Paradise Lost - John Milton

                                        PARADISE LOST AS AN EPIC
In literature, an epic is a narrative poem on the grand scale and in majestic style concerning the exploits and adventures of a superhuman hero (or heroes) engaged in a quest or some serious endeavour. The hero is distinguished above all men by his strength and courage, and is restrained only by a sense of honour. The subject-matter of epic includes myth, legend, history, and folk tale. It is usually set in a heroic age of the past and embodies its country's early history and expresses its values. Battles and perilous journeys play a large part, as do gods, the supernatural, and magic; scenes are often set in the Underworld or in heaven. The high sounding, bombastic and ornate language, war like speeches, ancient and mythical references and the use of supernatural machinery are some of the main features or essential ingredients of the epic writing. The Epic can be defines as:

                    “An Epic is a highest form of poetry i.e. a long narrative poem in
                        which characters and actions are of heroic proportions. It is
                         written in an elevated style with a serious theme at least of
                                               national or international level. “

         An epic must accord with the technical principles of great epics of classical antiquity set by the classical writers like Homer and Virgil. But when we analyse “Paradise Lost” as an epic, following the set principles, we can aptly say that John Milton, a puritan, and a scholarly person, surpasses even his favourite masters Homer and Virgil in producing a model structure of epic writing for rest of the times.
Unlike the national subjects taken up by Homer and Virgil, Milton succeeds in writing an epic having more serious rather universal subject that is the fall of man on the model of the Greek and Latin epics. The subject, whom Aristotle, Tasso, Homer, Virgil and other epic poets took are ancient and their themes are nation but Milton’s subject is more ancient than that of any other epic. He deals with the subject

                                      “Of man’s disobedience and the fruit
                                 Of that forbidden tree, whose mortal taste,
                                Brought death into this work and all our woe
                                                       With loss of Eden”

Characteristics of Paradise Lost as an Epic
Aristotle described six characteristics: "fable, action, characters, sentiments, diction, and meter" most important elements of epic.


Fable:
Fable or story is the basis of the epic. Bossu is of the opinion that“the poet’s first business is to find a moral, which is perfect or imperfect according as the action is more or less so.”The subject of the Paradise lost concerns with not only a nation or a particular country, rather the destiny of the whole mankind is associated with it. In this particular sense, Paradise lost excels others epic as its action is contrived in hell, executed on earth and punishes by heaven. Coleridge commenting on the Universal appeal of Paradise Lost says,
                     “The superiority of Paradise Lost is obvious in this respect that the
                   interest transcends the limit of a nation… it contains the matter of deep
                     interest to all mankind; forming the basis of all religions and the true
                                        occasion of all of all philosophy what so ever”
Besides, Milton has filled his story with so many surprising incidents which bear so close an analogy with what is delivered in Holy writ, that it is capable of pleasing the most delicate reader, without giving offense to the most scrupulous.

Theme:
The first conviction of epic writing is that it carries a serious theme at least of nation or international level. The destiny of a nation or region is associated with it. The theme of an epic, according to Aristotle, must be “probable and marvelous”. Milton, however, makes some changes in choosing theme as in the very early lines he declares that his aim was to attempt,

                                            “Things unattempted yet in Prose or rhyme”

Explaining subject or theme of Paradise Lost, Hallam says that it is“the finest ever chosen for heroic poetry, it is also manage by Milton with remarkable skill. The Iliad wants completeness; the subject of Odyssey is hardly extension, the Aeneid is spread over too long a space: the Pharasalia is open to the same criticism and the Iliad: the subject of the Thebaid possesses no interest in our eyes: yet the fall of Man has a more general interest than the Crusade.”


Character:
The characters in the epic, like other classical epics, are of high status rather more high and noble than ancient heroes of Homer and Virgil. The characters in Milton’s Paradise Lost are the most sublime that human beings can conceive. They are God, Christ, the good and evil angels, and Adam and Eve, the Parents of whole human race and their status enjoying heavenly life. Addison says
          
            “It is impossible for any of Paradise readers whatever nation, country or people
            he may belong to, not to be related to the person who is the principal actor in it;
               but what is still infinitely more to its advantage, the principal actors not only
                                        our progenitors, but our representative.”
The heroes of ancient epics have the outstanding personalities, heroic mould and stuff, but Adam is bestowed with more heroic qualities than any other hero. Whereas Satan, an Archfiend, revolts and preaches disaffection against God, yet, Milton portrays him so skillfully that he appears to be more exalted and most depraved being. The quality of Satan as leader is hence responsible for most of the critics to consider him to be a hero of this great epic. Even the critics like Robert Burn is forced to say "Give me the spirit of my favorite hero, Milton's Satan"

Episodes:
Like the classical epic writers, Milton succeeds in lending “Paradise Lost” with perfect unity of plot. Everything or even in the poem leads up to or flows from it. The plucking of the fruit of the tree of knowledge, the war between God & Satan, followed by the fall of Satan, Long descriptions of hell and heaven and seduction scene all these events are closely woven and seem a single and a compact action.
               As a masterly person, Milton plunges into the middle of the story, instead of beginning, but in the middle he traces the earlier story and forwards the story to a striking end. During this Milton still is following a rule of epic writing. In the course of the events Milton convincingly shows the utter powerlessness, helplessness and depravity of evil beside the almightiness, beauty and benevolence of God. Evil never succeeds; it never does under any circumstances. Milton shows this in the defeat of Satan:
                                   “so stretch’d out huge in length the Arch-fiend lay,
                                       Chain’d on the burning lake; nor ever thence
                                      Had ris’n, or heav’d his head, but that the will
                                          And high permission of all-ruling heaven,
                                        Left him at large to his own dark designs.”

Diction & style:
War like speeches is another feature of epics. Through these speeches, the poet actually explains the background and the scenery, the characters themselves speak fully explaining their thoughts, feelings and motives. Milton once again seems at the top, while presenting the war like speeches of Satan, who emerges as a giant leader with all heroic qualities inspiring all the readers.
                In Book-I Satan has been represented in heroic dimension. He displays unyielding courage, shrewdness as leader. From the very first speech, he appears to be a great orator with profound leadership qualities.

                                        “What though the field be lost, all is not lost,
                                        The unconquered will ……… immortal hate”
He like a great leader arranges a council and gives them the urge to wage another war against The Supreme Victor. Thorough analysis of their defeat is done to formulate new strategy. He like a great leader praises his fellows and gives them boost by calling them Princes, The Knights and the Warriors he also pinches them by his words
                                                  “Wake up or be fallen forever”
The whip of words works and all of the fallen shrubs rise and whole dark hell resounds with their slogans and flashes with blazing swords and shields as Milton describes the scene in these lines,
                                                                  “Highly they raged
                                           Against the highest, and fierce with grasped arms
                                          Clashed on their soundings shields, the den of war
                                                Hurling defiance towards the vault of heaven.”

Integrity:
           The use of similes, metaphors and allusions are another ingredient of epic writing and ‘Paradise Lost’ is the best blend of this quality. Especially Book-I can aptly be declared as one of the best example of Milton’s skill in using similes and metaphors. Milton being the most learned uses similes, metaphors and allusions to suit their appropriateness adding to the grandeur of the poem. He found an inexhaustible store of learning and experience in classical literature and mythology, from which he drew material for his similes. He tells us that the palace of hell is far beyond the magnificence of “Babylone, or great Alcairo”, and the army of rebel angel far exceeds those,
                                           “That fought at Thebes and Ilium, on each side
                                           Mixed with auxiliary gods; and what resounds
                                                     In fable or romance of Uther’s son,
                                                Begirt with British and Armoric Knights;
                                                And all who since, baptized or infidel;
                                               Jousted in Aspramount or Matalban,
                                                Damasco, Morocco, or Tribisond,
                                           When charlemain with all his peerage fell
                                                                 By Fontarabia.”

Machinery:
The classical writers set another tradition ie, the use of supernatural machinery, which develops the plot and solves its complications. John Milton’s skill once again excels other poets in exhibiting the superb usage of supernatural machinery in the poem. There are only two human characters, Adam & Eve, rest of all the characters including God, angles, Satan and rebellion angels all are supernatural beings.
Thus the use of supernatural machinery in this epic is very convincing.

Sentiments:
As paradise Lost primarily deals with supernatural powers and agencies, there is very little scope for the expression of human sentiments. Adam and Eve are the only two human characters. Their sentiments both of fears and repentance have, of course, been beautifully and forcefully rendered. The anguish rising from the horrors attending the sense of the divine displeasure are very justly and powerfully described. But the real greatness of Milton lies in the fact that he has rendered supernatural powers as human beings and ascribed to them human sentiments. Dr Johnson says that,

                           “The sentiments, as expressive of manners, are appropriated to
                                  characters are, for the later part, unexceptionally just.”

Conclusion:
To conclude it would be very apt to remark that “Paradise Lost” fulfills all the requirements and the convictions laid down by the classics and is one of the best epic ever written in English literature. A sane critic is justified in giving these remarks;
                                  “There is nothing in English literature, but Paradise Lost”
English literature will remain indebted to Milton for his remarkable and glowing piece of literature for all the ages. Milton following the classical tradition matches his own purpose i.e. “justifies the ways of God to men” and has transformed the classical secular epic into a theological and universal one. He actually has enriched the epic tradition and it is apt to say that ‘Paradise Lost’ is the best example of the tradition and the individual talent. Therefore, it’s confirmed that the subject of this epic is more ancient, serious and lofty than any other epic. It promotes a universal view of man’s life.


Md. Jamil Hossain Sujon
 2nd year 2nd semester
Department of English
Jagannath University
          Dhaka.
 Cell. 01737434727
                                                                                                                           


The Shakespearean sonnet

                                 
........William Shakespeare wrote one hundred fifty-four sonnets. A sonnet is a form of lyric poetry with fourteen lines and a specific rhyme scheme. (Lyric poetry presents the deep feelings and emotions of the poet as opposed to poetry that tells a story or presents a witty observation.) .The topic of most sonnets written in Shakespeare's time is love–or a theme related to love. 
........Poets usually wrote their sonnets as part of a series, with each sonnet a sequel to the previous one, although many sonnets could stand alone as separate poems. Sonnets afforded their author an opportunity to show off his ability to write memorable lines. In other words, sonnets enabled a poet to demonstrate the power of his genius in the same way that an art exhibition gave a painter a way to show off his special techniques.
.......Shakespeare addresses Sonnets 1 through 126 to an unidentified young man with outstanding physical and intellectual attributes. The first seventeen of these urge the young man to marry so that he can pass on his superior qualities to a child, thereby allowing future generations to enjoy and appreciate these qualities when the child becomes a man. In Sonnet 18, Shakespeare alters his viewpoint, saying his own poetry may be all that is necessary to immortalize the young man and his qualities. 
.......In Sonnets 127 through 154, Shakespeare devotes most of his attention to addressing a mysterious "dark lady"–a sensuous, irresistible woman of questionable morals who captivates the poet. References to the dark lady also appear in previous sonnets (35, 40, 41, 42), in which Shakespeare reproaches the young man for an apparent liaison with the dark lady. The first two lines of Sonnet 41 chide the young man for "those petty wrongs that liberty commits / when I am sometime absent from thy heart," a reference to the young man's wrongful wooing of the dark lady. The last two lines, the rhyming couplet, further impugn the young man for using his good looks to attract the dark lady. In Sonnet 42, the poet charges, "thou dost love her, because thou knowst I love her." 
.......Shakespeare wrote his sonnets in London in the 1590's during an outbreak of plague that closed theaters and prevented playwrights from staging their dramas. 
.......Generally, Shakespeare's sonnets receive high praise for their exquisite wording and imagery and for their refusal to stoop to sentimentality. Readers of his sonnets in his time got a taste of the greatness that Shakespeare exhibited later in such plays as Hamlet, Macbeth, King Lear, Othello, and The Tempest. Sonnets 138 and 144 were published in 1599 in a poetry collection entitled The Passionate Pilgrime [Pilgrim]. The other sonnets were published in 1609 in Shake-speares [Shakespeare's] Sonnets. It is possible that the 1609 sequence of sonnets is out of its original order
.......The Shakespearean sonnet (also called the English sonnet) has three four-line stanzas (quatrains) and a two-line unit called a couplet. A couplet is always indented; both lines rhyme at the end. The meter of Shakespeare's sonnets is iambic pentameter (except in Sonnet 145). The rhyming lines in each stanza are the first and third and the second and fourth. In the couplet ending the poem, both lines rhyme. All of Shakespeare's sonnets follow the same rhyming pattern. 
 
Md. Jamil Hossain Sujon
 2nd year 2nd semester
Department of English
Jagannath University
          Dhaka.
 Cell. 01737434727

Faerie Queen - Edmund Spenser



                                         Allegorical significance of Faerie Queen
Edmund Spencer in his masterpiece, the Faerie Queen, creates an allegory. The reader must understand the specific symbolic meaning behind each character and its role in that long allegory. In the Faerie Queen Spencer tells the story of a knight and his journey in the faerie land, and his fights against the powers of evils. In the next paragraph I will discuss the Spenserian use of allegory in the Faerie Queen in canto I and II, and the true meaning behind each character and events in the allegory. Spencer''s Faerie land symbolizes Spencer''s England that is rules by the Faerie Queen, the queen Elizabeth I, the head of the protestant church in England. Spencer was a protestant, and devoted the Faerie Queen to Queen Elizabeth as an answer to catholic propaganda against Protestantism and the queen. Redcross the knight, the protagonist of the story, symbolizes a great portion of Christians of the era of the Renaissance that got sick of the Roman Catholic Church and its ownership over Christianity and its corruption and avarice. Redcross represents these Christians who search for an alternative form of Christianity, and was persecuted for that by the Roman Catholic Church. Redcross carries the bloody cross on his chest, this cross protects him form the evils, the cross symbolizes his faith i.e. the true Christianity, and Redcross, as a true believer achieved his faith with suffer and the blood on the cross symbolizes it. Another character that stands in Redcross''s side is Una, his future wife, and the second protagonist of the story, Una represents truth which Redcross must find. Una is the true Christianity that Redcross looking for, his real Christian love; and when Una was taken from him, he is in a voyage to look for her, the only truth, he must be with her to achieve truth but the powers of evils (i.e.: the Roman Catholic Church) are trying to prevent him to achieve that truth, and he will achieve it with great suffer. In the beginning of book I the protagonist fights against the terrible beast Error, this Beast represents the Catholic propaganda against the Protestants, and when our knight kills that monster it vomits books and papers, these books and papers are the Catholic evil propaganda against the Protestants, and by killing this monster Redcross achieves his first victory over the Roman Catholic Church, we can also understand that the beast''s name represents the errors the Roman Catholic Church done and the killing of the monster is its punishment . Another evildoer is Archimago the magician, and his abilities to change form and image and with that he deceives Redcross. Archimago means "arch image", and he symbolizes the use of images and icons of the Catholic Church, a thing that was believed by Spencer to be wrong and done in a purpose of deceiving. Archimago tries to separate the knight from Una, from the truth, and he is doing it through deception and lust. The sorcerer is a representation of the Catholic Church and its way to deceive the believers with false images, icons and falsehood in purpose to prevent them to see the truth. When we read further into the story we meet more character which is also an evildoer, Duessa, which also represents Roman Catholic Church and its attempts to separate the believers from truth. Duessa is presented as beautiful and a tempting woman, but her beauty is only a cover for an ugly evil witch, the same like the Catholic Church that covers itself in gold and beauty and seems perfect, but inside its greedy corrupt and immoral. Redcross find it difficult to defeat Duessa, but when he fights and defeats Sansfoy, he actually defeats the church; Sansfoy, which mean "without faith" represents the faithless people ived by the church, and because their lack of faith it''s easy to beat them. The reader of the Faerie Queen, as mentioned before, must understand it not through its literal meaning but to understand the truth behind it. Spencer uses the character and its names as symbols and meanings, and each one symbolizes other aspect of the powers and factors that were in that era in the crisis between the Catholic Church and the protestants. It is also obvious that the Faerie Queen is a political book, and Spencer, as a protestant felt obliged to protect the queen, in addition, Spencer also needed a support from the queen, which was his patron.
  Md. Jamil Hossain Sujon
   2nd year 2nd semester
  Department of English
  Jagannath University
           Dhaka.
    Cell. 01737434727
                                                                                                                           

Paradise Lost - John Milton


                                                                   The True Hero
What is the definition of a hero? Is it the average man who steps into a difficult circumstance and acts courageously? Is it the person who puts his or her own life aside in order to protect others? Is it honesty, integrity, honor, or bravery? The book, Paradise Lost, by John Milton, indirectly seems to ask this very question. Milton retells the story of the fall of man, following, to an extent, biblical truth but also drawing heavily on his own imagination and interpretation. In the true story, from the Bible, it is easy to see who the hero is, God. However, in Milton’s retold version it is much more difficult to discern. In, Paradise Lost, Jesus isn’t portrayed as the only one who is willing to make a sacrifice for His people. Adam, Eve, and Satan, at differing times, all show themselves to be making sacrifices. However, can these compare to the one great sacrifice that Jesus selflessly made, or are they merely just imitations that won’t withstand scrutiny when
closely examined?
                    
                             Adam and Eve were tempted, sinned, and were banished from paradise. However, in, Paradise Lost, Adam and Eve wished for the blame and punishment to fall solely on themselves. Adam, in agony over his sin, says that, “…all my evasions vain and reasonings, though through mazes, lead me still but to my own conviction: first and last on me, me only, as the source and spring of all corruption, all the blame lights due; so might the wrath,” (10.829-834). Adam wishes for the punishment to be on his shoulders and yet after those lines he realizes that he cannot possibly handle it. Eve also makes a similar wish when she says to Adam, “…and to the place of judgment will return, there with my cries importune Heaven, that all the sentence from thy head removed may light on me, sole cause to thee of all this woe, me only just object of his ire,” (10.932-936). Their offer to take all the blame upon themselves seems to resemble Jesus’ sacrifice, except in one way. Adam and Eve sinned and so rightly they deserved the very punishments that they were offering to take. In Jesus’ case, He had done nothing wrong and was offering not because He deserved the punishment of mankind’s sins, but because He wished to save mankind. Adam and Eve did wish to save each other and their future generations, but they rightly deserved their punishment, Jesus did not.
               
                           Surprisingly, in Paradise Lost, Satan also makes a sacrifice that at first seems to resemble Jesus’ sacrifice. After the fallen angels hold their consult and they decide to find Earth, they wait for someone to volunteer for the job. Satan decides to go and after giving a speech, “…rose…and prevented all reply, prudent, lest from his resolution raised others among the chief might offer now (certain to be refused) what erst they feared; and so refused might in opinion stand his rivals, winning cheap the high repute which he through hazard huge must earn,” (2.466-473). Satan is still concerned with power and fame! He doesn’t want others, just by volunteering, to earn what he expects to gain from his difficult journey to Earth. Not only that, but again there is some obligation for him to make this sacrifice, not just to gain fame, but also because he is their leader. Furthermore, it may be required of Satan to go since he led them into the doomed battle against Heaven. When making his speech Satan even says, “But I should ill become this throne, O Peers, and this imperial sovereignty…if aught proposed and judged of public moment, in the shape of difficulty or danger could deter me from attempting,” (2.445-450). This makes one think that Satan has some obligation to volunteer. There are several reasons why Satan could have chosen to go, whether for selfish gain, because he is their leader, or to make up for his failure in battle. However, all of those reasons take away from, what at first looked like, a selfless sacrifice. Jesus wasn’t obligated to make His sacrifice, He didn’t have any selfish motives, and He didn’t have any mistakes to make up for. Furthermore, Jesus was dying to redeem people where as Satan was trying to have revenge on God by either destroying or tempting mankind. How can those two tasks be considered equal? One is full of pure love and the other, malice and anger.
                         
                                  The final person who makes a sacrifice is Jesus, who willing gives His own life to save mankind. When God decides that mankind will be saved and waits for someone to volunteer, Jesus does and says, “…I for his [man’s] sake will leave thy bosom, and this glory next to thee freely put off, and for him lastly die…” (3.238-240). Jesus has no obligation to die for man. He has no selfish motives and no sins to make up for. Still He sacrifices His own life and God makes the greatest sacrifice of all, losing His only son. What can compare to a sacrifice made out of true love? What can stand up to a sacrifice that had no selfish motives? Neither Adam and Eve’s wish nor Satan’s choice can equal that of God’s decision. God made the ultimate sacrifice, not just as a character in Paradise Lost but in real life, and is the true hero for many reasons. No one can compare to God as a hero, yet mankind can hope to resemble Him in their actions and so bring a little bit of heroism back to Earth.

Md. Jamil Hossain Sujon
 2nd year 2nd semester
Department of English
 Jagannath University
       Dhaka.
  Cell. 01737434727

Character of Macbeth & Lady Macbeth



                            CHARACTER OF MACBETH:
William Shakespeare is an immortal poet whose works have survived to posterity. His poems
and plays are fresh even today and appear relevant. Macbeth is among the four great tragedies of Shakespeare and it deals with the tragedy of ambition. Macbeth the protagonist of the play is a tragic hero who has all the virtues of an Aristotelian Hero but because of his tragic flaw “vaulting ambition” falls from glorious heights of virtue to degradation and death. Macbeth portrays the human drama of emotions – both external and internal. Shakespeare appears to be an expert at ‘psycho-analysis’ and his play enacts somnambulism, hallucination and ‘mind- sickness’

 Macbeth and Banquo are the army generals of King Duncan of Scotland. Macbeth is a great hero and is described as ‘valour’s minion’ and ‘Bellona’s Bridegroom’. At the beginning of the play Macbeth and Banquo are returning from a bitter war and it is amply made clear that it was the heroism and untiring strength that has won the war. Macbeth represents the aged, meek king Duncan.

 Macbeth meets the three weird sisters- the witches, who profess the title of thane of Glamis on Macbeth. The witches also promise that the fate holds royalty for him. The prophecy of the witches provides an opportunity for Macbeth to look into himself and his ambition. Macbeth admits:
“I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which O’ver leaps itself
And falls on the other.”

Duncan awards the ‘thane of Glamis’ on Macbeth and he hopes that the other part of the prophecy may also come true. After a prolonged psychological inner battle, Macbeth succumbs to the temptation and yields to the provocation of Lady Macbeth and decides to murder Duncan. Initially Macbeth is shocked at the gruesome murder and becomes wayward, but soon graduates into an expert in cold-blooded murders and plans the murder of Banquo and Fleance. He falls from nobility and valour to wretchedness and villainy. He becomes a murderer and a butcher with the inhuman butchery of the wife, children and all the relatives of Macduff-the thane of Fife. Macbeth never enjoys peace and rest. He becomes a slave to his own ambition and unfounded fears. He becomes uncontrollable aided by the powers bestowed on him by the witches that he need not fear till the Birnam forest moves towards Dunsiane castle and that no man born of a woman can vanquish him.

Macbeth distances himself from his wife, peace, and nobility. He becomes an autocrat and a butcher who is feared by one and all. All his deputies flee Scotland. Lady Macbeth suffers from somnambulism and kills herself violently. Macbeth is attacked by Malcolm with the support of the British and the prophecy of the witches becomes true when the trees of the Birnam forest are used by the forces to disguise and Macduff admits that he is not born of a woman. Macbeth fights like a hero but is killed by Macduff.

Macbeth undoubtedly possesses all the virtues but because of his ambition and unfounded fears moves towards doom and destruction. 

Md. Jamil Hossain Sujon
 2nd year 2nd semester
 Department of English
 Jagannath University
           Dhaka.
  Cell. 01737434727

     
                        
                    CHARACTER OF LADY MACBETH:
William Shakespeare is an immortal poet whose works have survived to posterity. His poems and plays are fresh even today and appear relevant. Macbeth is among the four great tragedies of Shakespeare and it deals with the tragedy of ambition. Macbeth the protagonist of the play is a tragic hero who has all the virtues of an Aristotelian Hero but because of his tragic flaw “vaulting ambition” falls from glorious heights of virtue to degradation and death. Macbeth portrays the human drama of emotions – both external and internal. Shakespeare appears to be an expert at ‘psycho-analysis’ and his play enacts somnambulism, hallucination and ‘mind- sickness’

Lady Macbeth is one of the extraordinary female characters created by Shakespeare. She presents herself as a lady of strong will and determination. Her provocation is selfless and she aspires to see her husband prosper. Though she is described as the fourth witch in the play, one can see that she is full of humane feelings and she is against the series of murders perpetrated by her husband. When she reads the letter written by Macbeth from the battlefield, she realises the ambition in Macbeth and promises him all that is promised by the witches. “ . . . thou would be great. Are not without ambition.” She prepares to use the ‘valour’ of her tongue and pursues
Macbeth to murder king Duncan. Even after the murder she appears calm and composed and advises Macbeth to hide his feelings and put up a manly posture. Even during the Banquet scene, Lady Macbeth comes to the rescue of Macbeth and presents herself as a matured and devoted wife. Though attempts to murder Duncan, she fails because the motherly feelings prevent her from doing so. The malignity of Lady Macbeth ends with the murder of Duncan but her husband continues to kill people.

Sleepwalking scene is a classic example of Shakespeare’s psychoanalytical abilities. Lady
Macbeth suffers from somnambulism and the words uttered during the night, portray the inner agony and trauma experienced by her. Her condition is prompted by remorse and repentance. Her words portray the discussion between the Lady and Macbeth and her persuasions to put an end the series of murders committed by him. Though the death of Lady Macbeth is reported to Macbeth, later one comes to know that the ‘fiend-like’ queen killed herself with violent hands. Lady Macbeth is not beyond remorse and regeneration. She encourages her husband out of her love for him but once the ambition is realised she aspires for a peaceful life. She does not believe in mindless murders, but she is a conscious woman who could not avoid the burden of guilt on her shoulder for a long time. Once the burden of guilt becomes too heavy for her, she commits suicide.

The character of Lady Macbeth is unique in the sense that she exhibits iron will and unflinching courage, but inwardly she is soft, humane and motherly. The ‘witch-like’ qualities in her can ascribed to her interest in her husband’s ambition and furtherance of his interest. She is mellow and motherly for she fails to murder Duncan, and after passage of some time, she gives herself unto remorse and finally kills herself.

Md. Jamil Hossain Sujon
 2nd year 2nd semester
Department of English
Jagannath University
         Dhaka.
Cell. 01737434727

Banquet & Sleep Walking Scene in Macbeth


BANQUET SCENE:
The Banquet scene takes place in Act III, Sc.iv. It is a very important scene because it catches the crisis in the play besides the supernatural element, which heightens the inner drama of conflict and dichotomy in the mind of Macbeth. Macbeth’s unfounded doubts and too much faith in the words of witches, make him plan the murder of Banquo and Fleance. The scene also draws comparison between the strong will of Lady Macbeth and the continuing hallucinations with Macbeth. Macbeth arranges murderers to kill Banquo, and the murderers manage to kill only Banquo, where as Fleance escapes. The news of the murder is conveyed to Macbeth and immediately at the mention of his name at the banquet table the ghost of Banquo makes an appearance. The ghost is visible only to Macbeth and further heightens the irony and tension. The reaction of Macbeth throws clues at the murder and Lady Macbeth intelligently puts an end to the confessions. The invitees are shocked and at the same time the reverie of Macbeth is ‘ revealing’ for some. The words of Macbeth reveal that the sight of the ghost is appalling and unnerves even a hero like Macbeth. The ghost disappears for some time and Macbeth wonders if the graves were making way for the dead. With the reappearance of the ghost, Macbeth becomes quite talkative and Lady Macbeth fears that Macbeth may speak out the details of the murder of Duncan. The scene shows the inner cowardice of Macbeth. It also shows the guilt, fear and the corruption deep within Macbeth. The scene portrays the fears in Macbeth about the consequences of his sin.

THE SLEEP WALKING SCENE
The sleepwalking scene in Macbeth is a much celebrated and appreciated scene in the play. It gives an insight into the psyche of Lady Macbeth. Act V, Sc.i, in Macbeth is identified as the sleepwalking scene. Shakespeare’s uniqueness and ability are very much visible in the scene. At a time when the very term psychology was unknown, he uses psycho-analysis to lay bare the psyche of his characters and we come across words like ‘mind sickness’. The scene provides a peep into the sick mind of Lady Macbeth, who becomes a patient of somnambulism after the distancing of Macbeth and the feeling of guilt weighing heavy on her. The doctor who is called to treat her accepts that he has no cure for such ‘unnatural’ disease. The lady walks out of her chamber with a lighted candle, writes something, reads and utters strange words which shock the doctor and the maid. The lady rubs her hands repeatedly ‘washing’ the bloodstains created by the too much blood of the ‘old man’. The words of Lady Macbeth also intermittently capture the discussion between the Lady and her husband. Her words reveal that she objected to the series of murders perpetrated by Macbeth. She mentions the death of the ‘old man’ and Banquo besides the lady and children of Macduff. She opines that all the perfumes of Arabia cannot cleanse her pretty hands. The words show the deep-seated guilt in her and her attempts to wash off the guilt from the soul. The lady becomes sick, when Macbeth fails to provide the necessary support and company to his wife, pursuing his own trail. The doctor opines that he cannot treat the ‘infected minds’ and only the divine can help the lady. The scene portrays the terrible feeling of sin, and guilt experienced by Lady Macbeth, which also shows that she is capable of regeneration where as Macbeth continues to be a criminal all through.


 Md. Jamil Hossain Sujon
  2nd year 2nd semester
 Department of English
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History of Drama


                                                History of Drama

Ancient Drama
The origins of Western drama can be traced to the celebratory music of 6th-century BC Attica, the Greek region centered on Athens. Although accounts of this period are inadequate, it appears that the poet Thespis developed a new musical form in which he impersonated a single character and engaged a chorus of singer-dancers in dialogue. As the first composer and soloist in this new form, which came to be known as tragedy, Thespis can be considered both the first dramatist and the first actor. Of the hundreds of works produced by Greek tragic playwrights, only 32 plays by the three major innovators in this new art form survive. Aeschylus created the possibility of developing conflict between characters by introducing a second actor into the format. His seven surviving plays, three of which constitute the only extant trilogy are richly ambiguous inquiries into the paradoxical relationship between humans and the cosmos, in which people are made answerable for their acts, yet recognize that these acts are determined by the gods.

Medieval Drama
Medieval drama, when it emerged hundreds of years later, was a new creation rather than a rebirth, the drama of earlier times having had almost no influence on it. The reason for this creation came from a quarter that had traditionally opposed any form of theater: the Christian church. In the Easter service, and later in the Christmas service, bits of chanted dialogue, called tropes, were interpolated into the liturgy. Priests, impersonating biblical figures, acted out minuscule scenes from the holiday stories. Eventually, these playlets grew more elaborate and abandoned the inside of the church for the church steps and the adjacent marketplace. Secular elements crept in as the artisan guilds took responsibility for these performances; although the glorification of God and the redemption of humanity remained prime concerns, the celebration of local industry was not neglected.

Restoration And 18th-Century Drama
The theaters established in the wake of Charles II's return from exile in France and the Restoration of the monarchy in England (1660) were intended primarily to serve the needs of a socially, politically, and aesthetically homogeneous class. At first they relied on the pre-Civil War repertoire; before long, however, they felt called upon to bring these plays into line with their more "refined," French-influenced sensibilities. The themes, language, and dramaturgy of Shakespeare's plays were now considered out of date, so that during the next two centuries the works of England's greatest dramatist were never produced intact. Owing much to Moliere, the English comedy of manners was typically a witty, brittle satire of current mores, especially of relations between the sexes. Among its leading examples were She Would if She Could (1668) and The Man of Mode (1676) by Sir George Etherege; The Country Wife (1675) by William Wycherley; The Way of the World (1700) by William Congreve; and The Recruiting Officer (1706) and The Beaux' Stratagem (1707) by George Farquhar.
The resurgence of Puritanism, especially after the Glorious Revolution of 1688, had a profound effect on 18th-century drama. Playwrights, retreating from the free-spirited licentiousness of the Restoration, turned toward softer, sentimental comedy and moralizing domestic tragedy. The London Merchant (1731) by George Lillo consolidated this trend. A prose tragedy of the lower middle class, and thus an important step on the road to realism, it illustrated the moral that a woman of easy virtue can lead an industrious young man to the gates of hell.
Satire enjoyed a brief revival with Henry Fielding and with John Gay, whose The Beggar's Opera (1728) met with phenomenal success. Their wit, however, was too sharp for the government, which retaliated by imposing strict censorship laws in 1737. For the next 150 years, few substantial English authors bothered with the drama.


19th Century Drama and The Romantic Rebellion
In its purest form, Romanticism concentrated on the spiritual, which would allow humankind to transcend the limitations of the physical world and body and find an ideal truth. Subject matter was drawn from nature and "natural man" (such as the supposedly untouched Native American). Perhaps one of the best examples of Romantic drama is Faust (Part I, 1808; Part II, 1832) by the German playwright Johann Wolfgang von Goethe. Based on the classic legend of the man who sells his soul to the devil, this play of epic proportions depicts humankind's attempt to master all knowledge and power in its constant struggle with the universe. The Romantics focused on emotion rather than rationality, drew their examples from a study of the real world rather than the ideal, and glorified the idea of the artist as a mad genius unfettered by rules. Romanticism thus gave rise to a vast array of dramatic literature and production that was often undisciplined and that often substituted emotional manipulation for substantial ideas.
Romanticism first appeared in Germany, a country with little native theatre other than rustic farces before the 18th century. By the 1820s Romanticism dominated the theatre of most of Europe. Many of the ideas and practices of Romanticism were evident in the late 18th-century Sturm und Drang movement of Germany led by Goethe and the dramatist Friedrich Schiller. These plays had no single style but were generally strongly emotional, and, in their experimentation with form, laid the groundwork for the rejection of Neo-Classicism. The plays of the French playwright René Charles Guilbert de Pixérécourt paved the way for French Romanticism, which had previously been known only in the acting of François Joseph Talma in the first decades of the 19th century. Victor Hugo's Hernani (1830) is considered the first French Romantic drama.

The Modern Drama
From the time of the Renaissance on, theatre seemed to be striving for total realism, or at least for the illusion of reality. As it reached that goal in the late 19th century, a multifaceted, antirealistic reaction erupted. Avant-garde Precursors of Modern Theatre Many movements generally lumped together as the avant-garde, attempted to suggest alternatives to the realistic drama and production. The various theoreticians felt that Naturalism presented only superficial and thus limited or surface reality-that a greater truth or reality could be found in the spiritual or the unconscious. Others felt that theatre had lost touch with its origins and had no meaning for modern society other than as a form of entertainment. Paralleling modern art movements, they turned to symbol, abstraction, and ritual in an attempt to revitalize the theatre. Although realism continues to be dominant in contemporary theatre, television and film now better serve its earlier functions.
The originator of many antirealist ideas was the German opera composer Richard Wagner. He believed that the job of the playwright/composer was to create myths. In so doing, Wagner felt, the creator of drama was portraying an ideal world in which the audience shared a communal experience, perhaps as the ancients had done. He sought to depict the "soul state", or inner being, of characters rather than their superficial, realistic aspects. Furthermore, Wagner was unhappy with the lack of unity among the individual arts that constituted the drama. He proposed the Gesamtkunstwerk, the "total art work", in which all dramatic elements are unified, preferably under the control of a single artistic creator.
Wagner was also responsible for reforming theatre architecture and dramatic presentation with his Festival Theatre at Bayreuth, Germany, completed in 1876. The stage of this theatre was similar to other 19th-century stages even if better equipped, but in the auditorium Wagner removed the boxes and balconies and put in a fan-shaped seating area on a sloped floor, giving an equal view of the stage to all spectators. Just before a performance the auditorium lights dimmed to total darkness-then a radical innovation.

Symbolist Drama
The Symbolist movement in France in the 1880s first adopted Wagner's ideas. The Symbolists called for "detheatricalizing" the theatre, meaning stripping away all the technological and scenic encumbrances of the 19th century and replacing them with a spirituality that was to come from the text and the acting. The texts were laden with symbolic imagery not easily construed-rather they were suggestive. The general mood of the plays was slow and dream-like. The intention was to evoke an unconscious response rather than an intellectual one and to depict the nonrational aspects of characters and events. The Symbolist plays of Maurice Maeterlinck of Belgium and Paul Claudel of France, popular in the 1890s and early 20th century, are seldom performed today. Strong Symbolist elements can be found, however, in the plays of Chekhov and the late works of Ibsen and Strindberg. Symbolist influences are also evident in the works of such later playwrights as the Americans Eugene O'Neill and Tennessee Williams and the Englishman Harold Pinter, propounder of "theatre of silence". Also influenced by Wagner and the Symbolists were the Swiss scenic theorist Adolphe Appia and the English designer Edward Henry Gordon Craig, whose turn-of-the-century innovations shaped much of 20th-century scenic and lighting design. They both reacted against the realistic painted settings of the day, proposing instead suggestive or abstract settings that would create, through light and scenic elements, more of a mood or feeling than an illusion of a real place. In 1896 a Symbolist theatre in Paris produced Alfred Jarry's Ubu roi, for its time a shocking, bizarre play. Modelled vaguely on Macbeth, the play depicts puppet-like characters in a world devoid of decency. The play is filled with scatological humor and language. It was perhaps most significant for its shock value and its destruction of virtually all-contemporaneous theatrical norms and taboos. Ubu roi freed the theatre for exploration in any direction the author wished to go. It also served as the model and inspiration for future avant-garde dramatic movements and the absurdist drama of the 1950s.

Expressionist Drama
The Expressionist movement was popular in the 1910s and 1920s, largely in Germany. It explored the more violent, grotesque aspects of the human psyche, creating a nightmare world onstage. Scenographically, distortion and exaggeration and a suggestive use of light and shadow typify Expressionism. Stock types replaced individualized characters or allegorical figures, much as in the morality plays, and plots often revolved around the salvation of humankind.
Other movements of the first half of the century, such as Futurism, Dada, and Surrealism, sought to bring new artistic and scientific ideas into theatre.

Ensemble Theatre
Perhaps the most significant development influenced by Artaud was the ensemble theatre movement of the 1960s. Exemplified by the Polish Laboratory Theatre of Jerzy Grotowski, Peter Brook's Theatre of Cruelty Workshop, Théâtre du Soleil, the French workers' cooperative formed by Ariane Mnouchkine, and the Open Theatre, led by Joseph Chaikin, ensemble theatres abandoned the written text in favor of productions created by an ensemble of actors. The productions, which generally evolved out of months of work, relied heavily on physical movement, nonspecific language and sound, and often-unusual arrangements of space.

Absurdist Theatre
The most popular and influential nonrealistic genre of the 20th century was absurdism. Absurdist dramatists saw, in the words of the Romanian-French playwright Eugène Ionesco, "man as lost in the world, all his actions become senseless, absurd, useless. Absurdist drama tends to eliminate much of the cause-and-effect relationship among incidents, reduce language to a game and minimize its communicative power, reduce characters to archetypes, make place nonspecific, and view the world as alienating and incomprehensible. Absurdism was at its peak in the 1950s, but continued to influence drama through the 1970s. The American playwright Edward Albee's early dramas were classified as absurd because of the seemingly illogical or irrational elements that defined his characters' world of actions. Pinter was also classed with the absurdists. His plays, such as The Homecoming (1964), seem dark, impenetrable, and absurd. Pinter explained, however, that they are realistic because they resemble the everyday world in which only fragments of unexplained activity and dialogue are seen and heard.


Contemporary Drama
Although pure Naturalism was never very popular after World War I, drama in a realist style continued to dominate the commercial theatre, especially in the United States. Even there, however, psychological realism seemed to be the goal, and nonrealistic scenic and dramatic devices were employed to achieve this end. The plays of Arthur Miller and Tennessee Williams, for instance, use memory scenes, dream sequences, purely symbolic characters, projections, and the like. Even O'Neill's later works-ostensibly realistic plays such as Long Day's Journey into Night (produced 1956)-incorporate poetic dialogue and a carefully orchestrated background of sounds to soften the hard-edged realism. Scenery was almost always suggestive rather than realistic. European drama was not much influenced by psychological realism but was more concerned with plays of ideas, as evidenced in the works of the Italian dramatist Luigi Pirandello, the French playwrights Jean Anouilh and Jean Giraudoux, and the Belgian playwright Michel de Ghelderode. In England in the 1950s John Osborne's Look Back in Anger (1956) became a rallying point for the postwar "angry young men"; a Vietnam trilogy of the early 1970s, by the American playwright David Rabe, expressed the anger and frustration of many towards the war in Vietnam. Under he influence of Brecht, many postwar German playwrights wrote documentary dramas that, based on historical incidents, explored the moral obligations of individuals to themselves and to society. An example is The Deputy (1963), by Rolf Hochhuth, which deals with Pope Pius XII's silence during World War II.
Many playwrights of the 1960s and 1970s-Sam Shepard in the United States, Peter Handke in Austria, Tom Stoppard in England-built plays around language: language as a game, language as sound, language as a barrier, language as a reflection of society. In their plays, dialogue frequently cannot be read simply as a rational exchange of information. Many playwrights also mirrored society's frustration with a seemingly uncontrollable, self-destructive world.
In Europe in the 1970s, new playwriting was largely overshadowed by theatricalist productions, which generally took classical plays and reinterpreted them, often in bold new scenographic spectacles, expressing ideas more through action and the use of space than through language.
In the late 1970s a return to Naturalism in drama paralleled the art movement known as Photorealism. Typified by such plays as American Buffalo (1976) by David Mamet, little action occurs, the focus is on mundane characters and events, and language is fragmentary-much like everyday conversation. The settings are indistinguishable from reality. The intense focus on seemingly meaningless fragments of reality creates an absurdist, nightmarish quality: similar traits can be found in writers such as Stephen Poliakoff. A gritty social realism combined with very dark humour has also been popular; it can be seen in the very different work of Alan Ayckbourn, Mike Leigh, Michael Frayn, Alan Bleasdale, and Dennis Potter.
In all lands where the drama flourishes, the only constant factor today is what has always been constant: change. The most significant writers are still those who seek to redefine the basic premises of the art of drama


Greek Drama

The Western dramatic tradition has its origins in ancient Greece. The precise evolution of its main divisions tragedy, comedy, and satire—is not definitely known. According to Aristotle, Greek drama, or, more explicitly, Greek tragedy, originated in the dithyramb. This was a choral hymn to the god Dionysus and involved exchanges between a lead singer and the chorus. It is thought that the dithyramb was sung at the Dionysia, an annual festival honoring Dionysus.

Tradition has it that at the Dionysia of 534 B.C., during the reign of Pisistratus, the lead singer of the dithyramb, a man named Thespis, added to the chorus an actor with whom he carried on a dialogue, thus initiating the possibility of dramatic action. Thespis is credited with the invention of tragedy. Eventually, Aeschylus introduced a second actor to the drama and Sophocles a third, Sophocles' format being continued by Euripides, the last of the great classical Greek dramatists.
Generally, the earlier Greek tragedies place more emphasis on the chorus than the later ones. In the majestic plays of Aeschylus, the chorus serves to underscore the personalities and situations of the characters and to provide ethical comment on the action. Much of Aeschylus' most beautiful poetry is contained in the choruses of his plays. The increase in the number of actors resulted in less concern with communal problems and beliefs and more with dramatic conflict between individuals.
Accompanying this emphasis on individuals' interaction, from the time of Aeschylus to that of Euripides, there was a marked tendency toward realism. Euripides' characters are ordinary, not godlike, and the gods themselves are introduced more as devices of plot manipulation (as in the use of the deus ex machina in Medea, 431 B.C.) than as strongly felt representations of transcendent power. Utilizing three actors, Sophocles developed dramatic action beyond anything Aeschylus had achieved with only two and also introduced more natural speech. However, he did not lose a sense of the godlike in man and man's affairs, as Euripides often did. Thus, it is Sophocles who best represents the classical balance between the human and divine, the realistic and the symbolic.
Greek comedy is divided by scholars into Old Comedy (5th cent. B.C.), Middle Comedy (c.404–c.321 B.C.), and New Comedy (c.320–c.264 B.C.). The sole literary remains of Old Comedy are the plays of Aristophanes, characterized by obscenity, political satire, fantasy, and strong moral overtones. While there are no extant examples of Middle Comedy, it is conjectured that the satire, obscenity, and fantasy of the earlier plays were much mitigated during this transitional period. Most extant examples of New Comedy are from the works of Menander; these comedies are realistic and elegantly written, often revolving around a love-interest.

Roman Drama

The Roman theater never approached the heights of the Greek, and the Romans themselves had little interest in serious dramatic endeavors, being drawn toward sensationalism and spectacle. The earliest Roman dramatic attempts were simply translations from the Greek. Gnaeus Naevius (c.270–c.199 B.C.) and his successors imitated Greek models in tragedies that never transcended the level of violent melodrama. Even the nine tragedies of the philosopher and statesman Seneca are gloomy and lurid, emphasizing the sensational aspects of Greek myth; they are noted primarily for their inflated rhetoric. Seneca became an important influence on Renaissance tragedy, but it is unlikely that his plays were intended for more than private readings.
Although Roman tragedy produced little of worth, a better judgment may be passed on the comedies of Plautus and Terence. Plautus incorporated native Roman elements into the plots and themes of Menander, producing plays characterized by farce, intrigue, romance, and sentiment. Terence was a more polished stylist who wrote for and about the upper classes and dispensed with the element of farce.
The Roman preference for spectacle and the Christian suppression of drama led to a virtual cessation of dramatic production during the decline of the Roman Empire. Pantomimes accompanied by a chorus developed out of tragedy, and comic mimes were popular until the 4th cent. A.D. (see pantomime). It is this mime tradition, carried on by traveling performers, that provided the theatrical continuity between the ancient world and the medieval. The Roman mime tradition has been suggested as the origin of the commedia dell'arte of the Italian Renaissance, but this conjecture has never been proved.

Medieval Drama

While the Christian church did much to suppress the performance of plays, paradoxically it is in the church that medieval drama began. The first record of this beginning is the trope in the Easter service known as the Quem quaeritis [whom you seek]. Tropes, originally musical elaborations of the church service, gradually evolved into drama; eventually the Latin lines telling of the Resurrection were spoken, rather than sung, by priests who represented the angels and the two Marys at the tomb of Jesus. Thus, simple interpolations developed into grandiose cycles of mystery plays, depicting biblical episodes from the Creation to Judgment Day. The most famous of these plays is the Second Shepherds' Play.
Another important type that developed from church liturgy was the miracle play, based on the lives of saints rather than on scripture. The miracle play reached its peak in France and the mystery play in England. Both types gradually became secularized, passing into the hands of trade guilds or professional actors. The Second Shepherds' Play, for all its religious seriousness, is most noteworthy for its elements of realism and farce, while the miracle plays in France often emphasized comedy and adventure (see miracle play).
The morality play, a third type of religious drama, appeared early in the 15th cent. Morality plays were religious allegories, the most famous being Everyman. Another type of drama popular in medieval times was the interlude, which can be generally defined as a dramatic work with characteristics of the morality play that is primarily intended for entertainment.
the Renaissance in the 15th and 16th cent., most European countries had established native traditions of religious drama and farce that contended with the impact of the newly discovered Greek and Roman plays. Little had been known of classical drama during the Middle Ages, and evidently the only classical imitations during that period were the Christian imitations of Terence by the Saxon nun Hrotswitha in the 10th cent.
Italy
The translation and imitation of the classics occurred first in Italy, with Terence, Plautus, and Seneca as the models. The Italians strictly applied their interpretation of Aristotle's rules for the drama, and this rigidity was primarily responsible for the failure of Italian Renaissance drama. Some liveliness appeared in the comic sphere, particularly in the works of Ariosto and in Machiavelli's satiric masterpiece, La Mandragola (1524). The pastoral drama—set in the country and depicting the romantic affairs of rustic people, usually shepherds and shepherdesses—was more successful than either comedy or tragedy. Notable Italian practitioners of the genre were Giovanni Battista Guarini (1537–1612) and Torquato Tasso.
The true direction of the Italian stage was toward the spectacular and the musical. A popular Italian Renaissance form was the intermezzo, which presented music and lively entertainment between the acts of classical imitations. The native taste for music and theatricality led to the emergence of the opera in the 16th cent. and the triumph of this form on the Italian stage in the 17th cent. Similarly, the commedia dell'arte, emphasizing comedy and improvisation and featuring character types familiar to a contemporary audience, was more popular than academic imitations of classical comedy.

France

Renaissance drama appeared somewhat later in France than in Italy. Estienne Jodelle's Senecan tragedy Cleopatre captive (1553) marks the beginning of classical imitation in France. The French drama initially suffered from the same rigidity as the Italian, basing itself on Roman models and Italian imitations. However, in the late 16th cent. in France there was a romantic reaction to classical dullness, led by Alexandre Hardy, France's first professional playwright.
This romantic trend was stopped in the 17th cent. by Cardinal Richelieu, who insisted on a return to classic forms. Richelieu's judgment, however, bore fruit in the triumphs of the French neoclassical tragedies of Jean Racine and the comedies of Molière. The great tragedies of Pierre Corneille, although classical in their grandeur and in their concern with noble characters, are decidedly of the Renaissance in their exaltation of man's ability, by force of will, to transcend adverse circumstances.

Spain

Renaissance drama in Spain and England was more successful than in France and Italy because the two former nations were able to transform classical models with infusions of native characteristics. In Spain the two leading Renaissance playwrights were Lope de Vega and Pedro Calderón de la Barca. Earlier, Lope de Rueda had set the tone for future Spanish drama with plays that are romantic, lyrical, and generally in the mixed tragicomic form. Lope de Vega wrote an enormous number of plays of many types, emphasizing plot, character, and romantic action. Best known for his La vida es sueño [life is a dream], a play that questions the nature of reality, Calderón was a more controlled and philosophical writer than Lope.

England

The English drama of the 16th cent. showed from the beginning that it would not be bound by classical rules. Elements of farce, morality, and a disregard for the unities of time, place, and action inform the early comedies Gammer Gurton's Needle and Ralph Roister Doister (both c.1553) and the Senecan tragedy Gorboduc (1562). William Shakespeare's great work was foreshadowed by early essays in the historical chronicle play, by elements of romance found in the works of John Lyly, by revenge plays such as Thomas Kyd's Spanish Tragedy (c.1586)—again inspired by the works of Seneca—and by Christopher Marlowe's development of blank verse and his deepening of the tragic perception.
Shakespeare, of course, stands as the supreme dramatist of the Renaissance period, equally adept at writing tragedies, comedies, or chronicle plays. His great achievements include the perfection of a verse form and language that capture the spirit of ordinary speech and yet stand above it to give a special dignity to his characters and situations; an unrivaled subtlety of characterization; and a marvelous ability to unify plot, character, imagery, and verse movement.
With the reign of James I the English drama began to decline until the closing of the theaters by the Puritans in 1642. This period is marked by sensationalism and rhetoric in tragedy, as in the works of John Webster and Thomas Middleton, spectacle in the form of the masque, and a gradual turn to polished wit in comedy, begun by Francis Beaumont and John Fletcher and furthered by James Shirley. The best plays of the Jacobean period are the comedies of Ben Jonson, in which he satirized contemporary life by means of his own invention, the comedy of humours.

Drama from 1750 to 1800

The second half of the 17th cent. was distinguished by the achievements of the French neoclassicists and the Restoration playwrights in England. Jean Racine brought clarity of perception and simplicity of language to his love tragedies, which emphasize women characters and psychological motivation. Molière produced brilliant social comedies that are neoclassical in their ridicule of any sort of excess.
In England, Restoration tragedy degenerated into bombastic heroic dramas by such authors as John Dryden and Thomas Otway. Often written in rhymed heroic couplets, these plays are replete with sensational incidents and epic personages. But Restoration comedy, particularly the brilliant comedies of manners by George Etherege and William Congreve, achieved a perfection of style and cynical upper-class wit that is still appreciated. The works of William Wycherley, while similar in type, are more savage and deeply cynical. George Farquhar was a later and gentler master of Restoration comedy.

Eighteenth-Century Drama

The influence of Restoration comedy can be seen in the 18th cent. in the plays of Oliver Goldsmith and Richard Brinsley Sheridan. This century also ushered in the middle-class or domestic drama, which treated the problems of ordinary people. George Lillo's London Merchant; or, The History of George Barnwell (1731), is an important example of this type of play because it brought the bourgeois tragic hero to the English stage.
Such playwrights as Sir Richard Steele and Colley Cibber in England and Marivaux in France contributed to the development of the genteel, sentimental comedy. While the political satire in the plays of Henry Fielding and in John Gay's Beggar's Opera (1728) seemed to offer a more interesting potential than the sentiment of Cibber, this line of development was cut off by the Licensing Act of 1737, which required government approval before a play could be produced. The Italian Carlo Goldoni, who wrote realistic comedies with fairly sophisticated characterizations, also tended toward middle-class moralizing. His contemporary, Count Carlo Gozzi, was more ironic and remained faithful to the spirit of the commedia dell'arte.
Prior to the surge of German romanticism in the late 18th cent., two playwrights stood apart from the trend toward sentimental bourgeois realism. Voltaire tried to revive classical models and introduced exotic Eastern settings, although his tragedies tend to be more philosophical than dramatic. Similarly, the Italian Count Vittorio Alfieri sought to restore the spirit of the ancients to his drama, but the attempt was vitiated by his chauvinism.
The Sturm und Drang in Germany represented a romantic reaction against French neoclassicism and was supported by an upsurge of German interest in Shakespeare, who was viewed at the time as the greatest of the romantics. Gotthold Lessing, Friedrich von Schiller, and Goethe were the principal figures of this movement, but the plays produced by the three are frequently marred by sentimentality and too heavy a burden of philosophical ideas.

Nineteenth-Century Drama

The romantic movement did not blossom in French drama until the 1820s, and then primarily in the work of Victor Hugo and Alexandre Dumas père, while in England the great Romantic poets did not produce important drama, although both Lord Byron and Percy Bysshe Shelley were practitioners of the closet drama. Burlesque and mediocre melodrama reigned supreme on the English stage.
Although melodrama was aimed solely at producing superficial excitement, its development, coupled with the emergence of realism in the 19th cent., resulted in more serious drama. Initially, the melodrama dealt in such superficially exciting materials as the gothic castle with its mysterious lord for a villain, but gradually the characters and settings moved closer to the realities of contemporary life.
The concern for generating excitement led to a more careful consideration of plot construction, reflected in the smoothly contrived climaxes of the “well-made” plays of Eugène Scribe and Victorien Sardou of France and Arthur Wing Pinero of England. The work of Émile Augier and Alexandre Dumas fils combined the drama of ideas with the “well-made” play. Realism had perhaps its most profound expression in the works of the great 19th-century Russian dramatists: Nikolai Gogol, A. N. Ostrovsky, Ivan Turgenev, Leo Tolstoy, Anton Chekhov, and Maxim Gorky. Many of the Russian dramatists emphasized character and satire rather than plot in their works.
Related to realism is naturalism, which can be defined as a selective realism emphasizing the more sordid and pessimistic aspects of life. An early forerunner of this style in the drama is Georg Büchner's powerful tragedy Danton's Death (1835), and an even earlier suggestion may be seen in the pessimistic romantic tragedies of Heinrich von Kleist. Friedrich Hebbel wrote grimly naturalistic drama in the middle of the 19th cent., but the naturalistic movement is most commonly identified with the “slice-of-life” theory of Émile Zola, which had a profound effect on 20th-century playwrights.
Henrik Ibsen of Norway brought to a climax the realistic movement of the 19th cent. and also served as a bridge to 20th-century symbolism. His realistic dramas of ideas surpass other such works because they blend a complex plot, a detailed setting, and middle-class yet extraordinary characters in an organic whole. Ibsen's later plays, such as The Master Builder (1892), are symbolic, marking a trend away from realism that was continued by August Strindberg's dream plays, with their emphasis on the spiritual, and by the plays of the Belgian Maurice Maeterlinck, who incorporated into drama the theories of the symbolist poets (see symbolists).
While these antirealistic developments took place on the Continent, two playwrights were making unique contributions to English theater. Oscar Wilde produced comedies of manners that compare favorably with the works of Congreve, and George Bernard Shaw brought the play of ideas to fruition with penetrating intelligence and singular wit.
Twentieth-Century Drama
During the 20th cent., especially after World War I, Western drama became more internationally unified and less the product of separate national literary traditions. Throughout the century realism, naturalism, and symbolism (and various combinations of these) continued to inform important plays. Among the many 20th-century playwrights who have written what can be broadly termed naturalist dramas are Gerhart Hauptmann (German), John Galsworthy (English), John Millington Synge and Sean O'Casey (Irish), and Eugene O'Neill, Clifford Odets, and Lillian Hellman (American).
An important movement in early 20th-century drama was expressionism. Expressionist playwrights tried to convey the dehumanizing aspects of 20th-century technological society through such devices as minimal scenery, telegraphic dialogue, talking machines, and characters portrayed as types rather than individuals. Notable playwrights who wrote expressionist dramas include Ernst Toller and Georg Kaiser (German), Karel Čapek (Czech), and Elmer Rice and Eugene O'Neill (American). The 20th cent. also saw the attempted revival of drama in verse, but although such writers as William Butler Yeats, W. H. Auden, T. S. Eliot, Christopher Fry, and Maxwell Anderson produced effective results, verse drama was no longer an important form in English. In Spanish, however, the poetic dramas of Federico García Lorca are placed among the great works of Spanish literature.
Three vital figures of 20th-century drama are the American Eugene O'Neill, the German Bertolt Brecht, and the Italian Luigi Pirandello. O'Neill's body of plays in many forms—naturalistic, expressionist, symbolic, psychological—won him the Nobel Prize in Literature in 1936 and indicated the coming-of-age of American drama. Brecht wrote dramas of ideas, usually promulgating socialist or Marxist theory. In order to make his audience more intellectually receptive to his theses, he endeavored—by using expressionist techniques—to make them continually aware that they were watching a play, not vicariously experiencing reality. For Pirandello, too, it was paramount to fix an awareness of his plays as theater; indeed, the major philosophical concern of his dramas is the difficulty of differentiating between illusion and reality.
World War II and its attendant horrors produced a widespread sense of the utter meaninglessness of human existence. This sense is brilliantly expressed in the body of plays that have come to be known collectively as the theater of the absurd. By abandoning traditional devices of the drama, including logical plot development, meaningful dialogue, and intelligible characters, absurdist playwrights sought to convey modern humanity's feelings of bewilderment, alienation, and despair—the sense that reality is itself unreal. In their plays human beings often portrayed as dupes, clowns who, although not without dignity, are at the mercy of forces that are inscrutable.
Probably the most famous plays of the theater of the absurd are Eugene Ionesco's Bald Soprano (1950) and Samuel Beckett's Waiting for Godot (1953). The sources of the theater of the absurd are diverse; they can be found in the tenets of surrealism, Dadaism (see Dada), and existentialism; in the traditions of the music hall, vaudeville, and burlesque; and in the films of Charlie Chaplin and Buster Keaton. Playwrights whose works can be roughly classed as belonging to the theater of the absurd are Jean Genet (French), Max Frisch and Friedrich Dürrenmatt (Swiss), Fernando Arrabal (Spanish), and the early plays of Edward Albee (American). The pessimism and despair of the 20th cent. also found expression in the existentialist dramas of Jean-Paul Sartre, in the realistic and symbolic dramas of Arthur Miller, Tennessee Williams, and Jean Anouilh, and in the surrealist plays of Jean Cocteau.
Somewhat similar to the theater of the absurd is the so-called theater of cruelty, derived from the ideas of Antonin Artaud, who, writing in the 1930s, foresaw a drama that would assault its audience with movement and sound, producing a visceral rather than an intellectual reaction. After the violence of World War II and the subsequent threat of the atomic bomb, his approach seemed particularly appropriate to many playwrights. Elements of the theater of cruelty can be found in the brilliantly abusive language of John Osborne's Look Back in Anger (1956) and Edward Albee's Who's Afraid of Virginia Woolf? (1962), in the ritualistic aspects of some of Genet's plays, in the masked utterances and enigmatic silences of Harold Pinter's “comedies of menace,” and in the orgiastic abandon of Julian Beck's Paradise Now! (1968); it was fully expressed in Peter Brooks's production of Peter Weiss's Marat/Sade (1964).
During the last third of the 20th cent. a few continental European dramatists, such as Dario Fo in Italy and Heiner Müller in Germany, stand out in the theater world. However, for the most part, the countries of the continent saw an emphasis on creative trends in directing rather than a flowering of new plays. In the United States and England, however, many dramatists old and new continued to flourish, with numerous plays of the later decades of the 20th cent. (and the early 21st cent.) echoing the trends of the years preceding them.
Realism in a number of guises—psychological, social, and political—continued to be a force in such British works as David Storey's Home (1971), Sir Alan Ayckbourn's Norman Conquests trilogy (1974), and David Hare's Amy's View (1998); in such Irish dramas as Brian Friel's Dancing at Lughnasa (1990) and Martin McDonagh's 1990s Leenane trilogy; and in such American plays as Jason Miller's That Championship Season (1972), Lanford Wilson's Talley's Folly (1979), and John Guare's Six Degrees of Separation (1990). In keeping with the tenor of the times, many of these and other works of the period were marked by elements of wit, irony, and satire.
A witty surrealism also characterized some of the late 20th cent.'s theater, particularly the brilliant wordplay and startling juxtapositions of the many plays of England's Tom Stoppard. In addition, two of late-20th-century America's most important dramatists, Sam Shepard and David Mamet (as well as their followers and imitators), explored American culture with a kind of hyper-realism mingled with echoes of the theater of cruelty in the former's Buried Child (1978), the latter's Glengarry Glen Ross (1983), and other works. While each exhibited his own very distinctive voice and vision, both playwrights achieved many of their effects through stark settings, austere language in spare dialog, meaningful silences, the projection of a powerful streak of menace, and outbursts of real or implied violence.
The late decades of the 20th century were also a time of considerable experiment and iconoclasm. Experimental dramas of the 1960s and 70s by such groups as Beck's Living Theater and Jerzy Grotowski's Polish Laboratory Theatre were followed by a mixing and merging of various kinds of media with aspects of postmodernism, improvisational techniques, performance art, and other kinds of avant-garde theater. Some of the era's more innovative efforts included productions by theater groups such as New York's La MaMa (1961–) and Mabou Mines (1970–) and Chicago's Steppenwolf Theatre Co. (1976–); the Canadian writer-director Robert Lepage's intricate, sometimes multilingual works, e.g. Tectonic Plates (1988); the inventive one-man shows of such monologuists as Eric Bogosian, Spalding Gray, and John Leguizamo; the transgressive drag dramas of Charles Ludlam's Ridiculous Theater, e.g., The Mystery of Irma Vep (1984); and the operatic multimedia extravaganzas of Robert Wilson, e.g. White Raven (1999).
Thematically, the social upheavals of the 1960s, 70s, and 80s—particularly the civil rights and women's movements, gay liberation, and the AIDS crisis—provided impetus for new plays that explored the lives of minorities and women. Beginning with Lorraine Hansberry's A Raisin in the Sun (1959), drama by and about African Americans emerged as a significant theatrical trend. In the 1960s plays such as James Baldwin's Blues for Mr. Charley (1964), Amiri Baraka's searing Dutchman (1964), and Charles Gordone's No Place to Be Somebody (1967) explored black American life; writers including Ed Bullins (e.g., The Taking of Miss Janie, 1975), Ntozake Shange (e.g., For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, 1976) and Charles Fuller (e.g., A Soldier's Play, 1981) carried these themes into later decades. One of the most distinctive and prolific of the century's African-American playwrights, August Wilson, debuted on Broadway in 1984 with Ma Rainey's Black Bottom and continued to define the black American experience in his ongoing dramatic cycle into the next century.
Feminist and other women-centered themes dramatized by contemporary female playwrights were plentiful in the 1970s and extended in the following decades. Significant figures included England's Caryl Churchill (e.g., the witty Top Girls, 1982), the Cuban-American experimentalist Maria Irene Forńes (e.g., Fefu and Her Friends, 1977) and American realists including Beth Henley (e.g., Crimes of the Heart, 1978), Marsha Norman (e.g., 'Night Mother, 1982), and Wendy Wasserstein (e.g., The Heidi Chronicles, 1988). Skilled monologuists also provided provocative female-themed one-women shows such as Eve Ensler's The Vagina Monologues (1996) and various solo theatrical performances by Lily Tomlin, Karen Finley, Anna Deveare Smith, Sarah Jones, and others.
Gay themes (often in works by gay playwrights) also marked the later decades of the 20th cent. Homosexual characters had been treated sympathetically but in the context of pathology in such earlier 20th-century works as Lillian Hellman's The Children's Hour (1934) and Robert Anderson's Tea and Sympathy (1953). Gay subjects were presented more explicitly during the 1960s, notably in the English farces of Joe Orton and Matt Crowley's witty but grim portrait of pre-Stonewall American gay life, The Boys in the Band (1968). In later years gay experience was explored more frequently and with greater variety and openness, notably in Britain in Martin Sherman's Bent (1979) and Peter Gill's Mean Tears (1987) and in the United States in Jane Chambers' Last Summer at Bluefish Cove (1980), Harvey Fierstein's Torch Song Trilogy (1981), Larry Kramer's The Normal Heart (1986), David Henry Hwang's M. Butterfly (1988), which also dealt with Asian identity, and Paul Rudnick's Jeffrey (1993). Tony Kushner's acclaimed two-part Angels in America (1991–92) is generally considered the century's most brilliant and innovative theatrical treatment of the contemporary gay world.

Md. Jamil Hossain Sujon
  2nd year 2nd semester
Department of English
Jagannath University
         Dhaka.
Cell. 01737434727