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Drama since 1945 455 JIMMY God, how I hate Sundays! It’s always so depressing, always the same. We never seem to get any further, do we? Always the same ritual. Reading the papers, drinking tea, ironing. A few more hours, and another week gone. Our youth is slipping away. Do you know that? CLIFF [(throws down paper] What’s that? JIMMY [casually] Oh, nothing, nothing. Damn you, damn both of you, damn them all. CLIFF Let’s go to the pictures. (Look Back in Anger) But the anger of one generation may be of less interest to the next generation. Much of Osborne’s work is now seen as documenting a moment in the post-war move towards new values and more open expression; a step on the way, rather than a major theatrical innovation. The realistic room setting, found in Tom Robertson’s plays almost a century before, returns to the stage in a group of plays of the late 1950s, generally called ‘kitchen sink dramas’. Osborne himself, and Arnold Wesker (one of whose works was, in fact, called The Kitchen) were the most significant figures in this reaction, of lower-class domestic realism, against the ‘drawing-room comedies’ which had dominated the stage since the time of Maugham. ADA. . . I must go. SARAH [wearily] Go then! Will we see you tomorrow? ADA Yes, I’ll come for supper tomorrow night. Good night. [Calling.] Good night, Ronnie. RONNIE [appearing from kitchen] ‘Night, Addy. SARAH You washing up, Ronnie? RONNIE I’m washing up. SARAH You don’t have to worry about – but your sister runs away. At the first sight of a little bother she runs away. Why does she run away, Ronnie? Before she used to sit and discuss things, now she runs to her home – such a home to run to – two rooms and a shadow! RONNIE But, Ma, she’s a married woman herself. You think she
456 The twentieth century: 1945 to the present hasn’t her own worries wondering what it’ll be like to see Dave after all these years? SARAH But you never run away from a discussion. At least I’ve got you around to help me solve problems. RONNIE Mother, my one virtue – if I got any at all – is that I always imagine you can solve things by talking about them – ask my form master! [Returns to kitchen.] SARAH [wearily to HARRY] You see what you do? That’s your daughter. Not a word from her father to ask her to stay. The family doesn’t matter to you. All your life you’ve let the family fall around you, but it doesn’t matter to you. HARRY I didn’t drive her away. SARAH [bitterly] No – you didn’t drive her away. How could you? You were the good, considerate father. [HARRY turns away and hunches himself up miserably.] Look at you! Did you shave this morning? Look at the cigarette ash on the floor. Your shirt! When did you last change your shirt? He sits. Nothing moves him, nothing worries him. He sits! A father! A husband! HARRY [taking out a cigarette to light] Leave me alone, please leave me alone, Sarah. You started the row, not me, you! SARAH [taking cigarette from his hand] Why must you always smoke? – talk with me. Talk, talk, Harry. HARRY Sarah! [He stops, chokes, and then stares wildly around him.] Mamma. Mamma. [He is having his first stroke.] (Arnold Wesker, Chicken Soup with Barley) A different kind of realism is found in the plays of Samuel Beckett and Harold Pinter. Their works were for several years rather misleadingly labelled ‘theatre of the absurd’. The critic who first applied the term ‘absurd’, Martin Esslin, has since revised his terms of reference for the word ‘absurd’, but it can still be applied, if in a slightly different sense. The existential philosophy of writers such as Jean-Paul Sartre – which posited the individual as ‘the source of all value’ – met the mood of a time which was to become more and more concerned with material comforts, acquisitiveness, and wealth. A vision of the world as essentially meaningless, peopled with helpless but selfish characters with no particular
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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74 The Renaissance 1485-1660 Faustu
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76 The Renaissance 1485-1660 perfor
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78 The Renaissance 1485-1660 Greek
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80 The Renaissance 1485-1660 47); a
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82 The Renaissance 1485-1660 the Re
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84 The Renaissance 1485-1660 years
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86 The Renaissance 1485-1660 Renais
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88 The Renaissance 1485-1660 terms
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90 The Renaissance 1485-1660 Shakes
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92 The Renaissance 1485-1660 1601 2
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94 The Renaissance 1485-1660 The pu
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96 The Renaissance 1485-1660 Shakes
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98 The Renaissance 1485-1660 most o
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100 The Renaissance 1485-1660 And s
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102 The Renaissance 1485-1660 I all
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104 The Renaissance 1485-1660 In mu
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106 The Renaissance 1485-1660 my he
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108 The Renaissance 1485-1660 Thou
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110 The Renaissance 1485-1660 Trahe
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112 The Renaissance 1485-1660 Old T
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114 The Renaissance 1485-1660 misun
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116 The Renaissance 1485-1660 from
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118 The Renaissance 1485-1660 The t
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120 The Renaissance 1485-1660 Middl
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122 The Renaissance 1485-1660 GIOVA
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124 The Renaissance 1485-1660 SIR B
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126 The Renaissance 1485-1660 The s
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Thy wars brought nothing about; Thy
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Contexts and conditions 131 Sea; no
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Early Milton 133 Revolution was the
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Early Milton 135 good and evil as t
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Early Milton 137 the hero from the
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Restoration drama 139 many lives as
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Restoration drama 141 Revenge! PIER
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Restoration drama 143 One of the fi
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Restoration drama 145 prohibiting
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Restoration drama 147 LOVELESS No,
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Restoration drama 149 PRIM Do they
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Rochester 151 The Theatres Licensin
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Dryden 153 what it saw as the highe
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Dryden 155 his best, and his transl
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Pope 157 POPE True wit is nature to
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Journalism 159 And, spite of pride,
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Scottish Enlightenment, diarists an
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The novel 167 and the social awaren
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The novel 169 Each serial volume of
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The novel 171 paraphrase Pope: what
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The novel 173 polemic comes when he
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The novel 175 That kingdom he hath
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The novel 177 opportunity to set fo
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The novel 179 sentence of death. He
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Criticism 181 to do with that work.
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Johnson 183 (1712). Swift took the
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Johnson 185 There are some hostile
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Sterne, Smollett and Scottish voice
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Drama after 1737 195 MISS HARDCASTL
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Poetry after Pope 197 Thomas Gray
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Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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306 The nineteenth century there ca
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308 The nineteenth century Renaissa
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310 The nineteenth century of Doria
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312 The nineteenth century Most of
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314 The nineteenth century embellis
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316 The nineteenth century Irish; F
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318 The nineteenth century justifie
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320 The nineteenth century However,
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322 The nineteenth century mode of
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324 The nineteenth century the firs
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326 The nineteenth century Its titl
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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506 The twentieth century: 1945 to
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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