A Study of Sophoclean Drama by G. M. Kirkwood

By G. M. Kirkwood

The reader will locate in bankruptcy I an outline of the association and goal of this ebook. the following i would like purely say a number of phrases of clarification and discharge the friendly and critical responsibility of acknowledging help.
The e-book is principally a philological examine of convinced points of Sophocles’ performs and is intended for the eye of these who're themselves engaged within the learn of the performs. yet due to the fact that, except the bankruptcy on diction, i've got frequently given quotations in translation, the booklet could be usable via those that learn Sophocles in translation purely. My line references and quotations stick with the Oxford Classical textual content of A. C. Pearson.

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11 The New York Tribune, 13 February 1921. 12 Mary B. , Eugene O'Neill: Comments on the Drama and the Theater (Tiibingen: Gunter Narr Verlag, 1987), p. 26. 13 The Birth of Tragedy, tr. William A. Haussmann (Edinburgh and London: T. N. Foulis, ~ g o g )Section , 10. 14 Arthur Hobson Quinn, A History of the American Drama from the Civil War to the Present Day, vol. 11 (New York: Harper, 1937), p. 199. 15 Thus Spake Zarathustra, tr. A. Tille (New York: Macmillan, 1896), part III, chapter 13. 16 Zarathustra, part IV, chapter 10.

Having designed villas for years, Solness decides once more to erect a tower, not on a church, however, but on the house he is building for himself. Like Dion's cathedral design in O'Neill's play, it may be regarded as a Nietzschean mock-church. For both men it is to be their last construction. Already when The Iceman Cometh was first performed, American critics pointed out its similarity not only to Gorki's Night Asylum (also called The Lower Depths) - especially with regard to environment and the protagonist-cum-savior - but also its thematic resemblance to Ibsen's The Wild Both plays stress the necessity of the life-lie, that is, the idea that man cannot live without illusions - about himself.

When these were reduced in favor of the dialogue, the very foundation of tragedy was threatened. "'* O'NeillYsplays are full of music, mostly popular Cambridge Companions Online © Cambridge University Press, 2006 Philosophical and literary paragons songs or folk songs. " Her music is Dionysian in the Nietzschean sense. ) puts it: "Every song is a hymn. " In the operatic Lazarus Laughed, the Dionysian spirit of music is brought out not only in the dance music played by Lazarus' followers but also in the pervasive laughter, which O'Neill borrowed straight from Zarathustra.

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