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a) Influence of Ibsen: Great Norwegian dramatist, give rise to the Comedy of Ideas.
Dramas ceased to deal with themes remote in time and place, real drama must deal with
emotions. Gave up melodramatic romanticism and pseudo-classical remoteness, start
treating the actual life, made drama a drama of ideas.
Drama of Ideas:
* Revolutionary against past literary models, social conventions and morality.
* Dealt with the problem of sex, youth.
* Against romance, capitalism, parental authority.
* Number of theories, slow actions and frequently interrupted.
* Study of soul.
* Inner conflict substituted the outer conflict.
b) Cynical atmosphere: Treat the moral assumptions with frivolity, make polite fun,
revived the Comedy of Manners in 20th century.
Other dramatist: Granville Barker, Galsworthy, James Birdie, Priestley, Sir James Barrie
and John Masefield. William Somerset Maugham and Noel Coward directly followed Wilde.
Comedy of Manners:
* Witty, satirical, purely fanciful and dependent.
* Cynical and bitter when dealing with social problems.
4) Irish Dramatic Movement: Another type of drama developed under its influence.
Originator: Lady Gregory, W.B.Yeats.
Important dramatist: J.M.Synge, Sean OCasey.
MODERN DRAMATISTS
1) George Bernard Shaw (1856-1950): Irishman, practitioner and father of new Comedy
of Ideas, great thinker, genius, representative of Puritan side of Anglo Irish tradition, social
entertainer, socialist.
Purpose: Propaganda.
Characters: Types studied thoroughly, puppets, himself as a chief character in disguises.
Style: Jest and verbal wit, artistic form, no clumsiness.
Characteristics: certain modern life problem, prefaces, civilized man either develop or
perish, no revolt.
Themes:
Political: Man and Superman (1902), John Bulls other Island (1904) and Major Barbara
(1905). These plays dealt with issues as poverty and womens rights and implied that
socialism could help solve the problems created by capitalism.
Social: The Crime of imprisonment (1922), Intelligent Womens Guide to Socialism (1928),
and Everybodys Political Whats What (1944).
Other:
Mrs. Warrens Profession (1902): Problems of modern society, evils of prostitution.
Widowers House (1892): Blame on society.
Getting Married (1908): Unnaturalness of home-life.
The Doctors Dilemma (1906): Superstition.
Caesar and Cleopatra (1901): No particular theme.
The Apple Cart (1929): Ridicule on democratic form and work.
Back to Methuselah (1921): Nature of the Life Force and its effect on destiny of Man.
St. Joan (1923): Universal theme involving grand emotions.
Fabian Society: Joined in May 1884, a fact-finding and fact-dispensing body, pamphlet on
social issues, property was theft, in favour of equality of income, equitable division of land
and capital.
The Fabian Manifesto (1884)
The True Radical Programme (1887)
Fabian Election Manifesto (1892)
The Impossibilities of Anarchism (1893)
Fabinism and the Empire (1900)
Socialism for Millionaires (1901)
Sometimes he carries simplicity of aim and singleness of purpose too far and the result is
that his plays lack human warmth and richness.
4) Harley Granville-Barker (1877-1946): Dramatist who dealt with Domestic Plays and
Problem Plays.
Four Realistic Plays:
The Marrying of Anne Leete (1899): Life Force, attacks convention and hypocrisy.
The Voysey Inheritance (1905): Problems of prostitution.
Waste (1907): Problem of sex.
The Madras House (1910): Social forces.
* Fine delineation of characters
* Realistic style
* Plays are excepts of real life
* Natural dialogue near to ordinary conversation.
7) The Irish Dramatic Revival: Reaction against new realistic drama of Shaw and Wilde.
Protagonist: Lady Gregory, W.B.Yeats, Lord Dunsany, and J.M.Synge. Irish dramatists.
Aim: To introduce flavour, richness, and poetry in drama, to give reality in a comprehensive
and natural form.
(i) W.B.Yeats (1865-1939): Leader, interested in Gaelic League formed to revive interest
in old fairy stories and Folk Lore of Irish people, primarily a lyrical poet.
Widely known: The Countess Cathleen (1892) and The Land of Hearts Desire (1894).
Popularity depended upon poetic charm and strangeness than upon dramatic power.
Defect: Organic constructions, lack of proper balance between poetry, action and
characterization.
* Established the Irish Literary Theatre.
* Out of I.L.T. grew National Theatre Society which constructed the famous Abbey Theatre.
* A dramatic lyrical poet failed in dramatic form.
8)
POETIC DRAMA
* Revived in 20th century,
* Reaction against the prose plays of Shaw and Wilde, certain loss of emotional touch with
the moral issue.
T.S.Eliot (1888-1956)
Great critic, traditionalist rooted in classicism, innovator of new style, stern realist,
conscious of modern civilization and its problems, a visionary great classical scholar, mystic,
many sided personality.
Classicism---a sort of training of order, poise and right reason.
The Rock: Pageant play.
The Murder in the Cathedral: Commemorating the death of St. Thomas Backet, religious
impulse, strictly interior, outward value is spectacle and commemorative ritual.
The Family Reunion: Hallucination produced from the inherited, illusion of reality.
The Cocktail Party: Most successful, profound and serious theme, typical problem of
ordinary behaviour.
Characters: Symbols, personification of various simple abstract attitudes.
W.H.Auden (1907-1973)
Verse and prose plays, contributed the verse chorus, neat prose dialogue.
Important Plays:
The Dog Beneath the Skin: A gay, satirical farce.
The Ascent of F6 and Across the Frontier: Serious plays dealing with modern problems
through symbolism.
9)
Historical and Imaginative Plays
* Latest Movement.
* Causes of Exploitation of historical themes: Deliberate endeavour to escape from the
trammels of nature and to bring back something of the poetic expression of the theatre.
OTHER DRAMATISTS
Ashley Dukes (1885-1959): The Man with a Load of Mischief (1924), The Fountain Head
(1928) and Tyle Ulenspiegel (1930).