ompared' . i . ~ .. t . • 4 .. th'r~ugh an ;nvest-ïgation . of, their ~se- 'of rh,t~~ic~ 'J~S~~~ , , t, p' • . " dr.ama i s. a direct r-esult, of' the ,Jesuit school cu(r iculu~ whicn placed hea,,-y emph~sis,on" rnetoJ;i'c, especlally the"<~r&. ... -, , " disputîs'ndi: , ' . ' • • 1"" - " Bertol t.. Brec·h:.t' s, rhètor~c, is' not as , , traditional a$ the jesuit dramatist-s!',' but Sim~,lâr i ~i~~'lJj~~ " ~he Je'surt dz::amatists and' Brecht JI'> .' dev,loped dramatic . theories ,wh'lch sho" that t."hey ·both . , \, conceived of their dramas'as'vehicles ,of ·persu~sion. They !' ~ i , è~6se their plots a~d:str'uctured their- plays so that.t~ef; . ,. • wôuld have' the bes~ . p~ssible . effect., An '~nall'Si..JS'· of two" . 'repr-~sentat i ve play~, Cenodoxus and .' (' ,.,. 1 ,. .. f ~ , . .'. Bertolt . ',B'recht',s Life of G!lîleo, ',shows, that . stylistic' " ....,. .. [ .. r ~." .. .. '. bon~iàera't~~ns we~è also determined bl' ~h~.to,dc. \ 1, .~ : f • 1, • ' <' . , . , ., " , ." ", " 1 , , 1 . ' ' ", , . , '/" . ..... \ - .. " . ~. , \ , ',. \: 1. " .~ "( l ',"). T'I-",~"'"....... _ ... _ ....._. A .. , , " '". " '''' '. , .. -Anal!yse' S~mma'i..t:~ ... , ''', .' " .... " , " ':~',,' . _:' .~.,'1 il 1 est poss i ble de fa i re urt~\. compara i son. entre \~ le .. -. - ~ - t, ' , th~a-tre des, Jé-!fu,it'es. dans les. ,pays de langues. a.1leman~des et pi·èces de' théâtre ,d" Brecht à. 't ravers uhe .' les Bë~tol.t '. ,f' recherche sur le,ur usage A 1" base du théâtre' des J.és:uites est le -programme- d'ét'udes ,de 1'éo01e ~ • "Of r" • , h ' jeisuite, qui aUra mi 5 - l 'accc~e~.t sur 'la- rhét:ori,que, ,surt9u't 1'!!! disputandi. ~. \ \ t.a de' Ber'tolt Brècht n'est C ,ni aussi, , Ji t formelle, ni aussi tradi t iont!lle que cene . des' dramaturgès' " 1 " "Jésùi tes, mais 'On peut· ,Y trouY&l" des ressemblance~. .Les " , , - '.' dramaturges Jésuites et 'Brecht ont déve~oppé, des thé~rieé ~ . ~ ,. ,( , dr~me"tigues qui 46m~:mtz::ent qU"iis avaient eus 'la conc,eption - . ., de' le'urs' drames éomme étant dea moyens- de persu~sion., tteùf 'choix"d,Jhistoires" ainsi gué la, structure de leurs pièc'es, dé :' , . ~ . théâtre, ~nt créé le meillèur _e~f~t possible., Une anal yse ' de deux' pièce. de théltre- r-eprésent'at; ve,s du, style Qe Brecht et des dramaturges' J,~sui te~, . Cenodoxus de Jacob Bidermann et . 1. viè de Gâlilée de Bertol t Bre'cht, démontre q~e le ,style de .' -- '4 li~.. • ~es oeu.v~es était a~ssi déterminé par une préoè~upa~ion pouE' ,< la 'rhét.or ique. ~', -.;;;, \ . " • 1 " " . ~. , . ' , ;~. " " . ' , -'" ,1 , a- '. 4'-' / J .' " ; l ,1, ," , - .~ , " .~ l ~ .... ., ~n_ ... ~'. ~ ,.. .... '", '_ ~ r ,,, ' .. ~ • .J.' , , . " \' '( . ." ;.0 _"t :'~.. .... "" ;; \ , ": 'l, , ' ," - ~' .. ' , ", " .. .' . T~l~\t'of Content• >, ( " " " .. ' " .. , ~.. , ,', . , i : . '­ , ' , " ,t, " " In·troduction " ' The, M.~hodolo9Y of Li-terary' Comparison '," > "-1 ·1 " Not.s ~; , 8 t, : ' ,,' Chapter' l l " Ù, , ' .' " " Rhetoric', the JèsUlt(5, ancl Brecht .' 9 , 1.1,Rhetor~c and'~itera~\ure ' ,'9 , 1-.2 Rhetoric and' the Je'suits ' 15 , ,1'.3 Rhetoric and Brecht , , 24 'Notes 30 , î l Chapter "2 ' , ,Th, Conc~pt,~nd practice of Per&uasio '., j5 -2 ... 1, The Conaept ôf Persuado, . 3~ 2.2 J,esùi t M Theory and Pract lce ' ' "- '2 2.3,:Bntchtt Theory and Prac:t~c.e 5. Notes ~5 ~.' ·Chapter.~ , Bïd,ermann' B 'Cenodoxuâ and Brecht" s Ga'lileo ,69 i 3.1 B'ider"nn ~na~ Brecht .' 69' , ,3.2 Cenod6xus ano"q81i1eo 75 . , Note~ 95 " ..: !, , Cbnc: lus i,on ... 96 ~,"~ .. " , . .4L i' 1 _ .... Notes 100 " . , t ": ' ~. ,J 1 ~ " "- 1 , , BibliolJ~apby !" lOI? ", , i " " " , , i , . - " 'Î .•' 1 i , \ ~ \ .' , t "" . ,'", . t ~ , 1,- f • 1 " 1 "" f , , .. ,t .' ,.' . ... f 'j l .t_. _ - -.j J ,. " ", ( ) " .;. l, [ :.' ; " " " " ." . _t " . 'r .: ..... _1,'.,._ ~? '" .. ~ ... f ,. " o . "'. ... ~ "~""""""""""""""----~------~------------~------~--'-~'o----~------~--------------------~--~------------~--.--~--------- ,> ", ... .;:~ -1-. :... ', " ; .. ,', '. ' " . " " t. ~ (' ( " " 1 ," 0 J . \ ' . .. J " '. '. .~ " ...... ' ,l, " .. -'-...../\ -, ~, . " • # '~ i r .' , " , A~l 't~~n.J.âtiOn. 'are".y ~wn 'U~'~"~'S" o~ber"i~.• indicatee!. t .. , , .'~ "", 1 • " , .' , ' • , p .. '. l' " " ." " " •• < .. .. " " " .', .- " • 1 f, ,."" " .- . ," .\ , " .( .' " ',\ , ' , .. j " , t :' 1 -' ,] i il• \ ' ,~ .. ,J " , " <l r , .. '" _ ..... .' " ','- '{ " , l .' ~. f '. , . " '\ !"" " , , y " '-. ',' " .... " , ,,< ' .. " -:. .~ " .. ' . ',' '\ '" . .' .. ·~---..,.-~,--J"fr--------:--"'!" ___'~ __ ""S_"i'''''''''':<~ ..... ----:--"'t"'---";~..ir ..... ------"""~--; ~'.~' :' .~:""."\~ 't·· ~_ .. , 'ç~, ',,;" ".-.' - "'\"- .... ~ " { oQ " 'C " \ ,l ,1 ~', ''li Ac knov ledfjemen ~ s " ~ ( • v r i i . ( ..'" !, .' l should lilie to thank Professor Josef Schmid~1 who inspire~ an'd enc'ouraged me to do thi s' vork, Mr. Hans will t,er Fr~s~hkopf, who gave me constànt assistance'and s~ppo~t, an6 ." last,,_ not l~ast, my fiancée, Marilyn BraYn.e vi thout whom none of this voul~ bave been possible. \ ' . '~ , .. • , , '. , " -' " 1 .' \' r ' " ~' ~, " ,. , ' ï ", : " -~ ..:' , l, c " '," , , • , '" ' . , 1 ,', ." ," .~ ; ,,: '\ \. ". '.1 , « .1 \: l' , - " '. ,.... , , " , " , .- . " ,(: . ,t .... " :. " " ~ . '. >, , , • J, ' .. ," , " , 1 , " ." '." 'r " " ,. ." . \- . ....,- :~t , .,. '--~-~--_.7-.';,..-- _:.'w ~._ .... 3 - ..... _J_ r , ft,. " " .,!, .\ \ i • " ..... ~. ," ,,' " '. .. " - "), : ,,~ 1 .' ~ ~ntroduction ,- , ~'. { ...- ii, ; - ~~,._ -.:::..: ',<c' - " The Metpod6logy of toi ter~.ry Comparfson ;;- 1'::, " A l,iterary èo~pari$on is ~n e~tended, simile. TvO .. ' vorks, authors, ," gf'OUpS Of(' authors, or. even national r • literatures are likened or contrasted by mean$ of, 'somethi'ng.. , ,common to both, the'tertiu,m comparat ionis.. The met'hod is = straightforward" yet often', errç::umbe.red vi th, ~angers 'an,d , dUQious ' presumptions. In the 19th cén~ur}i, 'for' example,' , .. l '\ _ • ... " compa~ative' lite~atur~ studies'frequently, , , investigatèd'fhe influence of àn author Q.r' mod, f on di f terent 'wr i ters" wor,ks",' \ ' , , " .. '. '" \ ,. What ~t means ,fo~ a~ authp'r t'~' bè infl'uenced- is c,pJfunon.1y , ' .. h' \ _ .. : .. • , ~. ~ 1~ 1 , ," '" 'le~t l:In'e~plained. One is' co~fron~ed vith ~i5t~ ',dia'~y oi .. .. " . 'ent'r ies l '"'jo\:1rnals., - "or poet , , and'lett'e';~~ in.. .~.. "wh±ch:'- a: writ-è~' . .. , , , ,notes that he has rea.d 'such ~. W'ork' ~t ,il certain', tïme. The" , , '0 1 , . , . .... , . author' s vork is' t~~n sear'ched for.' allus'ions -or 'borrowings,' -, , . or his treatment of ~ mo,ti'f is cd-nt~as~e~ , wïth anothe;'$: ,.' ", , ", " . \ ereat~~ity , ,1 S , present(!d in terl!ls reminis~ent" of -', ~ \- , benav ,ior lsm' Iii ~ st ill!ul1us 8tJd r~spons>e, si:he~"s.: ., , Pet'e'f Szondi,. .. a modern, '~er~n 1 ~ terary hi st'Qrian, -ls- , : .... harsh in his criticism of Ulis method: - . " The simpl,e reference to supposed ,m~del-s • .'. is" of no , . ' v,orth.. It i5 to be rejected not 'because 'it se~~s, . , r~ , to dïminish the ori9ï'na~i.ty 'of the o.later poet,' but " . -; . , l, becà'use it does not', f'u.rther kno"ledge'. It '. , " , " '. -. - ' . ....-; ....t ____- _____---:. _____~-~ .. ~.. _--:;..-__",.......-;----,---::--. ~ .... Ii q 1 r ; . .. ~. .~. , ;r ., "t, .' .' " f, , misl the semblance of' an ident 1 ty or' ( anal~9Y hich' preven,ts ~n a~~rec iatio~~ of unique . ~ . , .. and sPecif'c·qualiti~s •.{l.)" .. t " .often~ éomparisons are u~ed. to prove ~hroPt)lOgiCal ,Qr ' . • , ontologie nypoth.e·ses. If a motiÎ'or a concept is common to " . , " ' !\ " differing cultures at· di fferent times, then 50 the \ argument runs -- they must be ln' . some vay innate. For , .'. ; e~ample, Waiter . ' ,Kaufma.;nn' s ~.' . Shakes~are 12 . , Existentialism éndeavors t'o show that existenti'alism is not '. me~ely ~ nev philo~~phy~ but a typically human .outlook which transcends' time an'd place .. c. .J. Jung' s warks on comparative religion, as a further example, strive to prove ~ the existence of â. universal collect)ve unconscious.nes,s by .'. demonst'ratin~ the ubj,qui ty of certa iÎ1 symbols. Szondi' s criticisms apply .equally well'to' this method of' comparison, fo'r it frequently ov~r.lookS the par'ticular an~ the unique. , Furt~ermore, ,'since i t tènds to transcend, the histor.ical 1 coritext 'of ,a work, i t often falls victim to egre9io~s anach'ron