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The Paradox And The Grotesque In The Work Of Friedrich Duerrenmatt

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The Paradox And The Grotesque In The Work Of Friedrich Duerrenmatt

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Content This dissertation has been 63-0161 microfilmed exactly as received DYRENPORT11, Harold Oskar, 1913- THE PARADOX AND THE GROTESQUE IN THE WORK OF FRIEDRICH DURRENMATT. University of Southern California, Ph.D., 1903 University Microfilms, Inc., Ann Arbor, Michigan Copyrlrht by Harald Oskar Dyranforth 1563 THE PA R A D O X A K D THE GROTESQUE IN THE W ait OP PHIIDftlCH DtJRREN H A TT by H erald Oskar D yrenforth A D is s e r ta tio n P resented to th e FACULTY OF THE G R A D U A TE SCHOOL UNIVERSITY OP SO U TH ERN CALIFORNIA In P a r tia l F u lfilla w n t o f th e R eq u lren en ts fo r th e Degree D O C TO R OF PHILOSOIHY C onaunlcat ion*• Drana June 1963 c rN iv c ftw rv or u o u t h z u h C A u ro ftM tA OAAOUATKaCMOOL UMrVKMITT M IM lO « ANOCLta T. CAUrOHNIA This ditierl/ilivn, uritten by ...................l U r A l d O i k A r P y r e n l o r t h ..................... under the dirertion of hkn.Dittertation Com mittee, und approved by alt ih members, hat been pretented to and ateepted by the Graduate Sihool, in partial fulfillment of requirementt for the degree of D O C T O R O F P H IL O S O P H Y O ftM fratf. June*. 1 9 6 3 ......................................... DISSERTATION COMMI1TEE ' ‘ ' ' " / TABU OP CONTENTS P i p LIST OF ILLUSTRATIONS lv LIST OP TABUS v i l C hapter INTRODUCTION 1 I I . I I I . S ta te a e n t o f th a Problem S ig n ific a n c e of th e Study L im ita tio n o f th e Problem Method and Procedure D e fln ltlo n a of T eras C r ite r ia Review o f th e L ite r a tu r e about D U rrenaatt THE M A N A N D HIS WORLD...................................................... 38 BeginnInge and P erso n al Development L ite ra ry A ntecedents and A r t i s t i c Views THE PA R A D O X A N D CROTESqUE IN THE NARRATIVE PROSE WORKS........................................................................ 80 The S hort S to rie s The S o-C alled "D e te c tiv e S to rie s " Humorous Prose THE PA R A D O X A N D GROTESQUE IN THE M INOR DRA M A TIC WORKS................................................................... 174 The Radio Plays The Minor F u ll-L en g th Plays 11 C hapter Pag# V. IKK PA R A D O X A N D GROTESQUE IN THE THREE M A JO R V I. SU M M A R Y , CONCLUSIONS. A N D RECO M M EN D A TIO N S FOR R rla f S uaasry o f Ideas and A r ti s t ic P rin c ip le s C o a p ila tlo n o f th e Most la p o rta n t Paradoxes C om pilation o f th e Moat Im portant In sta n c e s of th e G rotesque C onclusions R ecosaandat Ions fo r F u rth e r Study FULL-LENGTH PLA Y S 32* FURTHER STU D Y BIBLIOGRAPHY 584 111 LIST Of ILLUSTRATIONS F ig u re Page 1. K n lp p e rd o llln c k , otica th e r lc h a a t san oC M Unster, n w In ra g s , w alks th e s t r e e t s in r e lig io u s e c s ta s y .......................................................... 235 2. The p araly sed old bishop and th e landgrave hold a p o st-w o rte a on th e A n ab ap tist r e v o lt b efo re th e broken body o f K n lp p erd o llln ck on th e w h e e l ..................................................................................... 230 3. Johann E ockelson, th e I tin e r a n t t a i l o r , has f a lle n a s le e p on a asn u re c a r t a f t e r h is a r r i v a l In M Unster, and Is awakened by two s t r e e t c le a n e rs and an o f f ic e r o f th e law , . 241 4 . B ockelson, now King and c h ie f prophet o f th e A n a b a p tists, Is being grooasd by a flo c k of sh apely e a l d e n s ............................................................... 244 5. Count Bodo von tfbelohe In h is Don Q uixote aonologue a t th e end o f th e p la y , w ith dented h e la s t and crooked la n c e , t i l t i n g a g a in s t th e w ln d a lll g ia n t . . . . . . .................................... 263 6 . To th e l e f t M ebukadnetar w ith h ia a n tl- k ln g and f o o ts to o l, N iarod. C e n te r, to p , th e an g el re tu rn in g e c s t a t i c a l l y fro a h is e x p lo ra tio n o f E arth w ith flo w e rs, s t a r f i s h , c o r a l, and o th e r tr e a s u r e . In th e foreground r i g h t , th e people In awe o f th e a n g e l ...................................................... 294 7. In th e c e n te r th e hangsan and A kkl, surrounded by hungry p o ets «4io have g eth e re d around th e soup k e t t l e ....................................................................... 297 lv F ig u re Page S. The an g el M k ti h is f in a l appearance. In th e foreground, w ith back tow ard u s, la K urrubl ln p lo rln g th e a n g e l to ta k e h e r back w ith h i * ......................................................................................... 301 9 . The dying lUckasnn ie put o u t o f h is a ls e r y and p revented fro a a sk in g any e a b a rra s s ln g death* bed c o n fe ssio n s by a quick In je c tio n fro a Mrs. F rank, w h ile Frank V sin g s h la to s le e p 313 10. The fra u d u le n t widow, though s u ffe rin g fro a a u l t l p le burns s u sta in e d when her h o te l burned down, due to a genuine " a c t o f C od," la d e lir io u s ly happy because she w ill not have to s p l i t th e Insurance aoney w ith Frank V and h is gang o f b la c k a a lle ra and e x to r t i o n i s t s ............................................................................ 317 11. Flanked by th e two aged c h a a b e rla ln s , th e B aperor co a aan ts on th e egg- lay in g c a p a b il i t i e s o f h is h e n s .......................................................... 337 12. The Greek a r t d e a le r , A pollyon, In betw een h ag g lin g w ith th e E aperor over th e p r ic e of th e b u sts he has coaa to buy, re p o rts on th e new T eutonic t h i r s t fo r c u ltu r e . . . .. .. 341 13. R oaulus to Var M in iste r M srea: ' ‘ The g r e a te r a co aaan d er, th e few er tro o p s does he n e e d ." 348 14. S purius T itu s N b m s k n ee lin g b efo re th e E aperor, v a in ly tr y in g to d e liv e r h is w o rld-shaking a e s s a g e ................................................................................ 353 15. T u lliu s Eotundua, a w ould-be a s s a s s in , a s s u re s th e E aperor th a t he has hidden under th e bed only to propose an o ld -ag e Insurance p lan . . 375 16. lo a u lu s a f t e r h is a b d ic a tio n , c a rry in g th e b u st o f Roas*s f i r s t king under h is a r a .................. 397 v F ig u re 17. C la ir* Zachanass I a n 's re c a p tio n In C tlllen . To th e l e f t o f th e c h e la e th e obsequious nay o r. Top l e f t th e u n fin ish e d we leone s i g n ...................... 421 IB. The o n e -tin e lo v e rs , C le lr* and 111, re n ln ls c * In th e K onradsw eller F o re s t. Top l e f t one o f th e G d llen ers p la y in g a t r e e . On th e r i g h t , in th e background, B u tle r Boby w ith th e two eunuchs, Koby and L o b y .......................................................431 19. In P e te r 's b a rn , one o f C l a i r e 's and I l l ' s o ld tr y s tI n g p la c e s , th e d o c to r and th e te a c h e r naka a l a s t a tte n p t to d issu a d e C la ire fro n h e r gruesone p u r p o s e ........................................................... 443 20. The once-shabby c I t Ire n s o f O U llen, now In t a l l * c o a ts and w h ite v e s ts , v o te to accep t C la ire Z a c h a n a se la n 's b e q u e st, and th ere b y sen ten ce 111 ( l e f t , foreground) to d e a th . On th e ex* tr e a e l e f t th e p o lic e se rg e a n t In h is resp len d * e n t new u n lfo ra . B ight c e n te r th e ra d io r e p o r t e r ......................................................................................438 21. F r l. Dr. h .c . Dr, wed. M athlld* von Zahnd re c e iv e s I 0 b lu s ' w ife , now r e s n r r ie d to M issionary Bose (e x tre n e r i g h t ) , and h is th re e so n s, who have cons to pay MBbiua a fa re w e ll v i s i t ................................................................... 496 22. Upon o rd e rs fro * F r l. D oktor, th e th re e guards re p la c e th e p ic tu re o f h er a n c e s to r, C hancel lo r von Zahnd, w ith t h a t o f G eneral von Zahnd, a b r u ta l war hero**a s y s to lic f o r e shadowing o f th in g s to c o n s ......................................... 309 23. W hile th e th r e e p h y s ic is ts w atch In h e lp le s s h o rro r , F r l . Dr. von Zahnd re v e a ls h e r v is io n o f King S o l o n o n .................................................................... 327 24. In th e s ta r k g la re o f th e f lo o d lig h ts fro n w ith o u t, F r l. Dr. von Zahnd announces h s r p lan s to ta k a over th e w o r l d ........................................................... 330 v l LIST o r TABUS T able Page 1. Tha Three M ajor Playa o f OUrrenmatt In O rdar o f Frequency o f : ............................................. 370 2. Main C a te g o rie s ot Paradoxes in th e E n tire Work o f D U rrenstttt, in O rder o f Frequency . . 370 3. C a te g o rie s o f th e G rotesque in th e E n tire Work o f Dttrrenm ett* in O rder o f Frequency . . . . 379 A. Comparison o f th e F requencies o f Paradox and G rotesque in th e F i r s t and Second H alves o f D U rren stftt's W ritin g C a r e e r ....................... 579 v l l CHAPTER 1 INTRODUCTION Statem ent o f th e Problem Our w orld has led us not only to th e g ro te sq u e ly comic but a ls o to th e atom bom b--Just as th e v is io n s o f Hieronymus Bosch a re a t once g ro tesq u e and a p o c a ly p tic . Yet th e g ro tesq u e is only a ta n g ib le e x p re ssio n , a v is u a lis e d paradox, th e form o f fo rm le ssn e ss, th e face o f a fa c e le s s w orld; and J u s t as our th in k in g seems to be unable to manage any longer w ith o u t th e concept of th e paradox, so i s a r t unable to do w ith o u t i t , our v ery own w o rld , th a t is s t i l l around only because th e atom bomb c x is ts - - o u t o f fe a r o f i t . * To th e in d iv id u a l th e re la l e f t o nly im potence, th e fe e lin g o f b ein g passed b y , of b ein g unable to I n te r f e r e and make d e c is io n s , o f having to submerge in o rd er not to p e ris h --b u t a ls o a glim pse of a g re a t lib e r a tio n , o f new p o s s i b i l i t i e s , o f fe e lin g th a t th e tim e has come to do o n e 's sh a re firm ly and b ra v e ly .2 ^Theaterproblem # (T h e ater P roblem s), ZUrlch: V erlag d e r A rche, 1955), p. 48. 2r r le d r lc h S c h ille r - - e ln e Rede (speech about F rie d r ic h S c h il le r , d e liv e re d on th e o ccasio n o f D U rrenm att's accep tan ce o f th e S c h ille r P ris e on Nov. 9 , 1959) (Z U rlch: V erlag d e r A rche, 1960), p. 36. 1 2 These two highly c h a r a c te r is tic quotations Cron F ried rich DUrrenmatt, to idiich many more could be added, are in thenselves paradoxical. Ihey show th at the paradox, and i t s v isu al coun terpart, the grotesque, are the very core o£ h is thinking and form the basis Cor h is work. The about-face at the end of the second quotation Is DUrren- n a t t 's very own paradox of the v a lia n t human b eing, to which we sh all re tu rn la te r In th is chap ter.^ As a student of philosophy and lite r a t u r e at the U n iv ersities of Bern and Zurich, DUrrenmatt was a great admirer of Siren Kierkegaard and, at one time, even Intended to w rite h is doctoral d is s e rta tio n about him. Kierkegaard's paradox of reason versus fa ith can be summed up as follows; lo g ical reasoning Is bound to f a l l , and only a f t e r It has fa ile d can the tr u th be r e vealed. In order to approach r e a l i t y , our reason must sus pend log ical thinking or, r a th e r, s u b s titu te for It a tr a in of thought opposed to the o rig in a l one. All attem pts to explain the world are wrong If the ex p llcato rs delude themselves Into believing th a t they own the tru th . Han always remains tie d to the su b jectlv e--an idea which modern 3Infre. p. 16. so c io lo g ists and so cial psychologists, such as Schramm, Krech, C rutchfield, Xlapper, Schafer, Murphy, Chain, Lavlna, and many others have proved In many experiments L and surveys. This paradox leads Man f i r s t Into despair (Xlerke- gaard's Sickness unto Death), and frotn there to f a i t h . But th is fa ith Is genuine only when It stands In opposition to logic and reason, I . e . , when i t , too, Is a paradox. To DUrrenmatt, p a s to r's son and " p ro te sta n t, up* rooted in the widest sense, and a f f lic te d with the b o il of 5 doubt," as he describes him self, the paradox becomes a c e n tra l concept of existence, and the grotesque, as we have seen above, "a tan g ib le expression, a v isu alised paradox." The problem of th is study w ill be to tra c e the par adox and the grotesque in c e rta in selected works of DUrren- m att, analyse them and, Insofar as possible explain th e ir meanings. L Uilbur Schramm, The Process and E ffects of Mass CommunlcatIons (Urbana: U niversity of I ll i n o is Press, 1954); Joseph T. Kiapper, The E ffects of Mass Communica tio n s (Glencoe: Free Press, 1960); Charles R. Wright, Mass CosMunlcatlon--A Sociological Perspective (New York: Random House, 1961). ^Es steht neschrleben (ZUrich: Verlag der Arche, 1959), p. 44, 4 Significance of the Study In an Important a r t i c l e of the Tulane Drama Review. DUrrenmatt and Max Frisch were called "The r e a llr a tio n of the age*old Swiss dream of producing dram atists of Euro pean and world rank. They are generally accepted as the most important liv in g playwrights w ritin g in Canaan."6 The same evaluation was made by Melchlnger, who termed DUrrenmatt "the most Important ta le n t of the German-speak ing th e a tre since the death of Brecht."* When The V i s i t , produced and played by the hunts, became a great Broadway and touring success, Henry Kewes in the Saturday Review ca lled i t "One of the most extraordinary th e a tr ic a l works of our tim e," and speculated th at " I t is very possible th a t, with I t , . . . DUrrenmatt has arrived at a new dramatic form for modern tragedy."® Moreover, The V isit has been eclipsed in power and tech nical mastery by Dllrren- matt*s la te s t "smash h i t , " Die Ihyslker (The I h y s lc ls ts ) , which opened In Zurich in February, 1962, and may reach ®Adolf Klarmann, "F riedrich DUrrenmatt and the Tragic Sense of Comedy," TDK. IV, 4 (May, 1960), 77-104. *Slegfrled Helchlnger, Drama xwlschen Shaw und Brecht (Bremen: Carl SchUnemann Verlag, 1957), p. 185. ®"Tragedy without T ears," Saturday Review. May 24, 1958, pp. 30-31. 5 Broadway by the tlrac th la study la completed. It may well e s ta b lis h DUrrenmatt as the topmost dram atist of our times. For h is radio plays, the author received the "Prlx d * I t a l ia" and the "P rise of the Blind War Veterans of Germany." In 1959, DUrrenmatt was awarded the S c h ille r P rise, an award equivalent to the P u litx ar Prise In Importance, and the New York C r i tic s ' C ircle Award. In 1960, he was accorded the Swiss S c h ille r P rise. His works have been published in more than a dosen languages. An anthology of his works in English tra n s la tio n has been announced by Grove Press for 1963. With a l l t h i s , i t is astonishing th a t, save for a few scattered a r ti c l e s and reviews, nothing about DUrren a a tt has been published in English, and l i t t l e has appeared In German. This void the present study w ill attempt to f i l l . Lim itation of the Problem Inasmuch as th is la an in v estig atio n In the fie ld of drama, the "in-depth" a n a ly sis, to use a fashionable term, w ill be confined to only three dramatic works of the author. I . e . , h is three most mature and te c h n ica lly most accomplished plays. D U rrenaatt' a atage d ire c tlo n e and paraonal coa- menta and photoa o f th a o r ig in a l productIona w ill ba Included In th la a n a ly a la . Hethod and Procedure Tha raaaarch method uaad w ill ba p a r tly daacrlp* t l v e , p a r tly a n a ly tic a l. For purpoaaa o f a n a ly a la , p h ilo sophic and a a th a tic c r i t e r i a fo r th a paradox and th a gro- taaqua w ill ba a a ta b lla h a d . Tha procadura w ill ba to tra c a th a p arad o x ical and grotaaqua e le a e n ta in th a ta la c ta d p la y a , to ex aaln e thaw In tha l l ^ t o f th a c r l t a r l a and, I f th ay prove to ba tru e c a e a s, to a tte a p t an ax ag aela. Tha an a ly a la w ill ba baaad only on th a o r ig in a l Ceraan ta x ta . There a re two reaeone fo r th la : (1 ) a la rg a m a jo rity o f DUrrenmatt* a worka have never bean tra n a la ta d In to E ngllah; and (2) even In th a few caaaa tdiere Engllah tra n a la tio n a do a x l a t, th e re waa no need fo r th a p reaen t w r ite r , whoae mother tongue la German, to re ly on th a a . Any tr a n a la tlo n l a , to a c e r ta in e x ta n t, a d ilu tio n o r dla* to r tlo n o f th a o rig in a l and ahould ba avoided tdtenever poa- a lb la . To f a c i l i t a t e th a read in g o f th la atudy In co n tin u i t y , a l l q u o ta tlo n e fro a th a German o r o th e r fo re ig n languages w i ll ba tr a n s la te d by th a p ra sa n t w r lta r and w i l l appaar In th a t a u t . Only whan a l l t a r a l t r a n s la tio n la im p o ssib le , o r whan th a passage Is so d i f f i c u l t to und er- sta n d th a t a com parison w ith th a o r ig in a l la c a lla d f o r , w i l l th a fo ra lg n w ording ba su p p lia d In th a fo o tn o ta a . P a fin ItIo n s o f Tanas Paradox Paradox la d a rlv a d from th a Graak paradoxon. com pos ad o f o a ra * (bayond) and doxa (o p in io n , th o u g h t). I t am ans, th a r a f o r a , "a thought bayond th a o rd in a ry ways o f th in k in g .* ' A K » « d .r'. O utd. to U t . r . r r T«rm« , l v . « t h l . d a f in I tI o n o f paradox; A sta ta m sn t w hich, though I t ap p sars s e l f - c o n tra d ic to r y , c o n ta in s a b a s is o f tr u th which ra c o n c lla s th a saamlng o p p o s lta s . lh e ap p aren t c o n tra d ic tio n o f th a paradox o fta n c o n c e n tra te s th a r e a d e r 's a tte n tio n on a p a r tic u la r p o in t .9 Tha d a f ln ltlo n in th a H e a d e r's E ncyclopaedia a g re e s w ith th a p re v io u s one; A statem en t o r p ro p o s itio n th a t Is o b v io u sly c o n tra ry to c o a o n se n se , y e t f u l l o f s ig n ific a n c e *K arl geckson and A rth u r C ans, A H ea d er's G lide to L ite r a r y Terms (New York: Noonday P re s s , I9 6 0 ), p. 146. 8 tdian vlawad trom th a pro par a n g la . Tha C h rist la n d o c trln a o f th a T r in ity la p a ra d o x ic a l. C ilb a rt K. C h a sta rto n and O scar V lld a , fo r In s ta n c a , a r a a a s t a r t In th a usa o f paradoxas as r h a to r lc a l d a- v lc a s .™ C laan th Brooks words h is d a f ln lt lo n th u s : *'A a ta ta - ■ a n t, a p p a ra n tly u n tru a , which on c lo s a r a x a a ln a tlo n la saan to ba tr u a In r a a l l t y . . . Tha paradox a ls o la o fta n usad fo r ir o n ic a l a f f a c t." * * Tha th ra a d a f in I tI o n s as wa can a a a , a ra a la o s t ld a n tlc a l. C rotaaaua On th a o th a r hand. I t la a la o s t la p o s tib ia to fin d d a f ln ltlo n s o f th a word g ro tasq u a o th a r th a n th o sa g lv an In th a d ic tio n a r y . T his la a l l th a a tra n g a r aa th a ta s v Is so fra q u a n tly usad In avaryday c o n v a rta tio n and Is f a w llla r to n a a rly ovaryona. Tha Oxford Cownanlon to Ena11th L lta r a tu r a d a fln a s g ro ta sq u a a s fo llo w s: * ° tf lllla a Rosa Banat ( a d .) , B aadar*a E ncyclonaadla (Haw York: Thowas t . C row all C o ., 1936), p . 820, 1^C laanth B rooks, John T hlbaut P u ro a r, and R obart Pa«m W arran f a d t . l . An Approach to L lta r a tu r a (3 rd a d .; Haw York: A p p lato n -C an tu ry -C ro fta, 193a), p . 818. 9 . . . fro a I t a l i a n i r o t f i c i . ap p a re n tly fro a a r o t t t . g ro tto e a , th a popular naaa in Home fo r th a chaabera o f an c ie n t b u ild in g a which had bean re v ealed by excavatlona and which co n tain ed th o ae a u ra l p ain tIn g a which were ty p ic a l exaaplea o f th e "g ro - taaqua" a ty le ; hence a kind o f d e c o ra tiv e p a in tin g or s c u lp tu re , c o n iittin g o f re p re a e n ta tlo n a o f por- tlo n a o f huaan and a n la a l form a, f a n ta a tlc a lly com bined and Interw oven w ith fo lia g e and flow era. OED 11 Ir o n ic a lly , th e "OID" in d ic a te a th a t th la auppoaedly " li t e r a r y " d e f in itio n haa been l i f t e d fro a th e Oxford Ena11ah D ic tio n a ry : a la o , i t la not * l i t e r a r y , but an a r t l a t l c d e f in itio n . The faaoua e le v e n th "S tandard E d itio n " o f th e E ncyclopaedia I r lta n n lc a o f 1926** d e a la a la o a t ex* c lu a lv e ly w ith th e a r t l a t l c o rig in and meaning o f th e word: . . . a t r l c t l y a form o f d e c o ra tiv e a r t , in p a in tin g o r a c u lp tu re , c o n e la tln g o f f a n ta a tlc a ha pea o f huaan be Inga, a n la a le and th e lik e . Joined to g e th e r by w reathe o f flo w era, garlanda o r arabeaquea. The word la a la o a p p lie d to any w h laalcal dealgn o r d e c o ra tiv e a ty le , I f ch arac te r is e d by u n n atu ra l d la to r tlo n , and, g e n e ra lly , to anything lu d lcro u a o r e x tra v a g a n tly f a n c i f u l .14 Oddly enough, th e re la no m ention o f th e word in 12 S ir Paul Harvey ( e d .) , Oxford Companion to JSag- 11 ah L ite ra tu re (3rd e d .; Oxford: th e C larendon P reea, 1938), p. 341. **Wlth th e a d d itio n o f th re e new voluaaa c a lle d th e "T h irte e n th E d itio n ." ^ " G ro te s q u e ," E ncyclopaedia I r lta n n lc a . 11th ed. Vol. X II, p. 621, 1910. 10 th a 1958 e d itio n o f th e E ncyclopaedia I r l t e n n l c e . The th ir d end U i t d e f in itio n Is tak en fro a Funk end W aanalls Wea S tan d ard D ic tio n a ry o f th e E n g lish language fo r th e reaeon th a t I t f a r exceeds th e meager aenue e t d i f f e r e n t i a d e f in itio n s given by o th e r d ic tio n a r ie s and goes in to an e s t h e t ic a n a ly s is : 1. The incongruous, f a n t a s t i c , o r uncouth in a r t ; a ls o , an e x tra v a g a n t o r b arb aro u s Id e a , per* form ance, o r p ro d u c tio n . The g ro tesq u e is d if f e r e n ti a te d fro a th e u a lv in th a t I t I s n o t n e c e ssa d ly d isp le a sin g , b u t u su a l l y g iv es r i s e to p le a s u ra b le e a o tlo n s by th e v ery ex trav ag an ce o r bold n ess o f c o a b ln a tlo n . While th e u a lv i s th e a n ti th e s is o f th e b e a u ti f u l , th e g ro te sq u e is r a th e r a d i s t o r t i o n o f th o se e le a e n ts Which coablne to produce th e l a t t e r , occupying in g ra p h ic a r t a p la c e analogous to th a t o f th e c o a lc in th e a e n ta l w orld,** C r i t e r i a Host la p o rta n t fo r D tirrenm stt, th e a o r a l l s t and ''u p ro o ted " C h r is tia n , i s th e C h ris tia n paradox o r th e p a ra dox o f f a i t h . A fte r th e aany h ig h ly p a ra d o x ic a l say in g s o f th e H e ste r Je su s h im s e lf, th e f i r s t sta te m en t o f th e C h r is tia n paradox was probably aade by th e church f a th e r T e r tu llla n (150-225 A .D .) in Pe C am e C h r l s t l ; *V unk and W eanalle Hew S tandard D ic tio n a ry o f th e E n a llsh Lanauaae fH ew fo rk ; Funk an^ W aanalls Company. I9 6 0 ), P* 10017 11 T h a Son o f God was c r u c if ie d . 1 aa u M ih a w d of I t because a n m u at n eed a ba aahaamd o f I t . And t h a Son o f God d ie d ; I t la by a l l aaana to ba b e lie v e d , bacauaa I t la a b su rd . And Ha waa b u r lad and r o a a ag ain ; th a fa c t l a c a r ta ln bacauaa I t la la p o a s lb la . T e r t u l l l a n , In t h l a ona sta te m e n t o f w hat B a rra tt c a l l s "tha c a n t r a l p a ra d o x ," la r a a l l y an a x l a t a n t l a l p re c u rs o r o f K ierk eg aard . L ik a K ierk eg aard , whoaa c la s a lc form ula- tlo n of t h a C h ris tia n paradox fo llo w s, ho I n s la t a on th a p a ra d o x ic a l q u a lity o f tha C h r is tia n f a i t h ; T h a d a c la lv a th in g la th a t fo r God a l l th ln g a ara p o a a lb la . . . but th a d a c la lv a a f firm a tio n coaaa only whan a aan la brought to th a u ta o a t e x tre m ity , so t h a t , hunanly apaaklng, no p o s s i b i l ity a x l a t a . Than tha q u e s tio n la w hether he w i l l b e l i e v e th at f o r God a l l th ln g a a r a p o ssib le -* th a t l a to s a y , w hether h a w ill b e l ie v e . . . . To b allM v a la p r e e la e ly to lo s e o n e 's u n d e rsta n d in g to w in God. . . . S a lv a tio n la , hu n an ly ap aak ln g , th e e o a t la p o s e lb la th in g o f a l l ; b u t fo r God a l l t h i n s * p o a a lb la ! l h l a la th e f ig h t o f f a i t h . Which fig h ts m adly . . . f o r p o s s i b i l i t y . . . . T hla l a tha d i a l e c t i c a l c h a ra c te r o f f a ith . . . The b a lla v a r p e rc e iv e s and u n d e rsta n d s, huannly a p a a k ln g , h is d e s tr u c tio n . . . . b u t ha b a l l eve a. T h e re fo re ha d o e s not auccuab. He leav e s I t w h o lly to God how ha la t o ba h e lp e d , but ha b e l i e v e s th at f o r God a l l th ln g a a r a p o a a lb la . . . . l h l a l a tha sound h e a lth o f f a ith Which re s o lv e s c o n tr a d ic tio n s . . . . Tha f a t a l l a t h a s no G o d --o r, what l a tha same th in g , h l a god la n e c e s s ity . . , . Tha f a c t th a t G o d 's w ill l a th a p o a a lb la aakea I t ^Q u o ted I n W illiam B a r r e tt, I r r a t i o n a l Han--A Study I n E x is te n tia l fttlo a o p h v (Garden C ity , Haw York; Doubleday & Company, I n c ., 193 8 ), p. 83. 12 p o s s ib le fo r m to p ray ; I f C o d 't w ill la only th a n a c a a a a rv , Man la a a a a n tla lly aa apaachlaaa aa th a b n i t a a .1 ' Tha a n t i - r a t i o n a l c h a ra c ta r o f th a paradox la r a - axpraaaad by th a a o d a n a x l a t a n t l a l l a t p h llo a o p h a r, M artin H aldaggar: ’T h in k in g only baglna a t th a p o in t whara wa hava coma to know th a t ILaaaon, g l o r lf l a d fo r c a n tu r la a , la th a a o a t o b a tln a ta ad v araary o f th in k in g .•'** Our ta n a fo r th la v a r ia tio n w ill ba th a a n t1 - r a tto n a l parad o x . Lat ua now w a on t o th a paradox In drama. B asi c a lly , though th a poat h lm a a lf doaa n o t adm it I t , th a paradox o f tra g a d y , o r th a t r a a lc paradox, a p p lia a a la o to D U rra n a a tt'a modarn kind o f tra g a d y , l . a . t h la c a r a b r a l, I n d lr a c tly M o ralisin g trag i-co w ad y , o r comic tra g a d y . Una E llla -F a rm o r, In h a r aaaay *Tha E q u ilib riu m o f T ragady,*'1* p o in ta out th a t th a d ram atic poat la ln ta n a a ly awara o f a v l l and p ain and o f a c r u a l, a li a n d a a tln y th a t ap p aara to r u la wan*a llv a a , but t h a t , bayond t h l a , ha 17Stfran K lark ag aard , F aar and T ra a b lln x and Tha S lcknaaa unto P a a th . tr a n a . V a lta r L o v rla (C ardan C ity : Dounladay & C o ., I n c ., 1954), pp. 171-72. *®Quotad In B a r r a tt, o p . c l t . . p. 1S4. IQ Una E llla -F a rm o r, Tha F ront la r a o f Drama (2nd a d .; Haw York: Oxford U n lv a ra lty P raa a, l 9 io ) , pp. 127-47. 13 p arcalv aa « p o aa lb la ra a o lu tlo n , r e c o n c ilia tio n o r i n t e r p r e ta tio n In c a m o f good, ltie la p ra a ilo n i In c o n f lic t ■ay ba a w alevolant v a rtu a a banavolant w orld o rd e r, o r a caau al a g a ln a t a c a u a a l, a c h a o tic a g a in a t a p a tta m a d u n iv a ra a . In h l£ t trag ad y (w hich, according to P ttrranwat t , ia lw poaelble in o u r t i n ) th a ra ia an e q u lllb rlu w , a b alan c a: a u ffa rin g and c a ta a tro p h a on th a ona hand and, on th a o th a r , a r e la tio n - - o f te n u n ap a cifiad and u n d efln ed -- w lth aowe fundaw ental o r u n iv a ra a l law whoaa o p a ra tio n J u a tif ia a thaw o r cowpenaatea fo r thaw. Harlow*, in th a opinion o f E llla -F a rw o r, waa unlqua awong tr a g ic th ln k a ra bacauaa ha b allav ad in a " a a ta n lc world o rd a r, *' an iw placabla paradox: w an'a ln n a ta f a l l i b i l i t y on th a ona hand, on th a o th a r th a I n f a l l i b i l i t y dawandad by ln f la x lb la law. Aa an axaw pla, aha c lta a th aaa lln a a frow th a opanlng o f D octor F au atu a: Wearlaowe c o n d itio n o f huw anlty. Bom undar ona law , to an o th ar bound. With dua ra a p a c t to E llla -F e m o r, th a ra a ra q u lta a faw o th a r axponanta o f what way ba c a lla d th a S atan ic paradox: Lana, th a "Storw and S tra a a " p o a t, w ith h ta In ta ra a tln g drawa, P ar H o fw aiatar: Bdchnar, w ith P anton1a P aath and Woatack: K la la t, w ith h la h ig h ly draw atlc n o v al, H lchaal 14 K ohlhaaa: Hanna H alna ftwora In th o o o rly tw a n tla th c o n tu ry , who M da aatan law h is tra d o a a rk ; and U r o l 9apok, w ith tho c h i l l i n g awaaago d r a w , Tho W hlto M a m a . m o b i o th a ra . Joaoph Wood K rutch in Tho T ra alc F a lla c y w l n ta l n a th o t tr u a trag o d y waa p o aa lb lo fo r Sophocloa o r Shako- apoaro only bocouao th a I r a waa on iw g ln a tlv o co n co p tlo n o f th o tr o g lc porodox, w hich waa ovorytrttoro p ro aan t b u t ovory- Whoro u n analvaod. and by w a n a o f which thoy roao t r i u w phant ovor tho w onlfold w la a rla a o f U f a . For th o g ro a t ag o a, tra g a d y waa not an oxproaalon o f d o a p a lr, b u t tho w a n a by which thoy aavod th o w a lv o a f r o a I t . gut o f to r w oatorn awn had roachod tho Ago o f goaaon and had thorough ly ru ln o d h la w ta p h y a lc a l d lg o a tlo n by aocond and th ir d h o lp ln g a o f f r u i t from th o T raa o f Knowlodgo, th o ro waa n o th in g l o f t b u t a hopoloaa and f r u i tl o a a a tto p p t t o a ta to In I n to llo c tu a l torm a "an a t t l t u d o tdtlch la p rim a rily u n in - t o l l o c t u a l and to W hich, lndood, I n to llo c tu a l a n a ly a la la In o v lta b ly f a ta l." Tho r o a u lt waa N lo ta a c h o 'a "doaporato and a la o a t w a n in g lo aa paradox": l l f o la good bocouao I t la p a in f u l! 20 20Joaoph Wood K ru tch , "Tho T rag ic F a lla c y ," ■ u r w a n T h .o rl* . o f t h . P T M .. ad . M r r a t t H. C U rk (Maw Y ork: Crown F u b lla h o ra , 1947), pp. 517-26. 15 D ia p iir bccoM i aor* and s o r t t h t d o a ln in t not* in th e nodam I n te r p r e ta tio n o f th e paradox, such aa th a t by K ierkegaard In Tha Sicknaaa unto P a a th : . . . And th a d a a p a lr in h la aoul fig h ta dea- p a ra ta ly to g at laava to d a a p a lr . . . ao th a t ha would cura* n o th in g and nobody nora f la r c a ly than h la who attem pted to pravant h la fro a d a * p a irin g , aa th a p o a t'a poat ao c a p ita lly , ao Incoaparably axpraaaaa I t In Richard 11, Act 3 , Scana 2: laahraw th a a , co u aln , %d>lch d ld a t load aa fo rth Of th a t awaat way 1 waa In to d a a p a lr. 1 And ao, by way o f T horaau'a fo a lin g th a t a o a t paopla load llv a a o f q u la t d a■p a ra tto n , ona a lg h t and th la a a c tlo n w ith a b r i l l i a n t a ta ta a a n t o f th a Paradox o f Hodarn Han, or tha T w antlath Canturv Paradox by D U rran aatt'a countryaan, th a g ra a t C arl Jung: . . . Ona could a la o a t go ao f a r aa to a a a a rt th a t th a v alu alaaan aaa o f th a In d iv id u a l In coa- p arlao n w ith la rg a nuabara la th a ona b a lla f th a t a a a ta w ith u n lv a ra a l and unanlaoua a a a a n t. To ba a u ra , wa a l l aay th a t th la la th a can tu ry o f th a coaaxm aan , th a t ha la th a lo rd o f th a a a r th , th a a i r and th a w a ta r, and th a t on h la d ac la lo n hang* th a h la to r lc a l fa ta o f n a tlo n a . Thla proud p lc - tu r a o f huain grandeur la u n fo rtu n a te ly an 11lu - ato n only and la counterbalanced by a r e a l i t y which la vary d if f e r e n t. In th la r e a l i t y wan la th a alava and v l c t l a o f th a aach in a a th a t have conquered apace and tin * fo r h la ; ha la l n t l a l - d etad and endangered by th a a lg h t o f th a war ^Kierkegaard, op. clt.. pp. 171-72. 16 technique which le supposed to safeguard h is phys ic a l e x is te n c e . His s p i r i t u a l and a o ra l freedom, though guaranteed w ith in H a l t s In one h a lf o f th e w orld, la th re a te n e d w ith c h a o tic d is o r ie n ta tio n , and in th e o th e r h a lf i t la ab o lish ed a lto g e th e r. F in a lly , to add comedy to trag e d y , t h i s lo rd o f th e elem en ts, t h i s u n iv e rs a l a r b i t e r , hugs to h la boson n o tio n s which sta a p h is d ig n ity as w o rth less and tu rn h is autonoay in to an a b s u rd ity . A ll h is a c h le v easn ts and p o ssessio n s do not aake h l a b ig g e r; on th e c o n tra ry , th ey dim inish h la , as th e fa te o f th e fa c to ry worker under th e ru le o f a " J u s t” d is tr ib u tio n o f goods c le a rly dem onstrates. D ttrre n a a tt, as we s h a ll see l a t e r on, c e r ta in ly ag rees w ith Jung in h is u t t e r disenchantm ent w ith both th e " fre e " and th e c o a a u n lst w o rld s, but h is Paradox o f th e V a lia n t Hunan l s ln x leaves us a t le a s t a ray o f hope: To th e In d iv id u al th e re i s l e f t only im potence, th e fe e lin g o f being passed by, o f being unable to I n te r f e r e and sake d e c is io n s , o f having to sub- marge in o rd er not to p e ris h --b u t a ls o a g lla p s e o f a g re a t lib e r a tio n , o f new p o s a i b l l l t l e s , o f th e fe e lin g th a t th e tim e J u s coma to do o n e 's sh are f lr n ly and b ra v e ly .23 The p o s itiv e statem ent in th e l a s t h a lf o f th is q u o ta tio n i s re p eated more stro n g ly in T h » .t. rp ro b l— : C e rta in ly , he who sees th e s e n s e le s sn e s s , th e h o p elessn ess o f t h i s w orld, may d e s p a ir; y e t t h i s d e s p a ir is not a consequence o f t h i s w orld, b u t an 22C arl C. Jung, The U ndiscovered S e lf , tr a n s . * . F. C. H ull (lo s to n : L i t t l e , Brown 6 C o., 1956), pp. 41-42. ^ Friedrich Schiller--eine Bede, o p . clt.. p. 36. 17 enewer ha g lv ee to t h i s w o rld , and t n o t h tr i n m r would bo h l i n o t-d e a p e lrin g , euch aa h la d a c la lo n t o atand up to th la w orld In which wa o fta n liv e Ilk a O u lllv a r n o n g th a g ia n t a. Alao ha who backa o f f , a la o ha who ta k a a a a ta p back want a to ueaa- u ra h la opponent, to p ra p a ra to fig h t h l a o r to alu d a h la . I t la a t l l l p o a a lb la to show th a v a i l * i n T Thmt ti Irtlm lh e g ro ta a q u a , a c c o rd in g to tha p re v io u sly glvan d ic tio n a ry d e f in itio n a , haa auch a wlda aproad o f n ean ln g e, •an y o f th a n b len d in g In to each o th e r, In te rtw in in g , o v er la p p in g , o r c o n tra d ic tin g each o th e r , th a t I t waa f a i t th a t only a d la g ra n auch aa th a one on page 10 could do I t J u a tlc e . H>t «rot«»au« o f t h . f . n t . i t l c , b la a r r e . w e ird . a u o a m a tu r a l. o r aubhunan Nary Caaa C a n fie ld , In h e r b r i l l i a n t aaaay , "Cro- te a q u e e ," aaya th a t ’’Through th a tdiole klngdon o f a r t th a g ro taaqua follow a on th a h a a la o f tha o rd ered lik e a d ark hound a t th a a id e o f A r t e n l a ." ^ V ic to r Hugo, In h la "P re fa c e to C ro n w ell," oppoaed th a g ro taaq u a to th a aub- l l n e , Ilk a darkneaa to l i g h t , th a body to th a a o u l, th a 24 Ih a a ta rp ro b la n a . op. c l t . . pp. 48-49, **Hery Caaa C a n fie ld , C rotaaouaa and O ther E e fle c - tlo n a (Haw York and London: H arper 6 S ro th e re , 1927), p. 3. r e s u ltin g in " a lie n a tio n ” by T e ft It 0 II A V E V 0 H D E ft I . th a f a n ta s tic , b l s a m , u t i r d , su p e rn a tu ra l, o r subbunen \ « . d is pr opo rt io n , d is to r tio n , deform ity in c o n g ru ity , e ith e r p h y sical o r b a tm e n hi Man Id e e --p la n , ex p e c ta tio n --e n d r e a l i t y a . "c o llap sed s o le e n lty "---- b . d e fla te d self-im p o rtan c e o r punctured d ig n ity a e c h a n isa tlo n p h y sical m echanisation n e n ta l r i g i d i t y r e p e titio n m u ltip lic a tio n d isg u is e r e s u ltin g in " a lie n a tio n " by H U H 0 ft LAUCRTEft 19 b t i s t to th a i n t e l l e c t . 2* C U s ilc a n tiq u ity had I t s sh a re o f th a gro - ta sq u a . Tha one-eyed, a a n -e a tln g • o n s ta r , P olypheaus, In Euripides* CvcI opb I s both frig h te n in g and, In I t s f i n a l d e f e a t, lau g h a b le . Tha E rin y e s, th a Madusa, th a K ln o ta u r, and th a Larnaaan Hydra v a ra d a f ln lt a ly o f th a t e r r if y in g v a r ia n t o f th a g ro taa q u a. There v ara a ls o o th a r f ig u r e s . Ilk a fa u n s, s a ty r s , s l l a n l o r c a n ta u rs , and Pagasus which 27 " d ls tu rb a d th a tannad n o rm a lity o f r a s tln g sh e p h e rd s." g u t, say s C a n fla ld , “Tha lu c id a n c la n ts a id a r ig id d lv l* aio n b atv aan th a lo v a ly and th a g ro ta sq u a , e x p re ssin g both v lt h aq u al ca ra and d e ta c h a e n t." 2* In f a c t , a v ary tid y , orthodox c r i t i c Ilk a F ran cisq u a Sarcay I n s i s t s on " th a a b s o lu ta d i s t in c ti o n o f th a c o a lc from th a t r a g i c , o f th a g ro tasq u a fro a th a a u b lla e ," 2® and sc o ra s E u rip id e s, "Inno- v a to r and dacadant g e n iu s ," fo r d e lib e r a te ly a ln g lln g b u f foonery v l t h d ra a a , o r th a g ro tasq u a v l t h tra g e d y . As a h o r r ib le ax aap la ha c i t e s th a scene b atvaan th a drunken H ercu les and A daatus, who i s a o u m ln g th a d eath o f A lc e s tls . 2* In B a r r e tt H. C la rk , o p. c l t . . pp. 369-75. 22C a n fla ld . pp. c l t . . p .3. 2* Ib ld . . p . 11. 29 Clark, o p . clt.. p. 395. 20 V ic to r Hugo, in c o n tr a s t, th s ■p o s tIs o f un b rid le d ro m a n tic Isa c o n sid e rs th e g ro tesq u e n o t J u s t en o rn aaen t o r a d e c o ra tiv e arab esq u e, b u t "one o f th e supreme b e a u tie s o f th e drama" and an a b s o lu te n e c e s s ity , because beau ty h as only one fa c e , w hereas th e u g ly h a s a thousand. He a ls o p o in ts o u t th a t th e M iddle Ages w ere auch a c re f e r t i l e In t h e i r la a g ln ln g s and p o rtra y a ls o f th e g ro tesq u e th an th e C reeks. As exam ples, he c i t e s th e H itc h e s ' Sab b ath , S a ta n 's clo v en fo o t and h o rn s , and th e h e l l i s h f i g u re s o f D ante. The a n tiq u e C yclops, s la p le -a ln d e d a o n s te r th a t he I s , Is re p la c e d by a l l s o r ts o f g i a n ts , lik e th o se h u rlin g ro ck s a t each o th e r In C ornw all, and th o se o f th e M lbelungen Saga. There a re swarms o f e lv e s , gnoaes, d w arfs, t r o l l s , and o th e r " l i t t l e people" o f s u p e rn a tu ra l powers and cunning. The Creek C uasnldes, a s t h e i r naae im p lied , were auch le s s h o r r ib l e , and co n seq u en tly le s s t r u e , th a n th e w itc h e s In M acbeth, ac co rd in g to Hugo. For th e "soaew hat c r r n n p la c e Lernaean H ydra," th e M iddle Ages s u b s titu te d a l l th e lo c a l d ra g o n s--th e g arg o y le o f Houen, th e g r a - o u l l l l o f M ats, th e " c h a ir s a l l l e " o f T royes, th e d r le o f H ontlhe'ry, th e " ta ra s q u e " o f T arascon. To t h i s Im pressive l i s t one co u ld add " th e worm" F a f n lr , th e w icked A lb e rlc h , th e one-eyed Wotan, a l l th e o th e r 21 su p e rn a tu ra l fig u re * o f eh* N lbelungen Saga, th e dragon of S t. Gaorga and l t a c o n fre re s b re a th in g f i r e through th e dangerous, a e c re t v e rd u re o f V a le s, and a l l th e d e a r h o rro r fig u re s o f Goman f o lk lo re which th e I r o th e r a Crlmm exhumed in t h e i r f a ir y t a l e a . L a te r exam ples o f th e f a n t a s t i c , w e ird , b lx a r r e , o r su p e rn a tu ra l g ro tesq u e a re P ie te r B reughel th e E ld e r, P ie te r th e Younger, Hieronymus Bosch, James E nsor, o r A lfre d Kubln in th e g ra p h ic a r t s , and Poe, E. T . A. H off man, Jerem ies G o tth e lf, W edekind, Ewers, o r H eyrlnk in l i t e r a t u r e . C a n fie ld 's i n t u i t i v e word p ic tu r e s g iv e s th e e s sence o f t h i s kind o f g ro tesq u e b e t t e r th an any i n t e l l e c tu a l sta te m e n t; th e g ro tesq u e . . . la a d e n ia l o f r e a l i t y ; I t Is a d e n ise n o f t h a t u n re a l w orld so n e c e ssa ry to th o se whose fe e t a re b ru ise d by th e h ard road o f f a c t. . . . The g ro tesq u e i s a tw is te d , fo g -rid d e n fo r e s t In th a t Never-N ever-Land which I s th e home o f th o se Who fin d m o rtal fle a h a p ris o n . I t la a p a rt o f m an's unending se a rc h fo r s e n s a tio n th a t he should th u s b u ild phantoms to pursue h im se lf w ith , th a t he should a s s u re to h im s e lf, In t h i s way, th e em otion o f t e r r o r . . . . Even w h ile we e x p e ri ence a d e lic io u s s h iv e r o f p le a su re a t our f r i g h t , som ething c r ie s o u t In us . . . " I h ls i s n o t tr u e ! " so as t o re a s s u re o u rs e lv e s . . . . What a p e r s is te n t a t t r a c t i o n l i e s fo r us In th e Inharm onious, and how we shudder a t and s t i l l 22 pora o v ar th a d ia b o lic d efo rm ity o f a ato n e |i r * g o y le, th a l i v id a tta n u a ta d a a ln ta o f El Greco o r th a I c i l y ao rb ld fa n ta a ia a o f Bdgar A llan Boa!30 W evartheleee, th a f a n ta a tic o r f rig h te n in g n ay , on r a r a o c c a a lo n a , and in a a u a a a a n t: th a o u tw itte d cyclopa Polyphaaua becoM a a fig u re o f fu n . Itu a p e la tlltc h e n ('T tu a p e le tllte k in " In l t a A n g llclaed form), th a w eird gnoM who c o m b to c l a l a th a c h ild th a t haa baan p ro aiaad to h la and la o u tw ltta d , atoapa ao hard on th a flo o r in h la fu ry th a t ha a p l l t a h l a a a lf in h a l f . Tha d a fa a ta d C alaban In Tha T eaoaat la a o re funny th a n fa a ra o M . Ober- ©n, T lc a n la , Puck, and A rla l a ra o n ly a p p e a lin g and aaua* in * . Tha a ro ta a q u a o f d la p ro o o rtlo n . j i t t o r t I o n . o r o a f o r a ltv L ika a l l o th a r ap a claa o f g ro taaq u a l l a t a d in our d iag ram w ith th a e x c e p tio n o f 1, th a f a n ta a t ic , b l t a r r a , w aird , a u p a m a tu r a l, o r aubhuaan, th a g ro taaq u a o f d la p ro - p o rtlo n , d l a t o r t l o n , o r d efo rm ity d a a la w ith th a a t r l c t l y human and a o r t a l . W iaraaa th a f a n ta a tic o r w eird g ro taaq u a la an aacap a fro a r a a l l t y , th a a a l a t t a r klnda a ra a h a la h t- a n ln a o f r e a l i t y . a p ilin g -u p and an e x a c e rb a tio n o f a ll* ^°Canflald, o p . clt.. pp. 5*6. 23 to o - f a m ilia r , d i s t a s t e f u l fa c t to th a p o in t o f c a r ic a tu r e . Leonardo da V inci*a p e n c il s k e tc h e s , in tdilch huaan b ein g s s u b tly b eg in to resem ble a n im a ls, i l l u s t r a t e t h l a . The In c re d ib le fig u re s o f C a llo t, th a t “b u rlesq u e M ichelan g e lo ," a re o f f i c i a l l y c h a ra c te r s o f th e C oeaedia d e ll* A rte , b u t r e a l ly ao re b ir d s th a n huaan b e in g s, f a n t a s t i c a l l y la a n y e t M uscular, and In v io le n t m otion th a t looks ao ra Ilk a a c o c k fig h t o r a love dance o f sand p ip e rs th a n huaan a o v e a sn t. O ther exam ples mould be G oya's “D e sa stre s de la O u e rra ," and D a u a le r's c lu tc h in g , clam ing law yers m lth t h e i r v io le n tly a c id co a aen ts on huaan cunning, a v a ric e , and h a tre d . Many c a r ic a tu r e s , o f c o u rse , do n o t reach th e s ta tu r e o f tru e g ro tesq u e trtilch g iv es an a b s tr a c tio n , an essen ce o f th e th in g o r th e c h a ra c te r I t s e l f , and th ere b y becomes a work o f a r t . To re tu r n to th e g ro te sq u e o f d i s t o r t i o n , d is p ro p o rtio n , and d e fo rm ity , V ic to r Hugo m entions a h id eo u s c o u rt dw arf whoa Rubens p a in te d in to th e ro y a l m ag n ificen ce and sp len d o r o f a c o ro n a tio n scen e. H is own Hunchback o f H otre Dame. extrem e u g lin e s s and d efo rm ity amid sublim e b e a u ty , mould be th e b e a t p o s s ib le exam ple. O th ers a re Cyrano de B ergerac and R ichard I I I . K ierk eg aard , mho mao h U a e l f deformed by a s p in a l c u rv a tu re , w rite s w ith the 24 b ltte r n e s e o f p erso n a l ex p e rien ce about R ichard XXI: E s s e n tia lly auch n a tu re s a re In th e paradox and a re no a o re ta p e r f e e t th an o th e r men, b u t a re e i t h e r lo s t In th e d e a o n la c a l paradox o r saved In th e d iv in e . . . . The fa c t o f b ein g o r ig in a lly s e t o u t sid e o f th e u n iv e r s a l, by n a tu re o r by h i s t o r i c a l c irc u m stan c e, la th e b eg in n in g o f th e d e a o n la c a l, fo r s h ||h th e In d iv id u a l h l a s e l f however Is n o t to e a ro te sa u e o f in c o n a ru lt % itween huaan Idea and r e a l i t y The n ex t sp e c ie s o f th e g ro tesq u e Is th a t o f s» n - s tro u s In c o n g ru ity o r d is p a r ity between husan Idea (p la n , e x p e c ta tio n ) and r e a l i t y , A p h y sic a l I l l u s t r a t i o n would be a s fo llo w s: I f we p rep are o u rse lv e s to l i f t a v ery heavy s u itc a s e , fle x our m u scles, grab th e h a n d le --a n d see o u r a r a w ith th e s u itc a s e f ly In th e a i r because th e s u itc a s e I s e a p ty . Spencer c a lle d t h i s "an e f f o r t idilch suddenly e n co u n ters a v o id ," and Freud ten se d I t "saved e f f o r t . " K ant, speaking o f th e c o a lc In g e n e ra l, s a id : "L aughter Is an a f f e c t r e s u ltin g fro a th e sudden tra n sfo rm a tio n o f a te n s e expectancy In to nothing*"** F rie d ric h Theodor ^ K ie rk e g a a rd , F ear and T re a b lln a . op. c l t . . p. 115. **Quoted in E a ll S te ig e r , C ru n d b e a rlffe d e r P o e tlk (Z ttrlch : A tla n tis V erlag AG, 1951), p. 199 ( t r a n s la ti o n by th e a u th o r). ***— im ie l K ant, K r ltlk d e r U r te lle k r a f t (L e lp s lg : 25 V lsch er, In r a th e r In d lg a s tib ia C a m n , tU b o ra ta d on Kant*a thought a t follow *: Ex pact a t Ion la caused by a foreboding o f io m - th in g au b lla a brought about by a *ore o r laaa a x a lta d sweep o f e v e n ta , which ia th an d isso lv ed by a t r i f l i n g th in g o f a lowar o rd e r, w hich, h ere- to fo ra hlddan, g a t a u nderfoot o f th a t a u b lla a i o m * th in g and Makes I t c o lla p se .* * C la s tic examples o f th la in co n g ru ity o r d is p a r ity a ra Don Qulxota with hla high aspirations and IgnoailnlouB f a ilu r e s , o r l* v s is tra ta - whara th a sa rlo u s q u e stio n o f war o r peaca and th a vary f a ta o f th a " p o lle " a ra brought down to th a le v e l o f th a ta x u rg e . Tha « o st Im portant subspeclas o f th la In co n g ru ity a ra “c o llap sed so lesm lty " (a ls o known In G en an aa “v s r- h ln d a rta F e le r llc h k e lt* 1 ! . and d e fla te d se lf-im p o rta n c e . o r punctured d la n ltv . goth a re s e lf-e x p la n a to ry . Schopenhauer g iv es th a cowson denom inator fo r a l l th e se In c o n a ru itla a between th o u sh t (Id e a , p lan , ex p ecta tio n ) and perceived r e a l i t y : In s e lv e rla g , 1924), V I, 213. (T ra n sla tio n by th a a u th o r.) ^ F r ie d r ic h Theodor V lsch er, tfber das Erhabena und daa Komiache (On th a Sublime and th a Comic) ( S tu ttg a r t: n .p ., l a i n . P* 15®; *1»° quoted In S ta lg a r, o p . c l t . . p. 200. (T ra n sla tio n by th a a u th o r.) 26 . . . The source of the lu d icro u s Is always th e p a ra d o x ic a l, and th e re fo re unexpected, sub sum ption o f an o b je c t under a conception which in o th e r re sp e c ts is d if f e r e n t from I t , and accord in g ly th a phenomenon o f la u g h te r always s ig n if ie s th e sudden apprehension of an In co n g ru ity between such a conception and th e re a l o b je c t thought under i t , thus between th e a b s tr a c t and th e co n crete o b je c t o f p e rc e p tio n .3* M echanisation H enri Bergson in La l i r e d e fin e s as conic a l l a t t i tudes o f the wind and a l l a u to m a tic a lly rep eated g e stu re s and movements o f th e body tdilch remind us o f e mere ma ch in e. B ergson's ex p ressio n fo r th is la "som ething mechan ic a l en c ru sted upon th e li v in g ." 3* P hysical m ech an isatio n .--O n th e comic sid e th is is exem plified by th e fo re v er funny fig u re o f the s t i f f l y e r e c t, poker-feced b u tle r , which A rthur T reacher and many o th e rs have parlayed in to a good liv in g , by deadpan come d ian s lik e B uster Beaton o r V lrg ln le Shay, and th e s t i f f l y - moving, ponderous drunk. I t a ls o e x p le ln s --e s p e c la lly to 35A rthur Schopenhauer, The World as W ill and Id e a , tr a n s . H. B. Haldane and J . Kemp (10th im pression; London: R outledge 4 Began P au l, L td ., 1957), I I , 27. **Henri Bergson, V5tjghr t r ***n Essay on th e Heantna o f th e Comic, tr a n s . C loudesley B rereton (New York: The M acmillan Company, 1937). 27 A n erlean s--th e I r r e s i s t i b l y lu d icro u s o f f s e t o f tho C onon gooso*stop, s t i f f M ilita ry b e a rin g , and h e e l- c lic k in g , ond C h a p lin 's gro tssq u o ro u tin e as tho daaod a ste n b ly * lln e worker in Hodom T ls> s. who co n tin u es h is Jerky autom atic n o tio n s long a f t e r he has l e f t th e asseafely lin e . On th e o th e r sid e o f our d la g ra n , t h i s M echanise* tlo n can a ls o produce g rotesque h o rro r. I l lu s t r a ti o n s o f t h i s a re th e Colon legend, th e F ran k en stein s to ry , th e ro b o ts o f C apek's I . U . I . . and th e en d less successio n o f M echanical M onsters fro n Inner and o u te r space w ith which we have been re g a le d in th e l a s t fo rty y ears by n o tio n p ic t u r e s , te le v is io n , and scien ce f ic tio n . H ontal r l e i d l t y .*»Ths r i g i d i t y in th is case is th a t o f a fix ed id e a . C la ssic I l l u s t r a ti o n s a re Don Quixote and H ollfcre's one-track*nlnded c h a ra c te rs , such as th e In ag ln ary In v a lid , th e H lse r, o r th e M isanthrope. S o c ie ty , says Bergson, cannot to l e r a t e i n e l a s t i c i t y in Mind o r body, which is a sig n o f non -co n fo rn len , o f not belonging. S oci e ty denands p l i a b i l i t y and s o c ia b ility , and I t s c o rre c tiv e to e s ta b lis h th e se q u a litie s Is la u g h te r--u n s e n tin e n ta l, unkind, even c ru e l la u g h te r. A re p re s e n ta tiv e o f th e h o rrib le sid e o f n e n ta l 28 r i g i d i ty Is the "a id • c l « n t l i t " - i p e c u lia rly A aerlcan f ic tio n w ithout which ln n u * srab le Hollywood h o rro r f l l * s could m v ir hav« boon produced, Thoro I s , o f c o u rse , not tho a llg h to a t In d ic a tio n t h a t , In r e a l i t y , th o ro aro wore ■ad o c lo n tlf to th an wad bank p ro a ld o n ta , p o litic ia n s , o fflc o ro , o r g rocery sto ry ow ner*--in f a c t, th o ro aro probably lo s s , sin c e tho s c i e n t i s t , lik e tho a r t i s t , has an o u tle t In h is work fo r h is a a b ltlo n and a s a fe ty v alv e fo r h is f r u s tr a tio n s . N ev e rth eless, th e "aod s c i e n t i s t ” as a fig u re o f popular f ic tio n p e r s is t s , no doubt an ex p res sio n o f a p rim itiv e , a n ti - I n te l le c tu a l p re ju d ic e In th e A m rlcan psyche. R e p e titio n .--T h is v a ria n t o f "sow othlng M echanical e n c ru sted upon th e liv in g " appears In th e "running gag" o f Olsen and Johnson. I t can a ls o be used to c r e a te Mounting h o rro r, aa in Dunsany's N lxht a t an In n , trttere th e M yster ious v o ice fro * w ith o u t c a l l s th e e v ild o e rs one by one, and one by one th ey walk o u t, lik e pup p ets, to th e ir d eath . M u ltip lic a tio n .--A barbershop q u a rte t whose wewbera e l l wear b lack b e a rd s, o r a lin e o f c h a ra c te rs a l l e n te rin g In P rince A lbert c o a ts and to p h a ts Is c o n ic a l. O ften 29 M u ltip lic a tio n Is coBblnad v lth r e p e titio n and d isg u is e (c o s tu s a ). Many o f th s i i m k in d . In th s sons c o stu a a , f a llin g In succasslon ovar th a saaa o b s ta c le - - th a t vaa r e a lly th a only th in g which v a t funny about th a K ayttona Cops. T his sobs t r i c k was usad by Clraudoux in Tha Had- vonsn o f C h a lllo t. vhan ha nada t r l p l a t s out o f th a ona vlckad bank p ra sld a n t and th a ona a v ll p ro sp ac to r and had "th a p re s id e n ts ," "th a p ro s p e c to rs ," "th a p re ss s g a n ts ," and "tha la d la s " a l l narch g ra a d lly and s tu p id ly In s ln g la f l l a dovn to t h a l r doon. Tvo o r Bora paopla s i t t i n g on a bench o r s o fa , s ta rin g s tr a ig h t ahead In to th a au d ien ce, a l l h o ld in g u a b ra lla s o r h a ts In th a sane vay , o r c ro ssin g th a lr la g s In th s sans nannar, Is ona of th a n o s s la s t conic d ev ice s In shov b u s ln a s s --y a t I t h a rd ly av er f a l l s to g at a laugh. Why? Because I t b rin g s out th a q u to n stlssi In huaan b ein g s. "A r e a lly liv in g U f a ," In th a v o id s o f Bergson, "should never re p e a t I t s e l f . " D lsaulaa o r c o stu n a .--A s we saw above, d is g u ise o r costuaa la o fte n canblnad v l t h M u ltip lic a tio n an d /o r rep e t i t i o n . I t lnclu d as anything fro n th a M onstrously d is p ro p o rtio n a te p h allo s and sto aach o f th a Craak a la s s and phlyakaa to th a ra d , bulbous nose and th a c h a lk -v h lta face 30 o f tho clown o r tho b lack face o f tho m in s tre l show ( th is lo o t ono oloo u sin g m u ltip lic a tio n In employing o whole lin o o f people, o i l In b lo ck fo co ). Tho p r in c ip le , accord- l n | to B ergson, io th a t ouch costume o r make-up " I s not o m w ith tho person v e e rin g I t , " end I t , th e re fo re , some th in g m echanical en c ru sted upon th e liv in g . I t goes w ithout saying th a t a ls o th e d ev ices o f m u ltip lic a tio n and d ls a u ls e can evoke t e r r o r . The " n l ^ t t - sh lrte * ' and hoods o f th e Ku Klua K lan, under which v ery o rd iM ry , unim pressive people a re h id in g , have th e c a re f u lly c a lc u la te d e f f e c t o f making th ese people appear to them selves and to t h e i r v ictim s as members o f a m y sterio u s, pow erful, ew e -In sp irin g brotherhood. Review o f th e L ite ra tu re about DUrrensmtt This s e c tio n w ill be r a th e r b r ie f because I t w ill be lim ite d to th e very few books about Dttrrenm att which have appeared up to th e d a te o f co n clu sio n o f t h i s stu d y , S ep tesb er 30, 1962. Hens U n s lg e r 's f r ls c h und D ttrrenm att. a h ig h ly stim u la tin g and In te r e s tin g book, I s , however, v ery d i f f i c u lt read in g fo r anyoM not com pletely u p -to -d a te on th e Id e o lo g ic a l and a r t i s t i c c u rre n ts and ev e n ts of p re se n t-d ay 31 S w lta e rla n d . Yet th e g e n e ra l concept o f th e book is auch w ider end a o re com prehensive; I t s e te th e two forem ost modern Cermen d ra m a tis ts , P rls c h and D tirrenm att, In to a la rg e p o l i t i c a l , h i s t o r i c a l , s o c ia l, econom ic, and a r t i s t i c frame o f re fe re n c e . I t e x p la in s t h e i r s t a r t l i n g prom i n en ce, p o p u la rity , and s ig n ific a n c e In term s o f th e s tra n g e Swiss dualism between is o la tio n and In te rn a tio n a lis m , betw een p ro v in c ia lism and w ide-open a d m ira tio n fo r fo re ig n fa s h io n s , p e r s o n a l it ie s , and achievem ents, between th e enjoym ent o f p rosperous t r a n q u i l l i t y on th e one hand and th a f e a r o f being a v e r a r a s te Proving ("grass-o v erg ro w n province*') o r a r u s ty s id in g in th e developm ent o f th e w o rld .17 The frame o f re fe re n c e i s b u i l t in th e e x c e lle n t in tro d u c to ry c h a p te r, "Das P re v in s le ila und se in e Auswege" (P ro v in c ia lism and i t s ways o u t) , and th e co n c lu d in g , "R ttck b llck ." The two authors* co n n ectio n s w ith th e work o f P ry , Auden, O sborne, V o lfe , Hemingway, W ild er, F a u lk n e r, C la u d e l, B re c h t, Z uckneyer, Z o llin g e r, and o th e rs a ra shown. The "M otes'' in th e appendix ( in p la c e o f fo o tn o te s ) *^Hans BM ntlger, F risc h u n d p U rre n s a tt (2nd e d ., r e v . ; B ern: Francko V e rla g , 1962), 248 p p ., w ith two por t r a i t s and a ta b le o f d a te s . 32 a re not only vary a c c u ra te , b u t a la o c o n ta in In te r e a tin g coammnta. There la a la o a very d e ta ile d and In fo rm ativ e l e t t e r o f D tirren m att'a to F rla c h about th e la tte r * a dram a, i t C raf O derland. E lle a b e th B rock*Sulaer*a F rle d rlc t) C t l r t T f t f S ta tlo n e n ae ln e a W erkea. w ith aeven drawing* and one l in o leum cu t by D tirrenm att, aeven photo* o f D tirrenm att, th r e e re p ro d u c t Iona o f am m iacrlpt pagea, fiv e photoe o f th e o r ig in a l productIona o f P er B lln Je and P er ieau ch d e r A lten Dame, a ta b le o f b io g ra p h ic a l d a te a , and ch ro n o lo g lea o f a l l work* aa w ell aa o f th e prem iere* o f th e a tag e p la y * , co n tain * a w ea lth o f In v a lu a b le m a te ria l.* ® Mr a . Brock- S u lse r haa follow ed D tirrenm att'* c a re e r fo r many year* aa a rev iew er and 1* c e r ta in ly fa m ilia r w ith every fa c e t o f h la p e ra o n a llty and work. Aa a Sw laa, aha haa been on th e acene o f moat o f h la trium ph* and d e fe a ta and can aay "1 vaa d e re , C h a rlie " to any d o u b ter o f h e r ac cu rac y . The d e d ic a tio n o f th e l i t t l e volume to D ele H orw lta, preaum ably th e w ife o f Kurt H orw lta, frie n d o f D tirrenm att*a, d i r e c to r o f , and a c to r in , a e v a ra l o f h la p la y a , in d ic a te * th a t Mr a . ^ * E llea b ath B ro c k -S u la a r, F rie d ric h D tirrenm att-- S ta tlo n e n aeln ea Werkea (Z ttrlch : P e te r S c h l f f e r l l V erlaga AC ^ l * A rc h e,'J I9 6 0 ). 33 B ro ck -S u lser i s a la o a c q u a in t ad w ith th a S ch au sp lelh au s •n sew b le, th a c i r e la t h a t c o n trib u te d most to b rin g in g D ttrren am tt's p la y s to a ta g a U f a . B ut--and t h la la an Im portant b u t- - th la la ona o f th a a o a t a b a tru a a t p re c io u s , h a rd -to -u n d e rs ta n d , and th a ra fo ra a o a t e x a s p e ra tin g booka ona can an co u n tar In a lif e tim e o f ra a d ln g . Xt la not d u l l o r p a d a n tlc ; on th a c o n tra ry , ona co u ld o n ly v la h th a t I t v a ra a l l t t l a a o ra p a d a n tlc , e x p l i c i t , and a y a ta a a tlc . In a ta a d , I t h o p a, a k lp a , and Juapa f r o a ld a a to a llu a lo n t o q u o ta tio n to b rig h t say in g to Innuendo w ith o u t av ar g iv in g th a poor ra a d a r a chance to c a tc h h la b re a th . There a ra b r i l l i a n t , in tu it I v a In s ig h te and fla s h e s o f Ideas w orthy o f a g re a t l i t e r a r y c r i t i c and h i s t o r i a n , b u t th a a u th o r a s s ia e e th a t ev ery ra a d a r o f h e r stu d y la aa th o ro u g h ly fa a illla r aa aha la w ith every Id io sy n crasy o f D ttrren m att'a and every la s t p e c u lia r ity o f s ty le o r fo ra In h la worka. T his n ig h t not be to o bad I f t h l a w are a s t r i c t l y s c h o la rly voluna d e a lin g w ith a lo n g -d ead , thoroughly-know n c l a s s i c , b u t In a book d e a lin g w ith a s t i l l little -k n o w n contem porary a u th o r I t la a d i s a s t e r , a l l th a more so a s th la book proudly spurns a l l such p e d a n tic impedimenta aa fo o tn o te s , page re fa re n e ss, o r Index. To th a av erag e ra a d a r who nay have aeon ona o r 34 two play* o f D U rren aett, and perhapa way hava raad ona o f h la o th a r w orka, th la u n ln ta rru p ta d w a ta r f a ll o f r e f e r - ancaa and n aa e-d ro p p in g , alwaya w ith th a a t t l t u d a o f *'Of c o u ra e , you know a l l t h l a , d a a h lln g ," o u at ba h o p a la a a ly c o n fu tin g and aeddanlng. Tha aacond g re a t abortcow ing o f th a book, (row a a c h o la rly v ltw p o ln t, la th a t I t la ona long paaan o f a c a t a t l c p ra la a o f an y th in g and a v a ry th ln g t h a t D U rrenaett haa a v a r producad. Evan whan H ra. B ro c k -S u lte r, a t f l r a t b lu a h , aaawa to v o lc a a v a ry fa a b la , c a u tlo u a c r i t i c l * » o f ona o r a n o th a r a ln o r d a t a l l , th la tu rn a o u t, upon f u r th a r d a c lp h a rln g o f b a r c ry p to g ra m * tic a ty la , to ba a p a r tic u l a r l y b r i l l i a n t and daap ly m eaningful nova o f D U rre n a e tt'a , which o th a r c r l t l c a , tho p u b lic , and parhapa auch clo d a aa wa, tho ra a d a ra , wara J u a t too a tu p ld to u n d aratan d . In a h o r t, H ra. B ro c k -S u lta r haa f a ll e n In to th a aaae t r a p th a t hava ao aeny o th e r b io g ra p h e r a and nono graph a ra : aha haa f a lle n In lova w ith tho o b je c t o f h e r atudy and haa lo a t a l l a c h o la rly d e ta c h a e n t. Howavar, aa tha f lr a t publlahed Monograph about D U rrenm att, tha volume la an Important contribution and w ill bacona a atandard work for lite ra ry h la to rU n a . The book la d iv id e d In to th e fo llo w in g e e c tlo n e . In 35 th e o rd e r H a te d : The D raaea, The O pera, lb # Radio F lay s, 1h« N a rra tiv e Worka, and The E arly P rose. Tha ra a a a rc h fo r Kdvard P i l l a r 's unpubliahad doc t o r a l d la a a r ta tlo n , "Die Gedankenwelt von F rie d ric h D U rrenaett, w ritte n In Genaan, waa concluded In 1957 In S w ita e rla n d .3? T herefore th e study enda w ith P er Reauch d e r a lie n Pane. Thla aeana i t doea not Include any o f th e ra d io playa o th e r th an *H erkulea und d e r S ta ll dea A ugles;" th e la a t d e te c tiv e a to ry , Paa V eraorechen: th e o p era, Frank Vs D U rrenaett*a apeechaa on th e occaalon o f h la a c ceptance o f th e S c h ille r P ris e s In Germany and In S w itaer- lan d ; and the a o s t re c e n t aucceaa. P ie Ih v a lk e r. I t la a w e ll-o rg a n ise d atudy In n in e te e n c h a p te rs , w ith In tro d u c tio n and b ib lio g ra p h y . G haptera 1 to 10 d ea crlb e and an aly se D U rren aa tt'a worka. The balance la taken up w ith "X nfluencea and Forerunnera,'* "E arly Develop- ■ an t, " "The P aradox," "D U rren a ett'a Concept o f th e W orld," "The Concept o f God fo r D U rren ae tt," "Tha C h rla tla n Han," "T heater P ro b le a a ," and "D U rrenaett and th e L ite r a tu r e o f ^ E d v ard D ll le r , "D ie Cedankenwelt von F rie d ric h D U rrenaatt" (unpubliahad fh.D . d la a a r ta tlo n , D epartaent o f G eraan, H lddlebury C o lle g e, N lddlebury, V eraont, 1960). 36 HU T ine." I h i r t i u r c h nothod o f t h i s d i s s e r t a ti o n la d e s c r ip tiv e and a n a ly t i c a l , In about equal p ro p o rtIo n a , th e fo ra d lf f a r a c o n a ld a ra b ly fro n t h a t re q u ire d by th a U nlvor- a lty o f S outharn C a lif o r n ia . P or In s ta n c e , th a In tro d u c tio n doaa n o t c o n ta in any a ta te a a n t o f th a p ro b le a , a ta te - a a n t o f aathod and p ro ced u re, J u a t l f l c a t l o n , o r a ta ta a a n t on th a s ig n ific a n c e o f th a a tu d y , o r preview o f th a a a ln body o f th a atu d y . T hara la no review o f th a U ta r a tu r a on D ttrra n a a tt, no doubt b acauaa, In 1937, th a U ta r a t u r a about D U rrenaett waa avan a c a n tla r th a n I t la now, and co n a la to d e x c lu a lv e ly o f a c a tta ra d new spaper and a i |a i l n a a r t l c l a a and rev iew s. Tha la a t c h a p ta r, '*DUrranaatt and th a L lte r - a tu r a o f Hla T ia a ," doaa g iv e th a u au al "Sunnery and Con- d u a l o n a ," only w ith o u t la y in g ao f o m a ll y , b u t f a l l a to ■aka any su g g e stio n s f o r fu rth o r atudy, alth o u g h w ith a s o - littie - e x p lo r e d a u th o r th a p o a a lb l l l t la a should ba n u a tr- oua and c h a H an g in g . Ilia b ib lio g ra p h y , c o n a ld a rln g th o s c a r c ity o f n o t a r i a l on D ttrra n a a tt, la v ary la p re s a lv e and ahows a x ta n a lv a apada w orkt an O rt und S t a l l a . In tho In tro d u c tio n , D l l l a r axcuoaa h la a o lf fo r th a u n avoldabla s u b je c tiv ity o f h la a n a ly se s and I n te r p r e ta t io n s . Ha need n o t hava dona so . Any a n a ly s is o f an 37 alm ost unknown, u n c la s s if ie d , and u n categ o rlsed au th o r haa to ba s u b je c tiv e - - a f te r a l l , someone has to aeka a s t a r t and tak a th a f i r s t sta n d . Howavar, in try in g to determ ine D U rrenaett*e r a 1 s tton to ex p ressio n ism , e x is te n tia lis m , n ih ilis m , and absurdism , I t would hava baan h a lp fu l to glva d a fin ItIo n s and c r l t s r l a fo r th s s a movements. D i n a r 's e x p la n a tio n s and a n a ly sa a , In c o n tra s t to B ro c k -S u lse r's p y ro tec h n ic a, a ra sim ple, o rd e rly , c la a r , and aasy to u n d arstan d . V lth an a u th o r o f D ttrrenam tt'a com plexity, t h i s Is q u its a f a s t! T his I s a r e a l p io n eer work, research ed by a young American sc h o la r a t a tim e whan not a s in g le comprehensive book about D llrran astt e x is te d , when many o f h la works had not y e t appeared In p r in t and were a v a ila b le only In manu s c r ip t fo ra , and when auch o f th e Inform ation had to be dug up by perso n al in terv iew s and s i f t i n g o f th e a u th o r 's n o te s . Dr. D llle r Is now engaged in b rin g in g h is a a t e r l a l u p -to -d a te and tr a n s la tin g th e d is s e r ta tio n in to Kkigllsh. Whan th i s i s done and th e atudy is e i th e r p u b lish ed o r a t le a s t a v a ila b le to l i b r a r i e s in a l c r o f l l a fo ra . I t w ill become th e stan d ard re fe re n c e work on Dttrrenamtt in E n g lish . CHAPTER I I THE H A M A M D HIS W O R L D B ealnnlnaa and P erso n al Pave looms nt D tlrn n M tt one* H i d , "X have no b io g ra p h y ,"1 M ak ing I t c l a a r t h a t . In h la o p in io n , th a p u b lic had a r i g h t to know h la worka o n ly , not h la p riv a te U f a . lo th Brock- S u lsa r and D llle r re a p a c t th la d e a lre fo r p riv acy and a r a , th a r a f o r a , v ary ap a rin g w ith b io g ra p h ic a l d e t a i l . To t h l a , th a p re aen t atudy w ill add only what D U rrennatt h im se lf haa f r e e ly re v e a le d In In ta rv la w a , a r t i c l e s , and In h la w orks. Ha was born on January 5 , 1921, In K onolflngen, a v illa g e In th a Kanton o f B arn, where h la f a th e r , R eln h o ld , was a p ro te s ta n t p a s to r. lh e r e he a tte n d e d th a prim ary achool and th a n th a "S ekundarechule" (som athing lik e J u n io r ^ E lisa b e th B rock-Sul e a r , F rie d ric h rB T P T H T t: ~ S ta tlo n e n aeln ea Werkea (E ttrlch ; P e te r S c h lf f a r l l V erlag a AC "D ie A rch e," 1960), p. I I . 30 39 h igh sch o o l) In a n eighboring co a a u n lty , C rosshU chstetten. Thus ha spent a l l o f h is childhood and e a rly youth In th a co u n try . Ha c o n sid e rs h im self a d isp la c e d country boy and Is proud o f h is peasant sto ck on h is M other's s id e . U hile he i s s tra n g e ly uncommunicative about h is p a re n ts , he a tta c h e d g re a t im portance to h is g ra n d fa th e r, U lric h D U rrenaett (1649-1908), who s ta r te d out a s a te a c h e r, th en became e d ito r o f the le r n s r V o lk saeltu n a. and l a t e r " M a tlo n a lra t," th e e q u iv a le n t o f a U nited S ta te s R epresen t a t i v e . U lrich D ttrre ia a tt became v e i l known a s an e d ito r i a l w r ite r , p o l i t i c a l s a t i r i s t , and p o et. His p o e try , which was c o lle c te d In th e two volum es, U lrich D U rrenaett und sein e C ed lch te. showed h la to be an o rig in a l th in k e r and stubborn ln d lv ld u a lls t- - q u a lltle s which h is grandson, along w ith h is w ritin g a b i l i t y . In h e rite d fro a h l a . 2 Uhen F rie d ric h was th ir te e n , h is fa th e r was c a lle d to th e S alea Church in B ern, and so th e f a a lly aoved to th e c a p it a l , th s "b ig c i t y ." T here, F rie d ric h went to th e "F re le C y w u slu s" w ith a "ftealgym naslua" c u rric u lu a , which asans eap h aels on ss>dern languages and scien ces (as a g a in s t 2J . Howald, U lrich PU rrenast* und se in e C edlchte (H tlrIn g e n : V a lte r L oepthlen V erlag , 1927), 2 v o ls . 40 c la a a lc a l language* and U ta r a tu r a * ) . D U rrenaett d ascrlb a* h la a e lf aa a bad atu d an t and a pa aka o f " g r le ly a e a o rle a " o f h la achool day** trtilch ha c a ll* "th e ao a t a la e ra b le tin * o f ay l i f e ." * Thla aaaaa no ex a g g eratio n . Sosa a lg h ta tn yaara a f t a r ha had l a f t h igh achool, ha anawered an I n te r view q u aatlo n about a d a a lra b la a p e c lflc a lly -S w la a f l l a to p ic : "Soon wo*11 hava--you want to b e t? - -a f l l a about £ P a a ta lo x tl. A fta r a l l , why ahouldn*t th a s o tIo n p lc tu ra play th la a ta m a l tru a p card o f I n ta lla c tu a l Sw ltxerland? . . . gut what wa r e a lly need la a p ic tu re about th e aenae- le sa c re w in g in our achoola . . So th e b ltte rn e a a o f th e fr u a tr a te d high achool boy at111 ra n k le * . The J u a t- quoted In terv iew and* In a ty p ic a l "l-d a re -y o u " D U rrenaatt paradox: Tha Swlaa cannot a ffo rd to t e l l In a o tlo n p ic tu re * the a to ry th a t he could r e a lly t e l l a a to ry ab o u t;* he la auppoaed to y o d el, new l i t e r a l l y . **Ver v l e l f r a g t , . . . , " Die Weltwoche. XXXV, No. 1205 (1937), 11. S h e g re a t 10th cen tu ry ed u c ato r. * "P rle d rlc h D U rrenaatt" (In te rv ie w ), Die Weltwoche. XXV, No. 1210, (January 18, 1937), S. **?>oeh dor Schw aleer kann ea a lc h n lc h t le la te n , la F lla e ln Lied deaaen *u alngon, von dea e r eln a alngen kHnnte . . ." - - a play on word* which cannot be tra n a la te d l i t e r a l l y . 41 now f ig u r a tiv e ly , Thus wa ap p ear In our wot Ion p ic tu re s a s I f seen th ro u ^ i th e eyes o f F e d e ra l C o u n c illo rs ; th u s we g lo r if y o u r f i c t io n s In o rd e r t o bypass o u r p ro b le m . In b r i e f : th e legend o f o u r v ir tu e s s t i f l e s th e p o s s i b i li t y td ilch nay s t i l l l i e In our v i c e s . ' In h ig h sc h o o l, D tirrenaw tt had many b ru sh es w ith h i s te a c h e rs and school a d m in is tr a to rs , and was once even e x p e lle d fo r o rg a n isin g a stu d e n t s t r i k e . N e v e rth e le ss, he g rad u ated w ith f a i r l y good m arks, w hich. In s p ite o f a l l h is ra n c o r, must be soae kind o f t r i b u t e to th e falrm ln d ed - n ess o f Swiss e d u c a to rs. D U rrenaatt w anted to become a g ra p h ic a r t i s t , but compromised w ith h is f a t h e r 's w ishes and e n ro lle d a t th e U n iv e rsity o f Bern In a program o f co u rsee In l i t e r a t u r e , p h ilo so p h y , and th e s c ie n c e s . L a te r he a ls o sp en t one sem ester a t th e U n iv e rsity o f Z u ric h , which he m entions In h i s s to r y , 'T h e T u n n el." In o r around 1940 (th e d a te s g iv e n by D l l l e r and v a rio u s newspaper s t o r i e s d i f f e r ) , he w ro te h is f i r s t "comedy" which had so many d i f f e r e n t t i t l e s t h a t he co u ld n o t remember them l a t e r . I t was so w ild and confused th a t even th e young a u th o r sh ied away from tr y in g t o p u b lish i t o r h av in g I t perform ed; he does n o t even ^"Friedrich DUrrenmstt," loc. cit. 42 w ant I t pub11shad p o ith u a o u ily . In t h i s f i r s t p la y , s c l- a n c a , decadence, s a d ls a , l u s t , and th eo lo g y war# grotesque* ly In te rtw in e d ; In th a and, th a s t a r t a r b u tto n o f a world* d e s tro y in g a sc h in a was pushed—y aara b a fo ra th a atow lc bowb! In 1942 ha began h i s sh o rt s t o r l a s , woet o f idilch w ara l a t a r u n lta d In th a c o ll a c t lo n , P la S ta d t. In 1945, th a ra sp a c ta d B erness p a p a r, Par iu n d . p rin ta d h is f i r s t pub11shad s to r y . "P ar A lta " (Tha Old O na). which I t s a u th o r d id n o t c o n sld a r good anough to ln c lu d a In P la S ta d t. In 194$ o r 1946 ha plannad to w rlta a d o c to ra l d ls - s a r t a t l o n , but changad h i s wind and, ln s ta a d , w rota th a p la y , Bs s ta h t a a s c h rla b a n . which had I t s tu n u ltu o u s p ro w le rs a t th a S ch au sp lslh au a ZUrlch in 1947. That sawa y a a r. 1947, ha w a rrla d L o ttl G a ls la r , a young a c tr a s s , who gava up h a r c a ra o r a f t a r h e r w a rrla g a . Soon th ey had th r e e c h ild r e n , and h is a lre a d y p re c a rio u s e x is te n c e as a " f re ls c h a f f e n d e r K ttn stle r" o r " f r a l a r S c h r l f t s t a l l e r " ( fr e e la n c e a r t i s t o r fre e la n c e w r ite r ) becawe r a th e r d e s p e ra te f o r s e v e ra l y e a rs . Bo w onder, th a n , t h a t th e re a re so wany b i t t e r Jokes about p o ets (th a fo re v e r s ta r v in g hordes o f p o ets In An Anaol Cowss to Baby- lo n . th e so rry w rack, C nadenbrot Suppa, In Tha l l l n d Ona. th a p u b lic ity p o e ts o f H e rc u le s ), about fre e la n c e w r ite r s 43 (th e w rite r in H o ctu rasl C o n v ersatio n w ith a D espised Hen. Eorbes in C lo aaln a in L ate end even about f r e e lan ce he roe • euch ea H ercu les w ith h ie e te r n a l soney tr o u b le s . In a newspaper in te rv ie w in 1956, a f t e r be had becoae s u c c e s s fu l, D ttrren aatt ta lk e d v e ry h o n e s tly about h i s d i f f i c u l t e a rly y e a rs . Soon a f t e r he had d ecid ed to becoae a fre e la n c e w r ite r , he f e l t h l a s e l f to have s tra y e d In to a f ie ld which th e Swiss c r i t i c s judged w ith a s such p e n e tra tin g e o le a n ity and h u a o rle ss p ed an try a s n o n -b e lie v e r s a re judged by a f a n a tic a l r e lig io u s s e c t. In coo p erin g th e l o t o f th e c r e a tiv e a r t i s t in th e c o a w n ls t E ast w ith h i s tr e a ta e n t in th e V e s t, he s a id : In th e S oviet Union th e w r ite r i s a w e ll-p a id s la v e ; u n d er g re a t f in a n c ia l s a c r i f i c e s th e c r e a tiv e s p i r i t i s being fa tte n e d in ch a in s th e r e . The qu es tio n i s o n ly how long th e s e ch a in s w ill h o ld , fo r In th e long ru n th e re can be no s p i r i t w ith o u t fre e d o a . In W estern Europe th e w r ite r is f r e e , but nobody pays h la a liv in g wage. D ttrren aatt o f te n thought o f g iv in g up h i s c r e a tiv e w ritin g In th o se d a y s. He began h la c a re e r a s a d ra a w tls t w ith so l i t t l e f in a n c ia l su ccess th a t he t r i e d to in c re a s e h is e a rn in g s by w r itin g ly r i c s fo r a c a b a re t (th e c a b a re t 44 "C ornlchon") and working aa a d raaa c r i t i c , b u t b oth a t - tow pta ended In u t t a r fin a n c ia l and a r t l a t l c f a llu r a a . By th a n , ha a a ld , ha had plungad In to "daap chaawa o f d ab ta" and, In d a a p a ra tlo n , prowl• ad a a v a ra l wagaainaa to d a llv a r d a ta c tlv a a to r le a . Howavar, w ith th a ex cep tio n o f th a two nova l a , P ar E lc h ta r und a t In Honker and Par V ordactit. ha d id not kaap h la prow laea,* and th ereb y acq u irad th a w p i - ta tI o n o f a confldanca nan. Hla a a lv a tlo n cawa f in a lly frow th a Garwan ra d io natw ork, where th a dawand fo r uaabla a c rlp ta exceeded th a aupply by f a r .^ To w rlta a ra d io a c r lp t took hftw about two wontha and n a tta d hlw a a la a b la faa upon d a llv a ry . A naval o r a p la y , on th a o th a r hand, took hiw frow a l t wontha to a y aar o f atranuoua work w ith out any guarantaa o f raw u n aratlo n .^^ Anothar way In which DUrranwatt t r i a d to aupple- want h la naagar aa m ln g a In thoaa d i f f i c u l t a a r ly yaara waa by le c tu rin g . In Paa V oraprochtn. ha w antlonad th a t ha had glvan a le c tu re In Chur, and had th a r e tir e d p o lic e c h ie f *Slnce th la In terv iew waa g lv an , ha haa w ritte n two au ra crlw a n o v a la , P la Panne (Tha Breakdown) and Paa Vera prochon (The P led g e), and ao probably redeewed h la prow laaa. 9" P rie d ric h P tirren w att," loc c l t . 10KaufnMnnlechaa Z e n t r e lb le t t , Hovewber 2, 1956. t e l l h la fra n k ly : "You apaak r a th e r awkwardly.*'11 S lnca th a a a n a a tlo n a l auccaaa o f Tha V la lt in 1956, o f c o u ra e , D O rrena»tt*a auccaaa cu rv a haa baan r l a I n s a ta a p ly and la a t 111 r la ln g . Hla worka hava baan tra n a - la ta d in to tw alva language*. For h la ra d io p la y a ha r a - calv ad th a " P rlx d * I t a l ia " and th a '*Badlo P r is e o f th a B lind Canaan War V e te ra n * ," and fo r h la atag a playa th a Canaan S c h llla r P rla a In 1959, th a Broadway C r i t i c * ' C lr c la Award In 1959, and th a Swlaa S c h llla r P rlaa In 1960. A* a p arao n , D U rrannatt la th o ro u g h ly unconven t io n a l and ruggedly In d iv id u a l la t i c . Lika n o a t " a le a a n lc " Swlaa (aaan ln g Swlaa o f C anaanlc, n o t Canaan, to n g u e ), ha apeak* High Canaan only w ith a decid ed Swlaa a c c e n t, and even aade fun about th la h la a e lf In h i* S c h llla r P rla a 12 accep tan ce apaach. On o f f i c i a l , "a o le a n " occaalon* (ha h a ta a a o le e n lty In any f o r a ! ) , ho haa baan known to tu r n up In a b lu e a h l r t w ith rad t i e , a lo n g , dark Swlaa c ig a r c a lle d a "B rlaaago" attack b o ld ly In h la roay fa c e . I V *a VorapTQchon (Z tirlch : V arlag d a r A rcha, 193B), p . lO . ** F rlo d rlc h S c h lllo r - - o ln o Bade (Z U rlch: V arlag d a r A rcha, 1960), p. 8: ,fH lcht n u r, daaa lch abanao ach w alaare, w la S c h l lla r , w lr alnd u n t a r r l c h t a t , achw tfbelte, . . . " it 6 A fte r th e p u b lic d rees re h e a rs a l o f P ie th e dee Herrw M ississ ip p i In Hunlch th e re was an o v a tio n , and he waa asked to tak e a bow frow th e s ta g e . When he was req u ested to re p e a t th i s appearance a f t e r th e re g u la r pro s p e r s , he r e f u s e d - - I t would not be h o n est to do th e aawe th in g tw ice; but th e Management kept a f t e r him , and f i n a l ly he found a way o u t: a f t e r th e f in a l c u r ta in he appeared on stag e In a f u l l b e a rd , put on by th e th e a te r make-up man, and made a l i t t l e c u r ta in speech. His love o f food and d rin k showed I t s e l f e a r ly . At th e age o f two he was once found by h is p a re n ts , who had been out o f th e house fo r a w h ile, s tre tc h e d out s t i f f and w ith b lu is h face on th e liv in g room flo o r. The h u rrie d ly summoned fam ily d o cto r bent ov er th e boy, s n iffe d tw ic e , and q u ie tly sa id th e Swlea-German e q u iv a le n t o f * * H e is drunk as a skunk!" Somehow th e c h ild had found some wine and sampled i t u n t i l he had passed o u t. He loves to e a t and d rin k w ith h is frie n d s and to t a lk about l i f e In R a b e la isia n to n e s. C h a r a c te r is tic a lly , h is fa v o rite word la "g ro te sq u e ," and o fte n he covere up th e a b su rd ity o f th e w orld w ith a F a n te g ru e l-llk e laugh. Even now, a t h is home, th e w orking day s t a r t s w ith a r ic h sam pling o f good foods, and a box o f good c ig a rs Is always 47 w ith in ran ch on h la deck. Hla d |« r - a a o k l n | a ta r ta d d u rin g h la a tu d a n t d ay a, aa th a a u to b io g ra p h ic a l d a t a ll a In th a a to r y t '1>ar T u n n e l," show. In F raudlan t e r n s , D ttrren n att would ba c la a a a d aa an " o r a l ty p o ." But avan I f wa hnow n o th in g about h la p rlv a ta U f a , ha a d u lta h la lova o f g u a ta to ry d a lig h ta v a ry opanly In h la w orka. In An Anaal Cones to la b v lo n . A kkl, o b v io u sly th a au th o r* a f a v o rlta c h a r a c ta r , aaya th a t th a a r t o f cookary waa th a o n ly ona about which ona could aay n o th in g b u t good. In Dar t l c h t e r und a a ln H anker. th a o ld C o » la s lo n e r BHrlach and a w r l ta r , In th a u ld d le o f an lu p o rta n t ln v a a tlg a tlo n , hava a th re e - q u a rte rs * o f-a n -h o u r se s s io n In which th ay exchange ra c lp a a o f d a llc lo u s d lah aa and d lacu aa th a T u rk ish , R unenlan, B u lg a ria n , Y ugoslav, and Caach c u la ln a s . "These two J u s t co u ld not ba d lv a rta d fro * th a a r t o f cooking, b u t f i n a l l y , a f t a r th ra a q u a r te r s o f an h o u r, th ay sto p p ed , q u ite ax* h a u s te d ly , aa I f a f t a r a long u e a l . . I t re a d s a l - n o at Ilk a th a e x h a u stio n a f t a r a sex u al o rg y . Tha no a t c o n c lu siv e p ro o f o f D U rren n ett'a e x c e ssiv e lova o f food and d rin k a re th ra a nanus In th r a a d if f e r e n t w orka. Thay hava ao n ath in g e p ic and grand about th a n , aona th in g w hich car* **Per R ic h te r und a a ln Hanker (2nd a d .; E ln s le d e ln : B en slg er V a rla g , 19^1), p . 94. 48 ta ln ly does not belong In our tim e o f r u th , mass p ro d u ctio n , and s ta n d a rd is a tio n , b u t r a th e r In th a a ra s o f L u eu llu a, Henry V III, or Louie XV. D U rrenm ett'e d a e c rip tlo n o f th aea c u lin a ry da lig h t a la not Ju et g ra tu ito u s em broidery, but an im portant p a rt o f h la c h a ra c ta ra and p lo ta . In P ar l l c h t e r und a a ln Hanker. old Commissioner tX rla c h , on th a eve o f e n te rin g tha h o a p lta l to ba o p erated fo r stomach c a n c e r, haa a la a t grand "meal o f th a con* damned*': I t a ta r ta w ith a p l a t t e r heaped to overflow ing w ith e a rd ln e e , c ra y fis h ,* * a ealad o f cucumber, tom atoes, and paaa, topped by "m ountains o f mayonnaise and eg g s"; In between th e se d e lic a c ie s th e re a re a s s o rte d co ld c u te , s lic e s o f chick en , and salmon. "The o ld man took o f every* th in g . . . a g ig a n tic p o rtio n ." With th is course BHrlach d rin k s " L lg e ra e r," a lig h t w hite w ine. He has two h elp in g s o f food and th re e g la s s e s o f w ine. The next co u rse c o n s is ts o f th re e baked p a tty - e h e lls f i l l e d w ith g o o se * liv e r, pork, and t r u f f l e s , accom panied by red N euchatel w ine. He drank th e second g la s s o f red wine and s ta r te d w ith th e th ir d p a tty - s h e ll, e a tin g Inces* 14 A coveted and expensive d e lic a c y In Europe. 49 u n t l y , i n t d l l y devouring th e d e lic a c ie s o f th le w o rld , c ru sh in g th e * b etw een -h is jew s, e dewon s a t is fy in g an i n f i n i t e hunger. On th e w a ll, e n la rg e d t o double s l s e , h is fig u re c a s t a w ild shadow, w ith I t s v ig o ro u s wovewsnts o f th e aim s and th e low ering o f th e head e q u a llin g th e dance o f a trlu w p h an t negro c h i e f . 1* Then cones a co u rse o f v e a l c u t l e t s w ith r i c e , F re n c h -frie d p o ta to e s , and g reen s a la d , o f which B irla c h h as two h e lp in g s . W ith t h i s he d rin k s chaapagne, f in is h in g o f f a whole b o t t le ! And, f i n a l l y , a l i t t l e d e s s e r t o f c h e e se , r a d is h e s , s a lte d cucuw bars, and p e a rl o n io n s, "alw ays new fo o d s, a s i f he could t a s t e J u s t t h i s once ■ o re , fo r th a l a s t t i n s , what th e E arth o f f e r a to H an ."17 T his l a s t sen ten c e wakes th e deep sym bolic s ig n if ic a n c e o f food and i t s enjoyw ent fo r D flrrensw tt v ery c l e a r , b u t wore th a n t h a t , t h i s h o r r if y in g sw rathon o f e a tin g by a supposed ly w o rta lly i l l o ld wan is w atched by th e t e r r i f i e d a u r- d e r e r , T schans, who has been in v ite d b u t is unab le to e a t a b i t e . I t co nvinces h la th a t th e o ld co aw lselo n er h as n ever been 111 but h a s only fo o led h l a , and so I t co w p lete- ly b reak s h la coaposure and b rin g s about h is c o n fe ssio n . 1*The s u p e rn a tu ra l elsw e n t! 16Per Michter und seln Hanker, op. c l t *. p. 136. 17Ibld. . pp. 133-38. 50 1h« B o n iu o u a M i l , th a ro f o ra , la An la p o rta n t p a rt o f th a p lo t. A nothar a c a o ra b la " l a s t ■*•1" Is th a t o f "K ing" Bockalson in t i s f h t — a c h rla b a n . v h lla th s c i t y o f Httn- • t s r la a lrs a d y on th s p o in t o f s ta r v a tio n . Ha s l t a on h la th ro n a In h la ra g a l w a n tla , In h la hand a h a lf - a a p tia d a ta ln o f b a a r: 1 hava a a ta n a x c a lla n tly , Though I t waa a ao d aat n a s i , aa I t bahoovaa ua In hard t l a a a , b u t 1 bacaaa o a t la f l a d , w ith th a h a lp o f God, and a goodly fo a lin g apraada ovar ay body. 1 th in k back w ith d aa p ast p la a a u ra to th a ao ray a a l soup, w ith th a h a n a lt crab a and fra a h aaa s n a ils which wara aarvad to aa In th a b ag In n in g , la h o ld , I t waa d a llc lo u a ! Also th a g ia n t p ik a , b o ila d In ra d w in a and a tu ff a d w ith t r o u t , ra d an a p p ars, b lu a an ap p ara, so u r o llv a a , v ln o - g a r a a a d , p a a rl onions and cu cu ab ara, atay a ta n d a rly In ay wind Ilk a a f a r - o f f b alo v ad . A ll t h i s atro k ad m y ato aach f l a t t a r l n g l y Ilk a a w o aa n 'i hand. How v o lu p tu o u sly I lu a ta d fo r f r o g 's la g a , V a la la la n gophar anakaa, and B urgundian s n a il s w ith l i g h tl y b o ila d sw allow s' ag g s, 31 Which were ten d ered to my ro y e l M ajesty on e s i l v e r p l o t t e r . P ra is e be to th e goodness o f th e Lord Who coaxes such wonderworks f r o s th e womb o f N ature! He ande grow th e p re c io u s v in e s whose wine 1 en jo y ed . P ra is e s be to N ack tarsch 1* and L le b fra u e n n llc h ! P ra is e s be a ls o to th e pork b e lly in J e l l y w ith c a v ia r , to th e o y s te rs w ith champagne, to th e s p it - b r o il e d C a ste r lamb, f i l l e d w ith l i t t l e S tra s s b u rg sa u sa g e s, baked la r k s and th e p la c e n ta o f p rem atu rely bom c a lv e s , w ith th e heavy Hurgundian wine! P ra ise d be th e m ag n ificen t pheasant surrounded by hum ming b ir d s , Rapuncel r o o t, and B ru ssel s p ro u ts , th e d iv in e fram erd , th e b ee r soup w ith l i v e r dum plings and th e g la s s o f w ate r th a t 1 drank w ith i t , th e c h o c o la te cream , th e low er-Saxon b lo o d w u rst, th e p o ta to sa la d and th e w h ite beans w ith bacon, th e sour c id e r and th e p a te o f cham pignons, t r u f f l e s and a s s o rte d o th e r mushrooms, th e r i c e , th e M adeira sauce w ith c a p e rs , th e Z la e rs e r w ine in i t s p re c io u s c r y s t a l! *® "N acktarech," m eaning "naked a s s ," i s n o t a c r u d ity o f D tirrenm att*s but a famous and e x c e lle n t Chine w ine. For an e x p la n a tio n o f th e nans th e re a d e r i s r e fe rre d t o th e la b e l on th e b o t t l e . B le ssin g s end b s o sd le tIo n s on what 1 have J u s t an- Joyed! 0 R ussian s s ls d w ith tu n s! 0 S telnhV ger, o S au erk rau t! 0 young h sad s s ls d w ith b o lls d onions! 0 g ls s s o f w a re 's a l l k w ith b la c k bread! Should I n o t th in k o f you as one th in k s o f te n d e r 19 hours o f love? Should 1 s lig h t th e C h aab e rtln and th e c h a a o ls beck, th e g a rn ish e d h a r e , th e d eer shank? Did not m y p a la te love then? Thou b e a r paw, d e lic io u s ly v o ra e d , ye g re en beans in vodka, ye sour prunes w ith asp arag u s t i p s , thou o a to a a l w ith lin d e n b lo sso a t e a , thou B ase n th a le r c h e e se , o la a b ru sc o and red c h e r r ie s In ru a , 1 p r a is e ye! Ye gave as d e lim it, ye d e lig h te d a King, 1 p r a is e ye! You S y ria n g rassh o p p ers w ith w ild S ib e ria n honey, ay g re e tin g s be to you, m y ra p tu ro u s g re e tin g s ! 1 enjoyed you In honor o f S t. John, ay e x a lte d p re d e c e sso r, John th e B a p tis t! 19 H ere, as In aany o th e r p la c e s , we se e th e open, d i r e c t lin k o f th e e n jo y a e n t o f food w ith love and sex! 53 Doaa n o t th a t a e t a o f a tra w b a rrla a l l a on m y llp a Ilk a th a k la a o f w a r a f ta d th a y v ara and r l p a , in qulnca n a a t w ith tdilppad c ra a a , aarvad a l t h K lrach , Marc, and p lu s brandy. 0 ta a r a o f Joy! t a t m m vaap In aaao ry o f th a C oupa-C h rlatlan a w ith C harry-brandy! Lat aa vaap*»thay a ra ro y a l ta a r a tdilch r o l l onto t h l a 20 c a rp a t fro * B alu ch latan . . . Than th a ra la th a garg an tu an n a a l In P la fatm a. w hich, aa waa a lra a d y ahown, la an I n ta g r a l p a r t o f th a p lo t. Bacauaa o f th a au p h o rla Inducad by l t t th a accuaad confaaaaa to h la " c r l a a ." S inea th a a » a l la anbaddad in long n a r r a tlv a paaaagaa, I t la raproducad h a ra only In ■anu fo ra : IS S S l Win** and L U uaur. C u p a r 1 aa an a p t f r l t l f 1 b o t t l a o f o ld P o rto Hora d 'o a u v ra a : Cold c u ta E uaalan agga S n a lla a ta h t a a a c h rla b a n (ZU rlch: V arlag d a r A rcha, W » > . pp. >S-77. 54 l « t c o u rt* : 2nd c o u rt* : 3rd c o u rt* : 4 th c o u rt* : Sth c o u rt* : l i t d * t t * r t : Food* T u rtle toup T rout B * * ftt* tk T t r t t r , w ith l*non, co g n tc, p t p r i k t , t t l t C htnpignont 4 I t c r3 m V *tl kidney r o t t t i t ltd R o ttt p o u le t Win** tn d L ieueur* l i t b o ttl* o f l i g h t , t p tr k l in g I9*uchlt*l win* 2nd b o ttl* o f M*u- c h d t* l R *t*rv* d e t H tre ch tu x P ich o n -L o n g u tv iI1* 1933 ( t R o rd ttu x ) C h tte tu P tv i* 1921 ( t* v * r tl b o ttl* * ) A tto rt* d c h * * t« t-- C hSt*tu M trgtux & w n t h a l e r , B ri* , (v in ttg * 1914) C t a n b e r t , G ruybr*, T#t* d* H oin*t 2nd b o ttl* o f C hfttetu V ic to rin , L inburger.M trgaux G orgontoIt B ltc k co ff* * R o ffig n tc (c o g n tc ), v in ttg * 1B93 t p i* (u n id e n tif ie d ) Chtnptgn* P ro b tb ly n o t «v*n th * no i t i n t e n t i t i v * h tn b u rg * r- tn d to te h u p -e a tin g b t r b t r i t n c tn r e td t h e t t M tiu t w ith o u t h iv in g h i t nouth w tt* r. A nan who w r lt* t th i* n u t b* t g o u raet o f g o u m ttt- - th * e n jo y n tn t o f fin * fo o d t, w in e t, tn d liq u e u r* n n t b* e i t h e r t q u i i i - r * l i g i o u t o r t q u i t i - ••x u a l a c t fo r h l a , o r b o th . W ithout b ein g a f u l l y - q u a l i fie d p sy c h o a n a ly st, t h i s In v e s tig a to r would n o t v e n tu re any f u r th e r a n a ly s is . A gainst th e s e x - s u b s titu te i n t e r p r e ta tio n sta n d s th e In c o n tr o v e rtib le fa c t t h a t DUrrenmatt i s a • •presum ably h a p p ily --s e rrie d nan and f a th e r o f th re e c h i l d re n , which speaks fo r a norm al, w e ll-a d ju s te d love l i f e . There rem ains th e I n te r p r e ta tio n o f th e s e dithyram bs on th e Joys o f food and d rin k a s a r e lig io u s a f firm a tio n o f th e Joy o f liv in g and th e G od-given o f f e r in g s o f t h i s E a rth , and perhaps a p r o te s t a g a in s t a c e r ta in kind o f p in ch -faced p ro te c ta n t a s c e tic is m which c o n sid e rs p r a c t i c a lly a l l th e p le a s u re s o f l i f e as s in f u l (a k in to o u r modem com plaint th a t alm ost e v e ry th in g p le a s u ra b le in l i f e I s i l l e g a l , ifla o ra l, o r f a tte n in g ) . When we c o n s id e r W u t a dism al a ss DUrrenmatt made o f tils p io u s , a s c e tic p ro te c ta n t A rch ilo ch o s In Creek Han Seeks Creek H alden. w ith h i s d re a ry a n tl- a lc o h o llc l i f e and h is m ilk and h is m in eral w a te r, when we f u r th e r c o n sid e r th a t DUrrenmatt n ev er d i s c u sse s h i s p a re n ts In any o f h i s In te rv ie w s o r w r itin g s , and when we r e c a l l D l l l e r 's c la s s ic O edlpel a n a ly s is o f th e s to r y , "D ie F a l i e ," (The T rap)** i t may a l l add up to one 2*Edward D l l l e r . "D ie Gedankenwelt von F rie d ric h D ttrrenam tt" (u n p u b lish ed FH.D. d i s s e r t a t i o n , H lddlebury C o lle g e ), p. 33. 56 b ig a n t l - a s c e t l c and a n t 1 -p a re n ta l p r o te s t. But w hatever e l s e th e s e g ig a n tic ■ sa le eay s ig n ify o r a y a b o lla a , th ey c e r ta in ly a r e o u tsta n d in g exam ples o f th e g ro te sq u e . Any s o b e r, lite ra l-m in d e d re a d e r w i l l p o in t out t h a t no o ld aan w ith can cer o f th e stom ach could p o s s ib ly e a t and d rin k what Blfrlach e a ts and d rin k s In B t£ B ic h te r und a a ln Honker w ith o u t dying on th e sp o t o r w rith in g In agony, th a t no huaan b ein g on E arth could consuae so auch as o n e -th ird o f Boc k e ls o n 'a a e a l In I s s te h t c h rlo b sn w ith o u t ex p lo d in g , and th a t I t I s h ig h ly u n lik e ly th a t any group o f o ld aon betw een th e ag e s o f 77 and 86 could consuae th e d in n e r In Die Panne w ith o u t dropping dead r i g h t th en and th e re . I t Is a ls o q u ite absurd to la a g ln e In M in ste r, a l i t t l e p ro v in c ia l W estphalian In lan d town o f 1536, c o a p le te ly cu t o f f and e n c ir c le d by th e en eay , a a e a l w ith B aae n th a le r c h e e se , V a la le la n gopher sn ak e s, and cham o is fro a Sw I t e a r lan d , g ra ssh o p p e rs f r o a S y ria , vodka and honey fro a B u sa la , c h o c o la te f r o a th e o n ly - r e c e n tly - d is covered A a e rlc a s , s n a i ls fro a Burgundy, e tc ., e t c . Q uite o b v io u sly , a c c u ra c y , l i t e r a l n e s s , and p r o b a b ility have n o th in g w hatever to do w ith t h i s c a se . D U rren astt Is o nly concerned w ith th e Idea o f f a n ta s ti c g lu tto n y and w aste In th e fa ce o f s ta r v a tio n and d i s a s t e r , and he c e r ta in ly 57 succeeds In p a in tin g t h i s . B afora la a v in g th a to p ic o f D U rran aa tt, th a a a n , a n o th e r p e c u lia r ity o f h ie rem ains to ba d lecu a aad i n o t th a ona o f having an e x e c u tio n e r, o r a m u rd erer, o r b o th , in alm ost a l l o f h la w o rk a --th a t la a n eceeaary prop o f DU rrenm att, th a r a llg lo u a th in k e r and m o ra lle t--b u t t h a t o f a v o id in g lova in a la o a t a l l o f h la w orka. V lth th a ona c u rlo u e e x c e p tio n o f C reak Han Saaka C reak H alden. th e re 1« n o t « « ln » l. lov« i m m In may o f h i . » to rl« » e r p l« » » . n o t even a a ln g la klaa a v e r i s glvan and re c e iv e d . In h la a o a t re can t p la y , Tha B tv o le ic te . th e re la a tru n c a te d , a b o rtiv e lova sc e n e . A young woaan v e r b a lly d e c la re s h e r lova fo r a m iddle*aged wan, b u t th a t is a l l ; ha never re a ponda-* c o r r e c t Ion, p le a s e --h e does respond by s tr a n g lin g h e r prom ptly! In s p ite o f th e a owe tim e a s u p e r f ic i a l ly rowdy language and an o c c a sio n a l b i t o f o f f - c o lo r d ia lo g u e , sax never r a la e a i t a supposedly ugly head on D U rrenm att'a s ta g e . What la th e reaso n fo r th is ? What can th e m a tte r be? lro c k - S u la e r, a b s tru s e ly aa u s u a l, apaaka o f Dttrren* m a tt'a y o u th fu l, shy p u rity and r e tic e n c e in th l a m a tte r. Xf th la ware r e a l l y tru e o f a fo rty - y e a r - o ld man, hueband, and fa th e r o f th re e c h ild r e n , I t would be h ig h ly alarm in g 50 2 2 And a u a p ic lo o t , o r , " to apeak h o n e a tly , a dow nright Ju ic y c i h fo r a F rau d lan a n a ly a t. i u t th la ra a a a rc h a r chooaaa Co b e lie v e ch at D ttrre n a a tt'a reaaona f o r a la p ly i |n o r l n | lova and only c a lk in g abouc, buc n av ar ahoving, aax on th a acaga a r a f a r la a a Ju ic y and f a r a o re I n t a l l a c t u a l and a r t l a d e . T hla la a p a rt o f h la d aalg n to c r e a ta " d la - ta n c a ," o r , to uaa th a B re c h tla n C ara, " a lie n a tio n " betw een play and a u d ie n c e , and w il l ba exaalned l a t e r In th e d ie - cuealon o f D U rrenaacc'a r e l a ti o n to B rec h t. t l f u n r Ant«c«d.nt» tn d A r tl.tlc Vtw»» The r a llg lo u a and p h llo ao p h lc concepta o f D ttrren- a a t t and h la lndebtedneaa to K ierkegaard hava been th o r- oughly covered and analyeed In D l l l a r 'a ,rDle Gedenkenwelt von F rie d ric h D U rren aa tt"; to d w ell on th la a g a in would be r e p a tI tlo u a and a u p e rflu o u a . Tha fo llo w in g w i l l th e re fo re d e a l e x c lu a lv e ly w ith D U rrenaatt*a a r t l a t i c and e a th e tlc cred o . D uring h la a tu d e n t d ay a, D U rre n a a tt'a f a v o r ite re a d in g c o n a la te d o f K ierk eg aard , A rla to p h a n ea, and aoae e x p re a a lo n la tlc p o eta auch aa George Heyn. The In flu e n c e **'Ma e ln a a l e h r llc h au a a ln " o r "u a d e u tllc h au warden" a r a f a v o r ite ex p reaalo n a In D ttrre n aatt* a eaaaya and le c tu r a a . 59 o f t h i la s t-a s n tlo n e d Li s t i l l r s th s r d i s t in c t in th s e a r l i e s t s t o r i s s o f P is S ta d t. but soon--and f o rtu n a te ly - - fsd ss sway. Ths w r ite r s idto in flu en ced D ttrren satt were A risto p h an es, C erv an tes, S w ift, Wedekind, th e two forem ost au th o rs o f th e 19th cen tu ry Viennese fo lk th e a te r , Ralaund and W estroy, and B recht. D ttrren aatt has o fte n c a lle d h im se lf "e ln e n L enten- knecht von A ristophanes'* (" a spear c a r r i e r , " i . e . , a f o l lower o r a p p re n tic e ). With A ristophanes D ttrren astt sh a re s th e m e rc ile ss s a t i r e th a t a tta c k s anyth in g and anybody-- fro a gods and n a tio n a l h ero es to organised r e lig io n , fro a th e so rry lo t o f th e poet in our s o c ie ty to th e excesses o f aodem a r t , fro a p o litic ia n s and th e com peting system s o f c a p ita lis m and coaaunlsm down to t r a f f i c problem s, bureaucracy, and p o lic e bungling. Both poete have a l i m i t le s s 1m sginstion, and b o th , d e s p ite th e f e n ta s tlc d is g u is e s o f t h e i r c h a ra c te rs , d e a l fra n k ly w ith th e i r own elms. T h eir asth o d c o n s is ts o f shaking up and shocking th e ir audiences by grotesq ue e x a g g e ra tio n , by p ro fa n ity , b la s phemy, lc o n o c la sa , sm utty J o k e s , a n d th e u p s e ttin g o f a l l v a lu e s . Both love to play w ith language, u sin g a l l **Sex i s only held up to r id ic u le end sco rn , n o t dw elled upon. d ev ices fro a th e a o st e te b o re te tra v e s ty o f r h e to r ic down to th e t r l t e s t pun. D ttrre n a a tt'■ p aro d ies o f a n tiq u e c h o ra l odes in H ercules and, l a t e r , in The V i s i t , rew ind one o f th e e x te n siv e borrow ing o f A ristophanes fro a Aes chylus and E u rip id es fo r purposes o f parody. The follow ing is a ■ u n a r y o f an a p p ra is a l by D ttrren astt h la s e lf o f h is id o l. The coasdy o f A ristophanes Is based on th e "E ln- f a l l , " th e b r ig h t, o r ig in a l ld e a --a r a r i t y aaong th e Greek d r a a a t l s ts . In o th e r w ords, h is s u b je c ts a re not g e n e ra l ly-known ^ r th s Ilk a th o se o f th e tr a g ic d r a a a t l s t s , but f f 1» ln v .p t .d P lo t. t .k l M DlM «. not In th a p a . t , b u t J a th e p re s e n t. In h is "Old Coasdy" (q u ite d if f e r e n t fro a th e "New Coasdy" of Hsnander and h is sc h o o l), r e a l i t y is tr a n s - fo rasd by a c o n c e it, a n ig h ty fla s h o f an id e a , and ra is e d In to th e g ro tesq u e . In The A charnlans. an A ttic peasant d u rin g th e P sloponnesian War concludes h is p riv a te peace w ith th e S p a rta n s. In The l l r d s . th e winged c re a tu re s e s ta b lis h an e a p lre in te rv e n in g between Heaven and E a rth , and th u s fo rc e aen and gods to c a p itu la te , an id ea which 2 *T o D ttrre n a stt, th e g ro tesq u e r a is e s o r halgfi^«n« r e a l i t y ; a d y ed -in -th e-w o o l r e a l i s t would probably aay "debases" o r "d e g ra d e s." 61 v t i in s p ire d by th s u to p ia n --a n d to th s A thenian s t s t s d is a s tr o u s * - S ic llla n ad v en tu re o f A lc lb is d s s . In te a c e . ons r i s s s to H ssvsn on th s back o f s g ig a n tic bug* in o rd s r to b rin g th s f i c k t s wench, f s s c s , back to n an k in d , and th s so*sim ple and e o * e ffe c tlv e means o f L v i s t r a t a t o and s a r ia to o w a ll known to naad r s p a s tin g . Ths coanon fe a tu re o f a l l th s aforem entioned p lo ts is th a t th ey liv e in th s b r ig h t id e a , and th a t th ey a re p o s s ib le only through such an id e a , t u t th e se co n ed las a re s a l l i e s In to r e a l i t y ; th s c h a ra c te r s w ith tdion th ey p lay and who ap p ear th e re a re th e no a t c o n c re te ones lmag- in a b le : sta te sm e n , p h ilo so p h e rs, p o e ts , and m ilita r y con* en nders o f th e t i n e , such as Kolon, Dem osthenes, E u rip id e s , whom A risto p h an es r id ic u l e s in e v e r new and o u trag eo u s s i t u a t io n s , A lk lb la d e s , and S o c ra te s (who n u st be co n sid ered a t r a g i c v ic tim o f A risto p h a n e s' dangerous mockery in The C louds) . Why, th e n , ask s D U rrenm att, do we alw ays and o nly use th e Creek tra g e d ia n s as modsIs from which to d e riv e d ram atic p rin c ip le s ? Why n o t, fo r once, t r y to le a rn some th in g from A risto p h a n e s, th a g re a t m aster o f comedy? U h lle th a tra g e d ia n s p re se n t to us e v e n ts o f a d i s t a n t , m y th ic a l p a st a s i f th e s e e v e n ts were contem porary, w h ile th e y . 62 th e re fo re , tr y to overcoaa d la ta nee In o rd e r to aove ua, A riatophanea walks In th a o p p o site d tra c tI o n . Hla co sad las taka p laca In th a p re a a n t, b u t we a ra auppoaad to laugh about what la clo aa to ua and what wa ca ra ab o u t; th e re - fo ra wa a u s t ba un-aovad. and th a ra fo ra A rlatophanaa e r a * a ta a d la ta n c a batwaan tha play and u a. D U rranaatt b a lla v a a th a t th la d la ta n c a la a a a a n tla l.f o r co asdy. and th a t a tru lT t l — l y p l.y i » t b . « c m i Ii tn t h . A rU to rtu n lc ««n»«. " I c«KBot l n | i M any o th a r ra a io n fo r a t la a l y play,** ha aaya. Tha aaaanca o f A rletophanlc a r t haa baan praaarvad ■oat p u re ly , D U rranaatt b a lla v a a , In th a f a n ta a tlc a to ry . In X a b e la ls1 C araantua th a U f a of a g ia n t In th an co ntea- porary fra n c a la d aa crlb ad . Don Qulxota b a lla v a a In tha g ia n t a and f a lr la a o f h la booka. G ogol'a C hlchlkov buya up daad p aaaan ta. S w ift*a O u lllv a r f l r a t goaa to th a gnoaas, than to th a g ia n ts , and f in a l ly landa on an la la n d whara horaaa hava huaan ln ta lllg a n c a and huaana a ra a n la a la . About G u lllv a r our au th o r w rlta a : Tha grotaaqua voyagaa o f O u lllv a r can ba 11k- anad to a c ru c lb la In w hich, by fo u r d if f a r a n t **"Anaerkung su r KoafJdle," P la Waltwocha. X X (February 22, 1952), 954:5. 63 e x p e rim e n ts, th e M ik M M ii and lim ita tio n s o f Han a ra shown u p . Ih a g ro tesq u e la ona o f th a g ra a t p o a a lb l l l t la a o f b a ln g e x a c t.* * IH aaa "w eaknesses and lim ita tio n s o f Han" a ra a ls o g lv an e x p re ssio n in th a "Song o f th a Inadequacy o f Human Endeavor" o f th a Thraa Penny Qpara by ir a c h t and W e ill: A man L lvsa by h la haad, But I t doaa not a u f f lc a . J u s t t r y i t , and y o u 'l l fin d your haad Won't r a l s a a p a ir o f l l c a . And th a f in a l r a f r a l n o f th la o rg a n -g rln d a r mslody i s : In th l a w orld fo ra v a r Han i s n av a r maak and m ild enough*- So a l l h la andaavor la a g r a a t s e l f - b l u f f . ' Tha Jaw G u lllv a r w ith h la f r ie n d , th a l l t t l a o ld d w arf, in P ar V ard ach t. la an opan acknowladgmant o f S w ift ia n ln flu a n c a , and th a r a la tl o n o f Prank V to B ra c h t's P ra ix ro a ch an o n ar w ill ba p o ln tad o u t in C haptar IV. With C arvantaa DUrranmatt h o ld s in common th a id aa th a t th a human concapta o f o b ja c tlv a r a a l l t y a r a undargolng anormoua d i s t o r t i o n s , a thought which was ax p rasaad by K ierkegaard and which a ls o ra c u ra in modern s o c ia l Z t I b t d . I r l c U n tU jr , Trcm t h . H pdtra t o p w t o lr * - - S e r ie s Ona (D enver: U n lv a ra lty o f Denver B ra ss, 1949), p. 274. 64 psychology.*® Don Q uixote n an im p o rtan t ayabol w i l l ba d isc u sse d in th a raviaw a o f P ar V ardacht and M is s is s ip p i. In th a last-nom ad work th a r a a ra no laaa th a n th ra a Don Q u iio ti f ig u r e s . Among p lay w rig h t a D llrranm att c o n a id a ra th a fo llo w ing onaa d ir a c t a r t t a t i c daacandanta o f A riato p h an aa: o f th a French d r a m a tis ts , C lraudoux; o f th a A u s tria n s , Ralmund and M aatroy; o f th a Germans, K la ia t (bacausa o f Tha Iro h a n F l t c h s r l . BUchner, W edekind, and R rec h t. Tha n in a ta a n th -c a n tu ry A u stria n Zaubarhomttdla ("m agic comedy") o f Johann D estroy and F erdinand Ralmund w ith i t a fre e -w h e e lin g flow o f magic and i t s nafve auapen s io n o f r e a l i t y hava baan c a lle d by D ttrre n a stt " th a moat w onderful phenomenon o f th a Carman t h e a t e r ," I t i s ty p ic a l o f DUrrenmatt th a t ha p r e f e r s th a fo lk drama o f talm und and D estroy t o th a h ig h l i t e r a r y s o p h is tic a tio n and p re c i o s i t y o f H ofm annsthal, and th a g ay , d i r e c tl y a p p e a lin g m usic o f O ffenbach to th a heavy com plexity o f R ichard S tra u s s .* 9 I . . U . 1 l8nrln' 29 T haatarproblam a (5 th a d .; Z u ric h : V arlag d a r A rcha, m i ) , p . U . 65 Aa f a r as W edekind's work Is concerned, th a ra a ra th ra a a sp a c ts th a t a ra p a r a lle le d by D U rranaatt: g ro ts s - q u e rle , th a absanca of n o ra a l bourgeois convantlons and In h ib itio n s , and a b a s ic r e a l l s a u n d erly in g a l l d i s t o r tio n s and ex a g g e ra tio n s. Tha two p la y w rl^ its hava in cow- won a ls o th a arch ety p e o f th a a ll-d e v o u rin g , aw oral she- an lw al: Lulu appears in 'T he Woman" o f th a ra d io p lay . The D ouble: A n astasia in M is s is s ip p i: C la ire Z achanasslan, w ith h e r enormous consuw ptlon and tu rn o v er o f husbands; and th a frig h te n in g , unsexed super-women, F r l. Dr. M athilda von Zshnd, in Tha g h v s lc ls ts . In "B ekenntnlsse a in a s P lag iato rs'* (C onfessions o f a P ls g la r ls a r ) 30 D U rranaatt defends h la e e lf v ary convincingly a g a in s t th a charge o f having p la g la r ite d Wedekind*• S chloss W e tte rs te ln in h is M is s is s ip p i. D ttrre n a s tt's ad m iratio n fo r B recht is g r a a t, b u t not u n c r it i c a l . The la s t tw enty pages o f h is S c h llla r speech a re r e a lly a com parison o f S c h llla r w ith B re c h t-- odd as t h i s aay seen. One Who knows D U rranaatt and h is work w a ll has sa id th a t in t h i s S c h llla r speech th a p r is e - *°”B eksnntnlese e ln e s P la g ia to r s ," Die T a t. Z u rich , September 9 , 1952, p. 7. 66 w inning p lay w rig h t "spoka about B racht and a a a n t h ia - s a l f . " 31 What, th a n , haa D ttrra n aatt to say ab o u t B racht? Ha a ta r ta li g h tl y and huaorously by o b aarv in g th a t th a ra a r a aany p o in t a o f c o a p a rlso n batwaan S c h ll la r and B ra c h t, a la o th a f r i s n d l y , d ls a m ln g tandancy t o bacoaa in v o lu n ta rily funny, onca in a w h lla , aa i f P rla d a rlk a Kaapnar (a German cro aa batw aan G artruda S ta in , Edgar O uaat, and a C hinaaa fo rtu n a cookla v a r a l f l a r ) had halp ad th a n w ith t b a l r p o a tr y .32 Thla g ra a t w r ita r , B ra c h t, ra p ra a a n ta th a a x tra a a form o f what S c h llla r c a lla d " s a n tla s n ta lls c h a D lch tu n g ," and by which ha a a a n t p o a try which co n aclo u alv n a n lw ila ta s o u r a ln d s and o u r tw otIona fo r a f f a c t . Tha a f f a c t la vary o fta n a naaaaga o r a e ra a d . In S c h llla r* a caaa I t waa th a t o f in d iv id u a l l l b a r ty and a f a i r ahaka fo r th a b o u rg ao la. In B ra c h t'a caaa I t waa c o a a u n lsa . "Ha l a f t th a a tag a o f r a b a lllo n bahlnd and bacaas a r a v o lu t l o n l a t , in o rd a r to chanaa a o c la tv th ro u ah M trm r m i n t , Dm « t» t l i t P»nk—I w l M t n (E ttrlch : V arlag d a r A rcha, 1961), p. 8. n a a tt q u o tas t w a a n p la a , th a f i r a t f r o a S c h ll la r , th a sacond fro a B rach t: " I h r a t d la F rau en , a la fla c h ta n und waban"; and "Aua fu h r daa G aschlacht d a r A gronoasn." T ra n s la tio n would ba p o in tla a a , b u t th a ra a d a r aay ta k a I t on f a i t h th a t both q u o ta tio n s a r a , lndaad, p r a tty funny. 67 h l i t h i i t i r ." II* a r t a t one* reminded o f th e " T h a a tn D irector*1 in one o f Pttrranma t t ' e e a rly * to rl* a ; perhaps th l* fig u re a c a r ic a tu r e , a g ro tesq u e In sp ire d by B rach t. ■ ra c h t'e W tltanechaw m x. co n tin u es D B rrsnm stt, ■ay be fo r aany p a in fu l, fo r aany o th e rs saddening, but I t a u s t not be tre a te d a s a t r i f l i n g a b e rra tio n , but as J u s t a s e s s e n tia l a c h a r a c te r is tic o f h is works as t h e i r t h e a t r ic a l e f fe c tiv e n e s s , t h e ir p o e tic p re c is io n , t h e i r d ram atu rg ical b o ld n ess, an d , l a s t but not l e a s t , t h e i r hum anity. I h ls le g itim a te accomplishment fo rc e s us to ex* amine B re c h t's communism o b je c tiv e ly and probe I t anew fo r I t s tr u th . " L e t's not make ex cu ses; l e t 's adm it what must be a d m itte d ." And th en follow s an Id e o lo g ic a l a n a ly s is o f W estern L ib eralism In I t s s tru g g le a g a in st commmlsm th a t la so In sp ire d and so u n u su ally c l e a r , th a t one could only w ish I t could be made re q u ire d re ad in g fo r every s e n a to r, re p re s e n ta tiv e , S ta te Department and C .I.A . em ployee, and ev ery o th e r le g itim a te o r s a lf-a p p o ln te d " f ig h te r a g a in s t communism"! B re c h t's stork la an answer to our w o rld , to our g u i l t , on* o f th e few honest answ ers to o u r slo g a n s, and a p re se n ta tio n o f th a t which we f a ile d to do, even I f I t Is a communistic answ er. W * m ist have 68 I t o u t w ith h la . As t h t phantoa o f o u r f e a r , c o n m L s a h ss p a ra ly se d us long ago, J u s t ss « • hsvo p a ra ly se d I t a s th a phantoa o f I t s f e a r . W s a ra both p a t r l f l a d . While t h i s Is n a tu r a l fro a I t s s ld a bacausa i t Is an Idaology i h l c h , by i t s v a ry n a tu r a v Is ln cap a b la o f d ia lo g u e , I t i s un n a tu r a l f r o a our a Id a . W a can angaga in a ganulna d ia lo g u a w ith c o a a u n ls a - - lt cannot do so w ith u s . W a can ovarcoas I t by looking a t i t w ith o u t f a a r , by th in k in g i t through a g a in and a g a in , by s e p a r a tin g I t s t r u t h f r o a I t s a r r o r , w h lla i t (coaai* n ls a ) is n a lth a r a b la to look a t us n o r a t l t s a l f w ith o u t f a a r . W s a u a t do Uhat c o s n m ls a f a l l s to d o , o r a ls o wa s h a l l fra a s a in to an Idaology th a aaao way as i t has dona. Tha scan d al th a t th a g r a a ta s t Gemen d r a a a t l s t o f our t i n e , in th a ba- l l a f o f a c tin g h u a a n e ly , to o k th a s ld a o f a re v o lu tio n , c o n fro n ts us w ith th a q u estio n * J u s t what i s our answ er to o u r t l a s t Do wa have an answ er a t a l l , o r do ve o n ly p re te n d to have one? Ara wa n o t s la p ly a f r a id ? A fraid o f an in e v ita b le o p e ra tio n ? A re n 't wa s in g ly d r i f t in g ? A re n 't o u r in c e s sa n t re fe re n c e s to fre a d o a excuses v h lch p e rn i t us to leave undone what is n e c e ssa ry , so a s to s ta y w ith th a o ld v a lu e s , on th e in t e r e s t o f id ilch wa can l i v e , which wa have In h e rite d w ith o u t r e - th in k - ln g through th a n ? 33 Hare i s a g a in th a danand o f th a v is io n a ry w orld- r a f o r n a r M is s is s ip p i; "Tha w orld n u st be c h a n g ed --th a w orld n u at be ch an g ed --" But how, and to v h at? C e rta in ly not to c o a n u n lsa ; th a t auch la v ary c le a r to D U rren aa tt, and ha cak es i t c le a r to us in t h i s c o a p arlso n o f S c h l lla r to B ra c h t: 3 3S c h l l l e r . o p . c l t . . p p . 2 9 0 1 . He ( S c h ille r ) « t i fo rced by h i s t o r i c circum s ta n c e s t o accep t a w orld d ilc h he condemned. B recht In B ast B e rlin had to condesn eh a t ha had a c c e p te d , th e f a te o f every genuine r e v o lu tio n a r y .3* So wa see th a t D ttrren m att'a g re a t a d m ira tio n o f B recht is te e te r e d by a d is p a s s io n a te , c o o lly e v a lu a tin g c r it ic i s m , w hich ap p ears ag a in In th i s aphorism ; "B rech t th in k s In ex o rab ly because he In ex o rab ly r e f u s e s to th in k o f many t h i n g s .1,35 D ttrrenm att d is tin g u is h e s th e same two c a te g o rie s o f th e g ro te sq u e which w ere d isc u sse d In C h ap ter 1 o f t h i s stu d y : 1. The "ro m an tic" g ro te s q u e , Which e l i c i t s f e e l in g s o f f e a r o r awed wonder (such a s , fo r In s ta n c e , th e appearance o f a g h o s t). 2. The "g ro te sq u e fo r th e sake o f d is ta n c e . ( 'a l i e n a t i o n * ) , which can be c r e a te d o nly through t h i s d e v ic e ." But t h i s l a t t e r k in d o f S* I b ld ., p . 39. * * n i ..t « r p r o b l.— . op. c l t . , p. SO. L lk . B a it ap h o rism s, t h i s lo se s a g re a t d e a l In t r a n s l a t i o n . The o r ig in a l w ording was: "B recht d en k t u n e r b l t t l l c h , w e ll e r an V le le s u n e r b l t t l l c h n lc h t d e n k t." 3*See extrem e l e f t and extrem a r i g h t o f diagram , s u n ra . p. 18. 70 grotesque he M ans th a t oC the absurd, lu d i cro u s, or odd. That d is ta n c e can be achlav ed o n ly by th e d ev ice o f th e g ro te sq u e seems a very r a s h . I ll- c o n s id e r e d s ta te a e n t. l r e c h t In h is te h rs tttc k e ( d id a c tic p la y s) and th e w r ite r s o f th e c o M u n ls tlc s a lt- p r o p c e r ta in ly ach iev ed d is ta n c e o r " a lie n a tio n " by a»ans which w ere n o t g ro te sq u e a t a l l , such a s n a r r a tio n , s ig n s , b a n n e rs, f l l a p r o je c tio n , e t c . T his does not M an th a t th e s e d ra M tla e d le c tu r e s o r l e s sons w ere good th e a te r -* th e y c e r t a i n ly w ere n o t; b u t th ey did c r e a te " d is ta n c e " ! In th e p re v io u sly quoted Weltwoche a r t i c l e , Dttr- r e n a a tt s a id : I t Is n o t a c c id e n ta l t h a t A risto p h a n e s, la b e - l a l s , and S w ift, th an k s to th e g ro te sq u e , could l e t t h e i r p lo ts ta k e p la c e In t h e i r t l M , th a t th e y w rote t l M l y p la y s , and M a n t t h e i r own t l M . The g ro tesq u e Is an e x tre M s t y l l s a t l o n , a sudden p l c t u r i s a t l o n , an d , j u s t b ecause o f t h i s , cap ab le o f d e a lin g w ith t l M l y problem s, even w ith th e lM e d la te p re s e n t, w ith o u t b ein g s la n te d M ssag e o r s i r e re p o rta g e . 1 could w e ll iM g ln e a g h a s tly g ro te sq u e about th e Second World War, b u t no tra g e d y y e t , because we la c k th e n e c e ssa ry d i s ta n c e from I t . ” T h e re fo re we have Don Q uixote **Thie Is not e n t i r e l y t r u e . T here have been a few tr a g e d ie s o r a t l e a s t s e rio u s draM S d e a lin g w ith th e w ar--su ch as Z u ck M y e r's The D ev il* s G e n e ra l. c e r t a in ly one o f th e g r e a t p la y s o f our t l M ; B o rc h e r's The Hen O u ts id e . S a r t r e 's The U nburled D ead, and The Condemned of 71 and Sancho P ant*, b u t a l t o Tha E lrd a o f A rla to p h - an aa. Thla kind o f a r t d o at n o t want to c a a a ia a r- a t a a t tra g a d y d o a t; i t v a n tt to a x p ra a a .J * Sinea D ttrra n a a tt, Ilk a h i t n e a te r , A rltto p h a n a t, and Ilk a t r a c h t , b a lla v a t th a t th a t l a l y p la y » i c e r a a ta d la ta n c a batw aan a ta g a a c tio n and a u d la n e a , ha la v lo la n tly oppotad to th a l l l u t l o n l a t l c th e a t e r . th a th a a ta r o f to d ay , ha c o n p la ln a , la r a a l l y n o t t o d a y 't th a a ta r a t a l l b u t a r a i l e o f th a p a a t, a tu c k f a a t In th a a ra o f th a p rln c a ly c o u rt th a a ta r . Ha apaaka lo n g in g ly o f " th a p rim itiv e board atag a o f Shakaapaaraan t i n " and q u o tea C oathaf a w orda, “Xhla a c a ffo ld in g whara l l t t l a waa aaan , and av ary - th ln g only a lg n lfla d .'* 3? Ha la a tro n g ly a g a ln a t th a ae p ar- a tlo n o f audlanca and ata g a by th a c u r ta in and a g a ln a t th a f a c t : . . . th a t th e a p a c ta to ra a l t In th a d ark f a c ing a lig h te d a ta g a , probably th a n o at p a m lc lo u a In n o v atio n o f a l l , aln ca only I t and* p o ealb l* th a ao lew n lty In which our th a a ta r a a ra a t i f l a d . *0 A l£ 2 tt‘ 3**’Annerkung au r K odbdla," lo c . c l t . 39T h a a ta rp ro b la a a . q p. c l t . . p. 16. * °E v id en tly O U rranaatt doaa n o t r a a l l s a th a t th a Shakaapaaraan atag a and l t a ao d arn e q u iv a le n t, th e th a a te r - ln -th a -ro u n d and th a horaaahoa a ta g a , e r a a ta a v ary a tro n g audlan ca aap ath y (which ha w anta to a v o id ), and t h a t th a 72 Sine* D d rren aatt th in k * I t A b solutely e s s e n tia l to c re e te end as In t a i n d is ta n c e between th e play and the a u d i ence, he an x io u sly avoids th a t u h lc h , wore th a n an ything e ls e , Involves an audience and c r e a te s sympathy, eap eth y , and I d e n tif ic a tio n : love and sex. W hile h is sw dels and s o u la a te s , A risto p h an es, Wedekind, and S re c h t, a re not e x a c tly known f o r th e ten d ern ess and warwth o f t h e ir love scenes e i t h e r , none of th e a go as f a r as D d rre n a a tt. He a d a lte th a t th e re Is such a th in g and o c c a sio n a lly ta lk s about it- - * * In th a t p i t i f u l n e a o rla l scene o f a long-dead love between two o ld people in The V l s l t --b u t th a t le ae fa r as I t goes. This a ls o aeans th a t th e re a r e h ard ly any p a r ts fo r ju v e n ile s and Ingenues In D d rren aatt* s p la y s , and c e r t a in ly no good, im portant lead p a r ts . A ll h i s leads a re w ritte n fo r m ature, m iddle-aged, o r o ld a c to r s . No d o u b t, thousands of J u v e n ile s and Ingenues have cursed D d rren aatt a lre a d y , and thousands more w ill c u rse him In th e y e a rs to come. I t Is p o s s ib le , o f co u rse , th a t D d rre n a a tt, a s he becomes s u re r and su re r o f h is tech n iq u e, w ill e v e n tu a lly r e le n t and w rite an o cc asio n al hot love scene between argument a g a in st th e "peephole s ta g e " Is p re c is e ly th a t i t a lle g e d ly p rev en ts t h i s empathy? 73 M t u r t o r m iddle-aged p to p l« --K M C h tn | Which, c o n tra ry t o p o p u lar American a ta g a , motion p ic tu r e , and ta la v la lo n ■ jrth i, doaa happen In r e a l l i f e - - b u t I t la n o t very lik e ly t h a t he w il l e v e r become a p atro n a a ln t lo r te n d e r young lo v e. D d rre n a a tt g ive a aany good reaaona f o r w ritin g "co n ed lea" and fo r u aln g th a d av lcee o f th e g roteequ e In th e a . Zn h ie T heaterproblem s he a a y a , In th e paaeage le a d in g in to th e q u o ta tio n w ith Which th la In v a a tlg a tlo n began: . . . th e c o n d ltlo n a under which th e y (tra g e d y and coaedy] o r ig in a te , a re d i f f e r e n t , and th aee c o n d ltlo n a l i e la rg e ly o u ta ld e o f a r t . Tragedy preauppoaea g u i l t , a la e r y , a a a a u re , overview , and r e a p o n a lb lllty . In th e aud d le o f our c e n tu ry , In th l a bankruptcy o f th e w h ite ra c e , th e re a re no ao re g u ilty and no ao re re a pons lb la o n es. A ll o f ua co u ld not h e lp I t and did not want I t . I t r e a l l y goea on w ith o u t anyone. E very th in g la swept along and la c a u £ it In aoae ra k e . W e a r e to o c o lle c tiv e ly g u i l t y , to o c o lle c tiv e ly enbedded In th e a ln a o f our f a th e r s and f o r e f a th e r s . W e a r e o n ly c h i ld r e n 's c h ild re n . That la our h ard lu c k , n o t our g u i l t . G u ilt at1 1 1 e x i s t s only ae a perao n al a c c o a p lla h a e n t, as a r e lig io u s deed. W ith u» o n l . corner e .n < # ,1 «n» 1 o n r w . Our w orld baa led ua not only to th e g ro te sq u e ly com ic, but a la o to th e a to n b o o h --Ju st as th e v is io n s o f H le ro n y ■ua gosch a re a t once g ro tesq u e and a p o c a ly p tic . Yet th e g ro tesq u e la only a ta n g ib le e x p re s s io n , a v is u a l le a d paradox, th e form o f fo rm le ssn e ss, th a fa c e o f a fa c e le s s w o rld , and J u s t as our th in k in g seems to be unable to manage w ith o u t th e concept o f 74 th a paradox any lo f l|« r , so la a r t uaab la to do w ith o u t I t , o u r v ary own w o rld , which la a t i l l around o n ly bacauaa th a a to n boafc ax la ta - - o u t o f f a a r o f I t . r . t th* t t u l t U t t l l l »Q »»lbU . « v n » m < » 1« I w y p o n l b l . . W m «chl«Y« t h . t r a a l c o u t o f cona J y . oroduca I t aa a t a r r l b l a now ant, aa a au M eely yawning a b y a a , J u a t aa aany tra g e d le a o f lh a k a a p a a ra a ra r a a l l y cow adlaa frow w hich th a t r a g i c a n trg o a .41 S im ila r thought a ap p aar In Kowulua d a r C ro aaai ROMULUS: What a ra you atudylngT 111: Tha a la g y o f A ntigone b a fo ra aha goaa to h a r d a a th . KOHUUUS: D o n 't atudy t h a t aad o ld t a x t ; p ra c tlc a cowady, t h a t 'a much wora bac owing to u a . JULIA: (0U1KAGB) Kowulua, you know v a ry w a ll th a t t h l a would n o t ba f i t t i n g fo r a g i r l whoaa f lan e a" la t^ u la h a a fo r th ra a y a a ra In Germanic c a p tiv ity * KOMJLUS: Calw down, w lfa . Ih o a a who a r a on t h a l r la a t le g * aa wa a l l a r a , can u n d aratan d only cow adlaa.42 Thara a ra o th a r J u a t I f lc a t Iona o f cowady, auch aa th la one: La ugh t a r n a n ifa a ta th a fraadow o f Man, ta a r a h la n a c a a a lty ; wa n u a t prova th a caaa fo r fraadow to d a y . Tha ty r a n ta o f th la p la n e t a ra n o t wovad by th a worka o f th a p o et a : t h a l r aonga o f woa neka thaw yawn, t h a l r h e ro ic b a lla d a th ey c o n a ld a r a l l l y f a ir y t a l a a , t h a l r r a llg lo u a p o e try nakaa thaw f a l l a a la a p . Only one th in g they f a a r : t h a l r w ockary. And ao parody haa aneaked In to a l l ganraa o f l i t e r a t u r e , In to th a n o v e l. In to th a drama, In to l y r i c 4>lheatorproblono■ op. c l t . . pp. 47-48. 4 ^Kowulua d a r C roeao (3rd a d .; Z ttrlch : V arlag d a r A rcha, 1961), pp. 17-18. 73 p o a try . Wide M o tio n s o f th e t r t i o f p a in tin g and m usic have boon conquered by I t , and w ith th a », o f ta n In d i s g u is e , oyer n ig h t: I t Is sim ply th e r e , a l l o f a sudden.*3 A nothar ra a so n f o r g ro taaq u a cowady la th a eatrem e d i f f i c u l t y , alm ost im p o s s ib ility fo r th a a r t l a t to d a a l o a rlo u a ly w ith h la raw m a te ria l In a tim e whan tech n o lo g y and th a ac la n caa hava aa la ad and worked over e v e ry th in g and hava wade In escap ab le fa c ta out o f e v e ry th in g . An ob v io u s , g ra p h ic exam ple--one t h a t D ttrrenm ett o v e rlo o k e d --la t h a t o f p a in tin g v e rsu s photography. Ih e h ig h developm ent o f c o lo r photography haa r e a lly removed a l l J u s t i f i c a t i o n f o r th a a r t l a t to p a in t n a tu ra r e a l i s t i c a l l y In a l l d e t a i l . Anyone who g o es, f o r exam ple, to th a Laguna F e s tiv a l o f th a A rta and seea o i l p a in tin g a f t e r o i l p a in tin g o f th a aawe b re a k e rs s t r i k in g th e saae c l I f f a m utt become u t t e r l y bored w ith re a lis m , no m a tte r how good th e te c h nique o f th e a r t l a t may b e , and th in k th a t a l l o f t h l a could be done J u a t aa w e ll by good c o lo r photography, t a t , when th e d e s p e ra te a r t l a t t r i e s to move In new d ir e c tio n s , to tra n s fo rm , parody, d is s o lv e o r s t y l i s e r e a l i t y , he la A3 ^T heaterproblem s. op. c l t . . pp. 54-33 (u n d e rlin in g and t r a n s l a t i o n m ine). 76 c a lle d obaeure, " c ra a y ," o r h o p eleaaly aba t r a c t . Dttrren- a a t t glvea th a exanpla o f S hakaapaara'a J u llu a C aaaar. I t waa p o aalb la bacauaa I t waa baaed on F lu ta rc h who waa not a h la to r la n In our nodem aanaa a t a l l , b u t a a t o r y t e l l e r . I f Shakaapaara had known Hoaaaan and th a a ra o f nodern h la to r lc a l ra aaarch which follow ad b in , ha could navar hava w rltta n C aaaar bacauaa ha would hava lo a t h la ao v erelg n ty ovar th a n a t e r la l . Along w ith th a g ra a t h l a to r l c a l f ig u re , th a a ta ta and l t a h la to r lc a l f a ta hava lo a t t h a l r n a n lfe a t fo ra and can only ba a t a t l a t l c a l l y graaped, Ju a t aa th a fh y a lc a l aclaneaa can d aa crlb a th a w orld only In a n th e n a t- Ic a l fo ra u la a . Tha a to n ic boab can no longar ba a r t l a t l e a l l y reproduced eln ee I t can ba produced. C onfronted w ith I t , a l l a r t aa a c re a tio n o f Han f a l l a , b a cauaa I t , In l t e e l f , la a c re a tio n o f Han. . .Two ■ lrro ra n lr r o r ln g each o th e r re n a ln enpty T h erefo re , aaya D ttrretm att, th a nodarn a r t l a t nuat ''reduce*1 (probably In th a aanaa o f "render*' o r "p ro ceea") th a n a ta r la la o f which ha wanta to naka a r t l a t i c a u b je c ta . Ha parodiaa th an and nakaa th a n g ro teeq u e; In o th e r worda, ha p raaan ta th an knowingly In c o n tra a t to what th ey a ra o r hava bee one in r e a l i t y . Through th la a c t o f parody ha p. *5. r e g a in i h is freedom , an d , w ith i t , su b je c t m a te ria l tdilch can no longer be found b u t e u s t be in v e n te d , fo r parody and g ro tesq u e presuppose in v e n tio n. ^ T his d e lib e r a te d i s t o r t io n o f h is to r y and t h i s so v ere ig n w illf u ln e s s In t r e a t i n g h i s t o r i c a l fig u re s is i l l u s t r a t e d in Es s te h t ■ asc h rleb en . in th e fig u re o f Nebukadnexar in Eln Engel ko— t nach la b v Io n , and In p r a c tic a lly a l l c h a ra c te rs and e v e n ts in low ulus der C ro sse . A d e v ic e which D d rre n a a tt sh a re s w ith B recht and w ith Thornton V lld e r, whoa he a ls o a d n lre s v ery much, is th e d i r e c t a d d re ssin g o f th e au d ien ce by a c h a ra c te r fro a th e s ta g e , b u t he warns o f u sin g i t to in p a rt in fo rm a tio n , to te a c h , or t o e x p la in : The a d d re ss f r o a th e sta g e to th e audience Is o f te n used today to e x p la in th e p la y --a q u ite n o n se n sic a l u n d e rta k in g : i f th e audience i s c a r r i e d away by a dram atic a c tio n , i t need n o t u n d er sta n d I t ; I f i t i s not c a r r ie d away, i t w ill n o t fo llo w i t even i f i t does u n d erstan d i t . 4 1 0 One o f th e waya to reach an audience in a tim e ly p lay i s the shock te c h n iq u e . When D d rre n a a tt was asked in ** lb ld . . p. SS. "Durch d le se n Akt d e r P aro d le gew lnnt e r w led er s e in e F r e lh e lt und d e a lt den S to f f , d er n lc h t a s h r cu fln d e n , sondem nur noch tu e rfln d e n l e t . . . ” A p lay on th e words "fln d e n ” v e rsu s " e r f ln d e n ," which cannot be tr a n s la te d . ** Ib ld . . p. 32. 76 an In terv iew Which o f th e se th re e re a c tio n s o f audiences to h ie p la y s--a d m lra tio n , em otion, o r shock--he p re fe rre d , he answ ered: "Shock! I t Is to d a y 's form o f em otion. H is "1-dare-you*1 ch a llen g e o f h is audlencea appears in t h i s paragraph: . . . th e p le a su re to make o n e 's audiences angry I s , s tra n g e ly enough* u s u a lly denied by w r ite r s , although I am convinced th a t many p lays w ere w ritte n only fo r th is purpose, and not th e w o rst ones, e ith e r .* * This shows how d e lib e ra te D ttrren sm tt's a n ta g o n isin g o f h la audience i s . T his is a ls o th e e x p la n a tio n f o r th e Indecent Jokes o f h is e a rly p la y s, Which offended so many p eo p le: one o f th e ways fo r th e w r ite r o f comedy to c re a te d is ta n c e , DUrrenmatt say s, i s th e sm utty Jo k e, th e most p rim itiv e form o f w it. The sm itty Joke, he b e lie v e s , is th e o r ig in a l form o f th e com ic, th e tra n s p o s itio n o f sexu a l i t y to th e plane o f th e lu d ic ro u s , "th e o nly p o s s ib ility to d a y , since th e r i s e o f th e V an-der-V eldes, to t a l k d e c e n tly about it." * * Thla la s t sentence should make i t * * " rrle d rlc h D U rrenm att," lo c . c l t . *®"Etwas Uber d ie Kunst, T heaterstU cke su s c h re l- b e n ." Die Weltwoche. XIX (June 15, 1951), 916 :5 . **T heatero ro b len e. o p . c l t . . p. 46. Die v o l l - koamene Ehs (The P e rfe c tM a rria g e ) by Dr. Van d er Velde waa, a t le a s t in Europe, th e a ll- tim e b e s t - s e ll e r on sex in m arriage. 79 d m c h a t D drrenaatt* s --in c re a s in g ly r a r e - - o f f - e o io r jo k es do not c o n tra d ic t h la avoldanca o f love and sax , aa I t waa p re v io u sly discussed.*** Tha e a u tty Joka doaa not e r a a ta s a p a th y - - it d e stro y s It* In ste a d o f waking lova and sexual d e s ire appear a t t r a c t i v e , i t neks* I t see* r id ic u lo u s. In s h o rt, " e n a te r la b o u rse o le / ' " to shock th e h e l l out o f th e a " In o rd e r to ask e th en th in k and, perh ap s, becoae a l i t t l e b e tte r th an they a r e - - t h a t saea a to be th e c e n tr a l a la o f D ttrran aatt* s a r t . One can see th a t h is re p u ta tio n a s th a "e n fan t t e r r i b l e o f co n teap o rary Swiss lite r a tu r e " * * Is w ell deserved! 7 h ls - - a d a ltte d ly s k e tc h y - -p o rtra it o f D d rren aa tt as a aan and as a c r e a tiv e a r t i s t w ill hava to s u f f ic e a s a guide to th e an a ly se s o f h is works in C hapters I I I , XV, and V. *0sunra. p. 37. **Hans U lric h V oser, " F rie d ric h D d rre n a a tt, dee Enfant T e r r ib le ." Ex L ib r is . X I1I:7 (X ttrlch: 1930), 3. CHAPTER 1X1 THE PA R A D O X A M D GROTESQUE IN THE NARRATIVE PROSE W O R K S C hapter* I I I and IV asy s u rp ris e th e re a d e r by th e unusual aaount o f space given to s u a s a rle s o f D U rren aa tt's w orks. I t should be pointed o u t, th e r e f o r e , th a t o f th e a u th o r's numerous w orks, c o n s is tin g o f e ig h t f u ll- le n g th p la y s, seven ra d io p la y s, fiv e n o v e ls, and nine sh o rt s t o r i e s , only one p lay . The V i s i t , and one n o v el, The Q uarry, are a v a ila b le In E nglish tr a n s la tio n . The r e s t of D U rren aa tt's work Is s la p ly unknown to A asrlcan re a d e rs . In o rd e r to p resen t anyth in g lik e a com plete a n a ly s is o f D U rren aa tt's w ritin g and to prepare th e ground fo r th e con c lu s io n s o f th e l a s t c h a p te r, f u l l resuatfs o f a l l works had to be given. A ll d ir e c t o r In d ire c t tr a n s la tio n s fro a the w ritin g s o f D drren aatt throughout th is study a re th e work o f t h i s re se a rc h e r. For soae o f th e I n te r p r e ta tio n s , e s p e c ia lly th o se o f th e e a rly sh o rt s t o r i e s , th e p re se n t 80 SI writer Is Indebted to a dlsseratlon by Edward O ilier, written in German.* The S hort S to rle e Die S ta d t (The C ity )2 ia a c o lle c tio n o f nine ah o rt a to r le s . With th e ex cep tio n o f **Der Hund," w ritte n In 1951. and "Der T u n n el," w ritte n In 1932, th ese s to r ie s o rig in a te d in th e y ears 1943 to 1946, when DUrrenmatt s t i l l stu d ie d philosophy and l i t e r a t u r e o r had J u s t begun a v ery p re c a rio u s e x iste n c e as a " f r e l e r S c h r l f t s t e l l e r " (fre e -la n c e w r ite r ) . The s to r ie s w ill be d iscu ssed In th e o rd e r In Which th ey appear In th e c o lle c tiv e volume. "Welhnacht" (Christmas! written T his l i t t l e s to ry Is so sh o rt th a t I t can be tr a n s la te d In I t s e n tir e ty : *Edward D l l l e r , "Die Oedankenwelt von F rie d ric h DUrrenmatt" (unpublished Ri.D. d is s e r ta tio n . Department o f German, K lddlebury C o lle g e , H lddlebury, Vermont, 1960). Though authored by a young American s c h o la r, th is d i s s e r ta tio n was w ritte n In German fo r th e Deutsche S o t r s c h u l e o f H lddlebury C o lle g e, Vermont. hiim S ta d t. P rose l - i v (2nd e d . ; Z ttrlch: V erlags A G Die A rche, 1939), 198 pp. 82 I t waa C h rlatsw s. 1 walkad a c ro ss th a wlda p la in . Tha a now waa Ilk a g la a a . I t waa c o ld . Tha a i r waa daad. No wovawant , no sound. Tha h o rla o n waa round. Tha aky b la c k . Tha a ta r a daad, Tha noon antonbad y a a ta rd a y . Tha aun had n o t r la a n . I ac raaa ad . 1 d id n o t b a a r a y a a lf. 1 acraaaad a g a in . 1 aaw a body 11a In th a anow. I t waa th a C h rla t-C h lld . I t a aaah s r s w h it a and r i g i d . Tha h a lo a yallow fro sa n d la k . I took th a c h ild In to ay handa. X aovad l t a a ra a up and down. 1 opanad l t a lld a . I t had no ay aa. I waa hungry. 1 a t a th a h a lo . I t ta a ta d Ilk a a ta la b ra a d . I b i t o f f l t a h aad . Old a a ra lp a n . 1 w alkad on. A lraady th a la p id a ry a ta c c a to o f th a languaga ahowa th a laawnaa lo n a lin a a a and d a a p a lr o f th l a Hl , " th a n a r r a to r . God, Wio ahould ba th a hopa o f n an k ln d , la h a ra llk a n a d to a ta la b raad and o ld a a ra lp a n . God haa fro aan t o d a a th . L lkaw laa, concludaa D l l l a r , . . . th a C h rla tla n hopa fra a a a a to d aa th In a d a a a a rt o f u n fa a lln g n a a a and u n a p l r l t u a l lt y . Tha d a a p a ra ta , Iona s t o r y - t * l i a r haa ta a ta d o f th a C h rla t-C h lld ; I t d id not ta a ta good, and ha novaa on a ia la a a ly .* 3I b ld .. p. 11. *D U l> r, pp. 1*9. 63 "Der F o lte rk n e c h t" (The T o rtu rer* a H i I p w ^ w ritte n In 1943* A r ic h M n who, • • • s in g ly , h a t ev e ry th in g to sake h la happy, la In d e a p a lr. He auggeata to a a t ra n g e r, th e t o r t u r e r 'a h e lp e r , th a t th e y change p a rta . For two year a he w ill be th e t o r t u r e r , and th e e r a ttd ille to r tu r e r a h a ll a te p In to th e r ic h s e n 'a p a rt and enjoy h la w ife , h la money, and h la youth. They change r o le a , but th e r ic h awn fln d a no th in g new In th e ro le o f Hie t o r tu r e r . A fter two yeara th e y meet a g a in In th e atone dungeon o f th e to r tu r e chaafeer. The r e a u lt o f th e experim ent la : "The to rtu re chaaber la th e w orld. The w orld la to r tu r e . The to r t u r e r la Cod. He t o r t u r e a ." And th e a to ry enda w ith theae worda: A man acream a: W hy d id n 't You come7 God laugha: Uhy ahould I becoma a man again? A nan groana: Why do you to r tu r e me? God laugha: I d o n 't need ahadowa. A man d le e .* *The word "k n ech t" la h ard to t r a n s l a t e ; I t r e a lly meana " a e r f ," " c l a v e 'Y i l r e d m an," o r "bondaman." So th e "F o lte rk n e c h t" la th e one who o n ly c a r r le a out a one unknown m a a te r'a o rd e ra , *Dle Stadt. op. c lt .. pp. 13-20. Here 1* a d e s p a ir out o f a l l bounds, and Cod La co n ju rad up in h is s o s t t e r r i f y i n g A spect: a god «dio sa y a ls o ba th a Dev11- - c e r t a i n l y a paradox a s e x tre a s as any, and ona th a t se e a s to d efy c l a s s i f i c a t i o n undar any o f th a v a r l a t l a s In o u r f i r s t c h a p ta r. D i n a r 's in ta r p r a ta tio n Is I n te r e s tin g In th a t I t s tr a s s a s th a r e lig io u s e le a e n t: Han changas r o la a w ith Cod, b u t ha re a a ln s in d e s p a ir . Ha wantad to ba o r fa a l Ilk a a god Hio can t o r tu r e ,* b u t In th a and avsn t h i s powar doas n o t s a t i s f y h l a . Han llv a s In a w orld which ha a x p a rla n c a s as a to r tu r a c h a ab ar. Ha cannot a a s ta r I t and cannot ba d a llv a ra d fro a I t , b u t Cod laughs a t t h i s . Cod f a a ls no o b lig a tio n to h a lp asn tdio, in t h a l r * 1 iy b rls,M want to ba gods and r u l a r s , and so ha says t h a t ha doas not naad shadows (la a g a s o r llk a n a s s a s ) o f h l a s a l f . Tha i l lu s i o n Is s h a tta r a d , and o n ly das sc h ra la n d s T la r b la lb t ( " th s s c ra a a in g a n la a l r e a a ln s " ) .* H hether asn knows I t o r n o t, ha naads a god so as to ba ^Perhaps t h i s was r a a l ly a t th a b o tto a o f th a o th a rw lsa so ln c o a p ra h a n slb la , n a a d la s s , and s a n s a la a s a t r o c l t i a s o f th a N a sls. C a rta in ly no r a t i o n a l , lo g ic a l e x p la n a tio n can ev e r aaka us u n d erstan d t h i s sev en -leag u e Juap o f " c iv i li s e d " tw e n tie th c e n tu ry aan back In to th a atone ag e. *Dle Stadt. o p . clt.. p p . 16-17. 85 t r u l y a aan . W ithout th * concept o f Cod Man 1* o n ly "a sc re e n in g a n I n a l" ; w ith o u t Cod ho d ie s , o r c e a se s to be a ■ an,^ " P r Mund" CTh» Po«) w r ltt.n — g j - PLOT SUMMKY: A young s i n a s e ts a beggar who re a d s In a loud v o ice frow th e B ib le . A dogt a pow erful c o a l-b la c k an In a l w ith sw eat-covered f u r , 10 follow s th a b e g g a r-p re a c h e r w herever he goea and l i e s down a t h is f e e t when he p re ach es. The p re a c h e r approaches th e young san and ask s h la to fo llo w h la h as* . The o ld aan liv e s w ith h is d au g h ter In a c e l l a r . Once In th e la rg e c e l l a r , th e p re a c h e r says n o th in g but goes e la p ly to bed, td ille th e d au g h ter e x p la in s to th e young aan th a t th e b la c k dog had a r riv e d th e saao evening t h a t h e r f a th e r had s ta r te d h i s p re a c h in g . Her f a th e r had been a r ic h aan who had l e f t w ife and c h ild r e n 11 * D llla r , o p . c l t . , p. 10. l°n.. w ell-know n fa c t th a t dogs do not have sweat g la n d s and th e re fo re do n o t p e rs p ir e d id n o t b o th e r th e young a u th o r; t h i s an o aaly a u s t th e r e f o r e be I n te n tio n a l. 11Ve hava en countered t h l a In'feor ro lte rk n e c h t* ,and w il l fin d I t a g a in In th e c h a ra c te r o f K n lp p e rd o llln c k In Es s te h t a e s c h rle b e n . 06 in o rd a r to i p r u d th a tr u t h o f th a O lb la. S lnca a h a v th a d a u i h u r , had b a lla v a d In h l a , aha had follow ed h l a , hut now aha la t e r r i b l y a f r a i d o f th a dog whoa no ona can chaaa away. Tha d au g h tar and th a young aan apand a n ig h t o f lo v a , w h lla th a fa th a r and th a dog ra a a ln aoaawhara naarby In th a d ark n aaa. T hla a t ran g a r a l a t l o n co n tln u aa fo r a a v a ra l a o n th a , u n t i l , ona day , th a g i r l v l a l t a b a r lo v a r and daaanda th a t ha k i l l th a dog. Sha aaya th a t avan h a r f a th a r la now ao a f r a id o f th a a n la a l th a t ha can no lo n g a r p ray . A n ad w ith a p l a t o l , th a young aan goaa to th a f a th a r 'a c a l l a r , but ha la too l a t a . Tha old aan I l t a d aad , to rn to p la c a a by th a a n la a l which haa d la a p p a a ra d . Tha p o llc a a ra looking avaryw hara f o r th a dog, b u t ha cannot ba found, and th a g i r l haa a la o v a n 1ahad. Thraa n ig h ta l a t a r th a young wan h aa ra atap a In th a a t r a a t balow . Ha looka o u t o f th a window and aaaa th a g i r l w alking a lo n g , and *'at h a r a ld a , a d ark ahadow, a o f t and a ll a n t Ilk a a la a b , walkad th a dog w ith y allo w , ro u n d , g le a a ln g a y e a .n l * B ro ck -S u lx tr In ona o f h a r In a p lra d fla a h a a o f 1201a Stadt. op. clt.. pp. 25-34 07 i n s i s t r a liiB • maabar o f a s s o c ia tio n s which t h i s s to ry Is su rs to avoka in w>st o f u a: th a b lack poodIs a s th a shapa o f th a E v il Ona in C oath a'a F a u s t: th a lsgand o f " la b a l l s a t la b i t s " ; and Faacal*a o p p o sitio n o f a n la a l and a n g a l.* ^ lh a b la c k dog la th a paradox o f a v ll w hich a r ls a a bacauaa o f good, lh a dog appsarad th a v ary m n t th a p raach ar want o u t In to th a w orld to sp rsad th a t r u t h . Of h la whola f s a lly only h i s d au g h tar follow ad h l a , bacauaa aha a Iona b s lls v s d In h la and In th a tr u t h which h a prsachsd. But n a lth s r f a th a r n o r daughtar knsw th a t th a p ro p a g atio n o f th a t r u th la lln k a d w ith a b a s t l a l a la a a n t. By th la D U rranaatt aay aaan th a axcaaaaa and th a ln to ls r a n c a tdilch ao o fta n accoapany th a r la a o f a naw r a llg lo n o r a naw p o l i t i c a l sy sta n --w h a th a r I t ba p r o ta a ta n tla a , c a lv ln Is a , a n a b a p tls a , 1 l b a r t d - d a a l l t a - f r a t s r n l t / . a a a n c lp a tio n o f th a a la v a a , M arx ian -co sau n lsa, Z io n Isa , A fric a -fo r-th a -A f r lc a n a , o r W hatavar-*an Idas ha davalopad fu rth a r In la a ta h t a a ach rlab a n ( I t la W ritte n ), h la g r la ly coaad y -d raaa about th a A n ab a p tla ta . At any r a ta , In "Dar Hund" th a d au g h tar says n a tv a ly and p la in tlv a ly ; "1 d id not know th a t th a dog ^ K U a a b a th B ro ck -S u lx ar, F r lad ric h P tfrra n a a tt-- S ta tlo n a n aaln aa Warkaa (tttrlc h : V arlag "Dla A rcha," 1960), p . 127. 0 0 would a la o c o m I f on* apreada th a t r u t h . " 1* And ao , In th a an d , th a dog c o m a to h a r . To lin k th a l l a o r th a u n tru th w ith e v i l la a co a- n o n p laca , but to aaa e v il aa • c o n c o a lta n t to th a t r u t h U a n arad o a. Could I t ba t h a t th la waa what H o lU ra want ad to aay In Tha H laan th ro p e? Waa t h la pa th a pa what V lilla a i 11 aka M a n t in Tha H arr l a t a o f Haavan and H a ll d im ha a a ld th a t I f mn M r r la d h la h a l l to h la haavan, h la a v i l to h la good, ho would bacoM u n lM g ln a b ly g re a t? "D rlva your plow ovar th a bonoa o f th a daad" aa a a n l a c e r ta in ly aounda p a ra d o x ic a l enough, aa doaa M le tta c h e 'a "Hanklnd s u i t ba* c o m b a t t e r and a o re e v i l . " 15 An e x c e lle n t d l a t l l l a t l o n o f th a paradox In "D er Hund" la given by D llla r : Tha truth-aeokar la at tha b o m t 1 m poaaeaaed by tha Idea of tha truth Which eat a at h la inalda, u n til ha la eith er daatroyad or redeeMd. Tha poaaaaaad-naaa of tha truth-aeeker la tha uncanny force which accoapanlea hln and daatroya h la .1* o r M k a a h l a l a M r t a l , w a a lg h t a d d . 1*Dla S ta d t. op. c l t .. p. 29. 1SWlUUa l u n t t , Irr .tlo c a l IUn--« Stud. In i . l . t . n t l . 1 IhHo.onhT (cardan C ity, N » York: Doubladay 1 Coapany, In c., 1950), p. 110. l*Dlller, op. clt.. p. 12. 89 "D«» ■ ild <l»« S l.rB tio ." (W». f lc tu r e o f S lsvohusl w ritte n 1 0 5 1 PLOT SUMtttY: Thla Is th e s to ry o f a ric h awn c a lle d "fto tn en tel" [rod copo o r rod c o o t), Nhen t o t - ■ e n te l v ia o poor young a r t 1 s t, ho acqu ired tho p ic tu re o f "Sisyphus" by tho Dutch p o in te r Hieronymus lo sc h ond so ld I t fo r o high p ric e to o r ic h honker. Using th o p r o f it ( r o s th is s o lo , ho h la s o lf became, In tu rn , v ery r ic h . Now ho wonted to re g a in p o ssessio n o f tho p ic tu r e , but in v a in , to tm e n te l was ready to r i s k any lo ss In o rd er to ru in th e banker and b rin g th e p ic tu re bock In to h is p o ssessio n . G radually th e g ig a n tic c a p i t a l o f th e banker was u n d erlin ed and d e stro y e d , and he had to s e l l th e p a in tin g back to R otm antel. Much la te r th e n a r ra to r o f th e sto ry r e v i s i t s N otaw ntel. The old ■an s i t s In fro n t o f h is fire p la c e In h is empty, d ila p id a te d house. Xn h is lap l i e s th e p ic tu re by io s c h . Suddenly he throw s I t In to th e f i r e . 'M ist a re you do ing?!" c r ie s th e n a r r a to r , h o r r if ie d . Rotm antel answ ers th a t th a p ic tu re was not genuine; he had forged i t and so ld I t when he was s t i l l a poor young p a in te r. When he wanted I t back l a t e r , th e banker would not s e l l I t . Now both th e banker and he were ru in e d . lu t--h a d 90 he been «bl« to got i t bock when ho woo e t l l l r ic h , ho would hovo succeeded in neklng "ao n eth in g out o f n o th ing.*' And now, o ruin o d o ld won, ho ropooto in c e s s a n t ly : "aow othing out o f n o th in g * - aowothlng out o f n o th in g • - Thla a to ry la ao obviously b u ra tin g w ith sy n b o lla a th a t i t la ta n ta lis in g not to havo a c la a r , oxclualvo bay to i t . Although no I t h ar D lllo r nor B rock-S ulsor wako wuch o f t h i s , th o ro a u s t bo a doop a ig n lflc a n c o to th o c o lo r ro d : 'H o tn sn to l'o * ' nano ahowa i t , and th an tho d o ac rlp clo n o f tho Hloronynua Bosch p lc tu ro : Vo lookod w ith g ro a t aaeseaan t a t tho l l t t l o p lc tu ro , which waa p aln to d on wood and doplctod h a l l In l t a no at re v o ltin g and u o st c la n d o a tln o to r tu r o a , a tlr r o d by a o o c u lla r d la tr lb u tlo n o f rod c o lo r. 1 b e liev ed th a t 1 looked in to a le a p ing ooa o f f i r e . . . . Sisyphus who, a la o a t hidden by th e nunberloaa crowd o f th e to r tu r e d , r o lle d an iaaonse rock up a h i l l sld a w hich, q u ite in tho background, th re a te n in g ly ro sa fro a a aoa o f d a rk - red b lo o d . 19 The o th e r ch ain o f c lu e s la th a t o f f u t i l i t y , th e r e la a l i t t l e fra a a a to ry o f c h ild re n who b u ild houaoa o f c a rd s and th en d eatro y th e a a g a in ; th e re la th e fig u re o f S isyphus, th o c la a a lc p e rs o n ific a tio n o f f r u s tr a tio n ; 1^Dlo S ta d t. o p . c l t . . p p . 3 7 -S i. 18l b l d . . p. 42, I t a l i c s n in e . 91 c h t r i i t fto tn an tal h ln a a lf Mho, In a U f a t l a i o f tr lc k a r y and c h a a tln g , haa b u i l t up an l a n i i i fo rtu a a and daatroya I t a g a in , b i t by b i t , in o rd a r to ra g a in poaaaaalon o f h la own w orthlaaa fo rg a ry . Or la " th a naaaaga" p trh ap a an a n tl * c a p i ta ll a t ic ona, auch aa wa fin d l a t a r in An Anaal Co— a to la b v lp n . V U lt. fr.n fc V. and in th a novala Tha iraakdoww and Tha S uaplcionT C a rta In ly , no a t c h a ra c ta ra who a ra r ic h o r who a c q u lra rlc h a a in D ttrra n n a tt'a worka a ra d a p lc ta d aa ln - ■ o ra l o r c r in l n a l . Thla could ba a u b a ta n tia ta d by th a fo l- lowing paaaaga: Aa i t l a , howavar, o fta n th a caaa w ith paopla who h o ld g ra a t powar ovar o th a ra , th a ra waa a la o a t th a ro o t o f h la powar a hlddan c rln a to idilch ha owad h la g ig a n tic fo rtu n a . . . Such c rin a a a ra aaldon c o v l t t a d fro n p arao n al ro tta n n a a a ; thay a ra a nacaaaary to o l o f auch p ao p la, w ith th a h a lp o f which thay bfaak in to th a a o c la ty which b ara th an fro n a n ta rln g .* * T hla ra a a a rc h a r b a lla v a a , q u ita lr r a v a r a n tly , th a t th a th an v ary young a u th o r waa tr y in g to rid a o f f in a l l d lra c tlo n a a t onca, a p a r fa c tly normal b ahavlor fo r a young nan o f tw a n ty -th ra a . D llla r , howavar, t r l a a to aalvaga tha follow ing naaaaga: **Pla Stadt. o p . clt.. p. 39. 92 I tii s to ry o f l o t a i n t t i i s s f u l l c l r c I s cone to i t s c lo s e . lo tm a n te l r s p r s s s n ts th s u s s ls s s ly la b o r in f w illp o w er o f m q . Ha o sn td no v a lu a b le p a in tin g and th a ra fo ra forged ona. Ha t r i a d to c r e a te som ething out o f nothing* Tha co u rse o f th a a c tio n shows t h a t i t i s nonsensa t o t r y to make "som ething o u t o f n o th in g .* ' In th a and ha con- f a s s a s in a m aniacal r e p e t i t i o n what ha had t r i a d t o fa ig n in th a b eg in n in g . . . . Once a g a in a nan r e b e ls a g a in s t a n ig h ty law o f th a w o rld , in o rd e r t o beeona co n scio u s o f h is lim ita tio n s by h is d e f e a t . 20 ’t o r I h « « t .r d l t .k t o r '' (H i. T h . . t . r H iM M rt w r l t t .n In m » PLOT SUNUIY: A s t a t e o r m u n icip al th e a te r m anager- d i r e c to r g ra d u a lly re o rg a n is e s th a th e a te r so as to red u ce h is a c to r s to mere to o ls o r m a rio n e tte s and to h o ld a b so lu te power o v er them. A c tu a lly , ha u ses th a t h e a te r and h i s In flu e n ce over th e au d ien ces a s a naans to g a in power over a l l o f s o c ie ty . Only one a c tr e s s se e s through h i s p lan s and opposes him f e a r le s s ly , u n t i l , d u rin g a perform ance, an enormous c o n tra p tio n o f n a ta l beam s, w ire s, clam ps, and k n iv es descends fro n th e f l i e s lik e a s u p e rn a tu ra l In s e c t and s e is e s h e r. She i s h eld in mid a i r , and th e k n iv es cu t open h e r d re s s and le a v e h er naked. Suddenly, from th e s p e ll- f i l l e r , op. c l t . . p. 14. bound lu d ltn c a tlM i* r i m th e c ry , " K ill h e r ! " Her body is c u t In to p ieces so th a t h er hood f a l l s w o n | th e su d lsn c s snd i s to sssd lilts s b a l l fro a ona to th a o th a r. Tbs paopla laava th a th a a ta r b lo o d th ir s ty lik a e n ta s is , e n th u s ia s tic about th a th a a ta r d l r a c to r 'a "new o rd e r" and raad y to sn fo rc a i t by re v o lu tio n .* 1 Tha v ary tra n sp a re n t s y a b o lls a o f th la p a ra b ls la a r a th a r heavy-handed preachaent a g a in st t o t a l I t a r l a n l e a w ith i t s suspension o f g u ilt and a to n e a s n t, fre e c h o ic e , r e s p o n s ib ility , and co n aclance--and an ap o th eo ala o f th a weak but courageous In d iv id u a l who chooses to d ie r a th a r th an su rre n d e r, e la o s t rid ic u lo u s in h e r hopeless d e fia n c e . D llla r gives 1944 as th a d ata o f o rig in o f th i s s to ry ; B rock-S ulser d a te s I t in 1945. Even In th a l a t t e r case t h i s would probably be before th a beginning o f th a Nurea- b erg T r ia ls , which s ta r te d in Noveaber, 1945. But th e c o l la p se of th e M ail and F a s c is t r e g la ss was e ith e r la a ln e n t o r had a lre a d y takan p lace when tha s to ry was b ein g w r it te n , and th e q u e stio n s of g u i l t and p u n lsh n sn t, and 'bow could I t ev er have happened71 1 were s u re ly vary auch In th e a i r . I b is p arab le t r i e s to g iv e an answ er. The M etaphor **Ple Stadt. op. c l t .. pp. 59-71. 94 o f th a atag a fo r l l f o l a , aa wa a l l knew, a v tr y old ono: S h ik tip M n uaad i t In B a a l l l . A» Tou L lk . I t . and H acbath: C aldarbn do lo Korea v ro ta K1 Cron T ootro d o t Hondo. prob ab ly th a world*o g ra a ta a t a o r a llty p lo y , about i t ; Joaopti von B lchandorf, Hugo von H o faan aath al, and WUholw von Scholo p rovided, In th lo o rd o r, sodom tro n o lo tlo n o and p o o tie ro c ro a tlo n a o f C aldar& n'a p la y ; and f in a l ly F lra n - d a llo In h la Honrv IV and Sin C haractora In Soarch o f an Author tu m a d tha ldaa In to a paychologlcal and ph llo ao p h lc problow. Tha an t 1 -ra tlo n a l paradox 1a d lra c ta d Ju at aa wuch a g a ln a t wantlaw aa a g a ln a t fa a c la n and naalaai. On th a atag a av a ry th ln g waa w aaaurabla and p ro v ab la. Evory a c tio n could ba lo g ic a lly e x p la in e d , and ovary r a a u lt could ba c a lc u la ta d In advanca. Thaao changaa tranaforw ad th a w orld In to an a n tI r a ly e x p lic a b le autow atlc wachanlaw. Through a c la n tl f l c ex p lan atlo n e o f U f a , g u i l t , andatonaw aat, frao cholco and c a p rlc a , r a a p o n a lb lllty and conaclanca woro to ba auparaadad. Man on th a w achanlcal ataga e x le te d only aa p a rt o f th a wachanlaw, a u b ja c t to p h y alcal law a. Thla " lib e r a te d " h la fro a a l l a th lc a l coocopto and woral o b llg a - tlo n a . That waa th a a t t r a c ti o n o f th a th a a ta r d l r a c to r 'a "now o rd a r," and th a t la why th a c i t y aurrandarad to I t . 95 The In n o v atio n s o f th a d ir e c to r on th a a tag a aoon developed In to a a t e p h ilosophy In th a b ra in s o f th a a u d ie n c e ; th a Ideas g ra d u a lly changed In to e n o tlo n s and d riv e s and a f f e c te d a t o t a l re o rg a n is a tio n o f l i f e . The th a a ta r be came r e a l i t y , and th a I n te r e s tin g p lay tu rn e d In to re v o lu tio n . The a c tr e s s p re se rv e d h e r own n a tu re and th e re b y p e rs o n ifie d th e husan p re ro g a tiv e , th e p e rso n a l re s p o n s i b i l i t y o f fre e c h o ic e , and th e paradox o f th e v a lie n t nan. Thla u p se t th e a u l tl tu d e who p re fe rre d to deny a l l Moral o b lig a tio n , u n t i l th ey sc re e n e d , " K ill h e r ! " The people then threw h e r h ea d , which re p re s e n te d f re e c h o ic e , lik e an u n d e e lra b le b a l l fro * one to th e o th e r , lik e an In co n v en ien t re a ln d e r o f th e freed o n and th e r i g h t s o f b m , ^ llple F a lla " <The Trap* w r itte n IS L ittfc PLOT SOTM ARY: A s u lc ld a lly In c lin e d nan t e l l s th e n a r r a to r th e s to r y o f h i s l i f e . One n o m ln g , a f t e r he had d ecid ed to sh o o t h l e e e l f , he walked through a w ln- te r y lan d sca p e, p eat b la c k , b a re t r e e s , people M uffled in long* n e tte d f u r s , and b la c k b i r d s ,22 and cans to a 22D i l l e r , o p . c l t . . pp. 16-17. 22ln aany o f th e se e a r ly s t o r i e s , th e a c tio n Is 96 v i l la s * w ith o u t church o r c t M t t r y , ^ w ith o u t a v illa g e sq u a re , w ith o u t fo ra . Only th in k in g o f h is own d s a th , h* passed tb s v illa g e and a n ta ra d a f o r a i t b ls a c ta d by a b o rd e r.* * Suddenly a nan ran out o f th a wood*, and th a s u ic id a l young nan shot h l a . Tha aan f a l l onto th a b o rd e r, a s h a p e le s s , bloody a a s a . Whan th a k i l l e r ra is e d h la a y e s , ha saw a wonan , th a w ife o f th a dead aa n . Ha ex p lain ed to h e r th a t t h i s was an a c c id e n t, and th a t ha had only in ten d ed to k i l l h la a e lf* Q uite c a s u a lly , th a woaan in v ite d h la th an to eccoapany h e r through th a f o r e s t to h e r house to spend a n ig h t o f lo v e -a sk in g th e r e . T his ha d id , b u t d u rin g th a n ig h t ha had a d re a d fu l n ig h ta a re o f an e n d le ss "sta irw a y o f aan k ln d " le a d in g fro a h a l l to n o th in g n e ss; U f a , in t h i s d re a a , was e i th e r a n a tu r a l su b v ersio n In tha w h irlp o o l o f h a l l o r an e n d le ss c lla b to n o th in g n ess. la id In a b a ld , dead w in te r lan d sca p e, drawn o nly In b la c k and w h ite , a s I t w ere, w ith o u t any c o lo r . *Slo European v illa g e would be w ith o u t th e a ; th e r e f o r e , t h i s a u s t stan d fo r g o d le ssn e ss. **To a European, used to a a a l l spaces and s u r rounded a l l h la l i f e by b o rd e rs , b o rd e r g u a rd s, p a s s p o rts , p e rm its , and c o n tr o ls , a "b o rd er" i s a very r e a l , everyday th in g ; to most A a e rle a n s, a b o rd e r is an u n r e a l, f i c t i t i o u s lin e somewhere "o u t yonder" which th ey never en co u n ter In t h e i r l l f e t l a e . 97 H e ll was h o r r ib le , but I t was e q u a lly h o rrib le to cllafc in u t t e r lo n e lin e a a on th e upper reaches o f th e stalrw sy tow ard th e v o id . Then th e women awakened him, and ha decided to k i l l h e r and h im se lf. A fte r he had ahot the woman , he suddenly f e l t a w ill to liv e . He ra n out o f th e house, through th e f o r e s t, a c ro ss th e b o rd er over th e body o f th e dead wan s t i l l ly in g th e re . A ll th is had happsned a long tlw s a g o .-- Now ha has a fam ily , money, a house, a a ls tr e s s - - b u t a l l th is is only fraud w ithout a purpose. In th a end he draws h is gun to k i l l th e n a r r a to r , but a t th e v ery l a s t second, w ith t e a r - f i l l e d e y a s, ha shoots h im self.* * This s to ry f i r s t appeared in 1946 under th e t i t l e "P er N ih ilis t,* ' but fo r th e 1952 e d itio n o f P ie S tad t th e au th o r renamed i t "Die F a lle ," because th e previous t i t l e had led to th e myopic charge th a t he h im se lf was a n i h i l i s t . In h is T heateroroblem e. DUrrenmatt waxes r a th e r s a r c a s tic on th e problem o f a lle g e d n ih ilis m : Us w r ite r s a ra o fte n reproached w ith n ih ilis m in our a r t . Thera i s , o f co u rse , n i h i l i s t i c a r t to d ay , but n o t a l l a r t Is n i h i l i s t i c th a t looks th a t way. True n i h i l i s t i c a r t does not look th a t way a t a l l ; i t Is u s u a lly regarded as p a r tic u la r ly *«Dle Stadt. op. clt.. pp. 75-104. 98 hoM M and v ary w orthw hile re a d in g fo r th a more m ature youth. Ha w i t ba a bad b u n g ler o f a n i h i l l e t Indeed W hom th e w orld ra c o g n lsa a aa such, •In c a n i h i l i s t i c la co n ald ared o nly th a t which la un co m fo rtab le. Tha a r t l a t ehould c r e a te , n o t p re a c h , th ey aa y . t u t I t became a h a rd e r and h a rd e r to c r e a te p u re ly and a im ply. Mankind o f today resem b les an autom obile d r iv e r , d riv in g e v e r fo o t e r , e v e r more re c k le a a ly along th e ro ad . I t doea not l ik e th e concerned paaaenger to c a l l , 'V etch out!** o r * V etch th e s ig n ! " o r **Slow down!" o r "D o n 't ru n o v er th a t c h i l d ! " I t h a te a anyone ih o aaka who paid f o r th e c a r o r th e gaa and o i l fo r l t o mad ra c e , o r one Who even aaka to aee i t a d r i v e r 'a lic e n a e . U npleaaent t r u th s m ight coma to l i g h t : th e c a r m ight be p u rlo in e d from a r e l a t i v e , th e g as and o i l n ig h t have been b lack m ailed from th e peaeengera them eelvee and m ight not even be gaa and o i l b u t th e blood and sw eat o f a l l o f u s , and th e d r i v e r 's lic e n a e m ight p o a a lb ly n o t e x is t a t a l l ; i t m ight tu rn o u t th a t i t (mankind) d riv e s fo r th e f i r s t tim e . N a tu r a lly , i t would be embar r a s s in g to ask auch obvious q u e s tio n s . T hat i s why i t (M nklnd) lik e s th e a r t i s t who p r a is e s th e b eau ty o f th e c o u n try s id e , through which I t d r iv e s , th e s i l v e r o f th e r i v e r and th e glow ing o f th e g la c i e r a f a r , a ls o i t lik e s to have a n ia ln g l i t t l e a to r le a w hispered in i t s e a r . To w hisper th e s e s t o r i e s and to p ra is e th e b e a u tif u l lan d sca p e, how ever, la n o t q u ite p o s s ib le any more f o r a modern w r ite r Who w ants to keep a c le a r co n sc ie n c e . U n fo rtu n a te ly h e cannot g e t o u t, e i t h e r , so as to f u l f i l l th e demand fo r p u re p o e try which a l l non p o e ts make. P e a r, v o m , and, above a l l , w rath t e a r open h is m outh.2 ' T h is p assag e has been tr a n s la te d in I t s e n t i r e t y because I t i s one o f th e keys to D ttrre n m a tt's w ritin g a t ^^theaterproblems, op. clt.. pp. 56-58 99 la rg e . Tha n etap h o r o f th a c ra a y d r iv e r In th a a to la n c a r aeena a n a tu r a l fo r c a r-c o n a c lo u a A aerlcan a. L at ua hope, how avar, th a t no newber o f th a lu n a tic frln g a o f th a e x tre n e l a f t o r e x tra n a r ig h t w i l l av a r ra a d t h la and n la - uaa I t fo r h la own narky purpoaaa: t h l a la a c a l l to con- nonaanaa bv ona o f th a n o a t connon aan alcal n ln d a o f ona o f th a n o at connon aan alcal n a tIo n a on e a rth * * n o t g r l a t fo r th a n l l l a o f Inaana r a d i c a l is e . D l l l a r I n te r p r a ta "Ola Falla** In a c la a a lc F reud ia n warmer aa an a u to b io g ra p h ic a l a tta n p t o f th a young a u th o r to o b je c tif y h la own In n e r p ro b i an a. Tha a u lc ld a l n a n 'a daath -w lah atan a fro n a deep In n er t o r t u r e which d riv e a h la to a a y a b o llc b o rd e r Where, la p u la lv e ly , ha ahoota th a nan who conaa ru n n in g o u t o f th a fo re a t ( f a th e r In a g e ? ). S tepping o v er th a dead body o f th a nan who l l a a p re c la e ly on th a b o rd e r, ha now a n ta r a a d re a n w o rld , In which ha fo llo w a th a w ife o f th a dead nan (a n th e r la a g e ? ), In o rd e r to enjoy h e r a e x u a lly . T hla doaa n o t b rin g h l a r e l i e f , b u t a n lg h ta a re . Ha knowa th a t ha haa thought th a t which la fo rb id d e n and haa dona I t a y a b o llc a lly ; a u lc ld e la to ba h la p u n leh n en t. Ha ln te n d a to k i l l b o th th a wonan and h t n a e lf , b u t aa aoon aa th a wowan la dead ha f a a la fre e d fro n th a Inagea w hich had lu re d h ln In to g u i l t and 1 0 0 • t o n— nt . H it own w ill to liv e r ia v ik M i. Hi f le e s out o f t h t d r t i i w orld «nd th« lo n e lin e s s to r e tu r n to th « w orld o f r e a l i t y . Ihua ha tran acan d a « |t l o th a b o rd er b e tween th e Inner and th e o u te r w orld ( th a t sane b o rd er which rune through a l l a to rle a o f Die S ta d tl which d lv ld e a th e o b je c tiv e w orld o f a o c la l r e la tio n e fro n th a t o f th e In n er concept* and In d iv id u a l fa n ta e le e . At th le p o in t he want* to liv e a g a in . He r e - croeeee th e b o rd er and eu rren d era to th e w orld o f r e a l i t y . He acq u iree a w ife , c h ild re n , a houae, nonay, p o a ltlo n , e t c . , and t r l e a to achieve th ere b y a purpoee In l i f e , b u t, p . r . d o « l c . l l r . iu « t th l« « c q u l« ltlo n l««d« h la to r . . l n l h l l l a n . Aa long aa he b e lie v e d h ln a a lf to be a n l h l l l a t and a u lc ld e -c a n d ld a te , he waa, In t r u t h , no n l h l l l a t b e cause he b e lie v e d In a ona th in g and waa a f r a id o f ao n eth ln g . How he loaea h ln a e lf In th e a a t e r l a l i a t l c w orld and th ereb y lo se s th e e s s e n tia l weaning o f l i f e , th e w a te r f a lla t la t t » . t w i n , n i h i l t » t . W h w « r lo » .» h i . »oul to w o rld !!- naaa bee— a a woe hen le a l o b le c t. I t la th e a— then* which we a lre a d y encountered In "The T o r tu r e r 's H e lp e r," "Tha P ic tu re o f S isy p h u s," and "The T h eater D ir e c to r ." T his sane thane w ill re c u r In " P i l a t e ," I t la W ritte n , and The V is it. 1 0 1 In t h i end, th e n i h i l i s t doss v h s t h s could n o t do b e fo re , but h s doss not ta k e h is own I l f s b sc su ss o f sn ld s a . Ih s tr u s n i h i l i s t h s s no Id ea, no p h ilo so p h y . f r o n a p u re ly o b je c tiv e , n a t s r l a l e x is te n c e t h s r s I s only a ana 11 s t s p to d a a th . As Io n s a s th a n i h i l i s t was co n csm ad w ith th a p ro b lan o f d a a th , ha could n o t d la . But th a bora* dan w ith , and th a d a sp a lr o v a r, th a s a n s a la s s n a s s o f th a 28 avaryday w orld d rlv a h la In to d a a th . In *1>la f a l l s , " th a r s i s p a in t ad f o r th a f i r s t t i n s a v iv id c o n c ra ta p lc tu r a o f th a e x te r n a l w o rld , and y a t I t Is a n tI r a ly su b sa rv la n t to th a ld s a : Ha f a i t th a ta b la whosa s u rfa c a saanad In fln - l t a to h la In th a d a rk n a ss , w ith c ra c k s which ha tra c a d Ilk a th a U nas o f a hand. . . . Tha v i lla s # sq u ara g la a a a d . Ha b an t o v ar th a w a ll and smashed th a le a w ith h i s weapon. Vhsn ha dlppad th a hand In to th a w a ta r, blood lo o ssn sd fro n him and apraad a s a d ark clo u d ovar th a d is k o f th a noon which la y yellow 2* In th a w a ll Ilk a a th ic k p la ta th a t ha could g ra s p . w alkad ovar th a co b b le sto n e s p a st enpty windows. Ha passed gab led h o u se s, and h is shadow, h a rd on th e ground, w ant In f r o n t o f him . L a te r ha reached th a avenue. G iant t r a s s sto o d on b o th s id e s , o v e rly d i s t i n c t a g a in s t th a sky* Thay e ru p te d out o f th a ground and clawed a t th a sky Ilk a hands t h a t a ra sin k in g I n to a moor. Ha want betw een th en w ith even s te p s , and h is 2^>tU*r, OP. clt., pp. 19-20. **tflth th a e x c e p tio n o f th a "g reen bugs" c ra w lin g on th a moon th a o n ly m ention o f c o lo r! 1 0 2 •htdow went along w ith h la . Now and th an th a wind c a a a , howlad f r a a f a r , ruahed through th a tr a a a and chaaad th a mo o n through th a d a a a rta d f la I d a ao th a t I t r o lla d ovar th a h l l l a , b ig aa a hou aa. Ilk a a b laach ad a k u ll f u l l o f b o lla and h o la a fro n which g ia n t f l l a a and g raan buga wara c ra w lin g . Yet i t d id n o t g a t d a rk a r a f t a r th a mo o n had a a t, b u t e v e ry th in g la y b a fo ra h la w ith o u t ahadowa, a a r c lla a a and u n ra a l. Ha a tro d a alo n g w ith o u t b aln g a b la to do o th a rw la a . Hla fa c a changad. i t bacaaa la p a n a tra b la and aallow Ilk a th a a a t In c t aoon batw aan th a p ln a a . Tha road waa an d laaa through th a avanua, and an d laa a waa th a aky abova h l a , cro aaad by th a ahaky f l i g h t o f th a b lr d a , h la co apanlona, whoaa c r la a raach ad h la a a r f r o a f a r away, la d w a a t r a i n a v a ry th ln g la y th a t a u t- rouadad h la : tr a a a and aky, th a l i g h t and th a a t r a a t on which ha w alkad, b u t a la o h la aaanlng* la a a U f a w ith h la 11a and h la c r l a a , th a daad body o f th a woaan ovar th a ta b la w ith th a daap c ra c k a , and th a blood In th a w a ll . . Tha apaaaodlc r a a l la a o f t h l a a to ry a lra a d y fo re - ahadowa D U rra n a a tt'a g ra d u al tu rn in g away fro a ax p raaalo n - la a . ■DU S t r t t " ( H i. C ltY i v r l t t . n In 1 W T hla la th a a to ry which gava I ta naaa to th a whola c o lle c tio n . PLOT SUMMIT: In th a c i t y th a ra haa bean a r e v o lt , an a b o rtiv e u p rla ln g o f th a d re g a , th a o u tc a a ta Stadt. op. clt.. pp. 100*101. 103 o f s o c ie ty .3* Afcor I t , tho n a r ra to r search es fo r a Job. l a ra p o rta to th ra a re p u ls iv e o ld crones In th a d t p p riso n and begins h la work aa a guard. Ha changaa c lo th a a and la lad to a an a II n lcha In which ha la to aa at h ln a a lf . lh a n lch a la only ona o f nany In a long dark c o r rid o r, a t tho and o f which doubla doors stand opan. In th a c o rrid o r th a ra la ln p a n a tra b la d ark n ass. Soon, howavar , th a now guard aanaaa th a t In a l l th a o th a r nlchaa paopla a ra kapt ln p rlao n ad , although ha cannot aaa th a n . Thaaa p rlto n a ra hava to a l t In n lc h a s, ju a t Ilk a h la , guardad by h in and, a p p a ra n tly , o th a r guarda a ls o . Hut ho doaa not know who tho guarda a ra and who th a p rlto n a ra , and ha th ln k a about th la u n t i l ha no longar knows whathor ha h i n s a l f la a guard o r a p ris o n e r. Out o f c u rlo a lty and fa a r ha baglna alow ly to aaarch through tha darknaaa toward th a doubla doora. A fta r hours o f c a u tio u s groping ha bunpa a g a in st a hand, an a r n , a parson who novas toward th a I n ta r io r . P u ll o f la n a n te fa a r ha f la a s back In to h la own n lc h a , where ha wants to th in k ovar once nore *l A r a th a r grueaone p relude to th is a to ry , which depends too nueh on nood and d e s c rip tio n to ba su c c e s sfu lly recounted h ere. 104 w hather ha la a c tu a lly im prisoned o r f r e e , triiathar I t la n o th in g o r h la own fa a r w hich c h a in s h l a and th a o th a ra th a r a , "everyone In h la own n lc h a , aan b aaId a a i n , w ith o u t a a a ln g aach o th a r . . . aach ona In hopaa t h a t ha la a guard and th a o th a ra th a p ris o n e rs . • D ttrrenm ett, in ona o f th a v ary r a r a c lu a a ha g lv a a to h la w orks, a a ld I t waa aaay to aaa t h a t bahlnd th a a to ry o f th a d ark n lc h a s In th a c o r r id o r s waa P l a t o 's famous p a ra b la o f th a cav e.* * Blaawhara ha aaya t h a t # Va naad a g a in and ag a in th a s a fa ty o f cavaa In to w hich wa 34 can r a t r a a t , avan I f I t ba only th a t o f s la a p . . . T hla makes u s th in k o f th a " r a t r a a t to th a woefc," and o f a d u lts who assuam a f o a ta l p o s itio n In t h a l r slo o p , which la supposed to In d ic a te th a d a s lr a fo r auch a r a t r a a t . In A rth u r H ille r* a A ll Hv Sons. Joa K e lle r , th a p r o ta g o n is t, r e t r e a t a In a c r i s i s In to th a "se c u re cava o f s la a p ," some th in g w hich, a t f i r s t re a d in g , s e e u an Im probable b eh a v io r f o r an a c ti v e , a g g re ssiv e a in In a c r i s i s . "Tho C ity " h a s soom t r a i t s o f B arn, th e town In w hich D ttrrenm ett grew up and tow ard tdilch he seams to f a a l **P le S ta d t. o p . c l t . . p p . 106-145. >3I b ld . . p. 197. H I b U . . p . 1X2. 1 0 S • stra n g e ly dlchotom ous h a te * lo v e . Mis d e s c rip tio n o f th e c o ld , r i g i d , p e tr i f i e d end Im penetrable n e a r-rig o r‘m o rtis o f th e " A lts te d t," th e "o ld q u a r te r ," p o in ts to Bern. Hie m idnight r e v o lt o f th e o u tc a s ts o f s o c ie ty is d e feated sim ply by th e mere s ile n c e o f th e c i t y . The anonymous and w eird ly incom prehensible " a d m in is tra tio n " o f th e c i t y le v ery rem in iscen t o f K afk a's The C a stle and The T r i a l . At th e end o f th e s to ry he s i t s in h is dark niche where h is e x is te n c e c o n s is ts elm ost e x c lu s iv e ly o f th o u g h ts! fo r who would be a b le to liv e in t h i s c o rrid o r th a t lo se s I t s e l f s i l e n t ly in th e e n t r a i l s o f th e e a r th , f i l l e d w ith b lu e l i g h t 35 which sh in e s on th e w ild fa c e s o f th e g u ard s, Where we would have to crouch, each in h is n ic h e , man nex t to men in long rows w ith o u t ev er seein g each o th e r, w ith h a rd ly a b re a th from a f a r ev er re ach in g u s, each hoping th a t he be a guard and th e o th e rs th e p r i s o n e rs, th a t h is was th e power to be th e f i r s t among s o u lle s s shadows s i t t i n g o p p o site each o th e r, fo rced In to an Iro n c i r c le ? 3® Another p o ssib le c lu e occu rs e a r l i e r : 1 wee th e re fo re se ise d by a sudden t e r r o r when 1 saw a stra n g e hand which bordered on mine. I t could only belong to a man th o had to stand not fa r from ms a g a in s t th e w e ll. I t was a sm ell **At f i r s t we were to ld o f "im p en etrab le d a rk n e ss," but such e x te rn a l d is c re p a n c ie s do not seem to b o th e r th e young a u th o r. M P U S t o d t . O P. e i t . . p . 1 4 4 . 106 and fle sh y a n ' i hand w ith f r a i l fin g e rs and o f e x tre a o ly w hit* c o lo r; I t s n a ils w ars long and narrow and p ro je c ta d beyond n in e , sin c e they touched n in e w ith th e f in g e r tip s , so th a t both hands seewed to have grown to g e th e r .37 D ttrrenaett Is a la rg e , h e a v y -se t, h a iry -c h e s te d nan v ery auch aware o f h is M peasant s to c k ," b u t w ith hands th a t a re s M ille r, f in e r , and f r a i l e r than th o se o f a o s t woasn.^® The d e s c rip tio n o f th i s " s n a il fle s h y hand w ith f r a i l fin g e rs " f i t s D ttrre n a a tt's own hands to o c lo s e ly fo r us not to ask t i s th e unknown person belonging to t h i s hand perhaps h i s a l t e r ego? The n o t I f o f th e "double" re c u rs In a n o th e r work w r itte n th a t sane y e a r, Per PoppqI - aSnaor (The D ouble), l a t e r re issu e d as a ra d io play. Like "The P ic tu re o f S isy p h u s," ,The C ity " i s , to th e p re se n t w r it e r , an eq u a tio n w ith to o aany unknowns. D l l l e r 's ex p la n a tio n Is probably as good a s any: th e p ara dox o f tho p riso n and o f th e c ity which runs th e p riso n Is th a t n e ith e r th e p ris o n e rs go£ th e g u ard s, n e ith e r th e c ltla e n s nor th e r u l e r s , a re fre e . This any w ell be th e bond o f n o ta r ia l n e c e s s ity which K ierkegaard w rite s about *7I b id . . p . 1*1. ^O bB .rv.tlon bp D r. Kdward D l l l . r . «ho a p m t aanp days In ta lk s w ith D ttrre n aatt. See a ls o B ro ck -S u lser, op. c l t . . p la te s 9 -1 2 , between pp. 40 and 49. 107 •o s c a th in g ly a t tho ond o f th o C h ris tia n paradox q u o ta tio n .* * Thio would olao o x p la ln tho n y sto rlo u a wont ton o f on " iro n c lrc lo * 1 o t tho ond o f tho q u o ta tio n on tho procod* In f pofto. F o ar, oodloaa r e f le c ti o n , o g o co n trlc th in k in g , • o c lo l o b llg o tlo n o , gonorol a a b ltlo n , o t c . , fo rco won to toko h lo ploco In tho nlcho o f o long row o f covoo, a l though a c tu a lly tho doubla doora to freedon a ra alwaya opon. ro o p la r a t r a a t and o l t lo o la ta d w ithout c o n ta c t, w ithout c o M u a ic a tlo n , a l l a id a by a ld a In rowa and y at closod o f f fro a oach o th a r. Tho I s o la tio n Is not p h y sic a l. Tha b a r r la r s a ra c ra a ta d by th in k in g . Tha doors to f r e e don ara opon, but avoryono Is Im prisoned by h is own ways o f th in k in g , fro n Which, I r o n ic a lly , ho t r i o s to oscaps by •o ra th in k in g . Ha b a lla v a s th a t ha can roshapa th a w orld by th in k in g d lf f a r a n tly about h is p o s itio n as guard. B ut, as D U rrannatt sa id In "Dor F o lto rk n o ch t" (Tho T o r tu r e r 's H olpor), wan la no god, and h is In sig h t In to h is own think* lng Is ln ad aq u ata. Thors Is no s o lu tio n ; I t Is s ig n if ic a n t th a t Dla S ta d t onds w ith a brokon so n to n es, as a fra g n sn t. **Sugra, p. 11. 106 "P ar Tunnal" f ! h t Tunnall w r l t t t n Thla t i l * la In t a ra ■ t in g and d lf f a r a n t fro a th a o th a ra In th a t th a a u to b lo tra p h lc a l a la n a n t appaara opanly fo r th o f l r a t t l n a . Uharaaa th a " I " In "Tha P ic tu ra o f S lay p h u a," "Tha T h aatar D ir e c to r ," and **Tha T rap" naans only th a n a r r a to r o f tha a to r y , th a fra a a f o r th a a to ry I t a a i f and not th a p ro ta g o n la t a t a l l , irtilla in "C h rla tn a a " and "Tha C ity " th a " I " la o n ly an a b a tr a c t fig u re o f th a " In d iv id u a l a t l a r | i , " th a p ro ta g o n is t In "Tha Tunnol" la u n n latak ab ly th a young D ttrrenm ett h ln a o lf . PLOT RMMRY: A tw e n ty fo u r-y e a r-o ld , obaaa and a la a lf la d , a t l l l dapandant on h la p a ra n ta , angagad In nabuloua a tu d la a a t th a U n lv a ra lty o f Z ttrlch , c lln b a aboard th a overcr<mded t r a i n to Z ttrlch , p u rp o rta d ly to a tta n d a a a a ln a r (which ha vaa a lra a d y determ ined to c u t ) . Soon th a t r a i n a n ta r a a tu n n a l t h a t aaana w ith out and. Tha young nan w a lta fo r a ona t l n a fo r th o and o f th a tu n n a l; th a n ha aaka th a paaaangar o p p o a lta h ln fo r In fo rm atio n . Tha nan la a happy E ngllahnan and th ln k a a long tu n n al n o th in g e x tra o rd in a ry In S w itx er- la n d . Than th a young nan aaka th a c o n d u c to r. Who doaa n o t a d n lt to hava not le a d an y th in g unuaual a l t h a r . By 109 non th e t r a i n haa baan ra c in g through th a tu n n a l Cor h a lf an h o u r, and 00 th a young nan nakaa h la way to tho haad conductor. Ha and th a young nan anoka t h a l r c lg a ra and d lacu aa th a a ltu a tlo n calm ly: th ay Ju a t a ra In a tu n n al w ith out and. Aa th a young nan aaka w hathar ha ahould p u ll th a anorgancy h ra k a, ha la thrown fo r ward by a v io le n t lu rch o f tho t r a i n . 'H a a ra going down,1 ' aaya th a haad cond u cto r, whereupon th a two d e c id e to naka t h a l r way to th a lo c o n o tiv a . in o rd e r not to havo to th in k o f th a th re a te n in g rock w alla o f th a tu n n a l w h ittin g paat th a n f a a ta r and f a a te r , th ay ta lk o f tobacco and th o Joya o f anoklng. Whan thay reach th a lo c o n o tiv a , thay fin d th a e n g in e e r'a p lace en p ty . Iho conductor p u lla th a emergency b ra k e , but th a angina no longer obeya. Tha apaadonatar haa reached ona hundred and f i f t y k llo n e ta ra and la a t l l l d itto in g , Tha en g in eer nu at have Jumped o f f e a r l i e r aonawbara. A ll th a paaaangara a t l l l a l t In t h a l r co n p artn an ta o r a a t and d rin k In th a d in in g room c a r w ith o u t r e a l lt l n g th a t thay a ra a l l lo a t. Tha apaadonatar now ehowa two hundred and ta n . M ow th a angina In c lin e a forw ard even more, and In a g h a stly plunge I t ra caa toward th a c a n te r o f th a e a r th . " la th a ra n o th in g th a t can ba 1 1 0 4o m T" t a k i th a haad conductor In d e s p e ra tio n . "S oth- l n | , H aaya th a young nan calm ly. "Cod dropped u s , and now wo a ra plunging toward H im /'*0 T his a to ry p a ln to th a a ltu a tio n o f mankind to d ay . Tha t r a i n f u l l o f I n d if f e r e n t, p le a su re -e e e k ln g paopla Is th a w orld w hich plunges a v e r d e e p e r, e v e r f a s t e r In to th e a h y ss. The m etaphor o f th a c ra a y d r iv e r ra c in g t o d is a s t e r , which was quoted b e f o r e ,41 a p p lie s a g a in . *Tfe a ra going down,9 1 la D ttrrenm ett9a c o w a n t and w arning, Tha t r a i n o f th a w orld can h a rd ly be saved any m ore, g u t th e re la th a p o s s i b i li t y o f behaving lik e th a young man In th a s to r y . I . e . , to r i d o u rse lv e s o f fa a r and w orry and look In to th a abyss w ith courage. Tha young man lo a m s to look f e a r le s s ly a t th a t r u t h , th u s r i d s h im se lf o f a o lf-d e c e p - A) t lo n and a c c e p ts h la f a ta . T h is Is th e parados o f th a v a lia n t man w ith which t h i s In v e s tig a tio n b eg a n .4* There a re many In sta n c e s o f th e n ro tsa a u e In t h i s s to r y : th e f a t young man w ears two p a ir s o f s p e c ta c le s , o r 4<b l e S ta d t. o p . c l t . . pp. 151-167. S u p ra, p. 98. 4 * D llle r , o p . c l t . . p . 23. 4 *S ugra. p. 2. Ill r a th e r su n g lasses on to p o f h i t re g u la r g la s s e s ; he has c o tto n wads In h is e a r s , Milch a re sucked out and whisked away by th e a lrstre a m fro n th e a lre a d y crack in g w indshield o f th e lo co n o tlv e. T his tw e n ty -fo u r-y e a r-o ld n a a n 'a boy, who p reten d s to go on a t r i p to th e u n iv e r s ity , unexpected ly goes on a t r i p to h e l l . A t r a i n which has J u s t r o lle d through a se re n e ly b e a u tifu l su saer-ev en in g landscape In th e Swiss a ld d le la n d g e ts , c o n tra ry to a l l p o ssib le lo g ic and to th e e f fic ie n c y o f th e Swiss F ed eral R a ilro a d s, In to an en d less tu n n e l which leads to th e c e n te r o f th e e a r th . There Is th e s to lid ly and s e n se le ssly fu n c tio n in g bureauc racy of the railw ay who w ill n o t a d n lt anything wrong In th e n ld s t o f an apocalypse; th e e la b o ra te sn o k e r's ta lk about th e advantages and disadvantages o f the "Ormond B ra s il 10," th e happy R ngllshean, Ignorant o f even th e n o at elem entary geo grap h ical fa c to , who th in k s he Is going through th e Simplon T u n n el--th e exanples a re alm ost too numerous. I t Is a happy mdlange o f th e frig h te n in g , fan t a s t i c , g ro te s q u e rle w ith th a lu d icro u s and absurd. The r a r e fe a tu re o f t h i s t a l e , shared only w ith one o f D ttrrenm att's m aster w orks, Romulus th e C ro a t, is th e kind o f e e re n lty which only blooms a t th e end, In th e c a ta s tro p h e . I t Is a genuine s e r e n ity , an e x h ila ra tio n 1 1 2 which h a s c o b s Co s ta y a f t e r a l l f a ls a c r s a tu r s co m fo rt, fro a cha c o rp u isn e s to th a doubla s p e c ta c le s , has f a lla n away. And t h i s s e r e n ity doss not r a s u l t fro a s a lv a tio n ; I t is s a lv a tio n . I t i s th a s e r e n ity o f S o crataa as ha d rin k s th a h sa lo c k o r o f Je su s a t th a l a s t Suppar. Tha tw e n ty -fo u r-y e a r-o ld “ f ils - a - p a p a " . . . la a c tu a lly th a o n ly v a l i a n t , c le a r - s ig h te d parson on t h i s t r a i n . . . And th u s a a coaa to th o c a r d in a l q u e s tio n which th a e x is te n c e o f a Dttrren- m att p o sast How doas a n a tu r a lly c h s a rfu l p arso n , g i f t a d w ith c la a r s i g h t, cops w ith t h i s w orld o f ours?** I K m i « f l w r i t f n In D ttrre n a a tt's grand f a th e r , U lric h D U rran astt, a te a c h e r , newspaper e d i t o r , and p o e t, w rote a l i t t l e fo u r- lin e poem, o r r a th a r a rhymed aphorism , about P ila te In 1907, e n t i t l e d "D ie V a h rh a lt" (Tha T ru th ). T ru th I s a fem inine noun In German and is p e r s o n if ie d , hence th a "she*1 In t h i s tr a n s la tio n ; She walked about In d u sty ro b e , Embodied and p e rs o n ifie d ; But P o n tiu s P ila te knew h e r n o t-- T hat Is h e r u su a l f a t e . *3 **Brock-Sulser, op. clt.. p. 137. ** S le w andelte l a Staubgewand, V erktfrpert und p ersH n llc h ; Zt could w a ll t>« th a t th l a l l t t l a poea i* v a DUrren- ■ a tt th a ( i n o f h la td a a . Thara la a la o , In th a aany apocryphal a to r la a about th a U f a o f P i la te a f t a r th a c ru c if ix io n o f J e s u s , a co n n e ctio n betw een P l la ta and S w ltte r- lan d . A fta r ha had been r e c a lle d to Ro m to defend h la a e lf a g a in s t ch a rg es o f c r u e lty tow ard th a Jew lah p e o p le , ha wa» e x ile d to C aul (o r S w ltse rla n d w hich, aa th a Roaan p ro v in c e , H e lv e tia , waa p a rt o f R h aetla and f i R U i j - t W i l p l B g o r T ra n a a lp ln e C aul) and c o a a ltte d a u lc ld a th a r a . A ccording to a n o th e r leg en d , P l l a t a 'a body waa f l r a t thrown In to th a T ib e r R iv e r, th a n In to th a Rh6ne. n e ith e r r i v e r would r e c e iv e i t . F in a lly th a body waa plunged in to Lake Lucerne in S w ltse rla n d , which a p p a re n tly d id re c e iv e I t . At any r a t e , th e a o a t ln p re a a lv a , craggy a o u n ta ln a d jo in in g th a lak a a t Lucerne la Indeed c a lle d Mount F lla tu a , and th e 46 ghoat o f P i l a t e la a a ld to haunt th a re g io n to t h l a day. " P i l a te " la th e only a to ry In th e c o lle c tio n , Die P ila tu a h a t a le n lc h t e rk a n n t-- So geh t ea th r gewHhnllch. J . Howald, U lric h PtjlTTTTtTt und **ln» C ed lch te (H eirIn g en : V a lte r L oepthlen V e rla g , 1927), XI, 239. 46F re d e ric k C. G rant and F u lto n J . Sheen, " P i l a t e , P o n tiu s ," World Rook E n cy clo p aed ia. 1950 e d .. K i l l , 6356-7. 114 S ta d t which i s preceded by • m o tto : "To th o se o u t! I d a , how avar, a l l happens In p a ra b la s , so th a t th a y aaa w ith sav in g ayas and y a t do n o t ra c o g n ls a , and h a a r w ith h e a r in g a a rs and y a t do n o t u n d e rsta n d . PLOT SUMMIT: P lla ta i s th a o n ly one who re co g n is e s t h a t th a aan b rought b e fo re h l a I s in r e a l i t y a god. Ha r e a l i s e s t h a t h is c o n fro n ta tio n w ith Cod I s a unique d i s t in c tio n b e fo re a l l o th a r a a n , b u t a ls o a t h r e a t. P lla ta o rd e rs th a f l a g e l l a t i o n o f th a god fo r th a t saaa n ig h t. Ha s e a ts h i a e e l f u nder an a rc h In th a background and o rd e rs th a s la v e s to e x tin g u is h th a to rc h e s so th a t ha s i t e unseen In th a d a rk n e ss. How th a J a i l e r s appear w ith th a p r is o n e r , and to th a f l i c k e rin g dance o f to r c h lig h ts and shadows th a u n reco g n ised god Is to rtu re d * At l a s t ha I s l e f t hanging a t th e p o s t, and I t seems to P lla ta th a t e v e ry b le e d in g wound o f th e to r n sk in s t i l l t e s t i f i e s to th a godhead o f t h le c r e a tu r e . Now he f e e ls com pelled to coam it a n o th e r c r u e lty on t h i s god. He goes o v er th e p re p a ra tio n s fo r th e c r u c if ix io n . He w atches a s th e god, b en t under th e g ig a n tic c r o s s , sways through th e m u ltitu d e , and th e n **Plo Stadt. o p . clt., p. 170. 115 ha sees how th a a a r th tu rn s s i n i s t e r , th re a te n in g , •a p tjr, and w ithout ho pa. V lth h la a tte n d a n ts ha rltfa s through th i s d is fig u re d w orld and In th a darkness a l most ru n s In to th o c ro s s . Ha g a te s a t th a nailed*down f e a t, th an a t th a body and th a stre tc h e d * o u t arms which a ra w ild ly reach in g fo r th a sky. Only th re e days l a t e r ha h aara th a t th a god has l e f t h la to ab d u rin g th e n ig h t. Than th a fa ce o f P lla tu s becones a landscape o f d e a th , and h is ayes grow c o ld .* * The s to ry d ealo w ith th a c o n fro n ta tio n o f a nan sho stan d s " o u ts id e " o f th a d iv in e word and th e re fo re o u tsid e o f th a t r u t h , w ith God. N oraelly th a ra la an unbrid g eab le chasn between God and sun In t h i s s t a te o f " o u tsld e * n e s s." But th is once, through th a appearance o f th a Son o f God, th a God-becone-Man, t h i s chasn Is b rid g e d . P lla ta la th a f i r s t and th a only ona aaong th a pagans who knows th a t Jesu s Is a god. B ut, b ein g a Koasn and a pagan, ha ex p ects th la god to a s s a r t h la s e lf Ilk a a tr a d it io n a l god, through powar, d re ad , n a g lc , blood and th u n d er. To h l a , th a "nan o u ts id e ," t h i s h u a e n la a tlo n o f God saans a v ic io u s ru se through which God weans to provoke h la . God, th a ln carn a- *8Ibld. . pp. 170-19J 116 tlo n o f power and o f auprenecy In a c tio n , a p p e a r• b a fo ra P lla ta w ith th a n le n o f u n c o n d itio n a l e u b n le a lo n , w ith th a 49 fa ca o f h u n l l l t y , th a t p e c u lia r ly C h rla tla n fo ra o f courage which P ila ta w i l l navar comprehend. So ha re c o g - n lte a in th a ayaa o f th a nan dragged b a fo ra h la th a god, but th a t e r r i b l e n o n -re a la ta n c e , th ia h o l d l n g - a t l ll o f Cod confuaaa h ln , th a nan o f a c tio n , who e x p e cta Cod to n e n l- f a s t H ln a a lf by a c tio n . T h e re fo re ha th ln k e ha can fo rc e God to a c t by a u b ja c tln g Hin to c r u e l f la g e ll a t i o n . Aa ho w atchea th a t o r t u r e , th e re la a new d la a p p o ln tn a n t f o r h la : th a god c o lla p a e a under th e laeh ea o f th a la g lo n n a lra a * -a n d y e t, fro n ev ery wound and every b ru ia e e n a n a te a , in th e eyea o f P i l a t e , th e godhead. T hia god apeaka in th a a l ie n e e o f a b e a te n body and ta lk e to h la o u t o f ln n u n era b le wounda. P re c la e ly th ia la fo r P i l a t e , th a “o u te ld e r ," th a u l t l n e t e h o rro r. And ao , in th e p u ra u lt o f n o n atro u e lo g ic a l con- a la te n c y , P i la te n u a t do th e u l t l n a t e . P i ll e d w ith c e r t a i n t y th a t t h ia la God, ha o rd e ra Kin to be c r u c if ie d . He n u at do th ia b ecau ae, in h la h e a r t , he la convinced o f th e 4 9 H u n llity , ln G ernen, la '1>onut," D e-nut, Which la fo r D ttrre n n a tt, aa fo r th e e a r ly Chr l e t la n e , th e h lg h e e t fo r a o f “N u t," o r cou rag e. 117 power o f Cod to c o u n te ra c t any th in g and to d em onstrate His om nipotence by d e a d s--b u t n o th in g happens. At le a s t n o th ing In th e sense o f P i l a t e p fo r th e t r u t h o f God le d i f f e r e n t from th e tr u th o f one untouched by D ivine G race. So, when P ila te r id e s up to G olgotha, th e dead god hangs on th e c ro ss! g o t empty mas th e c r o s s , as ha ex p ected , n o r , aa he a l t e r n a te ly b e lie v e d , "was th e god h im se lf le a n in g a g a in s t I t , naked and b e a u tif u l, lau g h in g lo u d ly , re a d y to te a r to p la c e s him ih o now approached.**90 T his was th e absurd paradox which T e r tu llla n w rote a b o u t!9* Only a f t e r th e d e a th o f God, a f t e r a l l was o v e r, was th a tomb found empty. The sphere o f a c tio n fo r God was where P i l a te could no lo n g er conceive a c tio n , and th e a c tio n Which He to o k In th e p resence o f P ila te was Incom prehensible to t h i s " o u t sider.** Now P ila te was th e most w retched o f a l l , f o r God had e le c te d him t o re c e iv e Him, and he had f a i l e d .9* And so h is fa c e , as seen by th e slav e sta n d in g b esid e him , was "Ismmnse as a landscape o f d ea th sp read o u t, sallo w In th e 3< b l o S ta d t. p. 192. 9l S u p ra. p. 11. **Noues W ln te rth u ra r T a x b la tt. XL (F ebruary 18, 195)). 1 1 0 a a r ly lig h t o f th a w om lng, and whan th a two ayaa opanad, th a y wara co ld ."* * Tha d a a c rlp tlo n o f P i l a ta 'a r td a to G olgotha a f ta r th a c ru c ifix io n la g tn u ln o , g ro t•a q u a , 2 0 -k a ra t D ttrranw att h o rro r: Tha a tr a a ta o f th a c ity wara d a a a rta d , aunk In to a daatro y ad a a r th , ovar which I n a r a d a aky th a t waa n a lth a r day nor n ig h t. Tha facaa o f h la a tta n d a n ta wara aallo w . and th a halw ata a a t Ilk a a n a ll houaaa on th a b ald haada In which th a ayaa wara w ith o u t l i g h t. A lao, ha waa ahockad d ia n ha aaw h la handa, fo r thay wara Ilk a a lla n ap ld ara who g rlppad th a ra ln a o f h la h o ra a . Thay roda out o f th a c i t y toward th a h i l l on which th a croaaaa atood. Thay paaaad paopla who crouchad w ith t h a l r knaaa pul la d up a g a ln a t t h a l r ch a ata by th a way- ald a and u tta r a d aanaalaaa worda lou d ly and ra p id ly . Sowa thraw thaw aalvaa In th a path o f th a ho raaa, but w ithout acraaaia, wharaupon th ay wara atowpad to placaa by th a hoovaa and l a f t Whara th ay f a l l . Tha p a la tra a a wara anappad In th a w lddla, and th a o llv a a wara to m to ahrada. Tha toaba In th a c l i f f a wara wlda opan, ao th a t corpaaa wara hanging o u t and Ivory ak a la to n handa wara waving Ilk a fla g a In th a w llky a i r . Hordaa o f la p a ra awayad toward thaw in fla p p in g capaa Ilk a b lack b ird a , and th a l r vo lcaa w aftad ovar ilk a a h r l l i w h la tla a . Tha p ath aacandad th a ro c k a. I t waa covarad w ith anaahad au lcld aa who had thrown thaw- aalvaa frow th a c i l f f a abova. . . Cowparad to t h i a , any attaw p t o f Hollywood to con voy th a a p o c a ly p tic h o rro r o f th a t day In w u ltl-w llllo n **Pla Stadt. o p . clt.. p. 103. 54Ibld.. pp. 191-92. 119 d o lla r a p a c ta c la a , such a t Tha lo b # . Tha Kina o f K lnaa. o r Tha O ra ataat S to ry t v r T old. i « « u Ilk a L l t t l a Woman. P olIvanna, o r L l t t l a Had M d ln a Wood, and th a c h l l l l a a t c h l l l a o f Poa and Stavanaon aana Ilk a p laaa an t b a d tla a a to rla a fo r l l t t l a to ta . Tha only h o rro r a to rla a w hich, to th ia ra a a a rc h a r, c o m avan clo aa to DUrranmatt ara thoaa o f Guatav Hayrlhk In Daa Pautachan S o laaaara Wundarhora. 55 In an ap llo g u a to Dla S ta d t. DUrranmatt h lm aalf glvaa th a m otlva fo r w ritin g th aaa a to rla a and h la own a v a lu a tlo n : 1 t r i a d a t th a t tlm a, a f t a r I had anjoyad ny- a a lf only p l c t o r l a l l y , aa a ak a tc h ar (a not Inconald- a ra b la dangar fo r a a ) , to atudy phlloaophy, a p ar- hapa atrang* way o u t, but th a ra waa no o th a r opan to aa I f I wantad to put aoaa d la ta n c a , avan I f a ab o rt ona a t f l r a t , batwaan aa and th a graphic which poaaaaaad a a , a d la ta n c a In which I could a t la a a t b ra ath a a l l t t l a . Tha p o in t waa, aa I t w ara, to ovarcoaa an a l l to o pow arful a ttr a c tio n . So I t la n o t hard to racogniaa th a t behind "Tha C ity " atanda P la to 'a p arab la of th a cava. Thia proaa la not to ba av a lu atad aa an attam p t to t a l l aoma a o rta o f a to r la a , b u t aa a nacaaaary attam pt to fig h t aomathing out w ith n y a a lf o r , aa t n ig h t p ar- hapa b a t t a r aay poat fa c tu n , to angaga In a J t a t t l a which could hava naanlng only I f I lo a t I t . 5® 55A t i t l a Which la w a ll-n lg h u n tra n a la ta b la , u n laaa I t ba "Tha Carman P a th a a d 'a V ondar-C ornucopia." Stadt. op. clt., pp. 197-98. 1 2 0 Thl> • v a lu a tio n o f P i t S ta d t aa n o th in g nor# th a n a th e ra p e u tic e x a rc Is a i i t a a e n t i r e l y to o a o d t i t . Ona a la o eu ep acte th a t i t ia n o t q u ite h o n a a t: an a u th o r tAto th in k s ao l l t t l a o f a work o f h ia would n o t hava a u th o rls a d a now e d i t i o n , aavan y ea rs a f t a r th a f i r a t ona o f 1952t a t a t i n e whan ha a lre a d y had bacona ao a u c eaaa fu l t h a t fin a n c i a l raaaona could h a rd ly hava a n ta ra d in to i t . In s h o r t. I t aaana to ha a b i t o f o v a r-n o d a st a p r o n -tv la tin g . g a lth a r can ona ag raa w ith th a guahy a d u la tio n o f ■ ro ck -S u laar who aaaa n o th in g h u t suprane n astarw o rk s h a ra . Tha t r u t h , aa u a u a l, probably l l a a aoaawhara in th a n ld d la . T hia rev iew er fra n k ly confaaaaa to a g ro a t la c k o f a f f i n i t y fo r a l l but th a la a t two a t o r la a , **lho Tunnel" and " P l- l a t a , " which r o a lly a re n a a ta r f u l. I t la c e r ta in ly no a c c id e n t th a t th a te c h n ic a lly b e a t and n o at n a tu re o f th e n in e a to r la a la *1tia T u n n e l," w hich waa added wuch l a t e r , in 1932, " f o r th e aaka o f c o n p le ta n a sa o f th ia v o lu n a ." Tha e a r l i e r a to r la a have a d l a t l n c t K afka-aaqua fla v o r and a fo rc e d , o o lf-c o n a c lo u a kind o f a x p ra s s lo n le n which re n d ered th a n r a th e r u n p a la ta b le to th e p ro aan t w r i t e r , n ev er a g ro a t fan avan o f th a *9flaatar" Kafka h ln - a a l f . Ona a la o cannot h e lp a c e r t a i n quaaay fo a lin g th a t aona o f th a a a co n fid en cea b elong no ra on th a a n a ly s t* a 1 2 1 couch th an batwaan tha covers o f a book fo r tdiich th a ra a d a r la expected to pay hard -earn ed money. f o r a w rite r W ho h as sa id " I hava no biography" and Is ao je a lo u s of h is p riv a c y , some o f th asa th in g s i t t a e a b e rra ssin g ly re v e a lin g . lh a b ald n ass and u t t a r coldnass o f th a f i r s t s to r- la s m an ifests l t s a l f a ls o in th a languaga. Says a ra v la v a r in P la Weltwochat P rin c ip a l c la u sa s o f no more th an fiv a words chasa aach o th a r S ara in a m alevolent s ta c c a to ; to th a in f in I ta ly r ic h shading of th a r a a l l t y o f human U f a th is b l t t a r l y u n ju st languaga doas v io len ce . For th a saks o f im p a r tia llty . however, fav o rab la comments a u st a ls o ba ra p o rts d : Tha fig h t to which th asa words (o f D U rranm att's on paga 119) r a f a r a u s t ba l n ta l la c tu a ll y under stood as a r a llg lo u s dabata and a ta k in g sto ck o f th a p ra s a n t, which ex p resses l t s a l f in p a ra b la s of awasoas in c is lv a n a s s . h ard n a ss. and daap hiddan s lg n lflc a n c a . . . lh a r a a ra unm istakably r a llg lo u s p a ra b la s (" lh a T o r tu r a r 's H a lp a r." "The T u n n el"), . . . but th a ra llg lo u s th a a s Is tr a a ta d tr a g ic a lly throughout . . . lh a fig h t o f th asa akatchas Is a ls o a w ra s tlin g fo r an a x p rasslo n In words o f th a a n o ra ity o f what is happening In th a w orld to d ay , and th i s aakas i t som ething e x tra o rd in a ry .98 **Georg C a rs ta r. "DUrranmatt; Prosa I-IV ," Die Waltwocha. X X (December 12, 1952), 3. **U altar Muschg, "X rsfttlungen von F rie d ric h DUrren* m a tt," E a sie r M achrlchten. Dacaa ba r 12, 1952. 1 2 2 A r e a lly f a i r e v a lu a tio n i t probably th a co n tin u a tio n o f tha Bane P la Meltwocha review which waa c ite d on paga 121: Tha book la an a tta n a l a t n lh llla n . an a tte n p t to experience p o a tlc a lly th a p o a a lb llltla a o f th a abyaa and to p o a tla a o n a a a lf In to th a v o id . But I t la a daad and, an a t te n e t which f a i l e d . Tha axe I t In f th in g about tn la volune la th a t D N rreonatt a ta r ta aa a would-be but a b o rtiv e n l h l l l a t . . . lh a nountlng Inner tan alo o which coonunlcatea I t - a a lf to th a ra a d a r aa ha progreaaea, can ba a t t r i b u ted to th a f a c t th a t a c o n a la te n t n l h lll a n would hava to and In apeechleeaneae, wharaaa D ttrrennett becone* wore eloquent fro n page to page, and h la proae nora g ra a p a b la . . . . Tha g ate In to th a abyaa beconaa th e re fo re , w h ile th a languaga o f U f a bloaaona, nora and nora d i f f i c u l t and atre n u - oua--and th a ra a d a r la l e f t a t th a and o f th a book w ith tha f e e lin g o f an tnpendlng ex p lo alo n .* 9 And, f i n a l l y , an e n th u a la a tlc ap p ro v al: . . . ha glvaa h ln a a lf over to d raan v lalo n a and a trld a a w ith au rar atap th a n a tig h tro p e - w alker batw aan draan and r e a l i t y ; h la flg u re a haunt ua Ilk a a n lr r o r o f our t i n t and I t a aeenlng- ly unradaanabla a p llta and t a a r a . “The g re a t advanturaa o f Mankind" a re what f l l l a and nova a th ia p o et, a a a r and aketch a r t l a t , and D ttrre m a tt need not n a n tIo n Hleronynua lo a c h , th e " e n lg n a tlc p a in te r ," In o rd er to d e p ic t and c h a ra c ta rla a h ln a a lf and h la Danteeque Ideaa and a tta c k a . Batwaan God aa rew ard and God aa t h r e a t, M lrre n n e tt'a f ig ure* a tr ld a • . . fad by a tra n g e llg h te and dark- naaaaa. So ln ta n a lv a ly d eacrlb ed and p a in te d a re th ay th a t th a p ic tu re fo rg e r, th a dog, th a th e a te r d ire c to r and th a g u illo tin e d head, th a to rtu re r* a h e lp e r and th a inprlaoned p rleo n guard, th a death - **Cerater, o p . clt.. p. 5 (Itallca auppllad). 123 eeeker and th a O m ond-B raeli 10 In th a tu n n a l aa w all aa P lla ta w ill navar fade out o f our wind and aanaaa. Ona way raad DUrranmatt*a d le q u la tln g ta la a w ith a ra la a d a r a and a h la Id , ao aa n o t to ba a tru c k down by t h a l r impact and fu lln e e e , b u t ona w ill not aacapa th a a p lr lta which thay co n ju re up. . . . P rla d ric h D U rranm att'a ona hundred and e ig h ty -th re e pagea o f proaa w ith which ona aay q u a rre l In aowe placea . . . eq u ate volumea o f contem porary l i t e r a t u r e . Va a ra looking forw ard to th a day whan th ia D ttrre ittatt w ill clim b th a m ountain o f p u r if ic a tio n . Tha So-C alled "D etectiv e S to rlq a ” DUrranmatt*a a o -c a lle d " d e te c tiv a a to rla a " belong to th a eam ll--v ery em ail*-group o f l l t e r a r l l y v a lu a b le and enduring a to rla a d e a lin g w ith c r im in a lity , from S c h l l l e r 'e Vorbrochor aua v a rlo ra n a r Ih ra (Tha C rim inal bacauaa o f Loat Honor) and th a rom antic ta la a o f E* T. A. Hoffmann to Foe to modem w rlte ra Ilk a 0 . K. C h aaterto n and Graham G reene. 'Ite re a poet haa not only made th a d e te c tiv e e to ry worthy o f being claaaed aa l i t e r a t u r e , but haa a la o proved h lm aelf a poet In doing I t , " waa th a judgment o f £££ T aaaaaplaaal In B e rlin .61 W hy d id ha w rite themT In th a f l r a t p lace thay wara w ritte n to o rd er fo r th a Schw alaar Beobachtqr (Tha 6°Thuraauar V o lk aaaltu n e. Ho. 301, December 29, 1932. 61<)uoted on book Jack eta o f Par E lc h te r und gain Hunker and P ar V erdacht. 1 2 * Swiss O bsarvar, i w ag*tins) fttr d*F rink11 (" fo r th s fra n c s," l . s . , fo r s o m y ), s s ha q u it* opanly a A iltc a d , Hs c a lla d lc th s only sx c lu s lv a ly broad-w inning, Journayasn typo of w ritin g hs had ovar dons, and B rock-S ultor rs p o rta a c a r ta In aau saasn t o f h is about t h i s kind o f w ritin g " in to th s b lu a ," fro * ona ao n th ly la bus o f th s aag asln a to th s nsxt ona.^* I t a ssss th a t hs was g la d , a la o s t ch u ck lin g to h la - s s l f , about b sln g f r s a , undsr th s cap o f i n v i s i b i l i t y of th s d s ts c tlv s s to ry , froai th s pinch*fscad p sd an try o f l l t s r a r y p u n d its, tn f a c t , hs saya as auch in h is P ro b ls a s ; Ths d stands which a s s th s tlc s aaks on th s a r t i s t ara aoun tln g fro a day to day; sv sry th in g is a ia a d a t th s u l t la a t a in f in is h ; p s rfs c tlo n is dsaandsd o f h la (th s a r t i s t ] , and t h i s p s rfs c tlo n la l n t s r - p rs ts d in to th s c la s s ic s . Ons suppossd s ts p down o r back, and th s a r t i s t is droppsd. Thus a c l l a a t a la producsd in which l l t s r a t u r s can only ba a tu d * isd b u t no lo n g sr bs e ra s to d . How th s a r t i s t can s x ls t in a world f u l l o f ad u catlo n and o f l l t s r a t s p so p ls. Is a q u aa tio n th a t o p p rsssss aa and to which I hava no answ sr y s t. N ih a p s b a st by w r it ing d s ts c tlv s s t o r l s s , by b rin g in g fo rth a r t w hsrs no ons su sp sc ts any. L lts r a tu r s a u s t bscoas so lig h t th a t I t no lo n g sr w slghs anything on th s b alan cs s e a ls o f to d a y 's l l t s r a r y c r l t l c l a a : only th u s w ill I t ag ain bscoas waighty.®* **Brock-Sultar, on. cit.. pp. 92-93. 63flis a ta rp ro b ls n s . op. c i t . . pp. 3 9 -6 0 .( i t a l i c s s u p p l l s d ) .T h e d lf f s r s n c s batwaan th s "o ld " Kuropsan c o u n trls s w hsrs ad u catlo n i s a lrs a d y f a i t as a p a ra ly s in g . 125 The paradox o f th a t l a s t aantanca la a ty p ic a l D U rre n a e ttlsa and e x p la in s why th a a u th o r put ao auch w eight and v a lu e In to h la d e te c tiv e s t o r i e s . A lso, aaong th e v a r i e t i e s o f n a r r a tiv e p ro se , th e d e te c tiv e novel In I t s h e ig h te n in g o f e f f e c t s Is c lo s e s t to th e d ra a s , w hich la D ttrre n a a tt's v ery own f i e l d . The n e c e s s a r ily t i g h t l y c o n s tru c te d p lo t o f th e d e te c tiv e s to ry has a c lo s e r e l a tio n to th e d r a a a tlc tech n iq u e and was fo r th a t re aso n con g e n ia l to D ttrre n a a tt.^ * P er R ic h te r und s e ln Hanker (The J u d y and H is E x ecu tio n er! w r itte n In 1950 PLOT SlMfARY: A p o lic e d e te c tiv e has been found a u rd e re d . P o lic e C o u a lsslo n e r B k rlsch , an o ld , s ic k c r la ln o lo g ls t c lo s e to r e t l r e s u n t , and h i s a a b ltlo u s a s s i s t a n t L ie u te n a n t Tachans ta k e ov er th e c a s e . The c lu e s le a d to an e x tre a e ly I n f lu e n tia l and re sp e c te d In d iv id u a l, a c e r t a in H r. G aetaann. But fro a 'h ig h e r up" c o a ss th e o rd e r to leav e H r. C astaenn a lo n e , la a a - d e g e n e ra tiv e In flu e n c e , and a younger c o u n try lik e th e U nited S ta te s where th e re Is s t i l l an u n s o p h is tic a te d y ea rn in g fo r a o re and a o re le a r n in g , Is s y a p to a a tlc and w orthy o f s o c io lo g ic a l stu d y . ^Brock-Sulser, o p . cit.. p. 99. 126 d la ta ly th a r a a f ta r , C citM nn pays g lr la c h an unaxpactad n o c tu rn a l v l a l t . W a fin d out th a t th ay hava known aach o th a r fo r a Ion* t i a a . F o rty y aara bafora G aat- aann had b a t SMrlach th a t ha could c o a a lt a c r la a In broad d a y lig h t In h la praaanca which BMrlach would not ba a b la to prova-*and Caataann had won h la b a t. In th aaa fo rty y aars C aataann, through aany aora c r ia a a , haa bacoaa ric h and ra a p a c ta d . B irlach la an o ld , alc k aan . Thia aay ba h la la a t o p p o rtu n ity to " n a il" C aataann. Ha purauaa th a a u rd a r caaa a lowly and oath* o d lc a lly . To h la aag ar a a a la ta n t ha g lv aa fra a r a in and la ta h la looaa on C aataann. Tachana, th a a a a la ta n t, a n ta ra C aataan n 'a houaa and k l l l a h la and h la b o d y guarda In a h a ll o f b u lla ta . E varythlng a ta a i to ba c la a ra d up now, though a c tu a lly I t haa navar baan prov an th a t C aataann k l l la d th a p o llc a d a ta c tlv a In th a f l r a t p la c a . But lH rlach haa p ro o fa, not a g a ln a t C aat aann, b u t ag a ln a t h la own o v ar* aab ltlo u a a a a la ta n t, T achant, who had aurd arad h la co llaag u a out o f Jaalo u ay . B krlach knaw fro a th a bag Inning d io th a g u ilty ona waa, but w altad In o rd a r to uaa Tachana, f a ta * Ilk a , a g a ln a t h la o ld anaay, C aataann, ao th a t thay brought aach 127 o th e r to Judgm ent, "b o a st a g a in s t beast."® * Tha c a n tr a l problem is th a d ls p u ta batw aan th a c rim in o lo g is t B irla c h and h is re s o u rc e fu l opponent, C ast- menn. B V rlach's t h a s l s I s : . . * th a t wa can navar p ro d le t w ith c e r ta in ty th a soda o f a c tio n o f o th a rs and t h a t , fu rth e rm o re , wa can navar b u ild chanca, which playa a p a rt In e v e ry th in g , In to o u r th in k in g ; th a t la th e re aso n why, o f n e c e s s ity , s o s t c r is e s cose to l i g h t . To commit a c r la a Is a s tu p id ity , because I t Is la - p o s s ib le .to o p e ra te w ith huaan b ein g s a s w ith ch ess f ig u r e s . T his Is a r e s ta ta a a n t o f th a a n ti* r a tio n a l paradox o f K ierkegaard and H eidegger,** an I n te r e s tin g view point fo r a c rim in o lo g is t who, by a l l odds, ought to ba a b e lie v e r In Iro n c la d lo g ic and re a so n . " iK rla c h ," w rite s B ro c k -S u lse r, " la th e fra n k opponant o f SKxJem c r im in a lis tic sclan c e--w h ic h Is u n d e rsta n d a b le , as ha owes h is e x is te n c e to th a opponant o f modem l i t e r a r y s c i e n c e . A s a sam p le o f B ro c k -S u ls e r's fem inine lo g ic t h i s may be a b i t f a u lty , b u t th e Idea u n d ern eath I t Is sound. * *Der K lc h te r und s a in Hanker (2nd a d .; B ln sle d e ln : B en slg er V erlag , 1957 ^ I b l d . . p. 79. * *S upta. p. 12. *®Brock-Sulaer, o p . cit.. p. 93. 1 2 8 C ta tM im 'i c o n te n tio n I t : . . . th a t th a v ary co n fu sio n o f tw ain r e l a tio n * makes i t p o t a Lb la t o commit crim es which cannot ba re c o g n ise d , and th a t f o r t h ia re a so n th a by T ar g ra a ta a t nueber o f c r is e s r ana In n o t only u npunished, b u t a ls o unknown because com m itted c la n d e s tin e ly .69 C ast sunn i s an example o f D U rranm att's " a rc h e ty p e s ," th e s u c c e s s fu l c rim in a l who ac h ie v es fane and f o r tu n e by com m itting u n d e te c te d c r ln e s , fo llo w in g th e o ld C a n a a p ro v a rb , a i . h »<m « P l . h . h llaat a a n . d la aro aaan U a a t a a n U u f .n ( 'l h a l i t t l e th ie v e s th ey hang, th e b ig ones th e y l e t g o " ). He have a n t t h i s ty p e In to tn e n te l o f "The P ic tu re o f S isyphus" and s h a ll n e a t I t a g a in In th e next d e te c tiv e s to r y , The S u sp ic io n , and In fiv e out o f fo u rte e n d ram atic w orks. Only w h ile In th e l a t t e r works th e Im m orallty o f th e ric h and famous rem ains unpunished and v ic to r io u s , In th e s e d e te c tiv e s t o r ie s th e v i l l a i n s , as a l l good v i l l a i n s In d e te c tiv e s t o r i e s sh o u ld , g e t t h e i r J u s t d e s e r ts . In D Urranm att*s "w hodunits" th e h e ro e s a re more judges th an d e te c tiv e s , b u t punishm ent alw ays comes from somew h e re e l s e , a s an a c t o f Ood. Says BUrlach to C ast- mann: *9Psr tlc h ta r . op. c i t .. p. 79. 129 1 d id not aucceed In c o n v ic tin g you o f th a c r ln e you d id coaaalt, ao now 1 aha 11 c o n v ic t you o f ona Which you d i d n 't c o n n lt. 1 m m th a o n ly ona who knowa you, and ao 1 a a a la o th a only ona who can Judga you. 1 hava Judged you, C aataann, 1 hava condaanad you to d e a th . You w ill n o t au rv lv a th ia day. Tha axacu- tlo n a r whon I hava a a la c ta d w i ll coaa to you to d ay . Ha w ill k i l l you, bacauaa t h i a , In th a nmm o f Cod, a u a t ba dona aoaa t i n e . 70 To h a a r th a naaa o f Cod lnvokad in a w hodunit la r a th a r u n u a u a l, to aay th a l a a a t. And a f t a r Tachana, th a to o l o f th a o ld c o a a la a lo n a r and h la " e x e c u tio n e r," haa k l l la d C aataann, gH rlach aay a to h la , "X took you, you th a a u rd e r- a r , and changad you In to ay a o a t t a r r l b l a waapon, fo r you w ara d rIv a n by d a a p a lr; th a a u rd a ra r had to fin d a n o th a r K ird.r.r."7 1 I t la a v ld a n t th a t wa hava long ago p la rc a d th a aha1low to p a o ll o f a a la p la copa*and-robbera a to ry and hava raach ad th a badrock o f Old T aataaan t J u a tlc a —o f c r la a and p u n lah n an t, g u i l t and e x p ia tio n . Tha v a ry nanaa o f th a c h a ra c ta r a a ra a y n b o llc : lH rla c h , th a o ld c o n n la a lo n a r, atan d a fo r an o ld , t l r a d but a t l l l pow erful b k r (b a a r) who can k i l l When ha n u a t; th a b a a r la a la o th a h e r a ld ic aywbol 70IblJ.■ pp. 121*22 (Italic, alna). TlIbl<l.. p. U l . 130 o f th e c ity o f to m , th« c a p ita l o f th a Kant on o f Barn and o f S w itzerlan d , and ao a iy naan o rd e r, J u a tlc e , and rig h t* aouanaa a* C aataann an ana “gueat a a n " --in o th a r worda, ha la a a n w ith o u t a c o u n try , an in te r n a tio n a l crook and aw ln d lar, an o u t a ld e r tdio la only a gueat In S w itzerland and alau e ee th ia p riv ile g e . Tachana way ba d eriv ed froai th a d ia l e c t a l Swlae-Carwan word Schan«*Knocha. which aeana ona o f uim holeaoaa a n b ltlo n who w ill work h la a e lf to death to becoaa head o f h la c la a a and ta a c h a r 'a p a t. In o rd e r to ahow th a t h a re , to o , th a aro ta aau a la not n e g le c te d , th a b u r ia l acena w ill ba tra n e le te d * * w lth th a p re d ic tio n th a t I t w ill becona a c la a a lc o f th a gro- taaqua In an th o lo g lea hundrtda o f yaara hence (provided th e re w ill be an th o lo g lea and people to read then th e n , which eeaaa d o u b tfu l a t th a a o a a n t): Ha looked ovar to th a o th a r a who atood around th e g ra v e, a l l p o llc a a a n , a l l In c l w l e a , a l l w ith th e aana ra in c o a ta , w ith th e a awe a t I f f black h a te , u u b re lla a In hand Ilk a a a b re e * * fa n ta a tlc death -w etch era blown In fro a aoaaw hare, u n re a l In t h a l r bonhoale. And behind th e n . In ataggered rowa, th e c i t y band, h a a tlly ai— nnad to g e th e r. In re d -b la c k uniform a, d e a p e ra te ly try in g to a h le ld t h a l r yellow ln a tru a a n ta under t h e i r o v erco ata. Thue they a l l atood around th a c o f fin which lay th e r e , a box o f wood, w ithout w reath , w ithout flo w era, y e t n av e rth a le a a th e only w ara, cosy th in g In th ia Inceaaant r a in th a t f e l l w ith u n i form a p la a h , ao re and a » re , ad I n f ln ltu a . The p a a to r had long ago etopped apeaking. No one 131 n o tic e d I t . Only th e r a in m i t h i n , only th e r a in could bo h o ard . Tho p a a to r coughod. Onco. Than ao v o ral tlja a a . Thon th o baaaoonaf tho tu b a s , tho E n g lish h o rn s, th o c o rn o to , th o oboos how led, proudly and s o lo a n ly , (la s h in g y e llo w -lig h tn in g through th o r a in flo o d s ; b u t th an ovon thoy sub- norgod, w afted away, gavo I t up. A ll c ro p t undor th o u a h r e lla s , th o o v o rc o ata. I t ra in o d h a rd e r and h a rd e r. The shoos sank deep in to th o s o d , and w ater lik e r iv e r s s tre a a s d In to th o en p ty g ra v e. L uts (th o c h ie f o f p o lic e ) bowed and stopped f o r w ard. M o looked a t th o wot c o f f in and bowed a g a in . "Mon," ho s a id sonowhoro through th o r a i n , a la o s t In a u d ib le through th o v e i l s o f w a te r, "n en , our coarade Schwled i s no ■ o re ." At th a t p o in t ho was In te rru p te d by w ild , raucous s in g in g : "The d e v il goes 'ro u n d , The d e v il goes 'ro u n d , Ho b o a ts a l l th o people crooked . . . 7Z two non In b lack t a i l s c a n t t o t t e r i n g over th o c e n o te ry . W ithout u n b re lla s and o v e rc o a ts , th o y ware w ith o u t p ro te c tio n fro a th o r a in . T h eir c lo th e s woro c lin g in g to t h o i r b o d ie s. On t h e i r heads th ey both had to p h a ts fro a which th e w a te r ra n down over t h e i r fa c e s . They c a r r ie d a g ig a n tic g reen la u r e l w re a th , Whose rib b o n hung down to th e ground and waa d ra g g in g over I t . They were two b r u ta l , g ig a n tic o a f s , b u tc h e rs in t a i l s , drunk a s could b e , always c lo s e to f a l l i n g , b u t sin c e th e y never stu n b lo d a t th e saae t l a s , th ey could s t i l l hold on to th e la u r e l w reath betw een th e n , Which bobbed up and down lik e a found erin g sh ip . Now th ey Intoned a new song: "The a l l l e r ' s w if e 's husband is d ead , The s i l l i e r 's w ife l i v e s , she liv e s . The s illle r 'a w ife a a r r le s th e h ired aan, The B i l l e r ' s w ife liv e s It up, liv e s I t up. 72l h i s , as a ls o th e second d i t t y . Is an o ld Bernese f o lk song. 132 They ra n coward tho crowd o f a o u rn e ra , plunged In to thaw • . . w ith o u t anyone h in d e rin g th e a , fo r a l l were aa I f p e t r i f i e d , and a lre a d y th e y tu n b led away through th e wet g r a ta , eu p p o rtln g each o th e r , c lu tc h in g each o th e r , f a l l i n g over b u r ia l aounda, knocking down cro aaea In c o lo a a a l drunkenneaa. T h e ir a ln g ln g ebbed away In th e r a in , and e v e ry th in g waa covered up a g a in . "E verything p e a te a , E very th in g coaea to an end . . waa th e la a t aound o f th e a th a t co u ld be h ea rd . Only th e w reath lay th e r e , thrown down over th e c o f f i n , and on th e e o lle d rib b o n w ere. In h a l f - w aahed-out b la c k l e t t e r a , th e w orde, "To our d e a r D octor P r a n t l ." ’ ’ g u t when th e people around th e grave had reco v ered fro a t h e i r c o n a ta rn a tio n and were about to be o u trag e d by th e in c id e n t, and when th e c i t y band. In o rd e r to aave th e a o le a n lty o f th e o cc aalo n , a ta r te d d e a p e ra te ly to blow a g a in , th e r a in aounted to auch a a to r a , w hipping th e Ib ex ea, th a t a l l fle d away fro a th e g ra v e , where alone th e g ra v e -d lg g e ra rem ained, b la c k acarecrow a In th e how ling o f th e w lnde. In th e p a tt e r o f th e c lo u d b u ra te , engaged in f i n a l l y low ering th e c o f f in . Thia paaaage la a v e r ita b le p o tp o u rri, a t u t t i - f r u t t i o f g ro te e q u e rle , fro a th e b la a r r e , w e ird , aa c a b re to th e lu d lc ro u a , u aln g a l l d e v Ic e a , fro a t h a t o f d la o ro p o r- tio n (th e drunken g ia n ta ) to r l a l d l t v (p h y a lc a l and a e n ta l I n a b il i t y o f th e p e t r i f i e d a o u m e ra to cope w ith th e c r u e l Joke on th e aaauaed naae under which th e dead p o lic e o f f i c e r had conducted th e In v e a tlg a tlo n which le d to h la d e a th . tlchtor. op. cit.. pp. 72-74. 133 In te rru p tio n ) to M u ltip lic atio n (In coatuM , a ttitu d e , posture of th a Mourners) to Incongruity (collapsed l o l t e * n ity ) . P a r V erdacht (The S u sp icio n ! w r itte n In 1931 Though th a la a s t u n ifie d and accow pllshed o f OUr- re n sM tt1s th re e d e te c tiv e a to r la a , I t l a , a tra n g e ly enough* th e only one which haa been p u b llah ed In E n g lish .^ * PLOT SUMtARY: Again o ld P o lic e C o w la a lo n e r BMr- lech la th e p ro ta g o n la t, and ag a in th e a e ttln g , aa In a ln o a t a l l o f D drreraaatt* a w ork, la S w ltte rla n d . The o ld awn la ly in g , n ear d ea th fro * can cer o f th e ato n ach , In a Bern h o a p lta l. In an o ld laaoe o f L ife he aeea th e p ic tu r e o f an Infaooua Neal d o c to r, whose s p e c ia lty I t waa to o p e ra te on c o n c e n tra tio n caap ln a a te a w ith o u t a n e s th e s ia . Through a owe In g e n i ous s le u th in g fro n h la h o s p ita l b ed , BMrlach cooes to auapect th a t th e M onster d o c to r la a Swiss naaad h w e n - b e rg e r and la n o t dead, a s waa g e n e ra lly b e lie v e d , but o p e ra te s an ax penslve p riv a te c l i n i c n e a r Z u rich . Under **The Q uarry (New Y ork: New York G raphic S o c ie ty , 1962). m an a iiu M d n u t , B lrla c h M n i |i i to be ad m itted to th ia c l i n i c aa a p a tie n t. But D r. H a n n b t i i i r , through an u n fo rtu n a te a c c id e n t, uncovera iV rla c h 'a d la g u ia e . Now t h a t th a d e a th ly 111 o ld m m n la In h la power, Banen- b e rg e r r e a d ily adm it a th a t ha la Indeed th e c o n c e n tra tio n caap b u tc h e r. Aa a a p o rtin g g e a tu re , he g lv ee B lrla c h one la a t chance: I f B lrla c h can r e f u te b a i n - b e r g e r 'a p l t l l e e a n lh llle m w ith a u p e rlo r a r g ia m ta baaed on r e li g i o n , M o ra lity , and j u a t l c e , he w i l l go f r e e . I f he c a n n o t, Bam tnberger w i l l o p e ra te h l a to d e a th a t 7:00 th e n ex t a o m ln g . B lrla c h re a a ln a a l - l e n t ; h e lp le a a ly trap p e d In h la locked and b a rre d a lc k - ro o a , he aw ait a h la e x e c u tio n . At th e la a t a ln u te , he la reacued by h la f a i t h f u l o ld f r ie n d , G u lliv e r, a g ig a n tic , m yaterloua Jew and fo ra e r v ic tim o f B a m b e r g e r, who haa k i l l e d th e fie n d le h t o r t u r e r . 76 The c lla a x o f th e whole n o v el—and I t c e r ta in ly la ■ore a d ram atic c lla a x th an an e p ic one—la th a t f i n a l v e rb a l d u el betw een B lrla c h and th e a a ta n lc aurgeon, a f t e r B lrla c h haa c a lle d th e d o c to r a n l h l l l a t . I h le charg e o f n l h l l l a a aeeaa to be fo r D tirrenm ett what th e re d c lo th la 76P e r V erdacht (4 th e d .; B ln a le d e ln : B enalger V er- la g , 1961). 135 fo r th o b u ll. Tho treaen d o u a eloquence which f — n h erg er now u n le a th e a upon th o hoploso cow nlaaloner lo on o u tp o u r ing o f D ttrre n a o tt'a poroonol b ltto m o o s end aarcaew . En- aonborgor ocoroo aodorn aon fo r h lo ovaalveneaa ond fu o o l- noot o f f o lt h . Mowedeya, ho so y a, no ono p ro fe a a e a , oa tho o n c lo n t C h rlo tIo n a onco proudly d id , " I b o llo v o In Ood th o f a th e r , th o Son, ond th a Holy O io a t." Mowedeya pooplo oro a llo n t when thoy o ro eaked about t h o l r f o l t h , lik e o g i r l ahon aho la oakod on o ab o rro aaln g q u o a tIo n . Pooplo oov th o y b o llo v o In ao a o th ln g voguo ond nobuloua llk o * h u a o n lty ," " C h r is ti a n it y ," " to le r a n c e ," " J u s t i c e ," '*lovo o f o n o 'a n o l£ ib o r " - - e ll worda th a t aound • b i t hollow , b u t, thoy orguo, th o vorda do n o t a a t t o r , th o la p o rto n t th in g la " to llv o d o c o n tly ond a c c o rd in g to o n o 'a c o n a c lo n c o ." T hia la what th o y t r y - - p o r t l y by conacloua o f f o r t , p o r tly by a la p ly d r i f t i n g . So, o v o ry th in g thoy d o , dooda and n lo - dooda, o v ll ond good, hoppona by o c c ld o n t, f o l i a In to t h a l r lopa oa In o l o t t e r y : by o cc ld o n t thoy oro good, by o c c l dont thoy bo c o m bod. But oa aoon oa th o y aco n t an y th in g th re a te n in g , th o y o re ready w ith th o b ig word " n i h i l i s t ! " 77 77C f. D tirre n a o tt'a a a te p h o r on pp. 97-9S . 156 Tfcay c l a l a t h a t o m p lu s ona aakaa t h r a a , fo u r, o r n ln a ty - n ln a , and t h a t i t la ran k ln ju a tlc a to l n a l a t th a t ona p lu s ona la two. C l a r it y , aaya ■ ■ e n b e rg e r, dsaanda c h a ra c ta r and s tr e n g th , which th a sa "good pao p la" la c k . Thay hava no ldaa th a t a determ ined c o a a u n lst who ba I lav a a w ith a l l h is so u l in th a n a c a s a lty o f w orld ra v o lu tlo n In o rd a r to ach lav a a b a t t a r w o rld , avan i f I t should c o s t B illio n s o f c o rp s s s , I s auch la s s o f a n i h i l i s t th a n John Doa, Who b a lla v a s n a lth a r in Cod nor in no God, n a lth a r in Naavan n o r in h a l l , b u t o nly in h i s r ig h t to do businoss**and is o n ly to o cow ardly to coaa r ig h t out w ith i t a s h i s c ra d o . So th a sa paopla llv a Ilk a worms in a g ru a l. A ll r i ^ i t th a n , sln c a you hava c a lla d aa a n i h i l i s t (ta u n ts E sn sn b a rg a r), l o t 's p u t our b a ll a f s on th a s c a la s and sao Which ona i s g r a a ta r , th a n i h i l i s t 's o r th a C h r i s t ia n 's . . And b a r s , a t l a s t , is E M an b erg o 's c rad o ; 1 b a lla v a in a a a t t a r which i s , a t th a saaa t i n s , anorgy and mass . . . which doas n o t naad any god (o r w hatavar a ls o you ln v an t to go a lo n g w ith i t ) , whosa o n ly u n fa th o a a b la a y s ta r y i s i t s a x ls ts n c a . And t b a lla v a t h a t 1 a a a p a r t o f t h i s a a t t a r . . , and t h a t ay e x is te n c e g lv aa a s th a r ig h t to do what 1 w ant. As such a p a r t I a a only a m oaant, only an a c e ld a n t, J u s t as U f a in t h i s la a a n sa w orld i s o nly ona o f i t s ia n a a su ra b la p o s s l b l l l - 7 a P a r ¥ a r d a c h t . o p . c i t . . p . 1 6 0 . 137 ( I n . . . H othln* Is sa c re d b u t m a tte r: s i n , a n l- ■ a l i , p la n ts , th a so o n , th a s i l k y way . • . a ra a c c id e n ta l g ro u p in g s, I n e s s e n tia ls Ilk a lo a n o r wavas In w a ta r: i t Is unim portant I f th in g s a ra o r a ra n o t; th a y a r a exchangeable . . . Whan U f a on t h i s p la n a t i s e x tin g u is h e d , I t w i ll b ra a k f o r th somewhere a ls a In spaca on a n o th a r p la n a t. • • . I t Is rid ic u lo u s to give permanence to man, fo r I t w il l alw ays ba o n ly th a I llu s io n o f perm anence; I t Is lu d ic ro u s to Invant system s o f power In o rd e r t o v e g e ta te a t th a head o f a s t a t e o r a church fo r a few y e a rs . I t Is n o n s e n s ic a l, In a w orld which by I t s v ary s tr u c tu r e Is a l o t t e r y , to s t r i v e fo r th a w e ll-b e in g o f man, as I f th e r e av e r w ara a l o t te r y Where everyone won ono c a n t, In ste a d o f ona man w inning I t a l l and most o f th a o th e rs n o th in g . I t Is madness t o b a lla v a In m a tte r and In h u m an ltarlan lsm a t th a same tim e ; ona can ba lla v a o n ly In m a tte r and th a ago. Ih e re I s no J u s t l c e - - f o r how could m a tte r ba " J u i t ”? Thera I s o n ly freedom , w hich cannot ba earn ed (because I t would hava to be mated o u t w ith J u s tle a -- a n d tdto would mate I t o u t? ) , b u t which must ba ta k e n . Freedom Is th s courage to crim e. "A ll r l ^ i t , th a n , show ms your f a ith ,* ' asks E m an- b e rg e r, but B lrla c h does n o t answ er. Enmehberger Is w l ll - ln « to g aab le a l l on t h i s ona throw o f th s d ic e ; I f B lrla c h can prove to him th a t ha has a f a it h In Je su s C h r is t, th a Son o f God, th a t Is s tro n g e r th a n h i s , th a e x e c ra b le mass m u rd e re r's , b e l i e f In m a tte r, ha w il l n o t o n ly l e t B lrla c h go fre e -- h a w i ll avan su rre n d e r h im se lf to him . B lrla c h Is s i l e n t . Bmmenberger low ers th a p r ic e : I f B lrla c h w il l o nly a ffirm h is b e l i e f In J u s tic e and in mankind who Is to 7, Ib ld . . pp. 140*142 i3 a b t served by c h it J u stice* hs s h a ll b s free (and B lr la c h 's freedoa a u to M tlc a lly aaans* o f cou rse, f M snb erger's cap ture and d ea th ). Show m ! A fte r a ll* M n*s f a ith in th e good o u £ it to be a t l e a s t as s tro n g as f a i t h in e v il! Show I t to m ! N othing w ill n u l l m wore than to tr a c e my own Journey to h e l l . But B lrla c h l i e s s i l e n t , h is hands claw ing th a b la n k e t. "Your f a i t h ! " screaau th e d o c to r, "show we your f a i t h ! " No answ er. So B ssnnberger leav es th e roow w ith o u t a n o th e r word* ready to r e tu r n in e x a c tly seven hours* w ith 'I ll s k n iv e s ," to o p e ra te B lrla c h to d e a th . Uhy does D tirren n att M ke t h i s argum ent so one sid ed ? Many g re a t m i t e r s have c re a te d g re a t v i l l a i n s and g iv en th e * som o f t h e i r b e s t lin e s to speak* but none o f th e * have g iv en th e v i l l a i n a l l th e good lin e s and th a h e ro none, e s p e c ia lly when t h i s h ero i s a ls o p h y s ic a lly h o rs de cow bet. Why does B lrla c h not answer* when i t would have been so easy t o save h l M e l f and g et h is q u a rry a t th e sawe tlw s? D ttrren aatt n ever says it* so we a u s t in f e r i t . P e r haps f a i t h is to o such to ask o f a *sn th e s e days. Tha paradox o f f a it h in t h i s s to ry aee*s to be re v e rs e d --a paradox o f a paradox: o nly th e e v i l ones have a b so lu te “ jfc ld .. p. 1*5. 139 f a i t h ; th a good ones a ra no lo n g ar aura o f t h a l r w orld and a ra to o honaat to p ratan d a f a i t h th ay no lo n g ar hava. lh a Jaw O u lllv a r, who la th a " a c t o f God,” th a d lv ln a r e tr lb u - tI o n In th ia c a s e , could hava ao e a s ily ra d ra a a a d th a b a l an c e , had DUrranmatt choaan to g lv a h la a faw nobla-B ound in g f i n a l w orda, but n o --h e only aaya m odestly: W a aa ln d lv ld u a la cannot aava th a w o rld ; th a t would ba a ta a k aa hopalaaa aa th a t o f poor S isy phus. I t haa not baan glvan In to our handa, n o t avan In to th a handa o f th a m ig h ty , o r o f a whola n a tio n , o r o f th a d a v ll who la m ig h tie s t o f a l l , b u t In G od's hand Wio aIona d a c ld a a . Va can h e lp only In d a t a l l , not In th a w h o le --th a t la th a lim i t a t i o n o f th a poor Jaw O u lllv a r and o f a l l aan . So wa must n o t t r y to aava th a w o rld , b u t to atand up to l t - - t h a o nly tr u a ad v e n tu re which la l a f t to ua In th a a s v ary l a t a tirn e a .01 P ar V ard ach t. th a ra can ba no d o u b t, la n o t a good d a ta c tlv a s to r y . Aa aoon aa BMrlach haa fln la h a d h la 'h o s p i t a l bad a la u th ln g " and d acld aa to go to Z urich to a n ta r B n w n b a rg a r's c l i n i c , o r about tw o -th ird s th ro u g h th a n o v a l, "DUrranmatt abandons a l l p ra ta n sa o f a d a ta c tlv a s to r y . Again wa fin d many o f th a g ro tesq u e symbola o f th a paradox. V h lla DUrranmatt th a d ra m a tis t claim s A ris to p h anes aa h la m aster and m odal, th a models fo r DUrranmatt th a ^ I b ld . , p . 156. Mote th a e x p re s s io n , "a ta n d up to th a w o rld . D iirre n m e tt's f a v o r ite way to e x p re ss th a paradox o f t h . y . l u n t - n . j * _ s » 140 s t o r y t e l l e r «r« C ervantes and S w ift. And ao th a fig u re o f Don Q u ix o te, a lre a d y M n tlo n td in C h ip ttr 1 aa ona o f th a prim e fig u re s o f th a g ro tesq u e ,* * la v ary prom inent h a ra . BMrlach h im s e lf, who Don Q uixote h a r a , apaaka o f h l a a t le n g th : A genuine Don Q uixote la proud o f h la m iser* a b la a r a o r . Tha b a t t l a a g a ln a t th a a tu p ld lty and a g o la a o f aan waa av a r h ard and c o s tly , doggad by p o v arty and h u m ilia tio n , b u t I t la a h oly war . . . W a should a l l ba Don Q ulxotea, I f our h a a rta a ra In th a r ig h t p laca and t h a r a 'a a g ra in o f aanaa In o u r a k u lla . But wa d o n 't naad w indm ills to fig h t a g a ln a t, lik a th a shabby o ld k n ig h t w ith th a po t- m sta l a r a o r ; today th a f ig h t goaa a g a in s t danger- ous g ia n ts . * . not J u s t f a lr y t a l a s o r c ra a tu ra s o f our Im ag in atio n , but r a a l l t y . That Is J u s t our ta s k : t o f ig h t Inhum anity In any form and undsr a l l c lrc tx u ta n c e s.B * Tha Don Q ulxota than* Is plckad up ag a in a t th a and whan in s ta a d o f th a axpactad b u tc h e r, Emmenberger, th a Jaw O u lllv a r a n ta ra tho room: C ra a tln g a , Commissioner! Thus do X fin d you a g a in , you so rry k n ig h t w ith o u t fa a r and rep ro ach who roda out to do b a t t l a w ith th a s p i r i t o f e v i l . You c a n 't f ig h t e v i l a l l by y o u rs e lf any lo n g a r. Ilk a th a k n ig h ts o f o ld who ro d s o u t alo n e to b a t t l a soma dragon. Tha days a ra o v ar whan I t was enough to ba c le v e r-* to d a y ' s c rim in a ls c a n 't ba **Der Vardacht. o p . cit.. pp. 69-70 141 brought to J u i t t c i so s a s l l y . You fo o l o f s d a ta c - t l v a - * t l a a l c a s l f has lad you ad abaurduw!** Tha o th a r l a l tw o tlf la th a t o f d is p ro p o rtio n : th a g ia n t-a n d -d w a rf mot i t o f S w ift. Thara la G u lllv a r, th a g ig a n tic Jaw , h i s faca and hands covarad w ith a c a rs froai a l l th a a ls tr a a tn a n ta ha haa a u ffa ra d In c o n c a n tra tlo n c a ap a, and h la tin y f r la n d , th a alaah ap an dw arf. Tha f lg - u ra o f th a l a t t a r a l l c l t a avan frow D U rranaatt aoaa o f th a faw w a rn ,k in d , s a n tla a n ta l worda th a t can ba found a n y Whara In h la w orks; th a g ia n t s a y s : What s h a l l wa do w ith t h i s l l t t l a an 1 m I th a t l a , a f t a r a l l , a w an--w ith t h l a l l t t l a wan who waa dagradad to an a n la a l- -w lth t h l a l l t t l a w urdarar who, aIona awong us a l l , la In n o c a n t--o u t o f Whoaa brow^ sad ayaa th a woa o f a l l c ra a tu ra a look* a t Whan th a g ia n t, having k l l l a d E aaanbargar, a n ta ra in th a and a t th a p ra c la a wowant, 7:00 A .H ., whan B krlach ax p acta b v a n b a rg a r and an a g o n isin g d a a th , ha a Inga h o araa- ly th a o ld n u rsa ry rhyw a: "Hknschan k la ln Ging a l l a l n In dan groaaan Wald h ln a ln - • " **Ibld.. pp. 149-151. ** I b l d .. p. 153. Tha dw arf haa baan uaad by b a a n b a r g a r aa a to o l fo r w urdar. Ilk a a tr a ln a d and oba- d la n t dog. 142 Thla la grotesque fun being aade o f Hana BUrlach who, 111 and a lo n e , w ithout p o llc a p ro ta c t Ion, had gona in to th a b ig b lack f o r e a t, th a daaaln o f h la a o r ta l eneay. Tha gro- ta a q u a ria of th a s la p ly old n u rsery aong a t th a aoaant o f h lg h a a t tan aio n la anoraoua. Tha dav lca l a , o f co u rse , th a t o f In c o n g ru ity . Tha and, o r th a a x It o f G u lllv a r, th a g ia n t, and th a dw arf la a r a r a kind o f p o a tlc grotaaq u a: w ith th a l i t * a t l a ao n k a y -llk a dw arf on ona ah o u ld ar, th a g ia n t banda a p a rt th a Iron b ara b afo ra th a window and awinga h im self ovar th a a l l l (In tru a D U rranaatt In -a n d -o u t-th ro u g h -th e - window fa a h lo n ). Only h la enormous ahouldara and th a a lg h ty bald haad can ba aaan; by h la l a f t chaak la th a w rlnklad old faca o f th a dw arf, on th a r ig h t aid a of th a m assive bald haad th a f u l l soon, ao th a t I t looka aa I f tha Jaw wara c a rry in g th a whola world on h la aho u ld ara, th a globa on ona ald a and nanklnd on th a o th a r: "F arew ell, ay knight w ithout fa a r and w ithout ra p ro ach , ay gU rlach (ha c a l l a ) . G u lllv a r aovai on to th a g la n ta and to th a dw arfa. In to o th a r c o u n trie s , o th a r w o rld s, on and on, always mBd a a a 86 lb Id. H antal r l a l d l t v . th e o m - tr a c k wind o f th a "nad a c l e n t l e t , " la re p ra a e n te d by th a n o n a te r, ta n e n b e rg e r, who b o a a te : X d ara t o ba n y a e lf and n o th in g a la a ; I gave n y a e lf ovar to th a t trttlch node m m f r e e - - a u r d e r and t o r t u r e ; fo r khan I k i l l a n o th a r nan . . . I be- coaa f r a a , I bacone n o th in g b u t t h a t ■ o a a n t--b u t w hat a a o a e n t!* ' Anothar u t t a r l y g ro tesq u e ex aap le o f a e n ta l r i g i d i t y la E nnenberger1a f a it h f u l h a 1p a r, Ihtraa K lH rl G laubar (" g la u b a r" aeana " b e lie v e r " ) , a r a llg lo u a f a n a tic who a tr lk a a BUrlach aa "an a a la b le e x e c u tio n e r," and d»o haa v r l t t a n and p u bllahad a l l t t l a r a llg lo u a t r a c t , a n t I t l a d , "D eath, th a g o al and purpoaa o f our U f a on E a rth . A p r a c tic a l g u ld a ." A d la tln g u la h ln g n a rk o f D U rrenantt la h la u t t a r la c k o f c h a u v ln la a . Hla v l l l a l n a a ra n o t, Ilk a th o aa o f ao a in y Anar le a n w rit a r a , n y a ta rlo u a , a v ll fo ra lg n a ra , but u a u a lly n a tlv a Sw laa. T hla la a lg n lf le a n t. To nake a v i l l a i n an a ll a n la th a a a a y , cheap way out f o r a w r it e r , becauee I t la ao such a a a la r fo r th a re a d e r o r a p e c ta to r to h a te an a lla n th a n a n a tlv a aon, becauae I t n e a ta th a l a t e n t p re ju d ice * o r unconacloua en o tlo n a o f th a aud ien ce 144 h alf-w ay , but Ju st bacauaa o f th la I t la a la o ■uch_lggg r e a l . T ttim n a T r la not ona to do th in s * th a chaap and easy way. HI* v illa in * a ra a v ll bacausa th ey a ra a v ll huawn b ein g * , and th a fa c t th a t thay a ra Svlaa and b ato n s to a w ealth y , o rd e rly , c lv llla a d n a tio n *aka* t h a l r v illa in y th a t auch worae. To |l v a a faw ex aap les o f Swla* v l l l a l n a : C la ire Z achanasslan, nee K lara W sch er In Tha V l a l t : th a tdiola town o f CUllen In Tha V la lt: C astaann In Par t l c h t a r and e e ln itonW^r. an In te rn a tio n a l a e le f a c to r , but bora In S w ltta rla n d ; T*chans, th a aurderous p o lic e lie u te n a n t In P ar l i g h t e r : Z M n b e rg e r In P ar V erdacht: Muraa KlV rl G lauber, n a tlv a o f th a E a a e n ta l, tdtere "th a daandest fa n a t ic* c o m f r o a ," In Par V erdacht: th a h a lf- w itte d "hedgehog g ia n t" in th a la e t d e te c tiv e a to ry , Da* V eraorechen (The P le d g e ); and th a Swl*a apy In B w u lm t h i Cl t i t - Tha grotesque In co n g ru ity o f th a f a n ta s tic o r w eird a a ld th a n o ra al and f a a l l l a r , which *e a lre a d y encountered In "Tha T unnel," appaara In th a p re a e n t sto ry a la o : bssan* b e r g e r 's lnfaaous sa n a to rlu a Is lo c a te d on th a Z tlrlch berg, ona o f th a sw ankiest and a o s t re sp e c ta b le s e c tio n s o f Z urich**tha lo c a l e q u iv a le n t would be a d eath fa c to ry In th a h e a rt o f Beverly H ills . Ona o f h is a s s is ta n ts puts t h i s f a n ta s tic In co n g ru ity In to w ords: u s E verything th a t Eamenberger d id In S tu tth o f (nan* o f th a c o n c e n tra tio n camp) . . . he doea here now, to o , in th e middle o f S w ltse rlan d , in th e a ld d le o f Z u rich , untouched by th e p o lic e and by th e laws o f th la co u n try , and even In th e name o f eclence and o f hum anltarlanlsm .** Die P annt-»elne noch m Oillche C eschlchte CThe Breakdown--A S t i l l P ossib le S to re ! w ritte n In 1956 "A s t i l l p o ssib le s to ry " naans, o f co u rse , th a t In D ttrre n a u tt's opinion Many kinds o f s to r ie s a re no lon g er p o s s ib le , fo r In stan ce th o se o f w r ite r s who "ro m a n tic a lly o r ly r ic a lly g e n e ra lis e th e '! * " o r who fe e l compelled " to speak q u ite tr u th f u lly o f t h e i r hopes and d e f e a ts , as i f tru th fu ln e s s tran sp o sed a l l t h i s In to th e g e n e ra lly v a lid , and not ra th e r in to the c l i n i c a l o r a t b e st psy c h o lo g ic a l." 89 T his work has a ttr a c te d many a d a p te rs and has undergone tra n sfo rm a tio n In to a ra d io play and a sta g e p lay . Even an E nglish sta g e a d a p ta tio n was smde and p ro duced on Broadway under th e t i t l e The Deadly Came. In Feb ru a ry , 1960. T his v iv id In te r e s t shows how c lo se th e theme ^ P l a P anne--elne noch wBellche C eschlchte (Z tlrlch: V erlag d er Arche, 1956; 2nd ed. I9 6 0 ), p7 7. 146 ■ aat be to th e ln n e ra o a t co n cern ! o f our tlw e . N a tu ra lly , « • a ra h ara concam ad o nly w ith th a o r ig in a l D flrrenaatt work In n a r r a tlv a p ro a a. A gain, th la la n o t r a a l ly a d a ta c tlv a a to ry In th a aanaa o f a w h o d u n it--It w lght ba c a lla d an **lf-d u n ltM o r 'h o w -d u n it." PLOT SWMARY: A lfrado Trapa la G anaral E ap raaan ta- t l v a o f a la rg a t e x t i l e firm . Ha haa made auch money In th a la a t ta n y a a ra and haa rla a n In a o c ia l a ta tu a . Ha avan owna an Im ported c a r , a b e a u tif u l rad S tude- b a k a r. Thla c a r breaka down ona day In a charm ing l l t t l a v llla g a In th a f o o th ll la o f th a Ju ra ra n g a , and th a garaga m echanic t a l l a Trapa I t w i l l ta k a u n t i l th e fo llo w in g day to r a p a lr th a c a r . Trapa d acld aa to apand th a n ig h t In th a v l l la g a . g u t a l l rooma In th a Inn a ra ta k a n by a co n v e n tio n , and ao T ra p a 'a aaarch fo r a room tak aa h l a to a v i l l a on th a o u ta k ir ta o f th a v l l la g a . Thara ha la g ra c lo u a ly re c e iv e d by an o ld g a n tla a a n o f " c la a a ." Not only la ha o ffe re d a ro o a g r a t i a , ha la a la o In v ite d to d in n e r. Three wore o ld g a n tla a a n coma to th la euaptuoua d in n e r. At th a b eg in n in g o f th a a a a l Trapa la aaked I f ha would Ilk a to ta k a p a r t In a l l t t l a g aaa. Thla gaae la th a t th a o ld 147 I t n t l t H D , a l l long r a t 1 ro d , re p la y t h a l r • r a t r t i l l * prof•■ ■ IonaI r o le s o f Judge, p ro s e c u to r, co u n sel fo r th a d e fe n se , and e x e c u tio n e r. U sually th ay p ra c tlc a on famous t r l a l a o f h is to r y , Ilk a th a t r l a l a o f S o cra t e s , J e s u s , Joan o f A rc, O rayfua, o r th a B elch etag - F lr e . But th ay such p ra fa r a l iv e , r o a l d a fa n d a n t. With auch la u g h te r and good humor th a t r i a l procaada d u rin g th a la v la h meal and davalopa from ona couraa to th a n e x t. In th a b eg in n in g , Trapa co n a ld a ra h im se lf In n o can t, aa any average nan w ould, b u t by th a s k l l l - f u l cro ea-ex am in atio n o f th a p ro a acu to r and dua to th a e f f e c t o f a l l th e v in o s and llq u a u ra , I t c o m b to lig h t th a t Trapa haa caused th a d ea th o f h la p red acaaso r and s u p e rio r. In th a an d , c a r r ie d away by th a g e n e ra l eu p h o ria and e x h ila r a tio n , ha g la d ly c o n fe sse s h la g u l l t - - l n f a c t , ha I n s i s t s on I t . Tha Judge pronounces a th e o r e tic a l d ea th se n te n c a , everyone anbracaa e v e ry one e l s e In drunken hap p in ess and b ro th e r ly lo v e , and Traps stum bles up to h is room. I t i s to o l a t a when th a members o f th a happy " c o u rt" fin d out t h a t Traps has s p o ile d t h e i r h h o le fu n : ha has tak en th a game s a r i - u s o u sly and hanged h im se lf In th a window fra a s o f h la 90 roow. w A lfrado Trapa la a vary o rd in ary peraon—th e only u n u iu al th in g about h i* la h la f i r s t name, which doaa not aound Swlaa a t a l l , although h a , h im se lf, la unm istakably Sw iss. That Dttrrenm att conacloualy a ought a play on th a E nglish word M tr a p " seems vary u n lik e ly , aa th la a to ry waa w rltta n In German and fo r Swlaa and German ra a d a ra . I t la •o ra llk a ly t h a t ha thought o f "tra p a a n ” ( to tro v p , o r to tr a lp a a along th a ro a d ), which would r a f a r to Trapa*a baglfinlnga aa a p ad d lar on th a ro ad . Cora V idal w rota: “DUrrenmatt haa choaan h la aaady 91 p ro ta g o n la ta w ith d a llb a r a ta ca ra . . and than quotaa th a fo llo w in g paaaaga fro n th a Ih eatsrp ro b lam e (T h aatar P roblem s): Today th a a ta ta haa become unaurvayabla, anony mous, b u re a u c ra tic , and th la by no naana only in Moscow o r V aahlngton, but a la o In Barn, and today*a o f f i c i a l a ta ta a c tIo n a a ra only posthumous a a ty r p la y a , fo llo w in g th a tra g a d la a which hava baan com pleted In a a c ra t. Tha r e a l re p re s e n ta tiv e s a ra ■ U s in g , and th a tr a g ic hero es hava no name. With a l l t t l a cro o k , w ith an o f f ic e w orker, w ith a 90Ib ld . , 120 pp. 9 lCore V id a l, **Tha * Breakdown1 and *Iha P le d g e ,# M Tha E e p o rta r. A p ril 30, 1939, pp. 40-41. 149 pollcaaw n, th e w orld o f today can ba re p re s e n te d b a t t a r th an w ith a F a d a ra l C o u n c illo r o r w ith a F a d a ra l C h a n c a llo r. A rt o n ly p e n e tra te s aa f a r aa th a v ic tim s , I f I t raach aa wan a t a l l ; th a w l£ ity onaa i t no lo n g e r ra a c h a a . Creon*a s e c r e ta r ie s a a t t l a th a caaa o f A ntIfona to d a y .92 So Trapa la a v a ry o rd in a ry " J o e ," a businessm an Ilk a thousanda o f o th a ra , no b a t t a r and no w oraa, l l v l n t I l k . t h . p a o p l. In Shapord M aada'a M ow to Suceaad In ■ u .l- n a a . w ith o u t M a lW T r r ln a . Only ta n y aara ago (ha b o a a ts ) , t waa n o th in g b u t a p e d d le r and walkad froai houaa to houaa w ith a a u Itc a a a . Hard w ork, tro o p in g th a ro a d a , a le e p - lo g In h ay a ta ck s and dubious In n a. F roo th a bot* taw X a ta r ta d in my f i e l d , fraw th a v ary bottow . And now, g an tlaw an . I f you aaw wy bank acco u n t! 1 don*t want to b o a a t. b u t doaa any ona o f you own a S tudebaker?99 Ha doaa n o t c a ra about a w oral w orld o rd a r; h la w a ta r la l su cc ess la to h la n ot d Iv in a g ra c a b u t j u a t luck and hard work. Ha la a norm al, modern, w a t a r l a l l a t l c w a n --liv in g In a w a t a r l a l l a t l c w o rld . Hla only a ln w as. p arh ap a, th a t ha (,want alo n g " w ith th a o th e r s , th a t h a adoptad t h e i r 94 v a lu e a . t h e i r ru th la a a n a a a , t h e i r I n tr ig u e s . B ut, ha say a , h a could n o t do much e le e - - h e liv e d In a w orld where 92 T h aataro ro b law a . o p . c l t . , p . 44. , p i . r « i w . op. c i t . . p. « . * * D lU .r • op* clt., p. 111. th e word “J u s t le t" waa J u e t a word. S u ra, th a "o ld gang- a t e r , " Cygax, h la fo n w r a u p trlo r (a v ary Swlaa name, I n c id e n ta lly ) , waa d aad , b u t a f t a r a l l , h a , T rap a, had to a u f f e r a lo t undar h la . Ha a d a lta th a t ha had worked h la - a a lf In to a r e a l a n la o a lty a g a ln a t " th e o ld g a n g e te r" and had t r i a d to u n d eraln e h la p o a ltlo n --b u t ao what? Where d id t h l a kind o f th in g n o t happen! But th an th la norm al, U fa -e n jo y in g , a u p a r f lc la l aan comae undar th a haw k-Ilka gaaa o f o ld ag a , o f fo u r r a t l r a d o ld aan who hava b u i l t a U f a fo r th e a a e lv e e beyond work and d u ty , In th a a a g lc fre e realm o f ag a. T h e ir f r e e w h ee lin g , g r a v lty - la a e g aaa, aid ed by a f a n ta a t lc a l l y opu le n t meal and an en d leaa p ro ceaalo n o f r a r e wlnaa and llq o e u r e , makea h la f r e e ly adm it one th in g a f t e r a n o th e r, d e a p lte th e f r a n t ic w am lnga o f h la d efenee couneel to abut up and be c a r e f u l. He b o aate about having had an a f f a i r w ith Cygax* w ife , a "ah ap ely and d e le c ta b le l i t t l e woman." He aaw to I t t h a t Cygax, who had a bad h e a rt c o n d itio n , h e a rd about t h la fro a a m utual f r ie n d . But th e f a c t th a t At t h la happened d u rin g th e Fdhn wind7 and brought about Qt 77A h o t m ountain w ind, eomewhat lik e th e S iro cco In I t a l y o r th e "S antana” In S outhern C a lif o r n ia , d u rin g w hich a c c ld e n ta , o u tb reak * o f tem per, and crim e* ln c re a a e • b a r p ly , and w hich l a , th e r e f o r e , co n ald ered a c o n trlb u - 131 Cygax1 f t t i l h u r t a t t a c k , was c e r ta in ly n o t T r i p a 'i f a u l t , ■o t h a t I t waa "n o th in g abort o f f a n ta a tlc to co n a tru a th a d a a th o f a businessm an w ith a aavara c a rd ia c c o n d itio n aa a n u rd o r."* * Than th a a lg h ty -a lx -y a a r-o ld p ro a a c u to r ta k a s o v er. Ha p o in ta out th a t T ra p a 'a caaa la " th a p a r fa c t c rim e ," and how w ondarful I t la now, In re tire m e n t, to ba a b la to t r a a t th a d afandant aa a frla n d In a ta a d , aa I t uaad to ba d u rin g h la p ro fa a a lo n a l c a ra a r , aa a a o r t a l anaay. Thara a ra fa a lln g a o f lova and frla n d a h lp a l l around T rap a, to a s ta o f brotharhood and g a ie ty , a n b ra c a a , a h o u ld a r-a la p p in g , and th a n th a p ro a acu to r goaa In to th a p h ilo so p h ic and a a th a tlc ,*beauty" o f th a crU m : Our ro u n d -ta b l a group, my d a a ra a t f r la n d , A l- fra d o , haa long g lv an up th a p ra ju d lc a o f aaaln g som ething ugly o r t a r r l b l a In c rim e , and som ething b a a u tlf u l In J u a tlc a - - * . . no, wa ra c o g n la a th a baau ty o f crim e aa a p re r e q u is ite Which a Iona M kaa J u a tlc a p o a a lb la . So wuch fo r th a p h ilo so p h ic a Id a . Now la t ua a p p ra c la ta th a ta c h n lc a l b aau ty o f th a daad . . . Apprac l a t Io n --1 b a lla v a to hava found th a r ig h t word fo r i t . tty summation fo r th a p ro a a c u tlo n la n o t meant t o ba a h o r r lb la a c c u sa tio n w hich would em barrass o r confuaa our f r la n d . to r y cauaa and M itigating circumstance i n cr 1aIn a l caaaa. 96 Dla Panna. op. clt.. p. 106. 132 b u t an a p p re c ia tio n which w ill ahow h la h i s crim e in i t s v ary bloom .9* That la whan A lfred o T rap s, o rd in a ry businessm an, e n te r s th a sp h ere o f f a te f u l J u s tic e . M e ex claim s: I f e e l u n d ersto o d end b eg in to und erstan d wy- a e l f , a s i f X J u s t g o t ac q u ain te d w ith a man who Is m y self, and whom X only knew vaguely b e fo re as a g e n e ra l s a le s re p re s e n ta tiv e in a Studebake w ith a w ife and c h ild re n sosm where.99 "A co n scio u sn ess o f h ig h e r th in g s , o f g u i l t and ex p iatio n '* a r is e s in him and f i l l s him w ith amasemsnt. And when th e co u n se l fo r th e defense t r i e s to w hitew ash him-* Which, c o n s id e rin g th e circu m stan ce o f th e FMhn. i s q u ite p o s s lb le --A lfre d o r e s i s t s t h i s excuse w ith a l l h is s tre n g th he w ants to be a m urderer, fo r " th e d ig n ity o f man naeds no m ercy." A n o isy h ap p in ess s e is e s th e whole ro u n d -ta b le group, in c lu d in g th e e x c e lle n t cook; to fin d a c rim in a l who a c c e p ts th e d e a th p e n a lty in h ap p in ess is a unique p ie c e o f lu c k . Traps stum bles " a t once e n th u s ia s tic and t i r e d up to h is room, u n re se rv e d ly happy as n ev e r b e fo re in h is s m a ll, bo u rg eo is l i f e . " And s h o rtly t h e r e a f t e r he hangs, . . . m o tio n le ss, a dark s ilh o u e tte b e fo re th e d u ll s i l v e r o f th e m orning sky, in th e heavy sc e n t 97Ib ld . . pp. 76-77. " i b i d . . p. 91. me 153 o f t h i r o M i, >o f in a lly and irre v o c a b ly th a t th a p ro a acu to r, in tdiose monocle th a ever n ig h tia r n o m in g was m irro re d , had to gaap fo r a i r f i r s t b e fo re , d isc o n s o la ta and fo rlo rn over th a lo ss o f h la frla n d , ha exclaim ed: "A lfredo! M y good A l fredo! What in th a nane o f God d id you th in k ? „ You hava ru in ed our n o st b e a u tif u l s ta g night!*1 " The paradox i s obvious. A te c h n ic a lly and le g a lly innocent nan uho v en ts to ba g u ilty and a c c e p ts th a d e a th sentence v lth te a r s o f h ap p in ess; a " p e rfe c t crlne*1 which is e x to lle d as th e acne o f b eau ty ; and a Judge, a prosecu t o r , an a tto rn e y , and a hangnsn who love th e defendant lik e a b ro th e r and a re in co n so lab le over h is d e a th . Core V id a l, in th e p re v io u sly c ite d review , s ta te s th e paradox as fo llo w s: . . . lik e an avalanche in f a r - o f f sM untalns cones F rie d ric h D U rrensutt, a Swiss d e te c tiv e - s to ry w r ite r w ith a gen iu s fo r th e t h e a te r , to give us a new th e n e , o r r a th e r to rewind us o f an a n c ie n t one: J u s tic e . And he has a rra ig n e d w ith w it our "lo v in g tin e " b efo re th a t a u s te re t r i bunal . • . The v ic tim s a re D ttrre n n a tt'e h e ro e s, fo r they must s tru g g le in a s o c ie ty grown v a st and im personal. . . . h i t p a ra d o x ic a lly , he say s: th e re is no d iv in e law , but we dleobey i t a t our p e r i l . Put •im ply: we a re re sp o n sib le fo r our a c ts , even though th e re is no god. I f nan is to su rv iv e in a non-human u n iv e rse , o f which he Is a t r i f l i n g p a r t, th e Idea o f J u s tic e n u st be m ain tain ed , fo r w ithout J u s tic e th e re i s chaos . . . F rie d ric h D ttrre n n a tt'e v is io n Is a co ld one but p u re , and 9 , l b l d .. p. 120. 154 v ary M a rly unlqoa In our day, fo r in h la d a v o tlo n Co th a ld aa o f J u a tlc a ha haa auccaadad In c a a tln g acro aa an aga c o a a ltta d t o fa la a Lova th a d ark ahadov o f th a a c a le a .100 lh a r a a ra a la o th o aa who ra a a n t th a n aaaaga. H arold C luxnan v r l t e a In Tha n a tio n : Tha th a a a la th a g u i l t aan fa a la today In o u r a o c la ty . Tha a o r a l , aa th a ln c u lp a ta d nan acraana In t h l a p la y , la th a t th a ra la no J u a tlc a , o n ly la v (V id al and C lurnan a r a h ara In d l r a c t c o n tra d ic tio n to aach o t h e r |. Tha play*a M t e r l a l , th o u ^ i a u p a r f lc la lly u n u au al, la b a a lc a lly a to c k . And th o u £ i I t la tr u a t h a t r a llg l o n , paychoanalyaln and la tta r - d a y ao clo lo g y a l l en p h aalsa th a a l a m t o f g u i l t In aan aa o m o f th a p rla o n o tlv a a o f h la b a h a v lo r, o m r a a l a ta th a ldaa vhan i t la p ra aan tad In ta r a a th a t a r i n o t In th a M a lv a a c o n c ra ta ly , p a ra o M lly f a i t . 101 C lurnan goaa on to t a l k o f th a th aM o f g u i l t In H avthorM , D oatoavaky, K afka, and Caaua* Tha F a l l . In 2h£ P aadlv Ca— . ha f a a la . I t la anployad to o such aa a **de- v lc a ,* ' and c o n tln u a a t O m can 11a aa auch v l t h " a tro n g " drana aa w ith th a frlv o lo u a ; paaaim lan can ba aa h o llo v aa c o o B trc la l o p tln la n . In a p la y , aa In any o th a r v o rk o f p ratu M d a r t , a u th a n tlc a ta ta M n t la n o t achlav ad M ra ly by ju a t co n e lu a Io n a, b u t by th a l00Vldai, op. clt.. pp. 40-41. lO lg aro td C lurnan, **Ihe Deadly G aM ," Tha H a tlo n . CXC (F eb ru ary 27, 1960), 194-95. 155 degree o f genuine ex perience we sense in oach . . . •o a a n t o r d a t a ll o f th a a u th o r 's ex p ressio n . . . Ona can f a a l in t h i s c r i t i c I a n th a d is t a s te o f a v ary A atrlc an d ir e c to r who la s t i l l sad to Qroup T heatre r e s i le * and cannot p o ssib ly anJoy ZXlrrenMtt's w eird fo u rth - d ln a n a lo n a lla n . In re ad in g both C lu ra a n 's and Kenneth T ynan's c r i t i c i s e tdtlch fo llo w s, wa wust not fo rg e t th a t th ay wara b oth ra v la v in g a d ra n a tic a d a p ta tio n o f a n a r ra t iv e work by sowsone e l s e , not th a o rig in a l a u th o r, and In anotha r lan au aaa. A tr a n s la tio n , aa anyona knows who Is h i- o r t r i l i n g u a l . Is never an lwprovewent, and p r a c tic a lly alw ays a weakened, watered-down v e rsio n o f th a o r ig in a l. Tha d ra a a tlc a d a p ta tio n by Janas Y affa nay ba good, ade q u a te , o r b a d --sin c e wa a ra d e a lin g only w ith th a o r ig in a l v e rs io n , t h i s Is none o f our co n cern --b u t I t Is not Dttrran- * a t t h l i x a l f . Hare la Kannath T ynan's review : . . . I t Is a savage a o r a l fa b le , w ith I t s ro o ts In a r a tio n a l d e te s ta tio n o f th a econowlc c o n d itio n s under which s o i t o f us liv e . I t s M a lag a can ba b r ie f ly s ta te d : Whenever people becone f u lly aware o f th e way In which th ey b a tte n on t h e i r fe llo w -c re a tu re s , they tend to fe e l s u ic id a l. Mr. DUrrenMtt does not suggest th a t th e aystew w ight be changed. He o ffe rs a d ia g n o s is , but w ith It no c u re . In s te a d , ha r e s o r ts to a kind o f w scabre f a t a l l s s ; having d lap lay ed and analysed 102Ibid. 156 an urg en t human problem , ha re so lv e s i t in term s o f sk in-deep melodrama. . . Tha "sk in -d e ep melodrama" la th a " c lin c h e r " - - I t can only r e f e r to th a E nglish a d a p ta tio n , bacausa, w hatever a la a wa say rap ro ach DUrrenmatt w ith , shallow ness and "sk in -d eep melodrama" a r a , God knows, not asxmg h la fa u lts ! A c e r ta in amount o f grotaaqua em broidery goes w ith out saying in th is s to ry as In any o th a r work o f Dttrren- m stt. Hare a ra J u s t a few saaiplas: Tha over e ig h ty -y e a r- old Judge, v ary drunk, clim bs In to th a open grand piano and d e liv e rs h is Judgment from th e r e . Tha e ig h ty -tw o -y e a r-o ld defense counsel is sxm strously f a t. The e ig h ty -s ix -y e a r- old p ro se c u to r lo o k s, a p p a re n tly , Ilk a Frans L ls s t w ith a m onocle, wears two d if f e r e n tly co lo red socks and a v e st which is buttoned one b u tto n o f f . Tha sev en ty -sev en -y ear- old e x -e x e c u tio n e r Is now a tav ern -k eep e r and is d i s t i n guished by a com pletely bald head and a bushy m oustache, dyed J e t-b la c k . The p o ssib le meaning o f th e name 'T ra p s 1 ' has a l ready been d isc u sse d . The p ro sec u to r is c a lle d "Zorn" (w ra th ), th e d efen se counsel "KimMr" ( g r i e f , o r sad n e ss). ^ K e n n e th Tynan, "The Deadly Gama," W ow Y orker. February 13, 1960, pp. 85-66. 157 The e x e c u tio n e r's m m o f F ile t M y have been tak en fro a th a t o f a F ederal C o u n c illo r, P lle t-C o la s , o r fro a th e French verb " p l l e r ." " to d riv e o r haaM r in to th e ground." P .. V t» g r> c h « n » -fQ u l— «uf d m lttl» ln > lra » n <Th« on th e D etectiv e S to rv l w ritte n This s to r y , the la s t o f D ttrre n M tt'e d e te c tiv e a t o r le s , haa a atran g e genealogy. In 1957, th e Swlaa f t l a p ro d u cer. L ater W echaler, coaalaaloned DUrretaaatt to w rite a a c e M rlo fo r an e d u c a tlo M l f l l a about aex c rlM e on 104 c h ild re n which could be ahown aa a w arning In achoola. The r e a u lt war a a o tlo n p ic tu re e n t it le d Ee teachah aa h e lllc h te n Tax ( I t Happened in Broad D a y lig h t). But DUrren n et t f e l t th a t he had not done w ith th e s u b je c t- - th a t he wanted to t r e a t i t fro a an o th er a n g le , "beyond th e peda g o g ic a l." * 0* He wanted i t known, however, th a t th la M an t °S #echaler la th a t r a r ia a iM a v ia aaong f l l a producera, an l d e a l i a t , and c o n trib u te d auch to th e produc tio n o f a g re a t H lM layan docuM ntary by th e p a re n ts o f th e p re se n t w r ite r . That he should have p ick ed , o f a l l p eo p le, DUrreraaett, th e a lle g e d cynic and n i h i l i s t , fo r th le ta a k shows th a t an a r t i s t i c person o fte n haa a s u re r i n s tin c t fo r th e Inner tr u t h th an th e c r i t i c s o r th e p u b lic . *°*Pae V eraorechen (ZU rlch: V erlag d er A rche, 195S), E pilogue, p. 244. 156 in no tray a c r i t i c I s a o f th s p ic tu r s o r th s d i r e c to r ; hs w srely v a n ttd to change i t fro a s s to r y o f s c rlw e , s c r lw in a l, and a v i c t l a in to th a c a sa o f a d a ta c tiv a . PLOT StMMRY: A s s is ta n t P o llc a C o M lsslo n e r Dr. HstthM l is a b r i l l i a n t law a n fo rc a a sn t o f f l c a r . Whan th a government o f Jord an ask s S w ltsa rla n d to p ro v ld s a good p o llc a e x p e rt fo r a ra o rg a n ls a tio n o f th a Jordan* la n p o llc a f o r c e , HstthM l Is su g g e ste d , a c c e p ts , and sig n s a c o n tra c t w ith th a Jo rd a n ia n g o v a m a a n t. t u t th a day b a fo ra h is d a p a rtu ra a l l t t l a g i r l i s found ■ urdarad w ith a r a s o r in a copsa n a a r a v llla g a In th a Kanton o f Z u ric h . A p ad d lar w ith a p ra v lo u s c o n v ic tio n as a sax o ffe n d e r, who knows HstthM l as a sc ru p u lo u sly fa ir-w in d e d o f f l c a r , c a l l s h la fo r h a lp . Tha p a d d la r, 106 von Guntan, was th a ona who d isc o v a ra d th a co rp sa and Is a f r a id fo r h is U f a , fo r in casas o f crim es a g a in s t c h ild ra n em otions in a coam unlty run h ig h , and von Guntan i s th a n a a ra s t lo g ic a l a u sp a e t. H stthM l ta k a s ovar and, through g ra a t p e rso n a l courage and ***In S w ltsa rla n d , th a "von1 * Is not a p re d ic a te o f n o b il ity , as in Germany o r A u s tria , b u t o n ly p a rt o f a p lace nam e--"von Guntan" swans no wore th an th e awn "frow G untan." 139 cool lo g ic , narrow ly prevent* a lynching. In b reak in g th e news to th e p aren t* o f th e surdored l i t t l e g i r l (no one e le e vent* to take on th l* t e r r i b l e d u ty ), MatthVl le a id e to p ro a ls e , by th e s a lv a tio n o f h ie e te r n a l s o u l, th a t he w ill b rin g th e M urderer to J u s t i c e . T e c h n ic a lly , however, he has a lre a d y re sig n e d fro u th e Z urich p o lic e force and Is scheduled to leave by plane fo r Jordan th e fo llo w in g day. busy as he 1* w ith p re p a ra tio n s , he tu rn s th e case over to th e n e x t- h ig h e st s in In th a d e p a rta e n t. Von Ounten Is s t i l l th e only suspect and Is su b je c te d to a M erciless tw enty- fo u r-h o u r g r i l l i n g . F in a lly , he c o n fe sse s, and subse q u en tly hangs h la s e l f In h is c e l l , t h i s Is a shock to M atthlfl, fo r s e c r e tly he f e e ls th a t th e peddler was not g u ilty , and th a t h e , H s tth k l, has l e t th e poor aan down. The saao ry o f h is "pledge" to th e p a re n ts o f th e aurdered g i r l overuhelas h la --h e c a n c e ls h is f lig h t and d ecid es to devote h la s e lf to th e d isco v ery o f th e tru e a u rd e re r. Having re sig n e d fro a th e p o lic e d e p a rt- a e n t and having eab arrassed th e d e p a rta e n t by h is breach o f c o n tra c t w ith Jo rd an , he g e ts no h e lp fro a th e p o lic e and h as to work on h is own. Ho fin d s out th a t th e re have been two a la o s t Id e n tic a l cases In 160 o t t e r cantons In th s l a s t few y e a rs. Both tla e e th s v l c t l a s were l i t t l e g i r l s w ith blond p i g t a i l s , w earing re d s k i r t s , both tin e s th ey were k ille d w ith a ra to r* F roa th e dead g i r l 's c lo s e s t frie n d HstthM l fin d s out th a t th e c h ild had been b efrien d ed by a "hedgehog g ia n t" In b la c k , who cane In a b lack c a r and h ad , o f c o u rse , s tro n g ly Inpressed on th e c h ild to keep t h e i r frie n d s h ip a s e c r e t. But th e dead g i r l te d aada a draw ing o f th e g ia n t, Which was s t i l l In th e school ro o n . I t Is not auch h elp * * Ju st a s a s l l c h i l d 's p rla* l t l v e draw ing o f a b ig b lack fig u re and a l i t t l e f i g u re , h e r s e l f . The c a r In th e p ic tu re seens to be an o ld A asrlcan one; th e 'Tiedgshogs" cannot be ex p lain ed a t a l l . But th e sk etch o f an a n la a l w ith long h o rn s, a longhorn sheep o r "S te ln b o c k ," In th e p ic tu re p o in ts to th e lic e n s e p la te o f th e c a r ; th e C anton o f th e C rlsons c a r r ie s th e "S telnbock" In I t s c o a t-o f-a ra s and on I t s lic e n s e p la te s . So a l l th a t NatthMi knows now is th a t th e M urderer was a b ig nan In b lack d riv in g an o ld b la c k , p o ssib ly A asrlcan , c a r , lic e n se d in th e C anton o f th e C rlso n s. HstthMl le a se s a t h is own expense a gas s ta tio n on th e only Im portant highway fro a th e C rlsons to Z urich and h ir e s a s a housekeeper 161 a reform ed p r o s titu te , «tio has a l i t t l e blonde daugh* t e r . I b is c h ild N a tth li d re sse s in a red s k i r t and keeps h e r o u tsid e by th e pump a s much a s p o s sib le . One day, he fin d s h er h id in g In a copse near h is gas s ta - tlo n , obviously w a itin g fo r someone. She Is munching p ric k ly ch o c o la te t r u f f le s —th a **hedgehogs*'! Now, a t l a s t , he g e ts a l l th e h elp he needs from th e Z urich p o lic e . For a week, they post men behind every bush In th e l i t t l e c le a rin g where th e c h ild s i t s and w a its every day In p la in view—as b a i t . No one comes. Grad* u a lly th e men a re w ithdraw n, one by one. Only HstthMl does not give up, cannot give up - - - As th e y ears p a ss, he becomes a complete a lc o h o lic and d e r e l ic t, th e gas s ta tio n decays, th e e x -h u s tle r re tu rn s to h er one-tim e m e tie r, and h er dau g h ter follow s In h e r fo o t s te p s . Years l a t e r , as p a rt of th e deathbed co n fessio n o f a ric h o ld wosmn, i t is learned th a t she had a h a l f w itte d handIm an-chauffeur whom she loved In a m aternal way, and who had confessed to h e r th re e murders o f l i t t l e g i r l s . She could not b rin g h e r s e lf to tu rn him In . However, th e n he node ready to commit a fo u rth m urder, she tr ie d to sto p him. He became fu rio u s . 162 JiH pcd In to t h e i r old B ulck, charged out on th a h ig h way to do what ha a a ld h la "v o ic e s" to ld him to d o , and waa k i l le d in a c o l l i s io n b e fo re he ev e r reached h la d e e tin a tlo n - - - By now I t la to o l a t a to a eve H atth M l--h la mind la gone, d eatro y ed by a lc o h o l. Thla la th e s to ry . Beouiem on th e D e te c ttv e S to ry , i t a s u b t i t l e , in d ic a te s th a t D ttrrenam tt haa d ecided never to w rite a n o th a r one, th a t th la la h is awan song a s a d e te c tiv e s to ry w r ite r . The thena o f Dae V erspreehen la s ta te d by D ttrrenm att h im s e lf, th ere b y making a n a ly s is easy fo r u a: N othing la more c r u e lly a ro te a e u e th an th a g en iu s trtio stum bles over som ething i d i o t i c . B ut, in such a c a s e , e v e ry th in g depends on how th e gen- lu a r e a c ts to th e rid ic u lo u s som ething over which he fe ll-- w h e th e r he can ta k e i t o r n o t. HstthM l co u ld n o t a c c e p t I t . He wanted h is c a lc u la tio n to come out ev en , a la o in r e a l i t y . T h erefo re ho had to deny r e a l i t y and end up In a vacuum . . . I t la am aaing how t h i s paasage ec h o es, alm ost down to th e w ording, th e d e f in itio n o f V lacher on page 25 and fo llo w s a ls o S chopenhauer's d e f in itio n on page 26. " I t must b e come c l e a r to u s ," c o n tin u e s D ttrrenm att th e n , loyPaa Varaprochon, pp. clt.. p. 212. 163 . . . ch at wa s h a l l n o t founder on th a absurd (w hich, o f n e c e s s ity , becomes ev e r c la a r a r and m ig h tie r) and th a t wa s h a ll llv a somewhat com fort a b ly on t h i s a a r th only I f wa h ta b ly ln c o rp o ra ta i t (th a ab su rd ) in to our th in k in g . Our raaso n l ig h ts up th a w orld J u s t b a r e ly . In th a tw t i i s h t •out o f i t . b o r t r 1 . th « hi— o f t h t M f d o n . " " Our a p o lo g ia s to H r. god S a rlln g , c r e a to r o f "Tha T w ilig h t Z ona," th a A asrlcan ta la v ls lo n p ro g ra a , b u t, a s th a p u b li c a tio n d a ta o f t h i s s to ry shows, D ttrrenam tt g o t th a ra f i r s t . T his Is a n o th a r s t a t a a t n t o f th a a n t l - r a t l o n a l Tha c a n ta r o f t h i s d a ta c tiv e s to ry is not th a c r la a o r th a c rim in a l h I n s e lf (who n ev er a p p e a rs ), b u t th a d e t e c t i v e . In an alm ost l i t e r a l enactm ent o f S chopenhauer's d e f in i t i o n , th a f a u l t l e s s lo g ic o f a f i r s t - c l a s s mind is trip p e d up by a s tu p id a c c id e n t, and so a d is c ip lin e d g en iu s o f crim e d e te c tio n becomes a sa d , d rin k -so d d en w rack, w ith n o th in g l e f t to him b u t an iassensa f a i t h : 'tie com as, ha w i l l coma, ha must c o n e --I know i t - - - " A g en u in ely t r a g ic f ig u r e , f o r th e I n t e l l i g e n t man must th in k , ha must s tr u c tu r e r e a l i t y , ha g g ^ p ro p o se, and i f Cod o r b lin d f a ta d isp o se s o th e rw ise , th a th in k in g man g u i l t l e s s l y becomes t r a g i c . Thus D U rrenm att, who d e n ie s 10>Ibld.. p. 214 (italics mine). 164 trag ed y to our t l a e aa Im possible, u n in te n tio n a lly die* cover* tru e tra g e d y . w Huaorous Proae C rl.ch. giicht C t i f h ln --Iln . ProsakoaBdle fCreek Han Seeks C w k H .M o t--* Camto In rro»») wrlttti in >*» I t la hard to undaratand why th la d e lig h tf u l a a tlr e waa not so re au cceaafu l when I t f l r a t appeared, but I ta p re se n t re p u b llc a tlo n In a popular pocketbook e d itio n way w ell prove I t to have been "a a le e p e r." PLO T SUMIAKY: A m olph A rchllochoa la a fu ssy , "squara" rranchaan o f Creek d e sc e n t, liv in g In a a y th - Ic a l P a ris . He knows n e ith e r th e joys o f love nor o f a lco h o l and la a la o a v e g e ta ria n --* r e a l " a a le o ld M i d .” In h is apara t l a e , when he la not working aa a s u b -a a s is ta n t bookkeeper, he c o n s tru c ta an Id e al a o ra l ra n k -o rd e r, dhose anchor p o in ts a re th e P re sid e n t o f th e R ep u b lic, th e Bishop and haad o f A rchllochoa* church, th e "Old Hew P re sb y te ria n s o f th e Second-Last C h ris tia n a " (a s e c t w hich, aa anyona can guess fro a I t s p e c u lia r n aae, waa im ported fro a th e U nited S ta te s ) , *°*irock-Sulier, op. clt.. p. 106. 163 and F a tlt-fa y a a n , th a ovnar o f th a g ig a n tic aachlna worka whara A rchllochoa worka aa an undarpaid book- kaapar* lh a p lc tu ra a o f th asa a x a lta d paraona g raca th a w alla o f h la ahabby l l t t l a donaar-roow . Aa a r a a u lt o f a a a rrla g a a d 110 A rchllochoa a a a ta a g i r l , a la o G raak, and b a a u tlf u l. Mho f a l l a in lova w ith h la aa ha doaa w ith b a r, Thay bacoaa angagad. la a a d la ta ly th a r a a f ta r and a y a ta rlo u a ly , a idiola naw w orld opana up f o r our Graak p rig . Ha a a a ta a l l th a faaoua paraona o f h la a o ra l world rank o rd a r; th ay b a frla n d h la and haap honor* and p ra fa ra a n ta upon h la - - I n ona day ha bacoaaa G anaral Nanagar o f th a P a tlt-P a y a a n Work* and *Vorld Church C ounaalor" o f th a "Old Haw P raab y tarlan a o f th a Sacond-Laat C h rla tla n a ." Only a t th a a oa a nt o f h la wadding, which la atta n d a d by th a g ra a ta a t flg u ra a In fln a n c a , In d u a try , p o l l t l c a , and r a llg lo n , doaa ha r a a lls a th a t h la b a tro th a d haa baan ona o f Faria* wo a t faaoua c o u rta a a n a , and th a t a l l th aaa faaoua paopla a ra c lla n ta o f h a ra . Thla In a lg h t bring* h la a o ra l w orld a a rrla g a ad la a t l l l a h ig h ly popular and q u lta ra a p a c ta b la way o f fin d in g a a a rrla g a p a rtn a r In Kuropa. Tha v ary t l t l a o f th la a to ry la th a ty p ic a l way In which thaaa ada a ra wordad. 166 ran k o rd er c ra sh in g down about h i s a a r s . A lta r a v a in a tta s ip t to a s s a s s in a te th e P re sid e n t o f th e R epublic (a ls o a fo ra e r c lie n t o f h is w if e ) , he r e tu r n s to h ie e le g a n t new hows, fin d s h is p a r a s i t i c , b lo o d -su ck in g r e la ti v e s th e r e , and throw s thaw out o f th e house and o u t o f h is l i f e in a tre a sn d o u s b a t t l e . In th e en d , 'lie sta n d s in fro n t o f h i s d e v a sta te d house, s ta r in g s tu p id ly o u t o f eyes a la o s t sw ollen sh u t and e n c ru ste d w ith b lo o d , h ie wedding t a i l s In s h re d s , w ith th e l i n in g hanging o u t, h is g la s s e s l o s t . " 111 Thus ends th e novel p ro p e r, but now c o m i a second end " f o r len d in g l i b r a r i e s " : A rch llo ch o e, search in g fo r h is lo s t b r id e , th e lo v e ly and n o to rio u s C hios, a r r iv e s In C reece. W hile p u rsu in g a rc h a e lo g lc a l s tu d ie s and d ig g in g fo r a l o s t s ta tu e o f A p h ro d ite, th e goddess o f lo v e , he fin d s C hios who has follow ed h ie to C reece. So th e ru b b le heap In to which A rc h llo c h o s' once w e ll-o rd e re d w orld had tu rn ed becoees th e scene o f a r a th e r a b ru p t happy end. 'V e e u s t never c e a s e looking fo r th e goddess o f lo v e , o r e l s e she w i l l leav e u s ," ends th e r e c o n e i lia - ***C rieche eucht C rle c h in (F ran k fu rt/M : U lls te ln TaschenbU char-V erlag (MbH, I9 6 0 ), U lls te ln Bach Mo. 199, p. 189. 112 Cion a c tn t. E v id e n tly , th e whole s to ry I s e h ig h ly s ty lis e d s e t l r e smacking o f S w iftia n iro n y . Mr. C lu m en would n o t l ik e I t - - t h e r e i s not a s in g le p ro b a b le , b e lie v a b le c h a r a c te r h e re , n o r a s in g le " r e a l" s i tu a t io n . I t Is p o s s ib le t h a t D ttrrenm att• a Jo sh in g o f h is h e r o 's r id ic u lo u s "m oral w orld rank o rd e r" Is sone good-natured fun he pokes a t h is own youth as a p a s to r 's so n , o r p o s sib ly a t h is fa th e r d to s he never n e n tlo n s In any o f h la a u to b io g ra p h ic a l sta te m e n ts . A rchllochos Is th e Je a lo u s exponent o f a p u re ly s u b je c tiv e p h ilo so p h y , o f a m o rally o rd e re d , p a te r n a l i s t i c w orld o f "Cod la In H is Heaven and a l l ' s r ig h t w ith th e w o rld ," In which so many o f us would lik e to b e lie v e a g a in s t a l l e v id e n c e , because I t would be so com f o r tin g and re a s s u rin g . There Is som ething In A rchllochos o f P a r s i f a l, th e "pure f o o l," who b lu n d e rs th ro u g h th e w orld u n t i l he le a rn s What I t Is r e a l l y a l l a b o u t. When he d o e s, when he fin d s o u t th a t h i s beloved Chloe Is a famous h a ta I r a , h is n afv e id e a lism tu rn s to d e s p a ir , h a te , and ra g e . A fte r he h as reached h ie n a d ir , th e words o f th e p r e s id e n t, whom he h as corns to a s s a s s in a te w ith a hand 168 g ren ad e, b u t i p t r n , g iv e him n tv c o u r i f i . As • s e lf* i i t l i f l t d M ti he had no n n d o f g race b a fo ra ; now th a t he la lo s t and needs g ra c e , he fin d s I t : **Y ou a re In a s ta te o f g ra c e ," says th e o ld p re s id e n t: The re a so n fo r t h i s g ra ce can be tw o fo ld , and i t depends on you tdilch I t I s : lo v e , i f you b e lie v e In t h i s lo v e --o r e v i l . I f you d o n 't b e lie v e in t h i s lo v e . Love Is a a l r a c l e which la alw ays p o s s ib le , e v il a f a c t which Is alw ays p re s e n t. J u s tic e condeasts e v i l , hope w ill re g e n e ra te , and love o v e rlo o k s. Only I t , lo v e , i s a b le to ac cep t g ra c e a s i t I s . There I s n o th in g h a r d e r, 1 know I t . The w orld Is h o r r ib le and ■ sa n ln g le ss . The hope th a t th e r e Is sow* sen se behind a l l t h i s non se n se , behind a l l t h i s h o r r o r , can o n ly be n e ln - ta ln e d by th o se who love J u s t th e s a n e .113 E v id e n tly , th e whole s to ry Is one long g ro te sq u e r- l e . As u s u a l, D U rrenaatt has sons abandoned and so n a tin a s a ln o s t p u e r ile fun w ith n a a e s: A rchllochos s u g g e s ts , to anyone speaking C eraan, a r a th e r e a rth y e x p le tiv e which s h a ll ra n ■ In u n tra n s la te d . Thera i s th e B ishop o f th e "O ld- W ew P re s b y te ria n s o f th e Second-L ast C h r is tia n s ." The Ambassador o f th e U nited S ta te s i s , u n fo rtu n a te ly , an "Old- P re s b y te rla n o f th e Second-L ast C h r is tia n s ," which , to A rchllochos i s r e g r e tta b le b u t n o t n e a rly as bad a s I f he w ere a "Hew-P re s b y te ria n o f th e Second-L ast C h r is tia n s ." These a re obvious Jokes about th e , to E uropeans, v ery funny I l i It» ld .. p . XJ7. 169 r e lig io u s M e ti o f th« Uni tod S ta te s w ith t h a l r avan fun- n la r n a a ss, auch aa " F lr a t C h r is tia n s ," "Four Square Gos p e l," "Jahovah'a W itn e sse s," " C h ris tia n S c ie n c e ," "R eligious S c ie n c e ," "D ivine S c ie n c e ," " L a tte r Day S a in ts ," a te . Than th a ra la F e tlt-F e y sa n , who la an y th in g hut a " U t t l a p e a s a n t," r a th e r a b ig I n d u s t r i a l i s t ; th e p a in te r Faasap w ith th e ra v e ra lb la nama; th e n a n 'a s to r e , O 'h e lll-F a p * p a ra r In th e Avenue B ik in i; V a ttl ("daddy" o r "pappy") In th e Rue S t. H onorl; Jose on th e Qual O ffenbach; Goschen- b a u a r, th e h a t s to r e ; D e -S tu ts -K a lb e n a tte n , th e glove a p e c la lls t- - a v e r ita b le f r u lt- a a la d o f g ro tesq u e , f a n ta s tic namss. S im ila r fun w ith namss goes on In poor A rchllochoa' In terv iew w ith h la rev ered b o ss, P a tlt-P a y sa n , who c a ll s h i* In tu rn Anaximander, A geallaos, A rla tlp p o a , A rta x erx es, Agamemnon, and Anaxagoras. There a re grotesque sla p s a t modern a r t , auch aa t h i s ; Number 4 (o f A rchllochos* moral w orld o rd e r), Faasap, p assed , accompanied by a throng o f p a r tly abashed, p a r tly e n th u s ia s tic a r t c r i t i c s - - s i n c e th e m aster had J u s t abandoned h is re c ta n g u la r perio d w ith th e c i r c le s and hyperboles and was p a in tin g from now on only a n g le s o f s ix ty degrees w ith e l l i p s e s and p arab o las an d , In stea d o f red and g re en , c o b a lt blu e and ochre . . . 114 U *IM d. . p. 29. 170 Or th e t l M when A rch llo ch o s v i s i t s t h i s id o l In h is s tu d io : In th e B id d le o f th e enormous room stood P assap In i n e v id e n tly on ce-w h ite p o i n te r 's is o c k , now most c o lo r f u lly sp e c k le d , and slap p ed away a t a p ic tu r e on a f r a a e , th e u s u a l p a ra b o la s and e l l i p s e s , ld ille in fro n t o f h l a . . . th e re was a f a t g i r l on a r ic k e ty c h a i r , s ta r k naked, w ith long blonde h a i r , a r a s lin k e d behind h e r head. The w orld church c o u n se lo r sto o d as i f p e t r i f i e d (s in c e h e , fo r th e f i r s t tim e in h is l i f e , saw a naked woman) and h a rd ly d ared to b re a th e . . . •who a re you?" "You have p a in te d ay fia n c e e C hloe, n ak e d ," choked o u t th e C reek. . , . "So?" . . . " S ir , d e s p ite th e e n th u s la s a I f e e l fo r you, d e s p ite ay re v e re n c e 1 a u s t a sk you fo r an e x p la n a tio n . I t i s c e r t a i n ly not u s u a l fo r a b rld e g ro o a t o see h is b rid e p ic tu re d naked a s Venus. Even i f i t i s an a b s tr a c t p a in tin g , a s e n s itiv e view er i s bound to re c o g n ise th e o b je c t." " P r e tty g o o d ," s a id P assap , " b e tte r th an ay c r i t i c s a re d o in g ." Then he exaalned A rc h llo c h o s, step p ed to h l a , f e l t h l a o v er lik e a h o rs e , stepped back a few s te p s , and h a lf - c lo s e d h is e y e s . "Get u n d re ss e d ," h e s a id th e n , poured whisky In to a g la s s , d ra n k , and f i l l e d h is p ip e . "■ut . . . " "No b u t ," P sssap b u llie d w ith such e v i l , e a a l l , p ie rc in g eyes th a t A rch llo ch o s shut up. " I want to p a in t you a s A re s ." "A res?" "The war god o f th e C re e k s," e x p la in e d P assap. " f o r y e a rs I have search ed fo r a s u ita b le ao d el . . . You a re i t . The ty p ic a l a sd a an , th e lo v e r o f b a t t l e s , th e maker o f b lo o d b a th s. You a re C re e k t" "Y es, o f c o u rse , b u t . . . " "T here--you s e e ." "H r. P a ssa p ," A rch llo ch o s began a t l a s t , "you i n ■ l i t i k i n . 1 an no madmen, n o r a a a k a r o f bloodbathft, n o r a lo v a r o f b a t t l a a . X a a a peace- a b la nan. World Church C o u n eello r o f th a Old-New- F ra e b y te rla n C hurch, s t r i c t l y a n ti* a lc o h o lic , a la o a b s ta in in g f r o a smoking. F urtherm ore, 1 a a a vege t a r i a n . " "N onsense," a a ld Faaaap. 'V h a t'a your p ro fe s sio n ? " "G eneral Manager o f th a A ta a lc Cannon D epart- a a n t a n d --” (A rchllochoa* nan J o b ). "There you a ra ,* ' I n te r r u p t ad Faaaap, "a war god, aa 1 aald* And a madman. You a ra o nly In h ib ite d and h a v e n 't found th a form o f U f a t h a t la c o n g e n ia l t o you* You a r a th a b o m g u t t l e r and e r o t l c l a t , th a moat m a g n ificen t Area X have ev er en c o u n te red . Gat u n d reeaed , b u t fa a t! X n u at p a i n t, n o t g a b ." "Not w h ile th la la d y la a t l l l In th a room . . ." p ro ta a ta d A rch llo ch o a. 'to ff w ith you, C a th a rin e ! Ha la e n b a rra a a e d ," acraam ad th a p a in te r . . . The f a t g i r l w ith th a blonde h a i r , now d ra a a a d , d leap p eared . . . 'M a ll," aaked th a p a in te r g r u f f ly , " a t l l l not o u t o f th a p an ta?" "The a h l r t , to o ?" "E v e ry th in g ." Tha W orld Church C ounaelor p u t h la c lo th a a c a r e f u lly o v er a c h a ir . . . and f i n a l l y atood th e r e , naked. "Gat up on th a c h a ir and aaeimm a fig h tin g p o e ltlo n , arma a t an an g le o f s ix ty d e g re e a ," o rd e red Faaaap. " J u s t aa X'va alwaya Imagined a w ar g o d ." Tha c h a ir waa v a ry wobbly, b u t A rchllochoa obeyed. "Y o u 're p r e tty f a t , " grumbled th a p a in te r a n g r ily , p ouring a one more v h ia k y , . . . "b u t th a t can be e lim in a te d . The main th in g a a ra fa c e and th o ra x . A ll th a t h a i r on th a d te a t la good, vary m a r tia l. T highs a r a a l l r i g h t , to o . Nut ta k a o f f y our g la a a a a , th ey k i l l th a w hole l llu a lo n fo r m e." Than ha began to p a in t, a n g le e o f a lx ty d e g re e ! , a l l l p a a a , and p e ra b o la a . " S i r / 1 th e World Church C ounselor s ta r te d anew ( in boxer p o s itio n ),'V o u °** ** *n e x p la n a tio n * -" "Shut u p !" thundered F aasap, " I f anyone ta lk s around h e re . It* a no! That I p a in te d your fia n c e e i s th e a o s t n a tu r a l th in s th e w o rld . A fabu lo u s wonen. You know h e r b r e a s ts , o f c o u rs e ." " S ir ! " "And h e r th ig h s , h e r n a v e l- -" "But 1 a u s t - - " "Assune a d ecen t boxer p o s itio n , Cod dean i t ! " fua»d th e p a in te r , sla p p in g on ochre In th ic k b lo b s , th e n c o b a lt b lu e . "You d o n 't even know your b rid e naked and g et engaged!! . . . . K ill In your b e lly , God daan i t to h e l l ! Never d id t have a wore d iv in e a o d e l th an C hloe w ith h e r M g n lf lc e n t back, th e p e rfe c t sh o u ld e rs , and th e f i n s cheeks o f h e r b eh in d , lik e th e two h a lv e s o f th e w o rld . " I 'v e aade a p la s t i c o f h e r: h e re !" He p o in ted to a confused w ire s tr u c tu r e . "B ut—" " F l a t t e r p o s itio n a g a in !" F assap d ir e c te d th e World Church C ounselor, step p ed back a few tlM S , exanlned h is p ic tu r e , changed an e l l i p s i s , l i f t e d th e canvas o f f th e stan d and a tta c h e d a n o th e r one. "Now," he o rd e re d , "go down on your k n ees. Ares a f t e r th e c la n o r o f th e b a t t l e . Lean fotw ard w ore. A fte r a l l , 1 h a v e n 't got you a t sry d is p o s a l every d a y ." A rc h llo c h o s, confused and h a l f to a s te d by th e s to v e , r e s is t e d only fe e b ly . " I would lik e to a s k - - " "A rt I s ay e x p la n a tio n . . . w hether t h i s s a t i s f i e s you aa an e x p la n a tio n o r n o t, la I n d if f e r e n t to m . X have s id e ao M th ln g o f your naked b r id e , a n a s te r p le c e o f p ro p o rtio n s , o f su rfa c e d iv is io n and rh y th n , o f c o lo r , o f p i c t o r i a l p o e try , a w orld o f c o b e lt b lu e and ochre! You, on th e o th e r hand, want to M ka s o m th in g v ery d if f e r e n t o f h e r , once you have h e r naked a t your d is p o s a l, a m m perhaps w ith l i t t l e b r a ts . You d e s tro y a M s te r p le c e o f c r e a tio n , n o t X who g lo r if y t h i s M B terw ork In to a o m th in g a b s o lu te , f i n a l , d rean - Ilk * . . . How In b o ll can on* got such • b e lly - - and w ith o u t a lc o h o l In th a and, a f t a r an e x c ru c ia tin g c e s s io n , th a la - p a rlo u s P assap hands A rch llo ch o s th a w ire p l a s t i c : "H are, put t h a t b e sid e your a e r r la g e b ed --ay trad d in g p re s e n t. So t h a t you aey re a e a b e r th e b e a u ty o f your b rid e a f t e r I t h as fad ed . . . .And now, g e t th a h e l l out o f h e re . X can sta n d V orld Church C ounselors and G eneral Managers even le s s th an a r t d e a le r s . Y ou're lucky t h a t you look lik e th e G reek god o f w ar, o r e ls e 1 would have thrown you out long ag o , and naked, to o , b e lie v e you a s ! " 116 ll5lbld., pp. 70-84. CHAPm tv IKK PA R A D O X A N D GROTESQUE IN THE KINOR DRAM ATIC W O R K S The Radio P U y i In rev iew in g D U rrensatt*a h ig h ly s u c c e s s fu l, p r ls e - v In n in g ra d io p la jri, a c h ro n o lo g ic a l o rd e r w ill be follow ed, as was done w ith th e review s o f th e " d e te c tiv e s t o r i e s . " Brock S u la e r, In h e r In tro d u c tio n to D U rrs n a a tt's ra d io p la y s , wakes sows v ery a s tu te e s th e ti c o b se rv a tio n s about ra d io d ra a a In g e n e ra l and D tlrra n a a tt1s a f f i n i t y fo r I t In p a r t i c u l a r , though so m o f h e r re a a rk s re v e a l h e r aa a theory-bound o u ts id e r . The th e a te r o f to d ay la a h ig h ly c o n tra d ic to ry fo ra o f a r t . On th e one hand I t h as s u ffe re d g r e a tly fro a th e " d e v a lu a tio n o f th e w o rd ," and o f language In g e n e ra l. T h ea te r people and d r a a a tlc c r i t i c s , I t was p o in te d o u t In an e x c e lle n t a r t i c l e In th e Neue EUrcher E e ltu n a , d e p lo re th e s p i r i t u a l ap ath y tow ards th e t h e a t e r . They see 174 173 th e th e a te r puahed toward th a o u te r edge o f p re a e n t-d a y ev e n ta and adm it t h a t I t meana l i t t l e o r n o th in g In d e te r* m ining to d a y 'e g re a t d e c la lo n a .^ On th e o th e r hand, th e r l e e o f new d ram atic a r t forma auch aa film , r a d io , and t e le v la lo n have fo rced th e th e a te r to become conacloua o f I t a own elem ent a and eaaen ca. Under th e com pilalon o f " te c h n ic a l p ro g re a a ,” one o f th e goda o f our tim e , ra d io drama a e t up th e apoken word aa a o le , aupreme r u l e r - - a t 5 le a a t fo r a b r i e f t h i r t y y e a ra , from 1930 to I960. During t h l a tim e th e ra p e d , d leh o n o red , n e c ro lo g le e d apoken word made a comeback auch aa no one had ex p ected . A lao, ra d io drama re v iv e d a moribund t h e a t r i c a l form , th e o n e-act p la y --o n c e , aa le v e r d e _ rld e a u . p a rt o f th e liv in g th e a t e r , now alm oat e x t in c t . The a t t r a c t i o n o f ra d io draam fo r DUrrenmatt waa tw o * fo ld : th e f l r a t waa, alm ply, t h a t th e re waa a g ra a t d a m d and th e re fo re a ready-m ade aource o f Income, w ith payment In f u l l upon d e liv e r y , aa DUrrenmatt ad m itte d w ith *Paul Httbner, 'D ie peradoxe S itu a tio n daa Thea t e r a ." Wove Ittrc h e r E e ltu n a . V X (J u ly 22, 1962), 2063:78. *Due to th e delay ed developm ent o f adequate t e l e - v la Io n progrearning, ra d io dram a--long daad In th e U nited S t a t e a - - a t l l l U v ea In Burope. 176 c o a p la ti fra n k n e ss; th a second waa D ttrre n a e tt'a trew sndous c u r io s i t y ab o u t l i f e and a r t , which lu re d h l a In to th la now a r t f o ia . N othing ahowa th e v i t a l i t y o f a c r e a tiv e a r t l e t and h ie b ein g In tu n e w ith h ie tin e b e t t e r th an h la a b i l i t y to reapond to an e x te r n a l danend w ith o r ig in a l c r e a tio n . No 116r e , fo r N toa th e c o w d d la -b a lle t deaended o f h la by th e ro y a l c o u rt waa a t f l r a t o n ly te d lo u a work fo r h i r e , node a new a r t fo ra out o f I t ; Shakaepeare w rote a one o f h ie b e a t coaodlea "on d eaan d ," D ttrre n aatt aa an e x tre a e ly language-conacloua w r i t e r , aa one d to lo v es to p lay w ith w ords, w elcoaad th e r e s t r i c t i o n s o f th la a a d lu a , a la o th a t of an e x a c t tin e l l a l t . Here la What he had to say In cow paring th e v a r i ous a e d la : The w ord, pure and a ln p le , e x is ts n e ith e r In th e t h e a t e r , nor In r a d io , nor In t e le v i s io n , b e cau se In d ra a a th e re can n ev er be an a b s tr a c tio n f r o a aan . Han la everyw here th e s u b je c t, a a n who t a l k s , Who la a s do to t a l k th ro u g h th e p la y . W hile In n o tio n p ic tu r e s , aa In te le v is io n , we a re peeping through a k ey h o le, end In th e t h e a t e r , a t a peepahow-box, In th e ra d io p lay u s a r e ea v e s d ropping a t a locked door w ith o u t a k ey h o le. Uhlch la b e t t e r ste w s to a s an Id le q u e s tio n . I t la a q u a r r e l about a e th o d s In w hich everyone la r i g h t . In th e ra d io p la y th e w orld la a b s tra c te d o n to th e one plane o f h e a rin g ; t h a t la I t s g re a t a s s e t and I t s g re a t w eakness. The advantage o f th e t h e a t e r , b u t a la o o f f l l n and t e le v is i o n , over th e ra d io p lay la J u s t t h a t . In th e n , language la 177 n o t i c h l t v i d as th a immediate medium, b u t as th a a c tu a l clim ax . |1 h a ra fo ra ) th a th e a te r has a auch g r e a te r In ta n s i f I c a t io n p o ta n tla 1 th an th a ra d io d r an a . In th a ra d io p lay th a w orld Is am putated down to th a h e a rin g , in film down to th a p ic tu r e . In both f o n t to o p ic h i n t i — c» U o c h to v ^ . M i l l . In cinema you aaa bow people u n d re ss , In th a ra d io p la y you h e a r how th e y w h isp er to each o th e r .3 Tha a l ig h t re v u ls io n shown in t h i s l a s t sen ten ce is re p e a te d In T haatarp ro b law a, where D ttrrenm att c a l l s f i b s a tr u ly pornographic a r t , throu£» which th e v iew er Is fo rced In to th e s it u a tio n o f a v o y eu r. He claim s t h a t th e p o p u la rity o f f i l e s t a r s r e s t s on th e f e e lin g o f everyone Who h a s seen th e n on th e sc re e n , to have s le p t w ith thaw . "A c lo s e - u p ," he s a y s , " i s in I t s e l f in d e c e n t." * However, D U rre n e a tt's ra d io p lay s a re an y th in g b u t sm a ll, in tim a te r e v e la tio n s . He b u rs ts out o f th e w a lls o f p riv a c y and d e a ls a ls o h e re , a s alw ays, w ith th e e t e r n a l, w ith th e fo u r- and fiv e -d im e n sio n a l, w ith God and g a la x ie s and d e a th --s o any s im ila r ity betw een h is k in d o f ra d io drasw and th e " k itc h e n drama" o f th e American soap 3|llS*beth Irofk.SulM f. M adfid> PHrrpa— S ta tio n e n s e in e s Werkes (Z ttrich : V erlag d e r A rche, 1960), p. H, Sheaterorobleme (Zttrlch: Verlag der Arche, 1933), p. 17. 170 o p ira la n o t o n ly c o in c id e n ta l but n o n -e x la te n t* f r o a th a •n o tio n g e n e ra te d by h la ra d io d ra aa th a r a la a d ir e c t lin e to th a a ta m a l g re a tn e a a o f t h e a t e r , avan to th a a n tiq u e th e a te r w ith i t a a a ik a , and I t a worda addraaaad t o bhola p o p u latlo n a o f c l t l a a . D ttrre n aatt doaa not ad draaa th a t y p i c a l , coay l i t t l e ra d io au d ien ce o f tw o -p o ln t-o d d people In t h e i r liv in g r o o a t, but apeafca, aa th e Hapaburg •a p e ro ra o f o ld , " to wj p e o p le * ." The b o d ily absence o f th la unknown, unaeen audien ce o f thouaanda and a l l l l o n a ao p a ra ly s in g to wany w rit o r a and p e rfo rn e ra , a tla u la te a h l a , because I t fre e s h la fro a th e "au seu a a ta o sp h e re " o f th e th e a te r idilch he d e p lo re s so auch In h i s Ih e a te re r o b le n e . 5 < *Per fro a e a s u a dea K saela *^Per fro s e a s u a dea K iaela H h . I w a H w w tlM * » » '« ■ s ^*f°**l \ M d to W l e i an d , b u t n o t v ery such) w r itte n l n _ W l With th e s u b t i t l e D U rrenaatt aeans t h a t th la ra d io play la a aodern v e rsio n o f th e a to r y , P ie A b d e rlte n . by C h rlato p h M artin V lelan d , 10th c e n tu ry German poet and aan o f l e t t e r a . *Ibld. . pp. 10ff. 179 PLOT SIMMRY: th e p l t c t Is A bdera, s l i t t l e town In I h r i c t ; th e c i s t d u rin g th s A ttic V ir, A d s n ti s t named S tru th io n has to go to a nolghboring town to m r t c t s o t b o d y 's to o th , fo r tra n s p o r ta tio n ho h iro s o donkoy from o won m u d A nthrax. I t is vary h o t th a t day; th o ro is no shads anyvhsro on th s ro a d , so S tru th io n who i s a fa t sa n and doss not f s s l w sll in t h i s h o s t, g s ts o f f th s donksy and s i t s down in th s shads. But A nthrax, th s ownsr, o b js c ts : h s has rs n ts d out h is donksy but not i t s shadow. I f S tru th io n w ants to u ss th s shadow, hs must pay s x tr a . A q u a r r s l en- au ss, and th s two ra tu rn a t ones w ith th s donksy to Abdsra to go to th s Judgs. Ths ju d g s, a p sac aab ls nan, has alm ost managed to n s g o tia ts a compromise, when two sh y ste r law yers pass by and gat h o ld o f th s c s s s , Umm- d la ta ly e n la rg in g and f a ls if y in g i t in to a p o l i t i c a l is s u e . Ths harm less l i t t l e d s n t is t la mads in to a " f il t h y c a p i t a l i s t try in g to e x p lo it a poor honest workman." Ths whole town is s p l i t in to two fa c tio n s , th s "A sses" and th e "Shadows." One r e lig io u s c u lt is s e t a g a in s t a n o th e r, one p a rty a g a in s t a n o th e r, c a p ita l a g a in s t la b o r, and th s whole town a g a in s t a l l " fo re ig n e r s ," i . e . , any Greek from o u ts id e o f th r a c e . But w hile V ialan d , th a g a n la l s to ry t a l l e r o f e lg h te e n th -c a n tu ry e n llg h te n a e n t, la ta th a s to ry and w all and e e n a lb ly , D U rrenaatt wakes I t and w ith th a t o t a l d a a tr u c tlo n o f th a town o f Abdara. In an a f f o r t to e x te rm in a te aach o th a r t both p a r tle e h ir e an a re o n le t (th a aan* o n e!) *d»o a a ta f l r a to both t h a l r ta a p le s . The f l r a b rig ad e la a la o a p l l t In to two f a c t Iona and la th e re fo re cow- p le te ly d le o rg a n lc e d ; aach aide wanta to aava only th a te a p le o f I t a own p a r ty , and ao e v e ry th in g goaa up In flaw os. In th a and th a e tu p ld and enraged tow napeople, looking fo r a acapagoat to b laae th a d la a a ta r on, blaaw th a poor donkey and g e t ready to k i l l h l a . Tha donkey addraaaaa th a au d ien ce In a p i t i f u l c u r ta in epeech and aaka p la in tiv e ly : fVaa 1 r e a l ly th a aaa In t h la e to rv ? "* Since th la la a v ary tra n a p a ra n t p a ra b le , Abdara l a , o f c o u ree, a Creak town In nano o n ly . Tha p la y le t r e a l l y la a n o th e r o f thoaa g ro taaq u a apoofa o f a n tiq u ity tdtlch, av e r sin c e O ffenbach-H alavy*s Orahda aux tn f a r a and La B e lla H elen a, have aauaad g e n e ra tio n s o f Europeans ateapad In c la s s ic lo re . ^Der Proxaaa ua dea E aaala S ch attan (Z tlrlch : V erlag d e r I r c h a , 1958), 31 pp. 181 Abdara r e a lly belongs Co chsc group o f towns which i n sywbols fo r h u sin s tu p id ity : S c h lld a , th s fawous town w hosi c I tle a n a , th s S ch lld b U rg srf s r s th s b u tt o f sanjr funny s t o r i e s ; (U seIn ( c a lle d "H aw elln" In E n g lish ) w ith i t s Pled P ip e r and lo s t c h ild re n ; end th e la a g ln a ry Swiss town o f S eldw yla, iM o r ta lls e d by th e g re e t n in e te e n th ce n tu ry Swiss p o e t, G o ttfrie d K e lle r , a re o th e rs . G ro te sq u e rle is a ll- p e r v a s iv e h e re . O utrageous fun Is wade o f wodem p o l i t i c a l slo g a n s, lo c a l p a tr io tis a i and chauvlnlew , r e lig io n and i t s r e p r e s e n ta tiv e s , in s h o r t, alw oat a l l f a ls e v a lu e s . J u s t two speeches a re p re se n te d a s saw ples: G U X LD M A STD L PFK1EME [weaning "bung") sp eak s: They wock o u r holy swanpa, our h oly fro g s , our g a r l i c --a n d th ey wean th e people.* They p ra is e re a s o n , c iv ilis a tio n * - a n d wean by i t a l i f e o f debauchery w ith o u t bonds o f w o ra llty ! G reece is g r e a t , c e r ta i n ly , b u t Thrace is g r e a te r , and hows Is alw ays g r e a te s t! So J o in h an d s, T h ra c ia n s, in th e P arty o f th e A sses, In th e p a rty th a t draws frow t h i s t r i a l th e wore I which wust be drawn. Down w ith th e enew les o f T h race, who a r e a ls o th a enew les 7 o f Abdara! Down w ith th e pan-G reek l i b e r a l s ! The n ex t speech is th a t o f T h y k ld ld es, g e n e ra l s a le s wanager o f th e **Thykldldes Weapons C o rp o ratio n ,* ' o f C o rin th , d ic ta tin g a b u sin e ss l e t t e r to h is s e c r e ta r y : TI b t d . . p . « . 1 8 2 Take • l e t t e r , Famphsgui: "W ith g re a te s t In te r e s t we a re follow ing th e courageous fig h t o f your p a rty . Us f u lly share w ith you th e view th a t peace Is th e h ig h e st g o a l, but In view o f th e crim in al in te n tio n s o f th e op p o s itio n p a rty one must be prepared fo r th e w o rst, th e r e f o r e , th e Thykldldes Weapons C o rp ., of C or in th , o ffe ra you I t s h elp In th e fig h t fo r th e h ig h e st Id e a ls and fo r peace, and extends to you an o f f e r o f A -l swords o f top q u a lity , e s p e c ia lly s u ita b le fo r c i v i l wars and s t r e e t fig h tin g , a t th e s p e c ia l p ric e quoted below. Ve a ls o beg you to keep In mind our S p ecial Throwing S pears, Irand 'f a x . ' f i l t e r s o f both p a r tie s In S ic ily have commented h ig h ly favorably upon them. The Lebanon Cedar S h ie ld s, covered w ith w ild donkey sk in , a re again In sto ck and can be su p p lied In la rg e q u a n titie s . A waiting your re p ly , we rem ain most r e s p e c tfu lly y o u rs, th y k ld ld e s Weapons C o rp ., C o rin th . Make two c o p ie s, famphagus, and send one to each p a rty In A bdara." th la c y n ic a l p e rs ifla g e o f th e modem arms race and I t s moral J u s tif ic a tio n on both sid e s can hard ly be s u r passed. A ty p ic a lly a p o c a ly p tic DUrrenmatt fig u re Is th e drunken Whoremaster o f a c a p ta in , T lphys, who, fo r pay, s e ts f i r e to th e town and s in g s . In s e v e ra l In sta llm e n ts through th e p la y , a g r is ly sea chanty by B recht. H is fa re w e ll ra n t fo llo w s: Tlphys sin k s In to th e se a , w ith h is b a r re ls f u l l o f wine and o i l , w ith h is p e a rls and h ie wenches, w ith h is Schnaps and h is g ig a n tic drunk en n ess; h is sh ip g lid e s back In to th e I n f in ity of *Ibld. . p. M . th e ocean, In to th a e x a lta tio n o f th a r is in g s t a r s . I became th a f lr a - b r a a th th a t singed your a o r ta l w eakness, th a J u a tlc th a t came upon t h i s town and w ill alw ays co at a g a in ; X bacaas th a h a l l o f th a daads you y o u rsalv as c o M lt te d , ~ th a t you wished upon y ourselves In your dream s. T his fig u re Is r e a lly H ers, o r A res, a frig h te n in g p e rs o n ific a tio n o f w ar, p e s tile n c e , chaos, and anarchy, o f f i c i a l l y and p io u sly condeaned by everyone, but s e c re tly c a lle d in and paid f o r . U h lle, on th e s u rfa c e , t h i s ra d io play Is only a harm less spoof, th e f ir e - lic k e d b lackness o f th e apocalypse Is peeking through every crack . D U rrenaatt was then new to ra d io --s o th is Is not y e t very good ra d io , d e s p ite th e In v a ria b ly a b je c t p ra is e o f Brock-Sulser* To anyone steeped in th e proven, m aster f u l ra d io technique o f American network ra d io d u rin g th e l a t e T h ir tie s and F o r tie s , D U rren aa tt's s in s a re many and f la g r a n t: f a r too many c h a ra c te rs (3 7 !), t o t a l ly I n s u f f i c ie n t id e n tif ic a tio n o f th ese c h a ra c te rs , speeches o f h a lf a page o r m ors, alm ost no sound e f f e c ts and no sound p e r s p e c tiv e , and abrupt s h if ts o f lo c a le s w ithout s e ttin g any o f them. In s h o rt, m hlle P sr Froaeas urn de» I s e l s S ch atten I s h l^ ily en joyable and amusing re a d in g , I t must have been an u t te r l y confusing ra d io perform ance. 184 S tra n lta k y und d a r lU tlo M lh ild f S t r .n lt .f c r and th « IM tto n al H T o l w r l t t t i In W I PLOT SUMMIT: IVo war c r lp p la a , S tra n lta k y , a fo m a r p ro fa a a lo n a l f o o tb a ll p la y a r who haa lo a t h la l « i a , and A nton, a fo m a r a a rln a d lv a r who lo a t h la a y a a lg h t in th a a x p lo a lo n o f h la a h lp , llv a In d lr a p o v arty In an a la o a t a a p ty ro o a In a lo w -ran t houalng u n it . Ona a o m ln g S tra n lta k y raada In th a papar th a t th a n a tio n a l h a ro , P ra a id a n t B aldur von Hoava, haa con- tr a c ta d lap ro ay In th a b is *oa o f lo f* fo o t. Thla la g ra a t nawa: th a p ra a ld a n t " a u f f a r a ," and th a a n t l r a n a tio n a u ffa ra w ith h la . Tha C oaaunlat P a rty loaaa aw abara, a tr lk a a a ra c a lla d o f f , and th a o p p o a ltlo n la a l l a n t In d a fa ra n c a to th a a u ffa rin g p ra a ld a n t. Thla g lv aa S tra n lta k y , th a f r u a tr a ta d a x - f o o tb a ll a ta r who w i ll n avar p lay a g a in , a g ra a t ld a a : now th a t th a p ra a ld a n t haa Jo ln ad th a c o m u n lty o f a u ffa rln g and c r lp - p lad o ld a o ld la r a , h a w i l l a t la a t u n d aratan d thaw and t h a l r p lig h t. Ha, S tra n lta k y , and Anton w i ll v l a l t th a P ra a ld a n t to axpraaa t h a l r aywpathy and to a x p la ln t h a l r ldaaa f o r ra fo n a . Tha P ra a ld a n t w i l l ap p o in t S tra n lta k y n i n l a t a r In h la c a b ln a t, S tra n lta k y w il l ln tro d u c a a l l th a ra fo m a ha haa d raaaad o f In h la 105 a la a p la a a n i g h t t h a p a ra d la a o f th a " l i t t l a paopla" la a t hand! V lth th a b lin d g ia n t Anton puahlng th a ru a ty g o -c a rt o f th a la g la a a S tra n lta k y who guldaa h la , th a two In v a lid a t r y to fo rc a t h a l r way In to th a hoa- p l t a l whara th a a u ffa rin g P ra a ld a n t aaaaaa th a n a tio n by h la oh*ao*harolc a t t l t u d a In th a fa ca o f a u ffa r* ln g and p a in , gut th a p o llc a atopa th a n , n a tu r a lly . Howavar, a b r ig h t young nawapaparwan, about to ba f lr a d and In d lr a naad o f a "a co o p ," aanaaa th a tra a n n - doua nawa v a lu a o f a w aatin g batw aan th a a i l i n g n a tio n a l h aro and th a a a two ln v a lld a . I t la arran g ad and an* nouncad. S tra n lta k y and Anton bacowa th a c a la b r ltl a a o f t h a l r nalghborhood. Everybody glvaa th a n c r a d l t . A b ig p a rty w ith naw f u m l t u r a , food, and d rin k , a l l bought on c r a d l t , la p rap arad In t h a l r huabla q u a rta ra fo r t h a l r r a tu m a f t a r t h a l r v l a l t w ith th a n a tio n a l h a ro . On th a f a ta f u l w ornlng, an o f f i c i a l c a r plcka up th a two c r lp p la a and ta k a a th a n to th a p ra a ld a n t, who aw alta th a n , aurroundad by b lg v lg a , naw araal c a n a r- awan, p h o to g rap h a ra, and ra d io nawaaan. Tha n a tio n a l h aro and p ra a ld a n t, h aro o f th a b a tt la a o f P ln a ta r* w alda and S t. P lln p lln , an la p ra a a lv a -lo o k in g b u t anpty flg u ra h aad ra n ln d ln g ua o f H lndanburg w ith a b i t o f 106 B U in h o M r, F tc iln , and Crane Mixed In , u t t e r s e few empty |t i w r « U t l e i about c h ln -u p , c le n c h in g o f t e e th , and f u l f i l l i n g o f o n e’ s duty to th e f a th e rla n d . Then S tra n lta k y launches In to h is elo q u en t speech a g a in s t war and fo r th e r i g h t s o f th e cn— nn nan . G eneral c o n s te rn a tio n and eab arrassam n t re ig n , th e h e ro o f F ln s te tv a ld e and S t. F lln p lln n u tte r s a few more p l a t itu d e s , hands th e in v a lid s h i s autographed p ic tu r e , and th ey a re e s c o rte d out and home, convinced th a t th ey have accom plished t h e i r m issio n . Back home, th e two c rip p le d v e te ra n s a re aw aited by a r o ls te r o u s g a th e rin g o f t h e i r frie n d s and n e ig h b o rs. The p a rty b e g in s. Everyone w a its fo r th e ra d io news r e p o rt tdilch w ill announce th e appointm ent o f S tra n lta k y as M in iste r o f P o lic e and I n t e r i o r , and o f Anton as M in iste r o f Churchss and F inance. The r e p o r t comes and I s , o f c o u rse , th e u su a l empty news r a a s le - d a s s le about th e g re a t n a tio n a l h e ro re c e iv in g in frie n d s h ip and com raderle two c r i p p led war v e te ra n s . P erio d . A trem endous r o a r o f d i s appointm ent and dashed hopes goes up. S tra n lta k y and Anton a re a tta c k e d and b e a te n as fra u d s and c h a a ts , u n t i l th e b lin d g ia n t p ick s up h is le g le s s frie n d and ru sh es d o w n stairs w ith him in to th e s t r e e t . He p u ts 107 h la in to th e o ld g o - c a r t, and o f f th ey ru n in to th a n ig h t. Tha and can ba to ld In D U rrenw ett'a own w ords: Whan day b ro k at th ay p u lla d th a g o -c a rt o u t o f th a c a n a l. Tha la g la s s ona had s ta a ra d h is b lin d frla n d in to a coasKm d a a th . Tha b o d las o f th a two wara n o t fo u n d --th a c a n a l ssast hava c a r r la d thaw In to th a sa a . Thus th a l a s t w astin g o f th a two In v a lid s w ith our n a tio n a l h a ra cawa a b o u t: Moava ra tu m a d In Nay o f th a fo llo w in g y sa r frow an ex- tsn d ad s ta y a t th a H iv le r a .10 Ha was ro sy and c o r p u le n t, v is ib ly h a a lth y ( fo r thanks to an Awarlcan d isc o v e ry , H odersahn, th a fawous s p a c la ll s t t r e a t - lng th a p re s id e n t, had baan a b la to c o n ta in , avan I f n o t q u its a r a d lc a ta , th a la p ro sy . In f u l l vlaw o f an s n th u s la s tlc po p u laca, th s p ro c a sslo n wovad a c ro ss th a c a n a l b rld g a toward th a c a th a d ra l o f S t. S a b a s tla n , and t h a t 's whan th a two c r ip p la s bscawa v i s ib le a g a in : th ay cawa frow th a s a a , c a r r la d by th a t l d a , two g ig a n tic w atar-lo g g ed c o rp s e s , th a fo o tb a ll p la y e r on th a back o f th a b lin d g ia n t, c o r a ls and k elp on t h a l r bleached s k u l ls , and s t a r f is h and s h e lls In t h a l r e y e h o le s. Thus th ay flo a te d in th a glow o f th a su n se t In to o u r c i t y , and th e la g la s s ona had r a is e d h is d e f ia n t f i s t a g a in s t th a n a tio n a l h a ro . Than th ay sank ag ain b en eath th a w a te rs. In v a in d id th a p o lic e t r y f a r In to th a n ig h t to and t h i s scan d al w ith search p o le s. Tha low t id e wust have c a r r ie d th a g h o sts back In to th a ocean. And t h i s , la d le s and g a n tla - wan, Is th e .e n d o f th a s to ry o f th a war c r ip p le , S tra p a ts k y . *®Cf. Klsenhower and h is e n d le ss v a c a tio n s and g o lf t r i p s away frow th a White H ouse, U S tr« n lt« k y und 6mt M t t o n .l h .l d (Z U rlch: V .r l « , d a r A rche, 1959), 46 pp. S tra n a tsk v i s a l a s t and alw o st u n tr a n s la ta b le play on w ords. A S tra n a ta i s a g re a t e f f o r t , o r "doing sow ethlng th e h ard w ay." 188 I h t 3-D i r o t i i q u t c U o f t h l i l a s t n a r r a tio n la ob v io u s . 1h« a n t I r a work Crow bag inn In t to and la a p ric k ing and exploding oC J u s t about a l l th a b allo o n ed v a lu e s and phoney f e tis h e s o f our c i v i l i s a t i o n : th e rid ic u lo u s w orship o f h ero es w ith empty heads and fe e t o f c la y v idiose every b e lc h and b a n a lity Is re p o rte d by p re s s , ra d io , and te le v is io n as Im m ortal words o f wisdom; th e lu d ic ro u s Im p o rtan ce which Is a tta c h e d to every l i t t l e a ilm en t o f th e s e p u b lic f ig u r e s , p re-em ptlng fro n t pages and h e a d lin e s , ca u sin g sto c k m arket c o lla p s e s and r a l l i e s ; th e c r o c o d ile 's te a r s w hich a re shed over th e p lig h t o f th e w ar v e te ra n s as long a s I t Is p a t r i o t i c to b e frie n d them ( a f t e r v h lc h people lik e to fo rg e t such Inconvenient rem inders o f human c r u e lty and s tu p id ity a s b a sk e t c a se s and p a ra p le g ic s a s f a s t a s p o s s ib le to g et back to "norm alcy" and b u sin e ss as u s u a l) ; th e " te c h n ic a l advances" such as th e p r e s id e n t's A m e ric a n -b u ilt, m o to rised tA ia lc h a lr - c h a is e longue com b in a tio n w ith ad ju stm en t t o any d e s ire d p o s itio n , w ith ta b le s and overhead lam ps, and b u i l t - I n telep h o n e (con tr a s te d w ith th e o ld r u s ty g o -c a rt o f S tra n lts k y who haa g iv en f a r more to h i s co u n try th an th e " n a tio n a l h e r o " )-- and a l l th la s id e by sid e w ith hollow p h rases o f ra h -ra h n in e te e n th -c e n tu ry s a b e r - r a ttl in g p a trio tis m . The t e x t Is 189 a ls o i l l u s t r a t e d w ith kubs*G oldberg-like sk etch e s o f "new and improved" as w a ll a s "governm ent-approved" c ru tc h e s w ith b u i l t - i n ra d io , o f a r t i f i c i a l h e a r ts w ith m otor- d riv e n blood c i r c u la ti o n , o f am to rlaed arm p ro s th e s a s , and, o f c o u rse , o f th e fab u lo u s A m erican-Invented and - b u i l t m otoriced w h e e lc h a ir-a n d -c h a ise longue com bination. These c a rto o n s a re n o t by D U rrenm att, b u t may have been su g g ested by him. As so o fte n , DUrrenmatt has r io to u s fun w ith namss: S tra n lta k y , lik e A rchllochos in Creek Han Seeks Creek H alden. s u ffe rs from v a r ia tio n s lik e S ta n is la v s k y , S tra p lta k y , S tra w lta k y , S tr lp lta k y , and f i n a l l y S tra p a ta k y . "ftaldur von Hoove" is a stro k e o f g e n iu s: th e name o f l a l d u r . th e Germanic e q u iv a le n t o f th e a n tiq u e Eacchus and D ionysus, h as become a b i t o d o rife ro u s sin c e H i t l e r 's homo sex u al youth le a d e r, B aldur von S c h lra c h . The scenes o f th e h e r o 's triu m p h s, F ln ste rw a ld e and S t. P lln n lln . sound lu d ic ro u s . Hoove means s e a g u ll. The le p ro sy s p e c i a l i s t , D r. Hoderaahn ( " r o ttin g to o th " ) ; th e young J o u r n a l is t, J . P. W hltoblack (p ro b ab ly a s la p a t th e w h ite -o r-b la c k f a ls if y in g o f news in th e p r e s s ) ; and E d ito r Ponner (" th u n d e r" ) round out th e crew . T e c h n ic a lly , a s ra d io drasm , S tra n lta k y is a lre a d y 190 nuch b a tte r* 1h« c a s t h a t baan reduced to 10 c h a r a c te r s , 1o c a la is f a i r l y c la a r ly e s ta b lis h e d , and sound and n u slc a r a used --th o u g h n o t n a t u r a l i s t l e a l l y a s a sound ta p a s tr y in th a background, b u t on word cuas a s d a f ln it a a c c e n ts , i . e . , e x p r e s s io n is tic a lly . a Course fo r C o n te n o o ra ria s) o r ig in a lly w r itte n as s t r a i g h t P t0* t O T P to, Uiyt l > * " ln * r > d t 0 There a ra a t o t a l o f two tokan sound o f f s e t s in th a b a g in n ln g , th a n a l l p re te n se o f a ra d io p la y i s dropped, and n o th in g p h y sic a l happans o th srw isa to J u s t if y th a ta r n " p la y .” So, by our s ta n d a rd s , i t i s n o t a "p la y " a t a l l , w hathar ra d io o r o th a rw lsa , b u t s la p ly a vary I n te r a c tin g p h ilo so p h ic d ialo g u e batwoan a w r ite r and th a p u b lic execu- tlo n e r (one o f th e nany, nany e x e c u tio n e rs ln D U rre n n a tt's w orks) who h as baan se n t to k i l l h in . The e x e c u tio n e r c lia b s in through th e window, a ls o lik e so nany o th e r D U rrensntt c h a ra c te rs* Tha w r i te r , who has long bean con s id e re d su b v ersiv e by th e re g ln e In power, h as expected th a e x e c u tio n e r and w a its fo r h in ln th e d a rk , b u t n o t to f ig h t w ith h in ; he knows to o w e ll t h a t , ln th e long ru n , M c h tllc h * * Q*»prllch « l t « ln — S r « c h f t« n H*n*ch*n»-Hn l u n r I*lt»«no»»«n fW octurn*! 191 n i l i u n c t i s u a t l t a a ; th e ex e c u tio n e r alwaya w in e .12 W octum al D ialogue is a c o n tin u a tio n o f The Tor tu re r* e W einer and 91l a t e , ftut v h lle th e " t o r t u r e r 'a h e lp e r " la J u a t t h a t , a " h e lp e r ," a s e rv a n t, th e execu tio n e r la a f r e e , th in k in g nan. While In The T oT turer*a W einer th e poet eays "grueaon b u t e x a lte d " w ords, th e e x e c u tio n e r h e re apeake " a ln p ie th ln g a " and saya th e n d i r e c tl y to h la v ie t i n , a r e a l nan o f f le a h and blo o d . And td ille In th e f l r a t w ork, nan la only a cadaver w ith th e f a c u lty o f B u ffe rin g , he la h ere a hunan b ein g o f a ln p le d ig n ity , and God la th e god of n ercy who h o ld a in h la hand fo rg lv en eaa o f our a ln a and peace fo r our a o u l. « * The b ltte m e a a o f th e w r ite r In th la p la y . Who la c o n sid ered an outlaw by th e nodern t o t a l i t a r i a n e f f ic ie n c y a t a t e , la ln te n a e . Why? D ttrrennatt grew up and apent a l l h la l i f e In a denocracy where th e freed o n of th e I n t e l l e c t u a l and th e d la a e n te r la a t le a a t aa g re a t aa In th e U nited S ta te a , I f not g r e a te r , n e v e rth e le s s , th e wavea o f l2H .c h tU d i« . O .p r .c h ■ H . l n — v r . c h t . t . n Henachen (3 rd e d . ; I ttr ic h : V erlag d er A rche, I9 6 0 ), 1 9 2 ty ra n n y , h a tra d , and o p p ressio n from a c ro ss th a b o rd e rs, and th a corresponding fe a r in l i t t l e S w Itcarlan d , oust have baan so stro n g , and D ttrrenaatt d u rin g h is fo ra a tlv e y e a rs a u s t have baan such a s e n s itiv e re c e iv in g an ten n a, th a t asny o f the re a a rk s o f th e w r ite r sound a s perso n al a s I f D U rrenastt h i a s e lf had gone through a s im ila r ex p er ie n c e . Here a few ex a a p le s: 'T he O ther One*' ( t h i s Is th a naae fo r th e ex e cu tio n e r In th is d ia lo g u e ), s u rp rise d to fin d h is v ic tim w aitin g fo r him In th e dark: Monsal people l i e In bed a t t h i s tim e. THE HAH: When tim es a re norm al. THE OTHOt ONE: Your w ife? THE HAH: D on't w orry. M y w ife la dead. THE OTHER ONE: Do you have c h ild re n ? THE HAH: M y son Is In some c o n c e n tra tio n caap. THE OTHER ONE; Does anyone read th e books you w rite ? THE HAH: They a re read w herever they a re fo rb id den. THE OTHER ONE: And Where they a re not forbldden7 THE HAN: They a re h a te d . . . . You murder on order? THE OTHER ONE: T h a t's ay p ro fe ssio n . THE HAH: 1 have always vaguely sensed th a t th e re a u s t be p ro fe ssio n a l a u rd e re rs In t h i s country today. THE O THER ONE: I t was always lik e t h i s , s i r . . . . You b ear your f a te w ith equanim ity. THE HAH: You ex p ress y o u rs e lf In a very fancy s ty le . THE OTHER ONE: I have to d eal m ostly w ith educated people today. THE HAH: I t ' s a good th in g when ed u catio n becomes som ething dangerous ag a in . 193 THE OTHER ONE: I euppoae you a re fo r freedon? THE HAN: Only fo r I t . THE OTHER ONE: That* a what a l l thoaa say whoa I hava to k i l l . I t la hard to p a rt w ith U f a . THE HAN: Uhan th a ra la no ao re J u a tlc e , I t 'a aaay. F in a lly , "The Othar Ona" ta lk a about *'tha a r t o f d y in g ." Thara ara fo u r klnda o f dying: (1 ) th a n a tu r a l, fu rlo u a ra a la ta n c a o f a p rim itiv e , h a a lth y nan who want# to l lv a , fo r Inatanca th a avaraga c r im in a l; (2) th a proud, co n teap tu o u a, h a ro lc d aath a f t a r a flam ing apaach o f d e f l- an ca, re a ffirm a tio n o f b a l l a f a , and in a u lta o f th a powara th a t b a - -fo r th la an audlanca la naadad, auch aa a Judge, a d l a t r l c t a tto rn e y , law yera, a p r la a t, newapepar man, doc t o r a , and c u rlo a lty sa a k a ra ; (3) today*a kind o f d a a th , alo n a w ith th a aitacu tlo n ar-* n o p r la a t, no Judga, nobody; th a v l c t l a daaplaaa th a ex e c u tio n e r and th a ra fo ra no longar apaaka; ha d la a Ilk a an a n la a l, I n d if f e r e n t; o r . I f a faw ra p ra a a n ta tlv a a o f th a praaa a ra a d m itte d , th a v l c t l a la u a u a lly a broken aan who lo ta o v ary th in g happen w ithout p ro te a t; and (A) th a good way, "th a huabla way": . . . th a t aoaaone In th a hour o f h la u n ju a t d aath puta a a ld a p rid e and f a a r , and even h la r i g h t , and d laa aa c h ild re n d ie , w ith o u t cu raln g th a w o rld -- th a t la a v ic to ry g re a te r th an any o f a n ig h ty ona aver waa. In th a q u la t aInking down o f th a h u a b la , 194 in t h e i r peace which Included m a le o t lik e a p ra y e r, In th e enorm ity o f t h e i r d eath tdiich con* tra d 1 c te d a l l re e s o n . In th eae th in g s tdilch , to th e w o rld , a re n o th in g but a laugh, o r even le s s , a sh ru g --In t h i s was m anifested th e Impotence of th e u n ju s t, th e u n r e a lity o f d e a th , end th e r e a l i ty o f t r u th , over hhlch I have no power and tdilch no m inion o f th e le u can s e is e and no p riso n can h o ld , o f which 1 know n o th in g but th a t I t e x is ts (fo r every re p re s e n ta tiv e o f fo rc e Is im prisoned In th e d a rk , wlndowlees dungeon o f h is own s e l f ) . I f Man were only body, s i r , I t would be easy fo r th e n ig h ty : they could b u ild t h e i r domains lik e w a lls , block by block f i t t e d In to a w orld o f sto n e . But however they b u ild , however g ig a n tic t h e i r p alaces may b e , however om nipotent t h e i r sm ans, however bold t h e i r p la n s , however cunning t h e i r in tr ig u e s - - In to th e bodies o f th e raped w ith which they b u ild . In to t h i s weak m a te ria l Is p lan ted th e knowledge o f how th e world s h a ll b e . and th e re c o g n itio n o f how I t I s , th e rem iniscence of what God c re a te d Han f o r , and th e b e li e f th a t th is w orld must break a p a rt so th a t His re ig n may com a--enclosed lik e an ex p lo siv e fo rce more pow erful th an th a t o f th e atoam , which re-stam p s Man ag ain and a g a in , a le a v ening In h is slu g g ish mass which ag ain and ag ain b la s ts a p a rt th e robber c a s tle s o f fo rc e , as th e g e n tle w ater fo rc e s a p a rt th e rocks and g rin d s t h e ir s tre n g th to sand th a t runs through c h ild r e n 's hands. As "d ialo g u e" th i s has long ceased to e x i s t ; as monologue, I t must be alm ost unspeakable fo r n in e hundred and n in e ty -n in e out o f a thousand a c to r s . But th e Idea In I t has th e p ro p h etic grandeur o f th e Old Testam ent. l*Hachtlichee Oesorach . . ., pp. 41-43. 195 P ar P o p p # la M n a a rf Tha P o u b la ) o r ig in a lly w r ltta n in 1996 I t is d i f f i c u l t to fin d a ch ro n o lo g ica l placo fo r t h i s w ork, bacausa th a o r ig in a l v a rslo n data* back to 19*6, b u t th a a o -c a lla d "ra d io v a n lo n " was p u b lish ad in I9 6 0 .14 P U rran aatt c a ll s i t a ln S o la! (a p lay ) on th a f ly la a f in sta a d o f a H b rsp lal (ra d io p la y ), but on th a vary f i r s t paga o f d lalo g u a th a d lr a c to r c a lls th a w rita r **Marr H H rsp lalau to rn--a o th a s a c ra t is o u t: i t is supposad to ba a ra d io p lay . A c tu a lly , Ilk a th a pracadlng B k ch tllch as CasprM cht. i t la n a lth a r a sta g a play n o r a ra d io p la y , lack in g avan th a a o it b a s ic a la a a n ts o f a lth a r . At b a s t, i t n ig h t ba c a lla d a p h ilo so p h ic t r a a t l s a in d lalo g u a fo ra , as th a pracadlng work w as, and to t h i s ravlaw ar not auch a o rs d lg a s tlb la th an th a f i r s t s to r la s in P la S ta d t. I t i s d a f ln lta ly o f th a saas v ln ta g a . Tha follow ing is what B rock-S ulsar b a lla v a s to ba th a " p lo t ," c o n tin u a lly ln ta rla rd a d w ith and ln ta rn a p ta d by th a " th a a s " : PLOT StAMABY: Thara is "Tha N an," % 4io could a ls o ba c a lla d "B varynan." H is Poubla coaas to h la t o t a l l *4Par PoppalaKnaar (Zttrlch: Varlag dar Archa, 1960), 77 pagas. 196 t h a t h i has baan aantancad to d aath fo r a murder which th a Double had com m itted. However, th a co u rt h as d acldad th a t th a Han h as to d la in s te a d o f th a D ouble, b acau sa, says th a D oubla, “You would have co am ltted my daad I f you had baan tem pted aa 1 was tem pted. M y g u i l t la your g u i l t . " Tha Man la throw n in to p ris o n , where ha a w a its h is e x e c u tio n . But th a Doubla a r r iv e s and ta k a s h la o u t, fo r th e c o u rt haa raaandad h l a in to th a custody o f h i s a l t a r ago. They e n te r a house w ith a facade 'Sdilch le a n s , unadorned, as a dank, r o t t i n g plana over th a s t r e e t , in te rru p te d only by a door which i s low and broad as a yoke, w ith th a d o o rste p below th e s t r e e t l e v e l." Hare th a Han a a a ta th a Wo- She w anta to fo rc e th a Man to k i l l th a D oubla: "Two g la s s e s and wine in a p itc h e r and bread on a p la te . . . in ona o f th a g la s s e s th a ra w ill be p o i s o n ." 16 But th a Man k i l l s th a Women in s te a d , and so becomes a M urderer in r e a l i t y , u n co n scio u sly d riv e n to s ty lis e d form o f th a e te r n a l " b itc h " a s i t ap p ears In W edekind's Lulu t r i l o g y , in Maugham's fiLJlUMS Bondage, in The Blue A n sel, e t c . , end l a t e r as A n a sta sia In 16Agein a foreshadow ing o f th e c o ffe e scene in fils - s lB s lp p l--o n lv th a t In t h i s e a rly work th e prim al b re ad and wine appear p o s sib ly a re fe re n c e to th e L ast Supper. I t by th e Double. How a t l a s t ha d araa to a a a t th a Double In a s o r t o f d lv ln a a r b itr a tio n : both d rin k th a v in e , th a Doubla fro a th a g la s s w ith th a polaon in i t . D uring h is l a s t a in u te s ha t a i l s th a tr u th to th a Han: ha had co at to h la In p riso n In o rd a r to d la Instoad o f h la , i f only th a Han had takan upon h l a s a l f th a g u i l t Which a a a l l b s a r. Than ha d la a . T his a n lg a a tlc a to ry la surroundsd by an sq u a lly a n lg a a tlc fra a a a c tio n * -a Radio D lra c to r who la rsady and u a ltln g a l t h a c a a t o f "v o ice s" and aaka a ra d io V rlta r to apln h la a yarn which ha can produca. Tha v r l t a r la so a t- what r a lu c ta n t; th a d lr a c to r p r a c tic a lly p u lls th a ato ry out o f h la . Tha v r l t a r p ra t and s not to know auch aora about th a ato ry th an th a th a a a . "A p lo t always tu rn s up a t th a r ig h t t l a a , " ha say s. But tha d lr a c to r fo rcaa h la , ovsr and o v er, to fu rn ish r a a l l a t l c d a t a l l : a landscape a u s t ba drawn—ao th a v r l t a r c o a ts up w ith a d re a a -llk e , a o o n llt No-uenfs -le n d . Than th a d ir e c to r wants a b u ild in g fo r th a c o u rt; th a v r l t a r products . . . a l l t t l a rococo chateau w ith auch stucco work and a c o u rtro o a In which th a ra i t a a owewhat taw dry s ta tu s o f J u s t i c e - - a l l th la hidden in a v id e park w ith h igh t r e e s , c e d a rs, a c a c ia s , f i r s , between which th a dark a u to a o b lle s o f th e Judges a ra stan d in g whan c o u rt i s In se ss io n . Soat Whers th a h m t r i n t o f a w oodpackar, aoaatdiara th a c a l l o f a cuckoo a t a v a n tld a , aoaavha ra a U t t l a aun- ■hlna and th a a ll v a r o f a fo u n ta in . . . ' a v a ry th ln g *'aa in a d r a a a ," th a ra c u rra n t phraaa uaad by d lr a c to r and w r lta r . Aa tha atory prograaaaa, tha dlractor h la a a lf ba- coaaa a a o tlo n a lly lnvolvad In I t . Ha h l a a a lf want a to do- fond th a Han. But th a Nan doaa n o t want h la h a lp : " I waa a a u rd a ra r w ith o u t having k l l l a d ; X doaarvad th a d aa th p a n a lty w ith o u t h aving c o o a ltta d a c r ln a ." Thla la th a t r u t h , whan ona *'no lo n g ar aaaa a v a ry th ln g only froai a i n 'a v la w p o in t." THE D I E EC rot: You want to au rran d ar to th a High C ourt? THE HAN: Thara la n o th in g nora b a a u tlf u l th an to au rra n d a r to I t . Only ha who ac c a p ta h la ln - J u a tlc a w i l l fin d h la J u a tlc a . and only ho who auccunba w il l fin d h la graca.*® Thara a ra paradoxaa th ro u g h o u t, and a v ary daap ly r a llg lo u a c lo a ln g which ra n ln d a ona o f th a f i n a l , w la h -la a a happlnaaa o f A lfrad o Trapa In P la Panna. o r o f th a u t t a r c a ln o f 111 ( S c h lll) b a fo ra h la a x a c u tlo n In P ar Eaauch d a r A lton Pana (Tha V la lt) - * th a u n fo rg a tta b la a q u a n la ity o f aan fra a d fro a th a ta a p o ra l w orld and ra la a a a d In to th a aaaan- 199 t l a l v o rld o f e te r n ity . t u t th a D lra c to r La not s a t i s f i e d . Ha wants to appaar h l a a a lf b afo ra th a High Court to plaad th a caaa. Again ha and th a v r l t a r a n ta r th a l l t t i a rococo chataau In tha p ark , but I t la empty. "No Judga, no d efen d an t, only a window opanlng and c lo a ln g In th a wind, w ith duaty p a n a a * -a ll em pty." Tha D lra c to r la fu rlo u a : "And w ith th la 1 aa aup- poaad to ba c o n te n t? " Tha V r lta r : "With th la wa aha 11 hava to ba con t e n t ." Who would n o t th in k . In ra ad ln g o r h ea rin g th e se la s t lin e s , o f th a c u r ta in speech o f P ira n d e llo 's Six Char a c te r ! In Search o f an A uthor, where th a d lr a c to r scre aau : "P reten se? R e a lity ? To h a ll w ith I t a l l ! Never In my U fa haa auch a th in g happened to me. I 'v e lo s t a whole day over th e se p eo p le, a whole day!"** Now we co m to th e r e a lly aood ra d io p lay s In which 19 **Joha G asaner, A T reasury o f th e T heatre (3rd C ollage E d itio n ; New York: Simon and Scfciuater, I9 6 0 ), p. 408. 200 D U rrenaatt ihawa In c re a sin g f a a l l l a r i t y w ith th a tech n iq u e o f ra d io . H .rh u l.. uod d .r S t.ll d.»A u.l«» O l.ic u l.. w d th .5 t.b l. of »u»U »i. w r ltf n In H i t To tha t l t l . , DUrr.im.tt .dd.d wh la .lc .lly : " a lt IUndnotl».n . I n . . K o ..l» e h r.lb .r." ("with aargtnal not*. 20 o f a b a llp o ln t-p e n w r it e r " ) . I t aaan s th a t he haa a adorned th e c o v e r, th e fa c in g page, and th e te x t w ith a whole a e r ie s o f g ro te sq u e ly funny c a rto o n s drawn w ith a b a ll- p o in t pen. H erculea Is shown as an e x tre a e ly h i r s u t e , n e c k le ss b u t h o n est* lo o k in g o a f whose h a ir ends In a b ra id e d t a s s e l . The draw ings In t h e i r d e lib e r a te a r t l e s s n e ss and to n g u e -in -c h e e k n a tv e te could be by T h u rb er. The o th e r fig u re s a r e even fu n n ie r. D U rrenautt has a ls o aade a re c o rd in g o f H e rc u le s, a l l o f which shows th a t he a u s t be v ery fond o f t h i s p la y . PLOT SIMMRY: H e rc u le s, a p r o f e s s io n a l, f r e e la n c in g n a tio n a l h e r o , la d eep ly In d eb t end fa c e s ban k ru p tcy . Hla overhead fo r h la s e c r e ta r y , P o ly b iu s, f o r a l l th e second- and t h i r d - r a t e p o ets Who do h la *fy e rk u le s and d e r S t a l l das A uxlas (2nd e d . ; Z tirlch : V erlag d e r A rche, 1954), 66 pegea. 201 p u b lic ity , and fo r a d v e rtis in g ia en o rao u s. T h a ra fo ra , whan P olybius t a i l s h la o f th a Job o f f a r o f Auglas o f E l l s , H ercules f i r s t throw s h la d o w n stairs in a f i t o f r a g s , b u t Is f i n a l l y psrsuadad by D aja n alra to ac c e p t th a o ffa r fo r a la rg a fa a plus l l b s r a l ex p en ses. But in E l l s , th e c i t y o f P re sid e n t Aug la s (ha tu r n s out to ba ju s t a p r e s id e n t, n o t a k in g ), Where e v e ry th in g I s b u rled u nder b o tto a le s s a a n u re , H ercules* la b o r le delayed I n d e f in ite ly by th e w ran g lin g o f p o li t i c i a n s and s p e c ia l i n t e r e s t s . C o a n ltte e s , s u b c o a a lt- t e e s , s u p a re o a a ltte e s , and s u p e r-d u p e r-c o a a ltte e s to check up on th e o th e r c o a a ltte e s , a re fo ra s d . The c l t l t e n s o f E lls w ant th e c le a n -u p , b u t a t th e seas t l a s th e y are a f r a id o f i t . At l a s t th e s i tu a t io n b ec o ats so c o a p llc a te d th a t H ercules a u s t g iv e up th e a tte a p t and leave th e co u n try w ith De Jane Ira and Poly b iu s , pursued by h i s c r e d ito r s as by a sw ara o f v u l t u r e s , t o b e tte r h la fin a n c e s by a n o th e r Job elsew h ere. S h o rtly a f t e r t h i s d e p a rtu re , Augiae d isc o v e rs t o h is sad so n , Vhyleus (who had f a lle n in love w ith De Ja n e i r o ) , a s e c re t l i t t l e garden in Which he had tu rn e d th e aa n u re in to huaus and has ra is e d b e a u tif u l flow ers and f r u i t . To g e t r i d o f th e a a n u re , he th in k s , is 202 not up to h i r o i i , but to th a l i t t l e people Ilk * hi** • • l £ # who through perso n al so d aat e f f o r t can b rin g b o m o rd er and beauty In to th la w orld. Thla ra d io p lay la auch a bra ta n , iw pudently funny a a tlr a o f "th a dem ocratic procaaa" In g a n a ra l and Swlaa p o litic o In p a r tic u la r th a t I t s ig h t ba c a lla d a SchH laaol- atflck (kay p la y ): I f *a only had th a bay, I .a .* I f we know what p a r tic u la r caaa o r avant gava D U rranaatt th a baaic idaa (aosa o f h la frla n d a s u i t know), hi could probably fin d r e a l - l i f e so d ala fo r avary ona of h la c h a ra c ta ra . Many o f th a n a a ia and ra fa ra n c a a a ra ao d a f ln lta ly and lo c a lly Swlaa th a t thay can ba funny only fo r Swlaa paopla. Auglaa la " a c tu a lly no king a t a l l , only th a r ic h - a a t o f fa n a o ra , and aln ca th a ra a ra only f a n a r o th a ra , ha la a la o th a ona who haa th a s o a t to aay . . . " Thla raada Ilk a a ra fa ra n c a to tu n d aarat and l a t a r lundeaorM aldant (F ed eral C o u n c illo r and F adaral P re a ld e n t, h lg h a a t p o l i t i c a l o fflc a a in Sw ltBorland) K lngar, a r ic h fterneae f i r a t r who raachad th a to p o f th a p o l i t i c a l lad d er In S w ltse rla n d , and about whoae rough n a tiv e htaaor and lack of p o llah th a ra ware so re a to rla a In c ir c u la tio n than th a ra a ra "Goldwyn- la sa " In Hollywood. 203 The manure Is so h igh t h a t a l l th a g ra a t n a tio n a l s h rin a s and a r c h lta c tu r a l monuments a ra faurlad undsr I t , and I t s t i n k s - • b u t , fo r a l l t h a t , "we a ra th a o ld a s t democracy In G reece."** Tha b o a s ts about c a t t l a and c h a a sa , ■ Ilk and b u tta r aaka th a p o in tin g a t S a lta a rla n d v ary ob v io u s . AugUs r a f a r s to t h a l r c a p it a l E lls " a l t d a r h e la e lla e n A lts ta d t" f"w lth th a cosy o ld q u a r te r " ) : th a s t r i c t l y d i a l e c t a l word h a l a o l l s and th a word A lts ta d t a ra a s Sw iss as Swiss ch aasa. Tha n aass S k u llh o f. Ankanbodan. M llc h lw ll. and K isln een (u n tr a n s la ta b le Sw iss p lace n aaes r e f e r r in g to p i g l e t s , b u t t a r , a l l k , and ch aasa) and th a long "o n -th a -s p o t coverage" by Xenophon o f H e rc u le s' a r r i v a l , In which d ro n in g cow bells and alp h o rn s a ra a e n tlo n e d and P ra sld e n t Auglas Is re p o rte d as s i t t i n g on " th a t r a d i t i o n a l s i l v e r a llk in g s to o l, th a golden aa n u re p itc h fo rk In hand as h is badge o f o f f i c e ," aaka I t u n a ls ta k a b le . DUrrenamtt pokes fun a t th a I n a r t i s t i c n a tu re o f **The Swiss have never re co g n ised th a U nited S t a t e s 's c l a l a to th e t i t l e o f th e w o rld 's o ld a s t democ ra c y . Though S w ltse rla n d was te a p o r a r lly occupied by Hapoleon and aade In to th a tlp u b lle u e H elv a tleu e under F rench d om ination, th e S w iss, w ith a c e r ta in r i g h t , co n s id e r t h i s only a v ary a ln o r a c c id e n t o f h is to r y w hich In no way d e tr a c ts fro a t h e i r s e n io r ity by s e v e ra l hundred y e a rs as th e r e a l ly " o ld e s t liv in g dem ocracy" o f t h i s w orld. 204 th a Swlaa In h aving fh y lau a any: f*V a know no poeaa. Va uaa language o n ly to tra d e c a t t l a . " lh a w ell-know n Swlaa aonay-alndedneaa and p r o f l t - conaclouanaaa la a a r c lla a a ly " ro a a ta d " : th a K llana a ra w o rried th a t th a aan u ra re a o v a l a lg h t ln t a r f a r a w ith t h a l r 22 e x p o rt. Blaewhere Polybloa aaya: "A ll ag reed t h a t th a aan u re had to ba reao v ed , y a t avaryona hopad to aaka aoaa a p a c la l p r o f it on i t , " ^ and "bahlnd t h a l r c lu a a in e a a waa h id in g a a a llc lo u a paaaant c u n n in g ." 24 In th a bogua a n tlq u a c h o ra l odaf th a chorua o f th a Innkaapara and h o ta l ownara In th a "a tro p h a " exp reaa t h a l r hopaa fo r ao re to u r t a t tr a d a , w hlla th a a n tla tro p h a aInga o f th a Joya o f b a t t a r ch aaaa, b a t t a r c a t t l a , f a t t a r bacon, and f a t t a r c h lld ra n . F in a lly th ay a l l Jo in In an antoda to bualnaaa and p r o f i t . With aoM r e w r itin g , auch o f t h la could ba adaptad to A aarlcan a. Patriot law, alwaya a favorita targat of DUrrenawtt, c o m a In for ioaa ribbing whan tha Bllana alng th alr na tio n a l anthea; aftar tha fir a t two lln aa, wa find thla raMrk: "lha raat, aa with a ll national antheaa, no ona 22H «rlnil»». op. c l t . . p. 17. 23I b ld . . p. 22 2* I b l d ,■ PP. 23*24. knows any m ore." HI I lio n s a r t sp sn t on c o w ls a lo n s , a n tl-c o s m ls - s lo n s , e u b -c o w ls a lo n s , l u p t r - c o a l s a l o n s , and su p er-d u p er- c o w ls s I o n s , and whan someone p ro ta s e s th a t t h i s w ill saka i t to o l a t a fo r th a c le a n -u p , a chorus o f " a l l " sin g s o r sp aak a: W e a r a n avar to o l a t a Xn B ila n p o l i t i c s , B ila n p o l i t i c s , Xt Is n av ar to p l a t a , but alw ays to o e a r ly . 5 Tha sana im patience o f th a vlda-aw aka I n ta ll a c tu a l w ith slu g g ish c o n se rv atism ap p aars In t h i s sta te m e n t: *Ua d o n 't dosilnata our lan d any more. Xt dom inates us w ith 26 I t s brown warm th. W a hava f a lle n a s le e p in I t s s ta b le s ." Tha manure Is th a symbol o f th a s tu p id ity and Ignorance o f th e p eo p le. As fh y la u a , th a son o f A uglas, sa y s, th a B ila n s want th a c le a n -u p , b u t a ra a ls o a f r a id o f I t , b a causa I t could show t h a t th ey a ra to o weak to keep t h a l r co u n try c le a n th e r e a f t e r . A c le a n -u p cannot ta k a p lace bacausa n o t o n ly th a e x te r n a l m anure, b u t a ls o th e manure In th e heads o f th a B ila n s h as p ile d up to o h ig h , end no w ate r from th a r i v e r s A lphelos and P analos can r in s e t h a l r 206 b ra in s clean !* * H ercules is ona o f D U rrc n su tt's sanjr d e - g lo r I f ic a - tlo n s o f cha H aro--g o o d -n atu red fun h e r e , but b i t t e r e s t s a t i r e In S tra n lta k y and l a t e r In lo a u lu s th e C re a t. T his running-dow n o f heroism I s , o f c o u rse , n o th in g p e c u lia r to D ttrrenm att but s ta r te d auch e a r l i e r . Shaw’s A m and th e Hen Is one o f th e sm st famous exam ples. lh a tre n d was con tin u e d by many modern d ra m a tis ts In th e d is illu s io n m e n t a f t e r th e F i r s t World W ar--C octeau, C lraudoux, H asen clev er, A nouilh, S a r tr e , and F ris c h coma to m in d --u n til I t has b e come th e norm al, modern way o f looking a t " th a h e r o ." In s h o r t, " th e h ero " as such has become Im possible In a d u lt l i t e r a t u r e and a d u lt a r t ; I f he occurs a t a l l , ha h es to be "u n d e rp la y e d ," o r he becomes a fig u re o f fun. The only p la c e s tdtere th e h e ro Is s t i l l tak en s e rio u s ly a re th e J u v e n ile comic s t r i p s , a la "Superman" and "C ap tain M arvel" and th e - - a ls o J u v e n ile - - te le v la io n W estern. H e rc u le s, th e r e f o r e , Is a modern h e ro ; a sim ple man o f m iddle age who would lik e t o " ta p e r o f f " a b i t , both in th e h e ro ic and th e e r o tic d ep a rtm e n ts, hounded by c r e d ito r s , b a t t l in g th e ta x c o lle c to r , an d , lik e so many a movie s t a r , • v ie t i n o f p riB i ig c n tr y , i b th a follow ing w i r y ip tic h shows; 1 know. At av ary n av istan d thay can buy th a co lo r ad fan w agaslnas. "H arculaa k l l l a th a Hydra,'* "H arculas and th a G iant A n ta lo s," "H arculas* Lova N ight w ith th a F if ty Daughtar* o f lh a s p lo a ." X c l v l l l t a C raaca--and aa a d a ira d by l t a k ltc h a n aa ld a and handlwan, w h lla , In th a aa lo n a , ro y a l laaybonaa Ilk a Thaaaua, Jaaon, and U lyaaaa a ra lio n lta d , Ju a t bacauaa thay can a ffo rd f l r a t * r a t s p o ata—y a t thay c a n 't throw a apaar any wora o r fln la h o f f a a a a a o th . X, ln a ta a d , aa conaldarad a p a rp a tu a lly drunk wuscla-bound clow n--and th la only bacauaa o f th a fan l l ta r a t u r a Which ay poata pub l is h . To which th a r a a l l a t i c a a c ra ta ry , P olyblua, ra - p lla a : "U n fo rtu n ately , wa au a t ba p o p u lar, rav arad M aatar. W a naad th a aodaat p r o f it fro a th a H arculaa fan aagaalnaa to o b a d ly ." hut D ttrranw att'a la u g h ta r In H arculaa la b a s ic a lly good-naturad. Hla co n clu sio n la : avan g ra a t haroaa cannot h a lp wan I f wan thaw salvaa do not want th a bat t a r U f a , P o litic s and p o litic ia n s a ra not a v i l , th ay aw raly lack ta la n t fo r a f fa c tln g w lra c la s --" th a y navar c ra a ta th a good 29 i f wa d o n 't do th a good o u rs a lv a s ." Old Auglaa aaya th a w laaat lln a a o f th a p lay In th a and: 'l h a graca o f b r ig h t- anlng our world you cannot fo rc a , but you can work fo r a 208 p re d is p o s itio n In you, so th a t grace--w hen I t doaa c o n - fin d s a ■ I r r o r In you fo r l t a l i g h t ." Ha e n jo in s h la aon: “Dare now to llv a --a n d to llv a h e re , am idst th la u g ly , ah apalaaa lan d . (T hla la ) th a h a ro lc f a a t «Ailch 1 a n jo ln you to d o , aon, th a H arculaan lab o r w hich Z r o l l upon your s h o u ld e rs .” This H arculaan la b o r la to do th a l l t t l a , modest th in g * • to changa aanura In to huaua, Ilk a Aug la a hla* a a lf -* th a "avary-day b ra v e ry .” 3® I t l a n o t g lo rlo u a ; I t aay ba lau g h ab la o r I t aay ba aad, but I t la parhapa th a o nly a o lu tlo n a p p ro p ria te to nan. A speech fro a D U rrenaatt*a f i r s t fu ll* le n g th p la y , t a a ta h t re a c h rle b e n ( I t Za W ritte n ) aaya th a aaaa th in g In c l e a r e r , sim p ler language: **M an la not cap ab le o f th a g re a t th in g --h a can only do th a l l t t l a . And th a l l t t l a la more Im portant th an th a g r e a t, W a can do much good on E a rth I f wa a ra m o d est.” 31 In V ialand*a A b d e rlte n . th a a to ry on which DUrran- n a t t baaed h la Law suit over th a A sa1a Shadow, th e re la th la paaaaga: T here is ona s im ila r ity w ith th a A thenians wa muat c r e d it th a c lt l s e n a o f Abdera w ith - - th a t th ay 3® iro ck -S u l* er, op. c l t . . p. 79. 31I a a ta h t a a sc h rie b e n (tU rlc h : V arlag d a r A rche, 1959), p . 33. 209 can laugh r l t f i t h e a r tily about t h a l r own fo o lla h dolnga. Thay do not becone v l i a r bacauaa o f t h l a , but I t la a g ra a t d a a l to th a good I f a people can a u ffa r honeat wan to aaka fun o f l t a fo o lla h - naaa and can laugh along w ith th e n , Inataad o f becoalng aaan Ilk a aonkeya bacauaa o f I t . I h le a b i l i t y to laugh over t h a l r own aonkayahlnaa and p e c u lla r ltle a la one o f th a ao at en dearing q u a lltle a o f th a Sw laa, and ona tdilch thay ahare w ith th a A aarlcan a-- Ju a t aa I t la probably ona o f th a noat tr a g ic ahortcoulnge o f th a Garnana t h a t thay a ra q u ite Incapable o f good- huwored la u g h te r about th an aa lv a a. P . , U n t .r a .h t n d . r W »m CPro le c t Vaaal w ritte n In 193* Thla la ona o f th a no at b r i l l i a n t worka o f Dttrren- n a t t , In th a op in io n o f th la re v ie w er, i f not th e no at b r i l l i a n t . 52 Thara ware two raaaona W hy I t waa not re - aarvad fo r th a c o n p le te , acana-by-acana and pege-by-page a n a ly a la o f C hapter V. Por ona th in g . I t la a ra d io p lay , and C hapter V la to ba devoted to an a n a ly a la o f only th a th re e woat in p o rta n t f u ll- le n g th atag a playa o f th a a u th o r. For a n o th e r, th la play la ao c le a r , eo e x p l i c i t , and con- 52Paa U ntem ehnan d e r Waaa (ZU rlch: V arlag d ar A rche, 193S), 45 pp. 210 p le te In i t s statem en t th s t a n a ly s is b c c o sis su p e rflu o u s. T hsrs can ba no d o u b t, no q u e stio n about th a m essage b a r s ; i t i s c r y s t a l- c l e a r and trlp h a a m a r-h a rd . Evan a a i r a r e p o rt on i t is v a ry d i f f i c u l t , bacausa avary lin e in i t i s a q u o ta b le aphorism o r a s c i n t i l l a t i n g paradox. PLOT SUYMAIY: Tha p ro ta g o n is t, th a o n ly s e n s ib le , d ecan t c h a ra c te r w ith fe e lin g s o f esfcarraesm ent and shame over soaa o f th e th in g s ho a u s t do o r condone, w ith a long view and w ith a h e a lth y s c a p tic le a , Is H is E xcellency S ir Horace Wood, F o reig n M in is te r o f th e "F ree C o n fed erate N ations o f Europe and A m erica." The s itu a tio n Which has led to th e f l i g h t o f th e sp acesh ip "Vega" to Venus is not a happy one. The y e a r is 2255. For 310 y e a rs , sin c e 1965, th e re has not been a w orld w ar.** S u re , th e re have been p a r t i a l c o n f lic ts which have led to th e d is a s tr o u s lo ss o f A u s tra lia and o f th e Moon to th e C oam unlets, b ec au se, as u s u a l, th e " f r e e w orld" was not read y f o r war and had to r e s o r t to compromise. Now, a t l a s t , diplom acy has reach ed th e end o f th e l i n e , d re a d fu l and em b arrassin g a s t h i s i s to adm it fo r a F oreign M in is te r. The co ld war can no **At le a s t t h i s p re d ic tio n o f DUrrenemtt is en courag in g ! 211 longer be extended, peace la Im possible, end th e n e c e s s ity to e n te r war g re a te r than th e fe a r o f I t . On one sid e are th e f r e e , a l l i e d n a tio n s o f Europe and th e A m ericas, on th e o th e r th e S oviet Union a l l i e d w ith A sia, A fric a , and A u s tra lia . The two opponents are approxim ately eq u al In s tre n g th . Kara has d ec la red I t s n e u tr a lity and Is to o pow erful to be forced In to e ith e r camp. There rem ains no o th e r reco u rse th an to t r y to e n l i s t th e support of Venus, which Is th e m ission o f th e d e le g a tio n on th e "V ega." Although c lim a tic con d itio n s on Venus a re c a ta s tro p h ic , and th a p la n a t Is In a sta g e o f e v o lu tio n approxim ating th a t o f th e E arth one hundred and f i f t y m illio n years ago, I t has th e g re a t s tr a te g ic advantage th a t the dense cloud la y e r o f I t s atm osphere makes any o b se rv a tio n o f I t s su rfa c e Im possible. T herefore an a tta c k can be prepared th e re in se c re t--w h ic h has become Im possible on E a rth , because both sid e s have a r t i f i c i a l s a t e l l i t e s from which they can spy upon ona an o th ar. Tha rub Is t h a t . In s p ite o f a " S e c r e ta r ia t fo r V enuslan A f f a ir s ," nothing Is known about Venus, except th a t I t Is used a s a penal colony by both s id e s . The only people th e re w ith whom any ra d io c o n ta c t has been 212 e s ta b lis h e d , a re a fo rM r m urderer trom Germany and cha ■on o f an A aarlcan communist. »y e x tre M ly I n te llig e n t c ro s s -q u e s tio n in g S ir Horaca Hood fin d s out th a t th a harm less "p assen g er sp acesh ip " on which h a , by o rd a r o f th a P re sid e n t o f th a C on fad arata N a tio n s, has baan sa n t on h is "p eace f u l m is s io n ," i s , in r a a l l t y , a d ls g u lsa d a to n ic w ar sh ip loadad w ith h y d ro g an -co b alt bombs. Whan th a c o lo - n a i s a c r a tly In charga o f t h i s a sp a c t o f th a m issio n ra fu s a s to adm it t h i s , Wood sa y s: Than d o n 't answ ar t h i s . Tha In h a b ita n ts o f Vanua ax p act a p aa cafu l s h ip . W a hava glvan our word to c o m w ith o u t waapons. V lth a sto n - lah aan t t n o tle a d your p ra sa n ca, CoIona1, b u t to th in k f u r th a r about i t I cannot a ffo rd as F oreign H ln ls ta r . N othing Is more em barrassing th an a d lp lo M t whosa r ig h t hand knows what h la l a f t hand doas. Tha im pression o f Vamis a f t a r th a lan d in g Is in d e s c rib a b ly bad : u n b aarab la h a a t, u n b aarab la h u m id ity , c o n sta n t aa rth q u ak as o r tre m o rs, no sun b u t a heavy, s w irlin g m s s o f clo u d s churned up by ro a rin g h u r r i canes and alm ost c o n sta n t th u n d er and lig h tn in g , th a h o rlto n rin g e d w ith e ru p tin g v o lc a n o s, a d rip p in g p r l- M v a l f o r e s t behind th a d e le g a tio n , and rad -g lo w in g sand and to s s in g w a te rs In fro n t and to th a s id e o f 213 th e* . S ir Horace Hood's c a re fu lly prepared ad d ress o f we1cose is c o n s ta n tly In te rru p te d by cra sh in g thunder and f in a lly com pletely cu t o f f by a c lo u d b u rst. They fin d out th a t th e re Is no government on V enue--a "re p re s e n ta tiv e " la whoever happens to have some sp are tim e a t th e moment In th e r e le n tle s s f ig h t fo r l i f e . There Is no c a p ita l* and th s re Is no se ttle m e n t a t a l l , be cause th e ground Is too u n safe fo r any b u ild in g s . The e n tir e p o p u latio n liv e s on s h ip s . There la no s t a t e , no government, no " le g a l e n tity " o r a u th o rity to d eal w ith o r make a tr e a ty w ith . Upon re tu r n to th e "V ega," idilch hovers 1,500 m iles above Venus, th e d e le g a tio n has a heated d isc u ssio n . The M in iste r o f Var Is on th e p o in t o f madness; th e M in ister fo r E x tr a - T e r r e s tr ia l A ffa irs c u rse s th e p lan e t Venus as unbearable and In d ecen t, and every few lin e s " r a is e s h is warning v o ice" a g a in st any fu rth e r ad v en tu res. Only S ir Horace Wood six e s up th e s itu a tio n In a p o s itiv e manner: Let ue n o t lo se our heads, o r e ls e w e 'll lo se them perm anently. . . . W e a re unim portant fo r th e In h a b ita n ts o f Venue, but th e moment we can aro u se In them a hope fo r a change In t h e i r s itu a tio n , we s h a ll become Im portant to them. 21* . . . W e a re d e a lin g w ith M n . Thay a ra no d if f e r e n t from ua and can ba seduced J u s t as e a s ily as wa can. Ha wants to sad u ct th a re p re s e n ta tiv e s w ith power-- by reco g n isin g them as the governsent o f Venus and a s su rin g th e a o f th e support o f th e "F ree C onfederate N a tio n s." MINISTER OF EXTRA-TIRRESTRIAL AFFAIRS: I w ish to r a is e sty warning v o ic e . F eterse n is a c rim in a l. H O OD: So What? Many governaants w ith tdioa we a re a l l i e d on E arth c o n s is t o f c r la ln a la . Secondly, we p ro a lse a l l in h a b ita n ts o f t h i s p la n e t th a re tu r n to E a rth , a f t e r th ay have conquered th e R ussians to g e th e r w ith u s. Soasone p o in ts out th a t many c o a n lsslo n e ra fro a E arth th o had been sen t to Venus, both fro a th e Free C onfederate N ations and fro a th e R u ssian s, d id not re tu rn fro a Venus to E arth , n o tab ly th e la s t cosails- s lo n e r, B o n atatten . Perhaps th e re s id e n ts o f Venus a lg h t not want to re tu r n . Wood d ls a ls s e a t h i s as r i d ic u lo u s. So th ey go down to Venus fo r an o th er a e e tln g . The f i r s t two re p re s e n ta tiv e s cannot a s e t th e a - -th e whale hunting season has begun, and they a u s t h u n t. So they a re a e t by a woaan, Ire n e , a nurse on th a h o s p ita l sh ip , who has a b i t o f sp are t l a s . Wood's o f f e r to 215 daclara bar formally and aolaanly cha govarnmantal haad of Vanua In a public carawony 1b a cowplata flop: IRENE: 1bat w ou ld n 't ln ta r a s t anyona h a ra . , , , 1 a a th a "govarnwant of Vanua" only ao fa r aa th a l a r t h 1 b concarnad. You hava d ac la rad th a ra p ra s a n ta tlv a aa th a haad o f S ta ta . But th a t* a your a f f a i r . 1 happan to ba tha rapraB antatlva today, bacauBa X hava a fraa aftam oon. Tomorrow I t w ill ba soawona a la a . If anyona can apara tha tla a -* MINISTER m EXIRA-TlRRESItlAL AFFAIRS: But you c a n 't changa your govanaaant avary day! IRENE: W hy n ot? You naad a govam aant h a ra ; wa d o n 't. lha following parBuaBlva apaach of Sir Horaca Vood la aoaawhat lap#dad bacauaa naxt door, in anothar roow of tha hoBpltal ahlp idiara tha confaranca takaa placa, an amputation without anaathatica (bacauBa nona ara avallabla) haa to ba parforwad. W han it la ovar, Irana BBka: IRENE: So you want ua to p a r tlc lp a ta In a war ag aln at B u b ala? W O O D : C arta In ly , XBBIE: Va a ra not th ra a ta n a d by B uasla. (SILENCE)3* MINISTCB OF W AR: Ara you *• a Russian? IRENE: I was a Pola and was daportad s ix yaara ago. u Thara ara many awbarrasBad or Btunnad allancaa In th is p lay. 216 MINISTER FOR EXTRA-TERRESTRIAL AFFAIRS: (FEEBLY) No doubt b t c t u i i you atood up fo r th e aacred Id e a la o f fre e d o a , o f huH n* lta r I o n ia n , and p r iv a te e n te rp rle e ? IRENE: Nov b c c iu u I was a a tre e tw a lk e r. (SILENCE) W O O D : M y d a a r c h ild — IRENE: You fo rg a t t h a t you a ra a d d raaaln g a haad o f a t a ta . W O O D : Madane, I ra p a a t th a aolenn p ro n la e th a t th a Vonualana w ill ra c a lv a p e ru la a lo n to r a tu r n to E arth I f th ay p a r tlc lp a ta in th a war on our a id a . IRENE: W a d o n 't want to go back. (SILENCE) W O O D : Madaaa? D on't fo rg a t th a t you apaak now In th a naae o f a l l ! N hlla I can under- atand t h a t you, f o r p arao n al ra a a o n a , do not w lah to r a tu r n , o th a r paopla wara ban- lahad h ara bacauaa th a y fought fo r fraadoai on E a rth , fo r a U f a w ith d ig n ity . Thay w ill want to r a tu r n . IRENE: I know no ona tdio wanta to r a tu r n . Tharaupon th a M in latar fo r E x tr a - T e r r o e tr ia l A ffa lra a u ffa ra a a tro k a o r h a a rt a tt a c k , and th a y hava to ra tu r n h u rrla d ly to th a ap acaah lp . A ll a ra In t a r r l b l a p h y a lc a l ahapa. MINISTER OF W A R: (FOAMING WITH RACE) F lr a t wa n a g o tla ta w ith a aaird arar and th a a on o f a c o a a u n le t, th a n w ith a a tra a tw a lk a r «hoa wa nom inate haad o f a tg ta . Who w i l l bo naxt? Probably a garbaga c o lle c to r and a aax aa ird arar. W a ahould fin d d if f e r e n t p a rtn e ra to n a g o tla ta w ith . W D O O : T here a ra only le o la te d ehlpa d r i f t i n g aoa»where In th a o ceana, and we c a n 't fin d th a n . MINISTER: Try ra d io . W O O D : No ona anew era. 217 MINISTER: What M k it m m to Md la ch at no ona la av tn ln ta r a a ta d In ua. Tha b a a ta rd a could a t la a a t ba cu rlo u a! At th ia p o in t th a C o lo n el, «ho waa a t f l r a t ao r a tl c a n t about h la aaalgn— n t , rewinda Wood o f th a boaba on board and o f th a o rd a r o f th a P ra a ld a n t to uaa thaw , ahould th a Vanualana ba r a c a l c l t r a n t . Having ta lk e d ao nuch about th a 'Tilgh id e a la " o f th a fra a w orld. Wood fa a la th a t ha lauat m m k m a la a t a tte w p t. Thia t i n t th a ra p ra a a n ta tlv a la th a fo ra a r c o a a la - a lo n a r fro a E a rth , Wood*a o ld frla n d and fa llo w a tu d a n t, B o n a ta tta n . Wood ra a ln d a B o n atattan o f how th ay raad P la to and Kant to g a th a r In t h a l r youth. "That*a Ju at I t , " anawara B o n a ta tta n . Ha ha a bacowa a d o c to r h a ra . Ha d id ra d io to a l l t h a l r a h lp a , but no ona wantad to r a tu r n to E arth . W O O D : I c a n 't undaratand I t . BONSTETTEM: You c o m froai th a E a rth . T h a t'a why you c a n 't undaratand I t . W O O D : But you a ra frow th a E a rth , to o . BONSTKTTEN: W a hava fo rg o tta n I t . W O O D : But ona c a n 't llv a h ara! BONSTKTTEN: W a can. W O O D : I t a u a t ba a h o r r lb la U f a . BONSTETTEM: Tha r ig h t U f a . . . . E verything wa hava to Mka o u ra e lv a a , to o la , c lo th a a , a h lp a, ra d io a a ta , weapona a g a ln a t th a g ig a n tic a n lM la . E verything la la c k in g ; 218 e x p e r i e n c e , k n o v l « d | i , t h e ( u l l l i r , t h a t r u a t I n t h a g r o u n d , t d i l c h c o n s t a n t l y c h a n g a a . Ho M d l c a M n t s : p l a n t s a n d f r u i t s w h i c h wa d o n ' t k n o w , s o s t o f t h a a p o i s o n o u s . Evan t h a w a t a r w a a u s t g a t u s a d t o , W O O D : I t ta s ta a d ra a d fu l. BOKSTETTEN: I t ' s p o ta b la . (SILENCE) W O O D : What d id you g at in exchange fo r th a a i l d E arth? S ta a a in g ocaans. tu rn in g c o n tin a n ts , rad -g lo w in g d a s a r ts . A ra g in g sky. What in s ig h t d id you g a t in r e tu rn ? BOKSTETTEN: That Han is so a a th in g p re c io u s, and h is U f a is d iv in e g ra c e . W O O D : R id icu lo u s.' T his in s ig h t w e've had on E a rth fo r a g e s . BOKSTETTEN: We11-- a ra you liv in g ac co rd in g to i t ? (SILENCE) W O O D : And you? BOKSTETTEN: Venus fo rc e s us to liv e ac co rd in g to our b e l i e f s . That is th a d iffe re n c e . H ara, i f wa d o n 't h e lp each o th e r , wa p a ris h . W O O D : So t h a t 's why you d id not ra tu rn ? BOKSTETTEN: T h a t's why. W O O D : And why you b etra y e d th a E a rth . BOKSTETTEN: 1 d e s e rte d . W O O D : In to a h a l l which i s a p a ra d is e . BOKSTETTEN: W a would hava to k i l l i f we wanted to go back, fo r 'h e lp in g " and " k i ll in g " is th a sane fo r you. W a c a n 't k i l l any wore. (SILENCE) W O O O : W a a u s t ba r e a l i s t i c . You, to o , a ra in dan g er. I f th a R ussians d e fe a t u s , th ay w i l l coae h a re . BOKSTETTEN: W a a r a not a f r a id . W O O D : You a leJu d g e th e p o l i t i c a l s i tu a t io n . BOKSTETTEN: You fo rg a t t h a t we a re th a penal colony o f th a whole E a rth . Mankind i s g e ttin g read y to f ig h t fo r th a p o sse ssio n o f th a b e a u tif u l ro o as and th a p r o f ita b le r e a l e s t a t e , n o t fo r th a duap Which is 219 c o a o n to a l l . No on* i s ln te r e a te d In u a. You nead us only now In o rd e r to ham *>a ua Ilk a doga to your war c h a r io t. When th a war la o v a r, th ia raaaon w i ll ba gona. You can aand ua h a ra , but you c a n 't fo rc a ua to r a tu r n . You hava no powar ovar u a . You hava d lach arg ad ua o u t o f Mankind. Vanua la ao ra h o r r lb la th a n you. Whoever atap a onto I ta a o ll cone a undar l t a law . . . no o th a r freed o u la g ra n ta d h a ra . W O O D : Tha freed o u to b l t a th a d u a t. 10NSTKTTIM: Tha fraadoai to a c t r ig h t and to do th a n acaaaary . On E arth wa could not do t h i a ; I c o u ld n 't, a l t h a r . Tha E arth la to o b a a u tlf u l. Too r ic h , l t a p o a a lb lll- t l a a a ra to o g r a a t. I t aaducaa to Ine q u a lity . On I t , p o v erty la a d la g ra c a , and ao, a l l o f I t la d la g ra c a d . Hara o n ly , p o v erty la ao uathlng n a tu r a l. On our food, on our to o la a tlc k a n o th in g b u t o u r aw eat--and not ln ju a t lc e , to o , aa on Earth* And ao we a ra a f r a id o f E a rth . A fraid o f l t a abundance, a f r a id o f th a f a la a l i f e , a f r a id o f a p a ra d ia e which la h a i l . « Wood e x p la ln a th a t th a "Vega" c a r r la a hydrogen- c o b a lt bonba. Tha booba w ill hava to ba uaad, r e g r e t f u l l y , fo r th a good o f freed o u and tnnaanlty, I f th a V enuelana do not cone to t a r a i . B o n atattan a d a lta th a t nany w i ll probably ba k i l l e d , b u t uany o th a ra , s c a t te re d on ahlpa a l l ovar th a p la n e t, w ill eacap e, becauee th ay foraaaw th a t t h ia would happen. "You foraaaw 35Paa Untarnehnan dar Waaa. ofc._q,lt., pp. 38-39. 220 th ia ? " < ik i Wood, • • t o n l i h t d . B o n atetten aaya: "A fte r a l l , wa wara onea on E a rth , to o ." Aa ha la a v a a , Wood aaau raa h la o ld frie n d th a t ha o n ly b lu f f e d ; n a tu r a lly , th a booba w ill not r a a lly ba dropped. Cor t h ia would ba only aan aalaaa c r u e lty . W O O D : I |l v e you «y word! BOKSTETTEN: I w o n 't h o ld you to I t . W O O D : I ao no b u tch er! BOKSTETTEN: But a oan Cron E a rth . You c a n 't ta k e bach th e deed tdilch y o u were a b le to *hlnht W O O D : But I D r o o l a e vou-- BOKSTETTEN: You w i l l b re ak your p ro o la e . Your o la a lo n haa C alled . Now you a t l l l p ity an. But a f t e r you r e tu r n to your apace a h lp your p ity w i ll Cade away, and your au a p lc lo n w ill awaken. The B uaalana could coan and anke a d e a l w ith u a, y o u 'l l th in k . Y o u 'll know, o f c o u ra e , th a t th ia la la p o a a lb le and th a t we would t r e a t th e B uaalana J u a t aa we tr e a te d you, b u t to your knowledge th e re w ill c lin g a l i t t l e g ra in o f f e a r . . . and, becauaa o f t h i a l i t t l e g ra in o f fe a r . . . In your h e a r t, you w ill o rd e r th e bonba to be dropped. Even I f th ey a re a e n a e le a a , even I f you h i t Inno ce n t people - - and ao w e 'l l d ie . W O O D : But you a re ay f r ie n d , B o n atetten ! I c a n 't k i l l a frie n d ! BONSTETTEN: One k l l l a e a a lly when one cannot aee th e v l c t t a , and you w il l n o t aee aa d ie . W O O D : You aay th ia aa I f I t were eaay to d ie ! BONSTETTEN: A ll th a t la n ec eaaa ry , la eaay . You o n ly have to accep t I t . And th e a o a t n e c e a a a ry , th e a o a t n a tu r a l on th ia p la n e t la d e a th . I t la everyw here and a l l th e t l a e . 221 Back on t h t "V ega," 1,500 n lle s above Venus, e v e ry th in g happens e x a c tly a s B o n ste tte n has p re d ic te d . A fte r Wood re p o rts th e com plete and u t t e r f a il u r e o f a l l n e g o tia tio n s , th e C o lo n e l, backed by o rd e rs froai th e P re s id e n t, p re ss e s fo r th e dropping o f th e boafcs. Wood J u s t i f i e s th e o rd e r to h l n s e l f , a ls o e x a c tly as B o n ste tte n had p re d ic te d . The Irony o f th e f in a l speeches i s c l a s s i c : W O O O : How th e boabs have dropped - - and soon th e y are going to d ro p on E a rth , to o . 1 a a glad to heve an ato n -b o n b -p ro o f c e l l a r - - o f f l c l a l l y fu rn ish e d to a* . And v aca t i o n s - ^ F oreign M in iste r i s alw ays on v a c a tio n in w a rtIs a . Only f is h in g I ' l l have to f o r e g o .... 1*11 read th e c l a s s i c s . Thoaws S te a rn s E lio t n ig h t be b e s t--h e so o th es ne noat o f a l l . T h e re 's n o th in g u n h e a lth le r than e x c itin g re a d in g . THE DOCTOB: Your E xcellency h as coined a golden p h rase th e re - - - O bviously T. S. E lio t Is D U rre n n a tt's bftte n o ir e . H is c l a s s i c i s n , h is r e f ln e a e n t, b lo o d le sa n e ss, and lv o ry - tow er a t t i tu d e a re th e ex act o p p o site o f t h a t D U rrenaw tt, who has n ev er p e rm itte d h in ts I f th e lux u ry o f w earing W hite g lo v es in h is w r itin g , th in k s a w r ite r should be. The paradox coawe f u l l c i r c l e in t h i s p la y w ith Wood, tdio c a l l s Venus "a h e ll th lc h i s a p a r a d is e ," and B o n s te tte n , who c a l l s E arth "a p a ra d ise which i s h e l l . " 222 The T w n tla th Century Paradox o f th e u t t e r h e lp le ssn e ss o f even the o u tsta n d in g In d iv id u al faced w ith th e l r r e a i a t i b l e preaaurea upon him, dom inates th e tdiole p lay . The uae o f th e rad io ld lo a , th e pointedneaa o f, and c o n c e n tra tio n upon, th e a poke n word to aa x lau a e f f e c t a re m a ste rfu l h e re . Any o th er comment teems a n ti-c lim a c tic and p o in t- le a a . Abendatunde la SoMtherbat (C loaalna In Late A u tS T L w ritte n in 1956 On th e t i t l e page we a re infonaed th a t th ia play was awarded th e "P rlx d 'I t a l i a , " the ao at Im portant i n t e r n a tio n a l ra d io p r i z e . ^ I t waa played by ra d io a ta tlo n a in nine c o u n trie s and nine languages, a ls o by th e la te Ernie Kovaca on American te le v is io n . The play la preceded by a f i c t i t i o u s q u o ta tio n from th e B rothers Grimm: '’ Per H err Korbea muss e ln re c h t bBaer Kann aeweaen a e ln " (H r. Korbea a u s t have been a bad, bad man). By now D U rrenaatt h as M astered rad io c o a p le te ly . There a re only a lx ch arac t e r s , o f tAtlch only two a re im portant ones; lo c a le , sound e f f e c ts , and sound p e rsp e c tiv e a re handled w ith com plete ^A bendatunde l a SpMtherbat (Z tlrlch; V erlag d er Arche, 1959), 43 pp. 223 aasuranca and a ffa c tlv a n a s s . PLOT SUMMIT: A w orld-faaous w r lta r , lo r baa, a co a p o sita o f Haalngway, P icaaao, Hanry H ll la r , d'Annun- a lo , and a faw o th a ra ISO p ar ca n t a a la ,h a lry -c h a a ta d , h a rd -d rin k in g , h a a rt-b ra a k ln g , dabauchad, ad v a n tu rar- a r t l a t a , d lc ta ta a th a baglnnlng o f a s to ry In tdilch ha lntroducaa h la s a lf and h la d la o rd a rly b u t a la g a n t and axpanalva a p a rta a n t in a f lr a t- c la a a h o ta l ovarlooking ona o f th a Swiaa lak aa . A aousy, ah ab b lly -d raaaad a ld a r ly nan, P U rchtagott H o fa r,* 7 a n ta ra th a a p a rta a n t unannouncad. A fta r narrow ly a v a rtln g balng thrown out by Korbaa, ha e x p la in s : ha la a r a tl r a d Swlaa book- kaapar liv in g on a pan tIo n ; h la hobby la d a ta c tlv a work. Por tan yaara ha has baan follow ing Korbaa, th a w o rld 'a fo ra a o st w r lta r of a u rd e r a to r la a , around th a faah lo n ab la r a a o r ta , always liv in g In th a chaapast kinds o f lodgings w h ila Korbaa, o f c o u raa, llv a d In th a a o a t axpanalva onaa, and stu d y in g K orbaa'a works and U f a . Korbaa has bacoaa faaoua aa th a g ra a t bard o f a u rd a r--n o t au rd ar fo r aonay, p r o f i t , o r p o l i t i c a l *7F ttrch te« o tt (P aar o f God) la a v ary o ld -faah lo n ad n aaa, such aa Jahoaaphat o r C a a a lla l would ba In E n g lish , u su a lly worn by clarg y aan o r ra llg lo u a w rita ra b afo ra th a a ld d la o f th a 19th c a n tu ry . 22k re a s o n s, b u t murder as e c s ta s y , as a r t , a s f u lf illm e n t. For t h i s he has re c e iv e d th e Nobel P ris e and Innumer a b le o th e r re c o g n itio n s . On h is w all th e r e a re a u to graphed p ic tu re s o f F au lk n er, Thomas Hann, Hemingway, and Henry M ille r w ith f l a t t e r i n g o r adm iring d e d ic a tio n s . through p a in sta k in g re se a rc h and s le u th in g H ofer has found out th a t a l l tw enty-tw o o f Korbea*e famous n o v els a re based on tru e c a s e s , and th a t th e alw ays u n id e n tif ie d m urderer was Korbes h im se lf! Hav in g used up h is meager funds In th e se re s e a rc h e s , he t r i e s to b lack m ail Korbes g e n tly In to paying him a m onthly g r a tu ity . But Korbes sn ee rs a t him and t e l l s him th a t nobody would b e lie v e him because (and h ere Is th e paradox) th e w orld Is b a s ic a lly a lre a d y convinced th a t h e, K orbes, Is a g re a t m urderer and adm ires him fo r I t . He to p s th i s o f f by draw ing a re v o lv e r and d riv in g th e u n fo rtu n a te am ateur d e te c tiv e out on th e balcony from where h e , s t i l l r e tr e a tin g in f e a r , plunges to h is d e a th . As u s u a l, an "u n fo rtu n a te a c c i d e n t," and th e h o te l manager a p o lo g ise s p ro fu se ly fo r t h i s d istu rb a n c e o f th e g re a t a u th o r on h is prem ises. Korbes goes a t once to work to process th e l i f e o f th e u n fo rtu n a te F llrc h te g o tt H ofer In to h is l a t e s t s to r y , 225 t h t r t b y c lo s in g th a e y e la and g a ttin g back to th a d lc - ta tio n - n a r r a tio n o f th a b eg in n in g . Tha e v il Mr. Korbaa la b u i l t In to an o v e r - llf e a ls e a o n s ts r , a Moloch, F ra n k e n ste in , o r O o d illla o f l i t e r a t u r e , and through th ia becomes, o f c o u ra e , g ro te sq u e : I t la th a d ev ice o f * 'd la p ro p o rtIo n ," o nly th a t I t la h a ra uaed on som ething m antel r a th e r th an p h y s ic a l. Whan th a tim id , modest l i t t l e aam teur d e te c tiv e accuaaa hlai o f m urder, ha an sw ers: So what? W a [meaning g re a t w r ite r s g e n e ra lly ] v a ra alw ays m onstera In th a ayaa o f b o u rg eo la a o r a l lty ! Think o f G oatba, B a lsa c , B a u d e la ire , V e rla in e , Klmbaud, Edgar A llan Poe. W hile h o r r i f ie d In th a b eg in n in g , th a w orld caaa to adm ire ua wore and wore J u s t because wa a ra m onstera. . . . W a hava bacoaa tK ew IeK f u l f l l l a a n t d ra a a o f a l l l l o n a , aa aan who can perm it th a a a a lv a a a n y th in g and a r a euppoeed to perm it th a a a a lv a a a n y th in g .38 L adtea o f th a b l u e s t s o c ie ty , m iddle- c la s s woman, se rv a n t a a ld a o f f e r th a a a a lv a a fo r m urder by a a .39 K orbaa'a d e f in itio n o f our l i t e r a t u r e r e f l e c t s aoae o f D U rrenaatt*s d e lib e r a te ly shocking view s: 3®Xhts la n o t n e a rly aa fa r-fe tc h e d a s I t aounda: The c u l t o f th a am oral o r a s o c ia l movie s t a r , whose box- o f f ic e ap p eal la o n ly enhanced, and whose astronom ic s a la r y la only in c re a s e d , by m u ltip le a f f a i r s , d iv o rc e s , sc a n d a la , n ig h tc lu b b raw la, o r o u tb rea k s o f tarn param ent, la liv in g p ro o f- -in s p ite o f In d ig n an t r e s o lu tio n s by woman’s o rg a n i s a tio n s and pious d e n u n c ia tio n s by churches and a a s o rte d b lu en o sea. 59 yAbendatundt In SpBtherbat. op. clt.. p. 37. 226 T hat th a w r ite r works on s ty le and fo ra Is som ething o n ly c r i t i c s b e lie v e . Trua l i t e r a t u r e doas n o t d a a l w ith l i t e r a t u r e - - I t a u s t s a t i s f y Mankind. And Mankind doas n o t t h i r s t fo r new fo ra s o r new s t y l i s t i c ex p erim en ts, and la a s t o f a l l fo r t r u t h s - - i t t h i r s t s a f t a r a U f a trtilch doas n o t depend on hope, because th e re is no wore hope, a f t a r a l i f e so b u rs tin g f u l l o f r e a l i s a t i o n o f s o a in t , o f t h r i l l s , o f a d v e n tu re , such a s r e a l i t y no lo n g er o f f e r s in our mass w orld, and only a r t can o f f e r . L ite r a tu r e has becone a drug which is a s u b s ^ t u t e fo r a l i f e th a t is no lo n g er pos- I f we s u b s titu te te le v is io n W esterns, c r la e shows, comic s t r i p s , and mass a tte n d a n c e s p o rts (where 50,000 m o stly q u ite u n a th la tlc people watch a h an d fu l o f p aid p ro f e s s io n a ls put each o th e r through o rd e a ls o f tdilch 49,900 o f th e s p e c ta to r s would be u t t e r l y in cap a b le ) fo r " l i t e r a t u r e ," we have a f a i r l y good e x p la n a tio n fo r th e nuch- d ep lo re d p a s s iv ity , o v e r - s a tia tio n , and c a llo u sn e ss o f modern n an , w hether young or o ld . Of c o u rse , DUrrenom tt, s t a r t i n g w ith r e a l i t y and tr u e p ro p o rtio n s , h e ig h te n s th e s e in to g ro tesq u e exag g era tio n . And so , Cloam lna in L ate Autusw o u st be understood a s a parody o f th e d e te c tiv e s to r y , th a t a o s t a r t i f i c i a l f o r a o f l i t e r a t u r e . The paradox o f th e d e te c tiv e s to ry is t h a t th e d e n se st re a lis m o f p lo t is combined w ith a s t r i c t *° I b ld . . p . 37. 227 adherence Co c e r ta in c la s s ic form ulas and r u le s . This paradox Is p a ra d o x ic a lly c a n celled In Cloasilnx In Late Autumn: only th a t counts Which has r e a lly happened; since only th e Im possible i s applauded by th e w o rld , th e Impos s ib le must be smde to happen, and the e v il Hr. Korbes makes I t happen. The Minor ru ll-L e n x th Plays The re a d e r o f th e fo llo w in g , q u ite o fte n lengthy and d e ta ile d , review s o f D U rrenm att's minor plays may w ell ask what b a sic d iffe re n c e , I f any, th e re Is between th ese review s and th e com plete an aly ses o f th e d r a m a tis t's th re e m ajor plays in C hapter V. The d iffe re n c e Is t h a t , in th e se le s s Im portant p la y s, paradox and grotesque w ill be touched upon only in p assin g , as a by-product o f th e rev iew s, as I t w ere, whereas the m ssterw orks In C hapter V w ill be exam ined scene by scene and even lin e by lin e fo r concordances o r d isco rd an ces w ith th e c r i t e r i a e s ta b lis h e d In th e in tro d u c tio n . £ l s te h t x eschrleben f i t Is W ritten ! w ritte n In 19*5-1946 This p lay , which was a ls o produced o f f Broadway under th e t i t l e Fools Are P asslna Through, was w ritte n 228 tow ard th a and o f D U rrenam tt's u n iv e r s ity a tu d la a and a h o r tly th a r a a f ta r . I t s p ra a la ra perform ance took p lace on A p ril 19, 1947, a t th a S ch au sp lelh au s ZU rlch, and lad to lo a a th in i Which la p r a c tic a ll y unhaard o f in such a w e ll-p o lic e d co u n try aa S w itsa rla n d , where nolsem akere and h a c k la ra a r a u s u a lly a ja c ta d prom ptly and w ith o u t d ia c u a - a io n : a th a a ta r r l o t ! ^ D uring th ia p raailara o f DUrren* a a t t 's f i r s t - b o r n th a ra were ao Many acraana and w h ls tle s - - in Europa id tls tlln g means d is a p p r o v a l- - th a t th a p o llc a could not kaap up w ith th s a . N a v a rth a la a a , th a a c to ra ahowad rem arkable s a n a -fro ld and playad on, ao th a t th a p lay could ba fin is h e d and avan reaped a re sp e c ta b le * so u n d in g f i n a l a p p la u se . D esp ite o fte n v io le n t o b je c tio n s , th e p lay reap p eared on Sw iss and Carman atag aa in th a y e a rs th a r a a f ta r . That D U rrennatt d id not in c lu d e i t and h la second p la y , Tha B lind Ona. in h la c o lle c tio n KomBdlon 1 in 1957, shows th a t ho h im s e lf c o n sid e rs th e s e f i r s t two p lay s i n f e r io r in t h e a t r i c a l c o n s tru c tio n and a f f e c tiv e n e s s . N e v e rth e le ss , thay a r a s o re in te r e s tin g th an n in e -te n th s o f th a w ell-m ade p lay s ap p e arin g on o u r s ta g e s . **Ba a ts h t e e a c h rla b e n f i s t a d .; E a se l: V arlag Benno Schwa^a und C o ., 1947; 2nd a d .; ZU rlch: V arlag d a r A rche, 1959), 111 pp. PLOT SUW MKY: 111* play ta k a s p laca s h o rtly a f t a r th a lta form at Ion, frosi 1535 to 1536, In th a c i ty o f MUnstar in Vast pha11a. Uodar th a la a d a rth lp o f th a p ro p h at, Jan H ath lsso n , th a c ity has baan conquarad by tha A n ab ap tists and t h a lr uncoB proalalng r a il* I o n , who t r i a d to r a a lls a u n c o n d itio n a lly th a a v a n g a llc a l taac h ln g s on E arth . In to th i s c ity c o m a th a fo ra a r t a i l o r , Johann B ocktlson o f Laydan, a pow ar-hungry, p laasu ra-M d o p p o rtu n ist w ith th a g i f t o f a phony v i s ionary gab. Ha Is o f farad s h a lta r by Bam hard Knlppar- d o llln c k , th a r lc h a s t u n o f th a c i t y , and soon anjoys R n lp p a rd o lIlo c k 's b a a u tlfu l w lfa and w a a lth , W tlla K nlppardolllnck s tu d la s th a S c rlp tu ra s to g at ra la a s a fro n th a s in o f rlc h a s . Bacausa K n lppardolllnck wants to llv a In accordanca w ith th a Holy W rit, ha laavas h is f a a lly , g lv as away h is w a a lth , and w andars, clad only In a p a n lta n t's s h i r t , through tha s t r a a ts o f H ttnstar. Msanwhlla, th a d lsp o ssassad C a th o lic bishop o f MUnstar g a th a rs a s a s l l a ray and M rch a s a g a in s t th a c i t y . Jan H ath lsso n , th a baardad old p ro p h a t, i n s i s t s on M a tin g th a anawy a lo n a , araad only w ith a long sword, h is rlg h ta o u sn a ss, and th a w rath o f Cod. Ha Is k 11lad a t onca. Bockalson tak as ovar th a la a d a rsh tp o f th a c ity and d riv e s th a c n n y o f f . H« nekea h im se lf King and c h ie f prophat o f th a A n ab a p tla ts, alaapa w ith a l l tha w oain, and le a d s, thanka to h la power, a U fa o f un- b rld la d enjoym ent, w hile K n lp p ard o llln ck llv a a In un- apaakabla poverty In a c o l la r "w ith h la r a ta and h la God.*' Again th a ex-blahop o f MUneter haa m ustered an a n y , th ia tlm e a la rg a ona, w ith tdilch ha laya alaga to th a c i t y . While Socketaon c a la b ra ta a rlo to u a fa aata and c o n i t a robbery and m urder, th a c ltla a n a o f N dnatar d ie o f a ta rv a tlo n o r f a l l In th a dafanaa of t h a l r c ity . K n lp p a rd o llln c k 'a w ife and daughter a ra dead, th a c ity haa aunk In to In c re d ib le a la a r y . K n lp p ard o llln ck ap pear a suddenly In B ockelaon'a p a la c e , and In f r a te r n a l e c sta s y th a two aount th a to p o f th a ro o f and dance g ro tesq u e ly under a f u l l noon, "th a King a n In a n w ith th a b eggar, th a r ic h nan a n In a n w ith L asaru s, tha j L 2 fo o l a n In a n w ith th a Tha two greedy ona a , ona greedy fo r th a p le a su re s o f E a rth , th a o th e r greedy fo r th a grace o f Heaven, work them selves In to auch a n a n la c a 1 frenay th a t thay f in a lly throw open th e g ates o f th e c i t y . Tha eneny ru sh es In a t once. Sockelaon 42lbld., p. 105. 2 3 1 and K n lp p ard o llln ck a ra brokan on th a w heel. Bockel- aon d la a iam ed lately and la tru n d led o f f In a tra a h c a r t - - t h e way ha f l r a t appeared In th a c i t y . K nlppar d o llln c k , Who atay a a liv e on th a wheel u n t i l th a and, c r la a to Cod: W hatever happens, M anifests Thy i n f i n i t y , o Lord! The depth o f my d e sp a ir la b u t a syebol o f Thy J u s tic e , and m y body Ile a In t h i s wheal aa In a cup which Thou f l l l e s t now t o th a brim w ith Thy g ra c e !* 3 It would lead ua auch too far In a ware review to go Into a ll tha im plications of th is thoroughly ayebollc play. Only tha auat outatending exaaples of paradoxy and groteaquarla ahall ba Mentioned hara. f,Tha King a rn In a r a w ith th a b eg g ar, th a ric h Man w ith Laaarus . . . " l a th a paradox of th a B ib le th a t th e la a t ones a h a ll be f l r a t , and th a t a camel w ill sooner pass through th a eye o f a n eed le th an a ric h man e n te r Heaven.** * 3t b l d . . p. 111. 44 In a new t r a n s la t io n , th a Lames B ib le , going back to th a o r ig in a l Aram aic, i t haa been proven th a t t h i s famous q u o ta tio n la a m is tr a n s la tio n : th a word fo r "carnal" and fo r "ro p e" In o ld Aramaic waa th a same, so th a t I t r e a lly meant th a t " I t la e a s ie r fo r a rope t o pass through th e eye o f a n eed le , . ." which c e r ta in ly makes more aanae th an our t r a d i t i o n a l tr a n s la tio n (G eorge H. Lamia, The Holv B ib le from th e P a a h ltta [fh lla d e lp h la : A. J . Holaain Company, 1937) Matthew 19:24, pp. 9 7 3 -4 ). 232 The paradox o f th a " re ig n o f Cod on E arth " tdien c a r r la d through In r e a l i t y ( o r , a o ra a c c u ra te ly , whan I t la attem p ted In r a a l l t y ) la th a t I t anda In nonaanaa and c r la a . Thia ' t l t y o f Cod" la plungad In to daapaat B le a ry , and f i n a l l y ra v a rta to th a a t r l c t a a t C a th o lic la a fro a tdilch I t had t r i a d to b raak away. Out o f th a B ible*a e x h o rta tio n , "Lava th y neighbor aa thou lo v o at th y a a lf " and "Love th in e a n a a y ," D U rranaatt faahIona th a u ta o a t In C h rla tla n para* doxy, when th a o ld Blahop anewere K n lp p a rd o llln c k 'a quea* tlo n aa to what ha ahould do: Keep th a coaaandaant th a t goaa fo r b oth Anabap- t l a t and B lahop: Love th in e a n a a la a aa th y a a lf ; a a l l tdiat th o u h i l t and g iv e I t to th a poor; and r a a l a t not e v il.* * I t la a la o p ara d o x ic a l th a t th a ona who o v erp o ln ta th a B ib lic a l aaylng la th a o ld b lah o p , th a w o rld ly a c e p tlc and a c c la a la a tlc d lp lo o M t--th e a tr a lg h ta a t, la a a t gro taaq u a c h a ra c te r in th a p lay . Ha haa th a b alan ce which conaa froai a c e p tlc la * and th a w eighing o f a l l c la la u , and th a c a l» which ap rln g a fro n th a conaclouaneaa o f a lre a d y ba* longing In th a p a a t. B rock-Sulxer aaaa In th ia blahop th a apokeanan fo r th a a u th o r. I f th e r e la any a t a l l.* * " lh a t **Brock-Suiter, op. c lt.. p. 21. 233 you b e lie v e In y o u r i t l f , K nlppardolllnck, w ill b« your dow nfall,*' says th a bishop In th a dlalogua w ith K nlppar d o llln c k . Id e o lo g ic a lly , th is Is r s a l l y th a c a n tr a l scans o f th a p lay . Tha o p p o sitio n of K n lp p ard o llln ck , th a a a m a s t, sim ple-m inded C od-saakar, to th a m a te r ia lis tic s a lf - s a s k a r , gockalson, laads to th a clim ax o f th a p lay . I t was. In c i d e n ta lly , d u rin g th a danca on th a ro o fto p in th a a» o n llg h t th a t th a th a a ta r r i o t broka o u t. both c h a ra c te rs address th a noon: BOCKELSON: You saa me dancing w ith crown and s c e p tre ! KN1PPQtDOLLINCK: You saa me dancing in a to rn s h i r t .' BOCKELSON: B lass my power! B lass th a e a rth In me, and b le s s my h ea v in e ss, my dancing h e a v i ness! KNIPHKDOLLINCK: B lass my poverty and b le s s my nakedness, b le s s my fo o lish n e s s, my holy fo o lish n e ss! Bockelson and K nlppardolllnck a ra two a n t i t h e t i c a l human p o s s i b i l i t i e s , two o p p o site p o les. D llle r seams to 'h i t th a n a il on th a haad" whan ha c a lls them p e rs o n ific a tio n s o f th a e te r n a l Inner human c o n tra d ic tio n : th a God- aeeker and th a m a te r ia lis t, th a search in g s p i r i t and th a lu s t-s e e k in g body o f Han. That la why DUrrenmatt c a ll s A J ^fEs staht aeschrleben. op. clt.. pp. 103-104. 234 th e s e two m o u t t e r l y d if f e r e n t fig u re s ag a in and ag ain " b r o th e r s ." 46 lo c k sIso n la th a n i h i l i s t and h e d o n is t. When he is asked in what he b e lie v e s , he answ ers: " In th e esipty sky. In t h i s w a ll, in le g s and e r a s , fa ce and hands, spread out under e v e ry th in g lik e a woman's body! T here is n o th in g e l s e ! " 4? He sta n d s o p p o site K n lp p ard o llln ck lik e th e f le s h ly body to th e a b s tr a c t s p i r i t , o r lik e p r a c tic a l l i f e to im p ra c tic a l f a i t h . I t la p re c is e ly t h i s lim ita tio n o f h is to see only th e m a te ria l w orld which g iv es him h is v ery power In th e m a te ria l w orld. For him th e w orld has no god and no m eaning, and th e r e f o r e he liv e s w holly d e d ic a te d to s e n s u a lity . But toward th e end I t becosms obvious th a t f e a r and th e gase In to th e abyss o f n o th in g n ess d riv e him only from spasm to spasm, from orgy to ev e r w ild e r o rgy. K n lp p a rd o llln c k , on th e o th e r hand, embodies p e r haps th e s a i n t , and, lik e C h r is t, he Is mocked In h is abasem ent (se a F ig u re 1). The f i n a l paradox i s u tte r e d s h o r tly b e fo re th e 46Edward D l l l e r , "D ie Gedankenwelt von F rie d ric h D U rrenm att," (u n p u b lish ed fh .D . d i s s e r t a t i o n , D epartm ent o f German, H lddlebury C o lle g e , M lddlebury, Verm ont, I9 6 0 ), p. 34. 4 9 E> ste h t xeschrleben. op. c l t . . p. 62. 235 F ig u re 1 K n ip p e rd o llin c k , one* th e r ic h e s t wan o f H U nater, now in r a g s , w alks th e s tr e e ta in r e lig io u s e c s ta s y . / I r v 237 end, when th e v ic to rio u s old bishop end h is m ilita ry e r a , the lan d g rav e, a re In fro n t of th e broken b o d ies o f th e dead Bo eke I son and th e dying K nlp p ard o llln ck on th e td te e ls, and aua up th e se n se le ss sense o f t h i s d raaa In th e s e words: LA N D G RA V E: They have paid fo r t h e i r g u i l t . BISHOP: O u llt, payaent--w hat a a a ll words! . . . H an's deeds are th e rack to Which God has bound h la . LAN DG RAV E: They were fo o ls fo r try in g to fly be fo re th ey had learn ed to w alk. BISHOP: Could th ay stan d when L uther sought to teach th en how to walk? LA NDG RAV E: A l i f e w ith o u t se n se --d e sp lse d by a l l ! BISHOP: The sense l i e s In t h e i r torm ent.*** (See F igure 2 .) The grotesque n o te s are nany, of c o u rse . Here a re sons o f th en . The play opens w ith th re e A n ab a p tists w ith long b e a rd s, hollow cheeks, m atted h a i r , and " ln d a sc rlb a b le c lo th e s ," b u t, DUrrenmatt rem arks, " . . . th e p e n e tra tin g s a e ll o f onions may be dispensed w ith ." A fte r th e th re e fa n a tic s have raged a g a in st aInnera and I n f id e ls , they ex eu n t, but Dttrrenmatt suggests t h a t tha o rc h e s tra "send a few p a ro d is tlc n o tes a f t e r them ." Then follow s a h ig h ly Iro n ic commentary by a monk, 50Jbld.* p. HO. 230 F ig u re 2 The p a ra ly se d o ld b lahop and cha landgrave h o ld a p o a t-a o rte a on th e Anabap- t l a t r e v o lt b e fo re th e broken body o f K n lp p ard o llln ck on th e w heel. 240 ftro th a r M axim ilian |U i b « |i n i (th a naM M ans M i t i y t 4 o U " o r " s ta y - ln - o M - p la c a " ) , who was born a t m idnight batwaan D acaabar 31, 1499, and January 1, 1950, "whan th a o ld can- t u r y , thank Cod, andad and th a naw ona, u n fo rtu n a ta ly , b a ia n . . . Ha t a i l s th a a ud lane a t h a t ha r a a l l y doas n o t a x l s t a t a l l , b u t Is only a davlca o f th a a u th o r to f i l l in t 1 m batwaan two scana d tan g as. Ha prom lsas th a au d lan ca "blood b a th s , war c r l a s , to r tu r a sc a n a s, l a g i t i - M ta and U l a g l t l M t a sax g a lo ra " fo r t h a l r aonay. Johann gockalaon, a t t h i s p o in t s t i l l an I tln a r a n t t a i l o r , l a t a r th a g ra a t prophat and King o f th a Anabap t i s t s , Is found s la a p ln g on a M nura c a r t by a t r i o o f low co M d la n s. IWo o f th a n a ra s t r a a t c la a n a rs (ona o f th a sa haa s tu d la d law, M d lc ln e , and p h ilo so p h y , q u o tin g th a famous lln a a from th a opanlng scana o f C oatha*s F a u s t- - o b v io u sly an anarcu o f th a p lig h t o f th a “acadsm lc pro- l a t a r l a t " in E aro p s). Ih a t h i r d M ab ar o f th a t r i o Is a s t r i c t l y f a r c i c a l p o llc a M n , a c a r lc a tu r a o f th a pom- poua, o f f ic io u s C an tral-E u ro p aan p o llc a fo rc a s (sa a F lgura 3 ). A fta r a moving and though t-p ro v o k in g scan s batwaan th a old b ish o p and K n lp p a rd o llln c k , D ttrrsn M tt d a llb a r a ta ly ra v a rs a s th a a f f a c t w ith a crowd scana a s b o ls ts ro u s as 241 F ig u re 3 Johann lo c k * la o n , th e I tin e r a n t t a i l o r , h a t f a lle n a a le e p on a M n u re c a r t a f t e r h la a r r i v a l in M ttnater, and la awakened by two a tr e e t c le a n e ra and an o f f ic e r o f th e law. W . i tpj™ t f i - " V f > * \ * \ 243 can b e . A g reen g ro cer women d e liv e r s gens lik e th e s e : See th e se le ttu c e h e e d s, th e se wonders o f n a tu re ! Tender a s b a b ie s ' b eh ln d s! F resh lik e young g i r l s ! * . . A pples! A pples! D ire c tly fro n P a ra d ise ! D ire c tly froai th e Tree o f Knowledge! They s lid e In to your stoew ch and ecrub your g u ts! . . . (NOV WITH GIGANTIC VOICE) O nions! b e a u ti f u l fre sh o nions! I f you want c h ild r e n , buy o nions! They neks women p r a c tic a lly pregnant by th e m se lv e s-- th e y b rin g c h ild re n - -th e y b rin g f a n l l l e s ! Eat o n io n s! W e a re only In th e n ld d le o f w orld h i s to ry ! J u s t now, th e Dark Ages have ended. Think o f what we s t i l l have to do! b efo re u s , In th e foggy f u tu r e , lik e th e lh lr ty - Y e a r U ar, th e War o f S u cce ssio n , th e Seven-Y ear War, th e K ev o lu tlo n , N apoleon, th e F ra n c o -P ru ssia n War, th e F i r s t World War, H i t l e r , th e Second World War, th e Aton bonb, th e T h ird , F o u rth , F i f t h , S ix th , S eventh, E ig h th , N ln eth , T enth, E lev en th , T w elfth World War! T his c a l l s fo r c h ild r e n , la d le s and g e n tle n e n , t h i s c a ll s fo r c o rp se s! T h e re fo re , whoever lo v es p ro g re ss , e a ts o n lo n s --to h e lp a lo n g w orld h is to r y ! Eat onions! Think o f th e fu tu re ! A l i t t l e no ra o r le s s s tin k d o e s n 't m a tte r!* 1 The scene In which B ocksI• on, In utm ost lu x u ry , Is b ein g tended by a bevy o f young wooen (se a F ig u re 4) Is In e x tre n e c o n tra s t to h is e n tra n c e In to th e c i t y In ra g s (F ig u re 3 ). K n lp p e rd o llln c k 's and b o c k e le o n 's dithyram b to th e moon: KNIPFEEDOLLINCK: Noon, moon! You behold my n av al Ilk a a b e la te d sun through th e r e n ts and te a r s o f my s h i r t ! G ro te sq u e rle In words reach es I t s h lg h p o ln t In 244 F lgur* 4 lock* Is on, now King and c h la f prophat o f th a A n a b a p tis ts , la b aln g groowad by a flo c k o f • hapaly g u ld en s. < % A w , C £ > ’ 246 S m th e Coca on m y fo o t! Sc# haw m y body prcaaca a g a ln a t your*. 1 a a lu s tin g fo r you a s th e dapplad b u ll! X eafcrace you, X p u ll you down to m m , X bury a y s e lf In th a a ta r n a l le a o f your g la c la r s ! BOCKtLSON: I h e a r th a sto n a g o a ts o f your v a lla y s go a s h -a s h , I h a a r th a cows o f your high g r a t in g p lo ts woo! X sk ip w ith m y l i t t l a b a lly and sw ivel w ith m y l l t t l a a s s and swing m y e r a s .* 2 In Es s ta h t a a sc h rla b a n we fin d soaa o f th a v ary faw opanly a u to b io g ra p h ic a l r a v a la tlo n s in th a aonologua o f th a o ld p ro p h a t, Jan H ath lsso n : . * . we c o n sid e r i t o u r d u ty to p o in t out th a t th a w r ite r o f t h i s dubious an d , in a h i s t o r i c a l se n se , o u trag eo u s parody o f A n ab ap tlsa is n o th in g but a p ro te s ta n t uprooted in th a w id est sen se o f th a w ord, a f f l i c t e d w ith th a b o ll o f d o u b t, su sp ic io u s o f th a f a i t h , which ha a d a ire s because ha h l a s e l f has lo s t i t , a a ix tu r e o f sad p h ra se -a sk in g w ith a s c u r r ilo u s d e lig h t in th e in d ecen t . . . 3 A l l t t l a l a t e r , M athlsson speaks o f a m ira c le h e a l ing o f a p a ra ly se d g i r l , M ilch ha a f f e c te d , and c o a p la ln s : T his would have bean, w ith o u t a d o u b t, one o f th a a o s t im p ressiv e sc e n e s, b u t i t was suppressed by th a p ro te s ta n t w r ite r who w ants to have n o th in g to do w ith a l r a c l e s . th u s one o f th e a o s t e x a lte d a o a e n ts o f h is to r y f e l l v ic tim to th e a o s t d eso l a t e r a t i o n s l i s a .* 4 52Ibld.. p. 104. M lbld.. p. 44. 5tIbld.. p. 45. 247 Tha preaa ra a c tlo n s Co E> a ta h t a e ach rleb e n ahow t h a t avan choaa who do noc undaratand D U rrenaatt o r who d la Ilk a hlai a ra at i l l a ffa c ta d by h i* . J u e t l f l a b l y , th a ra a c tlo n a o f th a praaa a f t a r th a p raailara were c r i t i c a l . . . . E v e n tu a lly , how e v e r, th a view er bacoaea p an alv a, and a t la a t avan aoved, d e a p lte auch th a t la ra p u la lv a and h o r r i b l e . ” " 'S c a n d a lo u s ' In th la play la th a t I t w anta to ahow huaan In J u a tle e and d lv ln a j u a t i c e ." ” Thla c r i t i c , who e v i d e n tly knowa h la G reek, goea back to th a o r ig in a l weaning o f th a word akandalon. which aaana " a tu a b lln g b lo c k ," i . e . , t h a t tdilch upaata u a. "D U rrenaatt la a born d r a a a t l a t . T hla aaya a g re a t d e a l; I t a a a n a , fo r th a f l r a t tim e aln ca K le le t, BUchner, and perhapa B rech t, Shakaapaaraan power and g ra a tn a a a In Canaan d raw a."57 55” e» i t . h t ,.« c h r l.b * n ," S c t w U . r K aufrfhm lielw . Z e n t r a l b l a t t . Bo. 4 , January 23, 1948. 36**ga g ta h t g a a c h rla b a n ," P ar Buf ( S t. C a lla n ) , Jan u ary 2 , 1948, p. 2. ” "D U rren a att: Die V e ra n tw o rtllc h l E e a p e k tlo e lg - k a l t . " B ealar S tu d a n ta n a c h a ft. May, 1948, p. 7. 248 Per B lind* (The B lind O nel. w r i t t i n In 1947 W ithout a q u e stio n , D tr H in d i is th e l i a i t th e a t r i c a l and th a ra fo ra a lto th a la a s t su c c e ssfu l play o f D U rrenaatt. Evan B ro ck -S u ltar cannot h e lp n o tin g th a t , a f t e r I t a praailara a t th a Baaal S ta d tth a a ta r on January 10, 1948, th la work waa parform ad only tw ice more on o th e r atag a a. Zn th a e a tlm a tlo n o f th a p raaan t w r ite r . I t la not a bad p la y - - lt laalm ply no play a t a l l , and th a m iracle fo r anyone who meaeurea w ith th a y a rd a tlc k o f Broadway th e a tr e la th a t I t waa av er produced a t a l l and, a f t e r i t had bean produced, th a t anyone aver came to aaa it.* ® I t la a n o th er paaudo-dram atlaatlon of th a ato ry o f Job, Ilk a th a q u ite undeeervadly auccaaaful J . B . . by A rchibald Mac- L elsh. PLOT SIDMABY; During tha T h irty -Y ear War a Duka had f a lle n dangeroualy 111 and had becoa* b lin d d uring h la llln e a a . Meanwhile, W a lle n a te ln 'a army hae da- atro y ad th e Duka*a c a a tla and la id waata h la co u n try , b u t "The B lind One" n e ith e r knows nor avan euapecta any *®Der Blind# (1 s t a d ,; B aaal: Benno Schwab# & C o., 1947; 2nd a d , ; z tlrlc h : V arlag d ar Arche, 1960), 77 pages. 249 o f t h l a , fo r h la aon, P rlnca P alaaed es, wants to keep h l a happy and ao pravanta h la fro a fin d in g out th a tr u t h . Tha B lind Ona llv a a aaran aly aaong th a ru ln a , bacauaa h la aon halpa h la laad h la U fa aa I t had baan b afo ra h la b lln d n a a a . Along coaaa a aarau d ln g I t a l i a n o f f lc a r fro a lfa lla n a ta ln 'a a n y , Negro da Ponte. Tha lllu a lo n In vhlch th a Duka llv a a la a ch a llan g a to da Ponte to b rin g about a co a p la ta d la lllu a lo n a a n t o f th a B lind Ona. Ha could a la p ly t a l l h la th a t h la fo ra a r c a a tla la no th in g but a r u in , and th a t th a whole world In which ha a t i l l b a lla v a a has baan d estro y e d , but da Ponta p re fa ra to aaka a fo o lla h p la y th in g o f th a B lind Ona. In a kind o f g ig a n tic A p ril F o o l'a parfonaanca, ha and h la a u lta o f c u tth r o a ta , th la v a a , and caap f o l lower a an act fo r th a b a n a flt o f th a B lind One a f i c t i t i o u s w ar, d e f e a t, and su rre n d er In o rd er to b rin g h la to aaa th a tr u t h a t l a s t . Tha b lin d w n 'a son, P rln ca P alaaedea, t r i e s to p ro te c t h la fro a th a tr u th , ao re out o f a aanaa o f duty th an out o f lo v e. Tha d au g h ter o f The B lind One wants to be th e ex act oppo s i t e o f h e r f a th e r , I . e . , fre e o f a l l I llu s io n , and ao llv a a In u t t e r n l h l l l a a . Da Ponta seduces th a daughter (o ffs ta g e ) and d riv e s th a son to su ic id e (a ls o o ff- i t a g i ) , a l l ao a t Co d a stro y tha b lin d a a n 's f a ith . Da Ponca t a i l s th a Duka: I glva you tha tr u th . Z fo rc a you to daclda batvaan i t and your f a i t h , fo r 1 con fro n t you w ith tha tr u t h as w ith an advaraary who has coos to k i l l y ou.3? But th a Duka, d rIv an o u t, huablad and d a rld a d , provas to ba th a a tro n g a r. Da Ponta aaaata to hava robbad and daatroyad a l l th a t onca baIongad to th a Duka, but In th a and th a dau g h tar a a c rlflc a a h a r a a lf fo r h a r fa th a r and provas th arab y th a t r a tio n a l knowladga. Da Ponta*a tr u t h , waa In r a a l l t y f ic tio n and 11a. Da Ponta wantad to braak down th a B lind O na'a I llu s io n o f h la w orld and h la f a it h , but th a gaaa f a lla d , fo r tha f a ith of th a Blind Ona waa ro o tad au ra daaply and stood ao ra s a fa ly th an a l l th a I llu s io n of th a a x ta m a l w orld. In th a and, da P onta, unaaaklng h lm salf as an a a la s a ry of S atan, o r parhapa avan S atan h l a s a l f , a u s t a d a lt d a fa a t But I nova on; I a n ta r through tha p o rta ls th a t aw ait a a , an angal o f D aath. I aova In to th a c o u n trla a which balong to a a , and which I g rin d in to sand batwaan ay fln g a ra . Again 1 s h a ll d lap araa m y c ra a tu ra a to a l l p a r ts of th a w orld. 1 r a tr a a t fro a you who a ra groping b lin d ly . 59Ibld.. p. 74. 251 You d id not r t i i s t m and won out ovar m . 1 waa amda to f a l l by ona d io d id not r a a l a t , For whoavar r a a la ta a t la ay pawn. And whoavar flg h ta back la lo a t. 1 laava you now, aa Satan l a f t Job, A b lack ahadow. DUKt: Go fro a aa th a n , In th a naaa o f God. NEGRO DA PONTE: (SLOWLY EXITS RIGHT) 60 I t la q u lta f r u itla a a to p o in t out th a paradoxaa o f th la " p ia y " - - a ll of I t la ona b ig paradox. S ta rtin g and andlng w ith th a paradox o f Job, In o th a r worda, franad by I t , th la u n d ra a a tlc "drama" c o n a la ta of n o th in g but paradoxaa w ith in paradoxaa. Da Ponta la a ttr a c ta d by th a f a it h o f th a Duka, Ju a t aa Satan la a ttr a c ta d and c h a i- langad by th a f a ith o f Job, o r M tphlatophalaa In th a "Pro* logua o f Haavan" o f G oatha'a Fauat la a ttr a c ta d and c h a l- langad by th a ax c alla n ca o f F auat. Tha b lin d Duka la what K larkagaard c a lla d " th a k n ig h t o f f a i t h , " and ha la g ra a t- a r , a tro n g a r, and n ig h tla r th an tha idiola world w hich, in th la work, d id not want to laad him In to ta n p ta tlo n , b u t r a th a r wantad him to alnk down b afo ra l t a powar.61 Ju a t aa Im portant aa th a c a n tr a l c o n f lic t batwaan th a b lin d Duka and Magro da Ponta la th a f a ta o f th a D uka'a c h ild ra n . goth dany t h a lr In n ar a a lv a a; th ay b u ild **Dlllar, o p . c t t . . pp. 41-42. 252 t h e i r liv e s on th a e x te r n a l r e a l i t y and a ra shljnrrecked by I t . Da P on ta, In t r y i n g tu n a u c c o e a fu lly , to d riv e th a B lind ona In to d e s p a ir , succeeds only in d riv in g th e Duka*a c h i l - d ra n in to d e s p a ir and a u lc ld e ; but J u s t In t h i s d e s p a ir and in th e s o s in t o f t h e i r d e a th th e f a ith o f t h e i r f a th e r la re v e a le d to th e * . The t r a n s it i o n o f d eath is a n o th e r paradox: to d ie , and y e t not to d ie b u t to be re b o rn . The unanswered q u es tio n in H a s le t's "To be o r not to be" sonologue i s answ ered by K ierkegaard: "For to d ie sean s th a t i t is o v e r, b u t to d ie a d eath *eans th a t one e x p e rien ces dying. And I f one •62 can co n scio u sly ex p erien ce i t , one has liv e d i t f o r e v e r .' And DUrrenawtt answers i t thus: N EG K O D A PONTE: I wanted to g iv e you d e a th , a i r . DUKE: He who b e lie v e s , overcomes d e a th . H B C K O D A PONTE: Your b e l i e f has k i lle d your aon and your d a u g ite r. DUKE: He who has n o t l i f e , * u st p e r is h , and he who does not pass through d e a th , w i ll n o t have l i f e . 63 These speeches w hich a re n o t coupled in one t r a i n b u t see* to pass c lo s e to each o th e r w ith o u t e v e r to u c h in g , 6ZStfran K l .r k .B u n l . f u r .n d T r u b l l u .n d T h. S ick n ess u n to D eath, t r a n s . V a lte r Lowrie (Carden C ity : Doubleday 6 C o ., I n c ., 1956, pp. 176-5. <JP.r »Und.. op. cit.» p. 76. 253 Ilk * tr a in * In th * n ig h t, a re ty p ic a l o f th a d ialo g u e o f t h la work. In accordance w ith th e e le v a te d , th o ro u g h ly r e 11* gloua s u b je c t, th e g ro tesq u e h e re Is m ostly o f th e w eird and f a n ta s tic v a r ie ty , n o t th e lu d ic ro u s . There I s , h ow e v e r, a broken-down c o u rt p o e t, o r p alace p o e t, c a lle d Onadenbrot Suppe (som ething lik e "o ld -ag a-h an d o u t so u p "), Who q u o tes a l l through th e p la y , alm ost lik e a "ru n n in g gag" M entioned among th e c r i t e r i a o f th e g ro te sq u e In C hapter I , fro * h i s own a s in in e tra g e d y , H e s to r. and d e l i v e r s h im se lf o f gens lik e t h i s : "Down h e re below , down h ere below N othing b u t h a te Is o u rs , but h ig h above, b u t h ig h above S h a ll we th e a n g e ls lo v e ." E lg h ty - f lr s t c h o ra l ode, f i r s t s tro p h e , a t th e p la c e where N e s to r's w ife hangs h e r s a lf on th e bedpost out o f g r i e f over N e s to r's impendlng d e a th , a f t e r which th e unborn c h ild In th e dead m o th e r's body in to n e s a th r e e - f o ld e le g y : f i r s t , o v er th e d e a th o f th e m other, second, over th e Impending d e a th o f th e f a th e r , an d , t h i r d , over I t s own Impending d e a th . (TOLLS O UT A BOTTLE OF SCHKAPS A N D DEUCES)6* T his w onderful tra g e d y I s resumed on page 66, where O nadenbrot Suppe r e c i t e s ; 64Jbld., p. J9. “C la rity alone Eafcodies t r u th , Tha e x a lta tio n o f nothingness And th a baauty o f poatryT" L ast ch o ra l oda, l a s t stro p h e . The unborn c h ild i s daad, th a v lf a Is dsad, M astor i s dead, every th in g la daad. Tha trag ed y has ended.** I t Is wore th an p o a tlc Ju st lea th a t th a b lin d Duka, ona paga l a t a r , g a n tly s tra n g le s t h i s purveyor of “p o e try ." There is a s tre e t-w a lk e r and caap fo llo w e r, sAioai Da Ponta in tro d u ces to th a Duka as a noble fu g itiv e ab b ess, and who r e la te s h e r p ast a c t i v i t i e s In th a follow ing de l ig h tf u ll y aablguoua speech: "We took In th a needy. W e gave o u rselv e s over to th a se rv ic e of love. W e f u l f i l l e d our d u ty . W e never re fu se d . W e were always ready to give o u rselv e s to th o se who needed us . . , “66 The w orst lack o f t h i s p la y , as o f Es s te h t ea se h r is b en . I s , as was pointed out b e fo re , th a t th e re is nobody whon we can lo v e, nobody w ith whoa we can id e n tify o u rse lv e s. The c h a ra c te rs in th e se two p lay s a re knaves and fo o ls , o r, a t b e s t, " fo o ls in C h r is t," but they a re not wen and wooen about whoa we could c a re . The E nglish t i t l e fo r th e off-Broadway p ro d u ctio n . Fools Are Passing Throuffo. was Indeed we11-chosen. 255 gs i t t h t x esc h rleb en and D tr B llnde a rc fra n k ly and unashaaedly r e li g io u s , C h ris tia n d ra a a s , so stro n g ly r a l i - g lo u s th a t th ay a ra r a a lly no lo n g ar d ra a a s . A fta r th e s e , th a ra co ass a d i s t i n c t h ra sk --tX lrra n sa t t tu rn a d to coaady. Why th i s braak? Tha answer fo r such an unorthodox, d a llb a r a ta ly shocking and unpopular w r ite r as D flrran aatt la not only th a t th a f i r s t kind o f p lay *'dld not go,*' and th a t ha th a ra fo ra tu rn a d to so aa- th ln g a la a . B rock-Sul t a r has a such ao ra p a n a tra tln g ex p la n a tio n . In h is f i r s t two p la y s , D U rrenaatt had brought th e a x tra a a p o les o f huain e x is te n c e in to p la y , so uncom p ro m isin g ly , so sh o ck in g ly , th a t th e snug, e s c a p is t th e a te r p u b lic d id n o t fo llo w him. But to accede to th a g e n e ra l daaand fo r a ''happy a n d ," to use th a C h ris tia n paradox fo r purposes o f a u p h o rla tlc a r t , to use a p lay which t r e a t s o f th a u l t l a a t e q u e stio n s o f e x is te n c e , only aa u t i l i t a r i a n g r i s t fo r th e t h e a t r i c a l a l l l - - t h l e would have baan an a r t i s t i c and p erso n a l frau d o f which th a a u th o r In h is h o n esty was in c a p a b le . Ha n ev er d id go along w ith th a fa sh io n a b le u se o f th a C h r is tia n paradox by so oany contem porary w r i t e r s Who, a f t a r some u l t r a - r e a l i s t i c g ro v e lin g In s in and d e p ra v ity , sw itch th a lig h t o f g ra ce on in th a and w ith th a g r e a te s t o f e a s e . So ha changed h is c o u rse ; ha becasa 256 convinced t h a t only comedy could d e a l w ith ue and our t i a i , and became a w r ite r o f - - r a t h e r g rim --" c o w e d le i.”6 7 The f i r s t one o f th e s e waa th e f i r s t v e rsio n o f Bowulus th e G re a t. In 1967, which w i l l be d isc u sse d In C hapter V. In 1949 follow ed P er Turwbau von la b e l (The B u ild in g o f th e Tower o f B a b e l), a f i r s t v e rsio n o f th e l a t e r comedy Eln Enaol koasat nach Babylon (An Angel Cowes to B abylon); th e f i r s t v e rsio n was u n s a tis f a c to r y to D ttrrenm att, and so he d e stro y e d I t . p ie P ie des H arm M is s is s ip p i flhe M arrleae o f Hr, M is s is s ip p i) T his w eird comedy e x i s t s , e v id e n tly , In th re e v e rs io n s : th e f i r s t one, w r itte n In 1950, was f i r s t p e r formed In th e MUnchener E a rn e rs p ie l on March 26, 1952; a second sta g e v e rs io n In Which many o f th e ex cesses o f th e f i r s t one w ere e lim in a te d , came out soon th e r e a f te r and appeared in p r in t In 1952;6 * and f i n a l l y , th e re i s a m otion p ic tu r e v e r s io n , th e sc e n a rio fo r which was w r itte n by 67Brock-Suiter, o p . c l t . . pp. 29-30. 6a"«» n - W rrn (Z U rlch: V .r l .* O precht [Europe V e rla g ], 1952), 86 pp. 257 D tlrrenm att h l u t l f . ^ It ihow i Important d iffe re n c e s from th e sta g e v e rs io n --n o t only te c h n ic a lly , which Is o b v io u s, b u t In b a sic c o n te n t and sta te m e n t. PU rrenm att acknow led g e s th e se in th e w him sical rem ark on th e t i t l e page: " S im ila r itie s to a sta g e p lay o f th e seam name by th e same a u th o r a re p u re ly c o in c id e n ta l." B efore going In to th e s u w a ry . I t should be amda c l e a r th a t th e naam " M is s is s ip p i" has no American connec t i o n , o th e r th an th a t th e p ro ta g o n is t, a poor boy from th e slums who worked h im se lf up to A tto rn ey G en e ral, p reten d ed to be a son o f an American "cannon k in g " named M is s is s ip p i. A p lo t suasaary o f t h i s play Is alm ost Im p o ssib le. Many of th e rev iew ers attem p ted I t , but none su cceed ed -- to D U rrenm stt's amusement. The fo llo w in g I s , th e r e f o r e , o n ly a n o th e r, more o r le s s Inadequate a tte m p t. PLOT SWMARY; One o f th e p ro ta g o n is ts , S t. C laude, a to p -ra n k in g communist agent and a g i t a t o r , a d d re sse s th e audience and g iv e s t h i s preview : th e p lay d e a la w ith th e f a te o f th re e man who p lan n ed , from d i f f e r e n t m otives and w ith d if f e r e n t am thoda, to change and to ^ P l e th e das H errn M la s la s lp p l. Bin Prehbuch m lt B lld e rn (Z u rich : V erlag d e r A rche, 1 9 o l), m y ste rio u sly la b e le d a ls o "S anssoucl V erlag " and "S a n sso u c l-V e rla g -- S anssoucl E d ltlo rf'; 93 pp. • i v i th e w orld, and «4io had th e c ru e l m isfo rtu n e to c o m up a g a in st a woMn who could n a lth a r ba changad nor saved, bacausa sha lovad n o th in g but th a som t . Im m ediately a f t a r S t. Clauda has fln lsh a d h is ad d rass to th a au d lan ca, th ra a w n In tra n c h c o a ts w ith rad arm- bands a n ta r and shoot h la . Ha doas not f a l l , howavar, but tu rn s to th a audlanca and e x p la in s th a t th la was r e a lly th a and o f th a comedy. Ha now loads In to a "flash b ack " and shows how I t c o m to th la re v o ltin g scene. Tha A ttorney G aneral o f s o m m ythical C e n tra l European o r C ra u sta rk la n co u n try , F lo ra sta n M is s is s ip p i, c o n v icts th a b a a u tlf u l A n a sta sia , widow o f a w ealthy sugar M n u fa c tu ra r, o f having poisoned h e r husband out o f revenge fo r h is i n f i d e l i ty . T his c o n v ic tio n tak as place In p r iv a te . In A n a sta sia ’ s drawing room. Then M ississip p i ask s fo r A n a s ta s ia 's hand In M rrla g a ; h a, to o , has poisoned o r "executed" h is own u n fa ith fu l w ife . Now, he demands, th ey m a t m arry so aa to e x p ia te t h e i r g u ilt to g e th e r, In t h i s h o rrib le M rrla g a o f two g u ilty people. A n astasia re fu s e s a t f i r s t but f i n a ll y con s e n ts , aa an a lte r n a tiv e to a w orse punishm ent. Mis s is s ip p i c o n sid e rs th la M rrla g a an e x p e rlM n t, through trttlch he hopes to d isc o v e r I f M n r e a lly becoM b e tte r 259 through f u r o f p u n iah aen t. H la a la a lp p l'a l t f t i i s th a t our lav a a r t much to o lax and t o t a l l y ln ad aq u ata to copa w ith th a c r im in a lity o f aan and th a t th a o nly hop# fo r Mankind la to go back a a v a ra l thouaand y a a ra and ra ln tro d u c a th a Law o f Hoses In a l l l t a a a v a r lty . On th a a u rfa c a th a m arriage experim ent la a u c c a a a fu l. H la a la a lp p l wina ona d aath aan tan ca a f t a r a n o th a r fro a th a c o u rta . A n a s ta sia , h la w ife , doaa good worka and becomes known aa " th e Angal o f th a P rla o n s ." But In r a a l l t y A naataala haa not changad: aha haa a f f a l r a w ith th a c o M u n lo t, S t, C laude, and th a r l g h t l a t H ln la ta r o f J u a t l e a , D lago. S t. C lau d a, a frie n d o f H la a la a lp p l 1 a y o u th , w anta to uae H la a la a lp p l aa a c o v u n l a t to o l and t r l a a to b la c k b a ll h l a w ith th a t h r e a t o f ex posing h la unaavory p ast aa a doorman and p la p In a b o rd e llo , but H la a la a lp p l r e f u s e s . A lso , th a govern- a a n t and th a H ln la ta r o f J u s t i c e , D lago, w ish t o g a t rid o f H la a la a lp p l, because w ith h la r e p u ta tio n as a m erci le s s ’'e x e c u tio n e r" he haa becoaa a p o l i t i c a l l i a b i l i t y . On to p o f a l l t h i s , an a x -lo v e r o f A n a a ta a la 'a y o u th , Count Bodo von ttbelotie-Z abernaee, r e tu r n s from Borneo where ha once f le d In fe a r o f H la a la a lp p l, who had d i s covered th a t (fbaloha. In n o c en tly b u t i l l e g a l l y , had 260 given A naataala th a polaon w ith Which aha had aurdered h er huaband. tfbelohe haa d e te r io r a te d g re a tly through a lco h o l and tr o p ic a l d laeaaea and llv a a In a a o rt o f co n atan t d e liriu m . In rld lc u lo u a manner ha w ants to confeaa to H la a la a lp p l th a t he was th e one-tim e lo v er of A naataala. A naataala t r l e a to ato p h la becauae o f h e r t e r r i b l e fe a r o f H la a la a lp p l, b u t he r e p lie a th a t a m iracle w ill aave h er and h la . M ow th e re v o lu tio n , engineered by S t. C laude, breaks o u t; th e government la overthrow n, but a la o th e coaaunlet p lo t f a l l a . Only Diego, th e H ln la te r of J u a tIc e , ataya on to p , thanka to h la c le v e r maneuver in g , and becoaea th e new prime m in is te r. S t. Claude haa aade good h la th r e a t to uncover H la a la a lp p l'a p a a t, aa w ell aa th e au rd era committed by H la a la a lp p l and A naataala. An enraged s»b a tta c k a and boefcards H la a la a lp p l'a houae, but th e new government eoon re - e a ta b lla h e a o rd e r, and H la a la a lp p l la removed aa men t a l l y d la tu rb e d In to an lnaane aaylum . He eacapea from th e r e , however, to put A naataala through a la a t cro aa- enom ination, ao aa to fin d out w hether ahe haa been f a ith f u l to him and w hether h la g re a t experim ent haa succeeded and A naataala haa r e a lly become a b e tte r 261 p erso n . Even though Ubelohe t r i e s to aeke A n s s ts s ls c o n fess e v e ry th in g to h e r husband, she l i e s to th e b i t t e r end. Ubelohe leav es h e r now In d e s p a ir , su re d e fe a te d and rid ic u lo u s th an e v e r b e fo re . In th e end M is s is s ip p i and A n a sta sia poison each o th e r , a g a in w ith c o ffe e , and S t. C laude, who has f a ile d to b rin g o f f th e c o M u n lst re v o lu tio n , is sh o t in th e manner d e sc rib e d in th e opening scene. For th e c u r ta in speeches th e co rp se s r i s e ag a in and r e a s s e r t t h e i r ra is o n d * 6 tre . u n t i l Ubelohe speaks th e f i n a l in v o c a tio n : MISSISSIPPI: Thus we f e l l , hangmen and v lc t l M in one, by our own w orks. DIEGO: While I , who want power and n o th in g e l s e , embrace th e w orld. (ANASTASIA RISES A N D COES TO D1E00 W H O EM BRA CES HER) ANASTASIA: A whore who goes through d e a th , un changed . ST. ClAUDE: B ut, though wo l i e h e re , h e re in t h l a r u ln - - M1SS1SSXPPI: Though we d ie a g a in s t a w h ite washed w a ll, o r on a slow ly crum bling s ta k e , o r s tru n g upon th e idieel between Heaven and E a rth -- ST. CLAUDE: Ve r e tu r n eg a ln and a g a in , as we have alw ays re tu r n e d -- MISSISSIPPI: Always in new em bodlm snts, long ing fo r ev e r f a r th e r p a ra d ls e s -- ST, CLAUDE: E xpelled from your m idst a g a in and a g a in -- MISSISSIPPI: Fed by your ln d lf f e r e n c e - - ST. CLAUDE: T h irs tin g fo r your b ro th e r lin e s s-- M1SSISSIPPI: W e sweep a c ro s s your c l t i e s - - ST. CLAUDE: Ve tu r n , p a n tin g , th e m ighty b la d e s -- MISSISSIPPI: D riv in g th a w indm ill tdilch g rin d s you down. (1H THE W IN D O W LETT APPEARS 0RELOHE . . . A DENTED HELM ET OF POT M ETA L O N HIS HEAD, A TWISTED LANCE IN HIS RIGHT, THE CIRCLING SH A D O W OF A WINDMILL SWEEPING OVER HIM (• • # F lgur# 51) OBELOttE: Why do you l i f t your body from th s m orning m ists which I i s so broad ovar th a p la in o f H o n tial? Why do you l i f t , a n s * c ir c lin g g ia n t, your haad v au n tin g In to th a sun Which, a c ro ss from ms, r o l l s up th a slo p as o f th a C a ta la n m ountains, fra a d o f n ig h t? Look a t ma, w in d m ill, lip*sm acking g ia n t, F a tttn ln g your b a lly w ith n a tio n s . Which your b lo o d -d rip p in g wing chops up. Saa Don Q ulxota da la Mancha, K nlghtad by a sous# o f an in n k aap a r, Enamorad o f a p ig s ty kaapar in Toboso! O ftan knockad down, o fta n r ld lc u la d , And yat dafylng ths#. A ll r ig h t th an ! Aa you l i f t us up w ith your w h irrin g hand, Horsa and man, m lsarab la b o th . As you dash us in to th a swimming s l l v a r Of th a g la ssy sky: I on my bony nag plunga Ovar and bayond thy g ra a tn e ss In to th a flam ing abyss o f i n f i n i t y . An a t a m a l comsdy, So th a t smy lig h t up His m ag n lflcan ca, Fad by our im potanca.'O 263 f ig u r e S Count godo von tfbelohe In h is Don Q uixote monologue a t th e end o f th e p la y , w ith dented helm et end crooked ie n c e t t i l t i n g a g a in s t th e w indm ill g ia n t. 264 % X / * / 2 6 5 So i i to q u ie t any a la g lv ln g a o f th a a la ra e d ra a d a r aa to how such a p o a tlc apaaa waa av ar Inco rp o ratad In a w otion p ic tu r e , I t ahould ba ax p laln ad hara th a t th a and o f th a f l l a v araIo n waa t o t a l l y d if f e r e n t: S t. C laude, who waa "tak an c a ra o f" by h la co arad aa, la given a eoleam fu n a ra l by th a v ary wan who hava Murdered h la -* J u s t aa "th a S avior o f th a F a th a rla n d ," th a v lc to rlo u a H ln la ta r o f Jua- t l c e , and A naataala, "th a Angal o f th a P rla o n a ," a ra d r iv ing to t h a l r wadding, aurroundad by ju b ila n t crowda. Count tfbelohe, c o s p le te ly drunk, la plckad up by p o llc a and brought to th a S t. Gaorga*a H o ap ltal fo r th a Poor (which ha h la a e lf had foundad, Whan ha waa a t l l l young and r ic h ) . Ha a lta down undar h la own buat In th a a n tra n ca h a l l . Tha S la ta r who algna h la In , acolda h i* : "You ahould ba aahaaed! Do you th in k I t la In th a a p l r l t o f our foundar to tak a In aoaaone Ilk a you?! Naaa?" *V:ount Bodo von O baloha-Z abam aaa." Sha looka up, ag h a at. Pada o u t. Than an e x te r io r o f an lnaana a a y lu a , w ith th a n a rra tio n : "And ao wa clo aa w ith a Io c a la , In which ao aany a to rla a and up to d a y --au at and up. F lr a t th a a x ta r lo r o f our n u n lc lp a l lnaana aay lu a . . . " Than wa aaa th a a u d lto rlu a o f th a aa y lu a . B afora a g a th e rin g of atu d en ta a t and a Pro- fa aao r H abarkam and aoaa a a a la ta n ta , who ahow th a a th a 266 " M is sissip p i c a s e ." The form er A ttorney G «n*ral a l t s on a c h a ir and a ta r e a , m o tio n le ss, In to tha h a l l . N a rra tio n : "And h a ra an I n ta r lo r view. The la rg e a u d it o r lum o f th a p s y c h ia tric c l i n i c . F ro fesao r Haberkern one a ag ain shows o f f h la faaoua p a tie n t, h la m asterp iec e . . M la a ia a ip p l apaaka: 1 know, you th in k I aai c r a ty . g u t 1 d id not l l a . X only wanted to changa th a w o rld . And th a w orld must ba chan ta d . X d id not auccaad. gut o th a ra w il l com m . Again and ag ain . W ith av ar naw ld a a a . Ih a world a u a t ba changed - - Tha w orld a u a t ba changed • • Ih a world a u a t ba changed - • Ih a world a u s t ba changed - - FADE OUT. INK IND.71 A v a lia n t a tte a p t haa bean made to t a l l th a a to ry o f Tha H a rrla a a o f Hr. M la a ia a ip p l. d a a p lta th a trem endous o d d s ,7* In try in g to an aly se i t a omening, wa have h e lp fro a th a au th o r h l a s e l f who waa f a ir ly e x p l i c i t in t h l a 71I b ld . . p. 93, 7*D ttrrenaatt haa a a ld : "A play th a t can ba e a s ily to ld should not ba w ritte n aa a play a t a l l t b u t aa a a to ry , n o v e le tte , o r novel. A ataga p lay m ust ba aoae- th ln g th a t can ba to ld only on th a stage*' ("W eateuropa- C ro teak e: Xdeen fra aaa n Nan achan. Die Ehe daa Herrn Mia- alaalppl.** P er Sp lo s e 1. V I: 14 [A p ril 2 , 1952), p. 3 2 ). S ince th la would leave out a goodly p o rtio n o f th a w o rld 's g r e a te s t dram as, wa can h a rd ly a g ra a , b u t Ih a H a rrta a e o f Mr. M laaiaaip p l seems aa i f w r itte n to o rd e r aa proof o f t h i s w ild th eo ry ! 267 c a t* . In h is c u rta in ip tc c h (ona o f th e meny •paachas th a c h a ra c te rs o f th is play smke d tr a c tly to th a au d lan c a), tfbelohe spaaka fo r tha a u th o r: At th is c r i t i c a l point In th a p lo t In to which you, la d le s and gentlem en, as au dlanca, and wa on th a stag e have bean tric k e d by a trea ch ero u s a u th o r, th a q u estio n su a t ba ra is e d how th a au th o r has a hand In a l l t h i s . I f ha a im le ssly d r if te d from Idea to Id ea, o r I f ho was lad by a s a c ra t p lan . Oh, I w ill b e lie v e him th a t ha d id not era* a te me c a re le s s ly . . . th a t ho was concerned w ith In v e stig a tin g what happens In th a c o llls o n o f c e r ta in Ideas w ith people who tak e th e se Ideas r e a lly s e rio u s ly and t r y to r e a lis e them w ith bold energy, w ith ra g in g madness, and w ith an In e x h au stib le greed fo r p e r f e c tio n - - I '11 give him c r e d it fo r th a t. I ' l l a ls o b e lie v e t h i s c u rio u s au th o r when he says he was In te re s te d in fin d in g out I f a p l r l t - - l n w hatever form --Is a b le to change a world which only e x is ts , which has no Id e a, o r I f th e w orld, as m a tte r, Is unim provable . . . ' 3 The th re e men who tak e t h e ir Ideas and Id e a ls r e a lly s e rio u s ly and tr y to r e a lis e th en a t a l l c o st a re M is s is s ip p i, S t. C laude, and tfbelohe. M is s is s ip p i's th in k in g becomes c le a r In th e fo llo w ing passage from th e scene In idilch he has convicted Anas ta s i a o f having poisoned h er husband, and has confessed to h er th a t he poisoned h is own w ife : y3pie Che des Herm Mississippi, op. clt., p. 41 266 MISSISSIPPI: I l a no a u rd a ra r. Satwaan your daad and Mina th a ra la an I n f ln l t a d lf f a r a n c a . Vhat you d id o u t o f a g h a a tly a a o tlo n a l d r iv a . I did out o f a c la a r a o ra l co n cap t. You bu tch arad your huaband, I axacutad m y w lfa . ANASTASIA: (M O RTALLY AFRAID) Exacutad? MISSISSIPPI: (PROUDLY) fetacutad. ANASTASIA: I d o n 't know how I a a to ln ta r p r a t your d ra a d fu l worda. MISSISSIPPI: L lta ra lL y . I polaonad ay w lfa ba- c a u sa . through b a r a d u lta ry . aha had bacoaa a u b ja c t to th a d aath p a n a lty . ANASTASIA: In no coda o f law anywhara In th a world la a d u lta ry punlahabla by d a a th . MISSISSIPPI: In th a Moaalc Law. ANASTASIA: That waa a faw thouaand y aara ago. MISSISSIPPI: T h arafo ra I ant u n a lta ra b ly d a ta ra ln a d to ra ln tro d u c a I t . ANASTASIA: You a ra ra v in g and. MISSISSIPPI: I aw only a cow plataly a o r a l nan, Madaa. Our lawa hava dacayad p itia b ly In th a couraa o f th a n llla n n la . Thny a ra Ilk a papar nonay which haa bacoaa In v a lid , but la a t l l l balng c ir c u la ta d . fo r th a aaka o f h a b it and good a a n n a rs. by a a o c la ty uhoaa only r a llg lo n la aanaual a n jo y a a n t. which haa g ra n ta d nonop- o lla a fo r ro b b ary . and angagaa in b a r ta r w ith woaan and o i l . Only n alv a ld a a lla ta can a t l l l b a lla v a th a t th a chack w ith Which J u a tlc a paya. la a t l l l good. Our c i v i l law . coaparad to th a Law o f th a Old T a sta a a n t which p ra a c rlb a a th a d aa th o f both g u ilty p a r tla a . la pura nockary. For th la aacrad raaaon th a axirdar o f ay w lfa waa an a b a o lu ta n a c a a a lty . At atak a waa to band back th a couraa o f h la to r y . Which had lo a t th a law and galnad a fra a d o a th a t cannot ba a o r a lly J u a tlf la d fo r ao auch aa a a a c o n d .'^ So. to a au rd araaa out o f p aaalo n . D U rranaatt g lv aa aa a n ta g o n la t a a u rd a ra r out o f J u a tlc a . In th a ataga 74Ibld., pp. 23-24, 269 p la y , they poison each o th a r In th a a n d --th a au th o r seems to remain n a u tra l. But In th a ao v la v a ra lo n , only M issis s ip p i, th a causa o f o v e rrlg ld J u s tic e , Is d a faatad and com- a l t t a d as Insana. A n astasia a a r r la s b ar fo u rth lo v e r, th a Prims M in iste r, and trlu a p h a n tly bacoass "unsere neue L an d esau tter" (" th a new a o th e r o f our c o u n try ," o r, to put I t In A asrlcan term s, "our new F i r s t L ady"). Thus th a causa o f a b so lu te J u s tic e saaas to have bean lad ad ab» su rd u a. and la a o r a llty rem ains v ic to rio u s . The second "world r e f o r a s r ," S t. C laude, Is a com m unist , but an I n te llig e n t one who has long recognised th a a b su rd ity o f th a p a rty : World h is to ry d e a lt us a bad blow whan, o f a l l p eople, th a R u ssian s, Wio a ra t o t a l l y u n su ltad fo r I t , adopted coaau n lsa, and th i s c a ta stro p h e wa a u st overcoae. MISSISSIPPI: N a tu ra lly , you d o n 't darn to say t h i s p u b lic ly . ST. CLAUDE: A fte r a l l , I a a a re g u la r g u est In M olotov's house. I a u s t not com alt s u ic id e , I a u st c a rry out th a world re v o lu tio n . Coamu- nlsm Is th e teac h in g o f how man can ru le th a e a rth w ithout o p p ressin g h is fello w -aan . T h a t's how 1 understood I t In th e h oly n ig h ts o f my youth. But I cannot r e a lis e t h i s te a c h ing w ithout power. T herefore wa a u s t Include th a v ario u s powers In our c a lc u la tio n s . They a ra th a chess fig u re s w ith which wa aake our ao v es. . . . Tha world a s a whole has bacoaa Immoral. Soaa fe a r fo r t h e i r p r o f i t s , o th e rs fo r th e i r power. Tha re v o lu tio n must move a g a in s t them a l l . Tha V ast has gambled away 270 I t s fre e d o a and th a l a s t le a J u a tlc a ; In th a W aatt C h r is tia n ity haa bacoaa a f a r e s , and In th a C a s t, c o a w n lia ; b o th sld aa hava b a t rayed th e a s e lv e s . Tha w orld s it u a tio n la Id a a l fo r th a r a a l re v o lu tio n a ry , but re aso n fo rc e s us to b a t on th a B ast, t u s s l e a u s t win so th a t th a West p a r is h e s , an d , a t th a v ary a oaan t o f tu s a la n v ic to r y , th e r e v o lt o f a l l In th a n a a e o^^j o b u ^ i s a u s t b e a ln a a a ln a t t u s s l e . ' J As wo a lre a d y know, ha lo se s h is gaafcle a ls o . These v iew s, I n c id e n ta lly , t a l l y to a s u rp ris in g degree w ith C. C. J u n g 's glooay a p p r a is a l of our t i » e . 7* They a ra a a o s t I n te r e s tin g and s t l a u l a t l n g a n a ly s is o f th a Ideo lo g ic a l f a ilu r e and hollow ness o f both s id e s , and S t. C la u d e 's co n c lu sio n say w ell be th a t o f th e su re I n t e l l i gent c o s n u n lsts o u tsid e o f B u ssla today. Count Bodo von tfbe1ohe-B abernsee Is th e th ir d a p o s tle o f w orld la p ro v e a e n t; he Is th e only a p p e a lin g , even aovlng fig u re In t h i s p la y . U hlle th e two o th e rs a re u t t e r l y w ith o u t lo v e, he Is th e A postle o f Love, even though he i s a drunk, a fo o l, and a s in n e r. In th e end, as we have see n , he Is openly I d e n tif ie d w ith Don Q uixote (see F ig u re A ), " th e k n ig h t o f th e so rry f ig u r e ," one o f D U rrenaw tt's f a v o r ite s y a b o ls .^ 7 He la " th e fo o l In 75Ibld., pp. 37-30. 7*Supra. p. 16. 77Supra. p. 128. 271 C h r is t," and can a ls o ba c o a p a rtd to K ia rk a g a a rd 's "k n ig h t o f f a i t h ," th a " I d io t" o f D ostoyavsky, th a o ld Lao T o lsto y , o r Grahaa G ra a n a 's d rin k -so d d an H axlcan p r la s t In Tha Fowar and th a C lo rv . Lova Is O b alo h a's r u ln - - lo v a fo r A n astaala and lova fo r aan k ln d . T his Is how ha d a c la ra a h is lova fo r A n a sta sia , th a vary syafeol o f aarthbound a a t a r l a l i s a , and a t th a saaa t l a a tra n sc a n d s I t : You hava cu rsad a a , and 1 lova you. You hava danlad a a , and I lova you. You hava snckad G od's n a a a , and 1 lova you . . . 1 la a v a you fo ra v a r. But th a lova I hava fo r you, T his lo v a which w il l navar waakan. Which h a s burnad a s o u t, which has k l lla d a a , And In idiosa naaa X alw ays r l s a a g a in , 1 ta k a alo n g w ith a a . 1 s h a ll sin k I t In to th a lands through which I ' l l a r r , W ithout r a s t , a ru ln a d C ount, drownad In r o tg u t. X s h a l l sh ara I t w ith any b ag g ar. Thus I a a thrown upon th a E arth th a t can no lo n g ar ba savad, A saoklng to rc h th a t c h a rs our w orks. And, n a lla d to th a c ro ss o f ay a b s u rd ity , I hang now on t h i s b aaa That so ck s a a , U n p ro tactad , fcalsad toward th a fa c a o f God, A l a s t C h r is tia n . And so tTbaloha Is th a only ona o f th a th ra a v o rld - ra f o ra a rs who s u rv lv s s , lu d ic ro u s , a b su rd , d ru n k , d a l i r l - o u s, w ith w rackad body and la p a lra d a in d , b u t w ith u n la - 78Pla Eha das Harm Mlsaiaslppl. on. clt.. p. 71. 272 p a ire d love o f mankind and lova of Cod. D tlrrennatt ex p lain ed h im se lf d i r e c tl y In on# o f th a program s: You nay wonder why 1 c a l l a play* In tdtlch alm ost a l l o f th a p r in c ip a l! d l a v a comedy, but th a re a s o n --a e ld e from th a fa c t t h a t 1 d o n 't tak a th aaa atag e d aath a vary t r a g i c a l l y - l a not cynic Ian . R ather would I t ba c y n ic a l I f 1 had c a lla d Tha W r r U — o f Mr. M 1«.U»1p p 1 a tra * a d y , fo r th a f a ta o f I t s c h a ra c te ra la to o a ro ta sq u e to arouae our p ity , and la n o t auppoaed to a l t h a r ; th a p lay la d e lib e r a te ly b u i l t on a Jo k e. The g ro ta a q u a , above a l l , la th a p lay o f comedy.79 For D U rrenam tt, th e g ro tesq u e la " th a a b i l i t y to uaa e x p lo siv e s In manageable d o se s, tdilch d eterm in es our a r t . " 80 o f th a t i t l e s o f th a review s show th a be- wildenasnt of tha reviewers: "Comedy with many corpses, " 0 1 82 "W estern European G rotesque: Ideas e a t up people "G rotesque o f human Im po ten ce,"05 e tc . 79 fT"W eateuropa-C roteake.M op. c l t . . p. 31. 0 "Kombdla m lt v le le n L eichen, DUrrenm atts U raufftthrung In MUnchen," S t u tt a a r t e r H a c h rlc h te n . Hay 31, 1932. 82 'tfe a te u ro p a -G ro te a k e ," o p . c l t . 0*Hugo U tftscher, "C roteake d e r m enschlichen Ohn- sm cht: Die Ehe das H arm H la a ls a lp p i," P ro ira m d ie ft dea S chausplelhauaes Z U rlch. 1956-37. 273 What a rc th a anaw era, what la " th a aw aaage," I f any, o f Tha H a rrla a a o f Mr. M la a ia a ip p l? Tha anewer to th a q u e a tlo n , " la e p l r l t cap ab le o f changing th a w orld?" la an aauaed "Of couraa n o t! " on th a p a rt o f D U rren aatt. Tha two fa n a tlc a Who want ao aoch good and do ao auch e v i l , both p a ria h . Baaldaa th a c le v e r cc a- p ro a la e r and M anipulator o f power. D iego, tfbelohe aurv lv ea a la o , d e fe a te d , ru in e d , and rld lc u lo u a -- b u t he doaa au r- v lv a ; and who, in th la w orld o f oura and th l a t l a e o f o u ra , la not rld lc u lo u a I f he a t l l l b e lle v e a In love? D U rrenaatt h lm aalf anaw ara: "Even I f wa have l i t t l e chance o f aavlng th a w o rld --u n leaa God ba a e r c l f u l w ith ua --wa can a t l l l atand up to I t . " Thla la ag a in th a " p a ra dox o f th e v a lia n t. _ p>t a on." fig h tin g perhapa a lo a ln g b a t t l e , a hope la a a b a t t l e , b u t fig h tin g anyway.®* Hare a ra aoae o f th a more o u ta te n d in g exaaplea o f th a g ro tea q u e; The th re e I d e a lla tl c fa n a tlc a a r e , o f co u raa, a tr lk ln g caaaa o f a c n ta l r l a l d l t v . H la a la a lp p l, w ith but l i t t l e change, could be tra n a fo ra e d In to th a beloved ato ck ^ "W e a te u ro p a -C ro te a k e ," lo c . c l t . ®*S u p ra. p. 2. 274 f lg u r i o f American dovU i and te le v is io n d r u i , th a "mad a c l e n t l e t ." Count Cfbaloha 1b, outw ard ly , th a a n a t gro taaq u a o f th a th r e e . Cod demand* more o f tfbelohe th an o f th a o th a r tw o, in th a t ha la to ba c r u c lf la d aa a fo o l In Hla name. Lika ao many o th a r choaan onaa o f Cod, ha la mla- u n d arato o d , c u ra a d , d a n la d , laughad a t , and e x p lo ite d , bacauaa ha aaarchaa fo r th a t r u t h , bacauaa ha cannot b aar th a a o rry c o n d itio n * o f th a w orld around him. W hatever ha u n d artak aa la in v a in and b a c k flra a In to th a r ld lc u lo u a . In h la Jungla h o a p lta l in B om ao, ha becoowa an A lb art S chw aitaar In ra v a ra a and a u ffa ra from c h o la r a , m a la ria , a p o tta d ty p h u a, yallow fa v a r, a la a p ln g alcknaaa and ch ro n ic l lv a r a ilm a n ta , w inding up w ith Im paired v la lo n and memory. L ika Job (th a paradox a g a in !) not only a l l h la w orldly poaaaaalona a ra tak an from him , ha a la o a u ffa ra b o d ily r u in . Every b i t o f f a i t h ha haa in h la w ork, in p eo p le, in h la own body, and in th a w orld la d la a p p o ln te d , y at ha anda up w ith a tru e conaclouaneaa o f th a lova o f God " In Whoae name ha alwaya r la a a a g a in ." A nothar g rotaaqua fe a tu re la th a language. Dtirren* m a tt'a coaaaand o f r h a to r lc la enormoua, and h are ha p u lla out a l l th a atopa and uaaa I t openly and g le e f u lly in 275 w ild ly p a r o d is tlc m n n ir , The c h a ra c te rs her* sp**k g ra n d ly , n o b ly , u sin g only tw e n ty -fiv e -d o lla r w ords; they c e le b ra te th e s o c ia l r i t u a l w ith g ro tesq u e e a rn e s tn e s s . People who t a l k lik e t h i s a re c le a r ly meant to be absurd and r id ic u lo u s . The conic e f f e c t i s s im ila r to th a t achieved by p lay in g an old A narlean melodrama In dead e a r n e s t. Follow ing a re a few sam ples: MISSISSIPPI; (GRAVELY) In t h i s unique moment When th a f i r s t ra y s o f t r u t h touch u s v I t Is ary d u ty , re q u ire d by a tw e n ty -fiv e -y e a r c a re e r as a p u b lic p ro se c u to r, to ex h o rt you to co n fess now a t la s t th e whole t r u t h , even I f w* should be a n n ih ila te d by I t . (HE LO O K S AT HER W ITH SO M U C H DETERMIHATION THAT THEY SIT D O W N AGAIN) ANASTASIA; I d o n 't u nderstand you. MISSISSIPPI; I t concerns th e d eath o f your h u s band. ANASTASIA: Dr. B onsais, our p h y sic ia n , has d ia g nosed th e cause o f d e a th o f my husband c le a r ly as a h e a rt a tta c k . . . even th e p u b lic p ro se c u to r w ill accede to th e Judgment o f sc ie n c e . MISSISSIPPI: Ve belong to a stratu m o f s o c ie ty , Madame, Where In c a se s o f doubt th e d ia g n o sis o f scien c e alw ays pronounces h e a rt a tta c k s . ANASTASIA: . . . May I ask you now to tak e your leave? MISSISSIPPI: (SADLY) In t h i s t e r r i b l e case I t would be my d u ty to co n tin u e our c o n v e rsa tio n In a n o th e r p la c e and under d if f e r e n t circum s ta n c e s .06 T his tone Is c a r r ie d over In to M is s is s ip p i's pro p o sal o f m arriag e: P i t Eh* dea Herm Mississippi, op. clt.. pp. 17-18 276 ANASTASIA: (CLOSE TO FAINTING) You o f f e r me mar ria g e In o rd er to be a b le to to r tu r e sm end le s s ly ! MISSISSIPPI: In o rd e r to to r t u r e us e n d le s s ly . Our sm rrlag e mould asan h e l l fo r b o th p a r tie s ! ANASTASIA: But th a t ask es no sense! MISSISSIPPI: W e a u s t apply r a d ic a l aaana I f we want to u p l i f t o u rse lv e s m o rally , Madaaa. You a re now a m urderess. Through our m arriage 1 s h a ll tra n sfo rm you In to an a n g e l. H arry a e ! E n ter th e a a rty rd o a o f m arriage w ith ae! ANASTASIA: (YELLING, IN UTTER DESPAIR) C a ll th e p o lic e ! MISSISSIPPI: (ICE COLD) At a t l a s when a u rd e r, a d u lte r y , ro b b e ry , f o r n ic a tio n , ly in g , a rso n , e x p lo ita tio n , and blaspheay a re not Irre v o c a b ly punished by d e a th , our m arriag e w ill be a trium ph o f j u s t i c e ! 07 Even w hile a re v o lu tio n Is ra g in g o u tsid e and machine gun f i r e is c ra sh in g through th e s p lin te r in g window sh ad es, M is s is s ip p i and Count tfbelohe, crouching fo r cover under a l i t t l e B le d e ra e le r c o ffe e ta b le In th e m iddle o f th e room, lead th e fo llo w in g c o n v e rsa tio n : MISSISSIPPI: Count tfbelohe . . . may I ask you fo r th e re aso n o f your re tu rn ? You ap p ear a t a tim e tdilch Is d e c is iv e fo r my w ife and me* COUNT: . . . I sta n d b e fo re you, Mr. A ttorney G en e ral, . . . ru in e d In every r e s p e c t, as 1 must c o n fe ss. 1 do not com plain. A lso you, Mr. A ttorney G en eral, a s I n o te , n o t w ith o u t sh u d d erin g , from th e h o r r ib le disarran g em en t o f your c lo th e s and your b la c k and b lu e , s c ra tc h - covered fa c e , a re ru in e d . I t Is th e f a te o f 87Ib ld ., pp. 25-26. 277 b o th o f us In th la c e n tu ry , a i r , to fa c t r u in . Ruin down to th a bona. Va hava n o th in g to say any lo n g a r; h is to r y haa ra fu ta d u s , you who worked y o u ra a if up In d e fa tlg a b ly , w ith Iro n en erg y , froai th a nraap o f th a b ig c i t y , and a a , th a C ount, th a o ld p a tr ic ia n . . . . W a hava only ona wore th in g to do In th la ending w orld--w ho can a t l l l doubt th a t I t la end in g ?--an d th la ona th in g a b s o lu te ly , fa n a t i c a l l y , w ith t e a a r l t y : wa a u s t ta k a our stan d w ith th a t r u t h , Mr. A ttorney G en e ral, w ith th a t e r r i b l e and perhaps a ls o rid ic u lo u s t r u t h . " 8 R e p e titio n la a n o th e r g rotaaqua a f f e c t . A n a sta sia 's husband and M is s is s ip p i's w lfa ware k il le d w ith poisoned c o ffe e ; A n a sta sia t r i e s to k i l l S t. Claude w ith poisoned c o ffe e , and In th a and M is s is s ip p i and A n a sta sia poison each o th a r w ith c o ffe e . C offee d rin k in g and th a fe a r o f I t beeowe a ru n n ln a t i t . M u ltip lic a tio n i s e v id e n t In : th a th re e s i n i s t e r own In tre n c h c o a ts , a l l w ith t h a l r r ig h t hands In t h a l r p o c k e ts, a l l w ith ra d arab an d s; In th a " c h o ra l" a d d ress o f th a th re e r e lig io u s le a d e rs , th an k in g A n a sta sia , " th a Angel o f th a P ris o n s ," fo r h e r s e l f l e s s work; In th e flo c k s o f a l l e n l s t a , a l l In td ilte c o a ts , a l l w ith heavy, hom -rlw aed g la s s e s , who appear to ta k a M is s is s ip p i to th a asyluw . In c o n g ru ity , f i n a l l y , l i a s In th a g ro tesq u e sta g e s a t. DUrrenwatt d e sc rib e d I t h l a s e l f a t le n g th : “ ibid.. p. 63. 278 A room Whoa* la te -b o u rg e o ls poap and s i g n i f i cance w ill not be c ta y to d e s c rib e . But . . . sin c e I t a iy be a a ld th a t th a fo llo w in g av an ta ra p ra a a n t th a s to ry o f th la room, wa isuat r la k i t a d e s c r ip tio n . Tha ro o a a tln k a to high Haavan. In th a background two wlndowa. Tha vlaw : co n fu aln g . Through th a r ig h t window th a branchaa o f an ap p la t r e e , and bahlnd i t a ona n o rth a m c i t y w ith a g o th ic c a th a d r a l; through th a l a f t a c y p re s s, rem nants o f an a n tlq u a tem p le, an ocaan b ay t a h a rb o r. H all th a n . Batwaan th a two wlndowa, but n o t high* a r , a g ra n d fa th e r c lo c k . S ty la : a la o g o th ic . L a t'a go to th a r i g h t w a ll. Thara a ra two doora. Tha ona u pataga laada through th a varanda In to a n o th a r room; I t la n o t im p o rta n t, 1 r e a lly d o n 't need i t u n t i l th a f i f t h a c t; th a downataga door r ig h t laad a in to a h a l l around th a c o m e r to th e l a f t . L et ua n o t t r y to fig u re out how th a houae n ig h t ba a rra n g e d ; l a t 'a J u s t aaauna i t la a con fu sed ly r e b u il t p a tr ic ia n n an sio n . Batwaan th a doors r ig h t a a n a ll b u f f e t, th la tin e 1 suggest Loula Q u in ta. On i t a goddeas o f lo v a. P ia s te r . C e rta in ly . In th a l a f t w a ll only ona door. I t opens batw aan two f in - d e - a lb c le m irro r* . Tha door laada to a b o u d o ir, Iro n th a boudoir in to th a bed- ro o n --ro o n a which w il l ba e n te re d by s e v e ra l o th a r p eo p le, b u t not by u s. Downataga l a f t th a Loula- S a lta frame o f a n o th a r n l r r o r , hanging in th a a i r , o f c o u rse , w ith o u t g la a a , ao th a t ona can aaa in to th a audience . . . Downataga r ig h t th a ra could hang a a n a ll oval p ic tu re fra n e , a ls o e n p ty . In th a c a n te r a round B ladem alar c o f f e e - ta b le , th a a c tu a l P T otaaonlat o f th a o la v . around d itc h th a a c tio n re v o lv e s , around which e v e ry th in g n u at ba sta g e d -- flan k ed by two Louis Q uatoree arm chair*. Soma Empire can a la o ba placed somewhere: perhaps downataga l a f t a l i t t l e s o fa , u p ataga l a f t a acraan . W a can d isp en se w ith an y th in g R u ssian , u n le ss th a p o l i t i c a l s i tu a tio n a t th a tim e should make th la d e s ir a b le . On th a l i t t l e ta b le a Japan e se vaaa w ith rad ro se a which may ba re p la c e d in th a second a c t by w h ite o n es, in th a th ir d a c t by yellow onaa. For th a rem aining a c ta 1 su g g est no flo w e rs. Tha c o ffe e ta b le s a t fo r two peo p le. 279 H t i i a n c h in a , you guessed I t . F u rth e r o b je c ts : atag a r i g h t , th ra a gentlem en, n o t d la a lm ila r to J o lly b eerb rew ers, in tre n c h -c o a ta and rad ana- banda, th a r ig h t hands in t h a i r p o ck ata, and in th a c a n ta r , somewhere batwaan c o ffa a ta b la and door l a f t , perhaps a la o a l i t t l a to th a aouth o f i t . S a in t Clauda . . . pow arful in a ta a ly a a a siv a n a a a , a t th a m omen t in a t a i l c o a t which a v id a n tly doaa not f i t h ia . Socka: ra d . With a l l th ia . . . solemn rin g in g o f church b a l l a , b a a t cowing from th a d ir e c tio n o f th a c a th e d ra l. How much humor, how such Shavian Irony th a ra la in th la d e s c rip tio n ! And how ouch b u b b lin g im ag in atio n in l t a a b a u rd lty ! Evan i f th a p lay were n o th in g a t a l l , audlencea could enjoy a t le a a t p a rt o f an a c t by m erely looking a t th a a a t. I f wo compare th la w ith th a baldncao and th e p overty o f s e ta o f a b a u rd la ta Ilk a B eckett and Xoneeco, a com parison o f th a poverty and a r i d i t y o f t h a l r muse w ith th a boundleaa abundance o f D U rra n a a tt'a im aglna- tlo n la in e v ita b le . Tha l i t t l e B led en aeler t a b la , aaya D drrenm att, la on th e a c tu a l p ro ta g o n la t o f th a p lay . A c tu a lly , i t la h a re th a t th a m arriage o f Mr. M laaiaaip p l la agreed upon, and h are th a two n a rrla g e p a rtn e r a sim u ltan eo u sly succumb to WIbld. ■ PP. 8-9. w i a . o l i d , a o b a r, a a r ly 19th c e n tu ry b o u rg eo is a ty la , co n c u rren t w ith a a r ly V ic to ria n in England. 260 th e deadly p o llo n they hava m anipulated in to each o th e r 'a cup* H ere, a l i o , th e tv o o th e r p rin c ip a l* seek su sten an ce lo r t h e i r stren u o u s a c tio n s . E verything goes to smash: id e a s , h o u se s, p eo p le, f u r n itu r e - - b u t th e l i t t l e ta b le r e m ains. "T his determ ines a ls o th e form o f th e p lay tdtlch c a l l s I t s e l f a comedy. Xt h a s i t s c e n te r in t h i s l i t t l e t a b le ; I t Is th u s s p h e ric a l In c o n e a p tIo n --a n d , f i t t i n g l y , th e la s t scene is a n tic ip a te d in th e b e g in n in g ." ^ 1 The room i s r e a lly a museum o f v a rio u s p e rio d s , and t h e i r purpose Is to show by t h e i r d e s tru c tio n how th e w orld Is d estro y e d by f a n a tic a l "do-gooders" in th e name o f peace and J u s tic e . Dlcgo, th e M in is te r, p o in ts out th a t i t i s not a b s o lu te ly n ecessary to break up e v e ry th in g , th a t i t Is a g re a t m istake to b e lie v e th a t th e w orld must be d estro y e d and people must be murdered b efo re a J u s te r o rd e r o f th in g s can be e s ta b lis h e d . On can " th in k b ig " and do th e g re a t by w orking on th e l i t t l e th in g s . Once ag ain th e words o f th e old bishop In Es s te h t ae sc h rle b e n come to mind: Man Is Incapable o f th e g re a t th in g , he Is cap ab le only o f the l i t t l e . And th e l i t t l e is ^ E l i s a b e th B ro c k -S u lre r, " F rie d ric h D tlrrenam tt: Die Ehe des H errn M is s is s ip p i." P ie Tat (2(1 r i c h ) , C V (A p ril IS , 19S7), S. nor* im portant th an th * g r e a t. V* can do nuch good on E arth 1C we ar* mod#at. 261 Kin Enaal ko— t nach Babylon— Elne fraanentarlech* Konfldja In d r .l Akt.n <A n A im l C ow i to Babylon--A rrasnentary Cop*dr In Three Acta), w ritten In 1953 Aa e a r ly aa th * F o rtl* a , D U rrenentt and* an a tte n p t to pr*a*nt th * s to ry o f th* Tovar o f B abel, "on* o f th e n o st g ra n d io se , though isoat n o n se n sic a l, u n d ertak in g * o f Mankind, a l l th* isor* laiportant a s v* a** ou rs* lv * a *n- nashed in a l n l l a r p ro je c ts today."® * E v id e n tly , he neans th e g ig a n tic a m a n e n ts and th e a to n ic weapons o f our tin e* Aa in Ea a te h t s e a c h rle b e n . he p o in ts out th a t " I never had In nlnd to co n ju re up a bygone w orld; lAiat a ttr a c te d n* was to b u ild ny own w orld fro n ay ln p resslo n s."® ^ T his neans th a t he was not In te r e s te d In a h i s t o r i c a l l y o r arc h a e o lo g ic a l ly c o r re c t play based on th e l a t e s t fin d in g s o f r e se a rc h , but In c r e a tin g sons th in g new. T his p ro je c t dragged on fo r s e v e ra l y ea rs and was f i n a l l y abandoned In 1946. ®*Ea s te h t se sc h rle b e n (ZU rlch: V erlag d e r A rche, 1959), p. 47. ^ E l n Enael ko—t nach Babylon (2nd * d .; Zttrlch; Verlag der Arch*7 1957), "Ananrkung’1 (R enark), p. 95. 282 Only th * f i r s t a c t was p re se rv e d , and a new p lo t added. A p lay emerged which t r i e d to show only tdiat led up to th e b u ild in g o f th * tow er. T his p lay waa f i r s t perform ed in th * HUnchener K a t r s o l e l * in 1953 w ith only M oderate su c c e s s . DUrrenmatt h b a se If d e c la re s i t i s "not s a t i s f a c t o r y ." E v id en tly he s t i l l has not abandoned h is plan to w rite a tr ilo g y on th * s u b je c t: th e second p a rt would be c a lle d Die H ltm acher (The Ones Who Went Along, o r , p e rh a p s, The C o lla b o r a tio n is ts ) and would show th e b u ild in g o f th * tow er i t s e l f ; a l l a re a g a in s t I t , and y e t i t coves to p a ss. The th ir d and l a s t p a rt would show how I t succeeded, " f o r , in c o n tra s t to t r a d i t i o n , I l e t th e p ro je c t seem ingly sue- PLOT SUFM ARY: The Lord God sends an an g el down to E a rth , to th * c i t y o f gabyIon (a p la c e w ith most t r a i t s o f a modern M e tro p o lis), in o rd e r to b rin g th * b e a u ti f u l g i r l , K urrubl, j u s t c re a te d by God out o f n o th in g , to th e low est and Most m iserab le o f van. J u s t when th * two e m issa rie s o f God a r r iv e a t th e bank o f th e Eu p h ra te s R iv e r, King Nebukadnesar tu rn s u p , d isg u ise d aa ^ F r o a unpublished p erso n al n o te s o f D U rrenatatt, quoted by O i li e r , op. c l t . . p. 51. 2 8 3 « b « g |a r , to study th a low U f a o f h is c i t y , Ilk a H arun-al-ILaehld. S lnca ha Is Ignom inious ly d a fa a ta d In a bagging c o n ta s t w ith A kkl, an Ingenious p ro fa s - ■ lonal and th a l a s t baggar o f Babylon, ha saaas to th a an g el and to K urrubl low ar th an th a low ast aan In Baby lo n . K urrubi f a l l s In lova w ith h la , and th a confusad angel g lv a s h a r to h la . But th a d lsg u lsa d King la o u t raged th a t t h i s haavanly g i f t should hava been made to h la only by m ista k e , tu rn s on th a b e a u tif u l g i r l In fu ry , k ic k s and tram p les h a r , and f i n a l l y tra d e s h a r o f f to A kkl, th a r e a l baggar. From A kkl, K urrubl le a rn s th a p ro fe s sio n o f bagging and sh a re s a b e g g a r's U f a w ith him . But h a r pure b eau ty b e g u ile s a l l th a people o f Babylon, o r a l l th a man, l e t us say , ao th a t B ankers, c a b in e t m in is te r s , tradesm an, and policem an w rite lova poems to h a r ; th ey a l l want to m arry h a r or p ro te c t h a r. At l a s t th a people d ecid e to ta k a h a r away from A kkl, th a d i r t y b ag g ar, and to b rin g h a r to King Nabukadnaaar so th a t ha can make h a r h is Quean. P a r a lle l w ith t h i s p l o t- l in e ru n s a n o th a r: King N abukadnaaar, a " p ro g re ssiv a " monarch, has d ecided to stamp out bagging and to ta k a a l l beggars In to th a c i v i l s e rv ic e ; but A kkl, a baggar who Is proud 284 o f h la p ro fa a a lo n and Je a lo u s o f h la fra a d o a , ra fu a a a . A fta r a a v a ra l f r u l t l a a a w arnInga, th a a ta ta a a a c u tlo n a r la d lap atch a d to Akkl to hang h l a . Akkl d la c o v a ra , how avar, th a t th a h a n ^ a n la a pa a a Iona t a b lb llo p h lla , and tra d a a h la a r a r a book and c u r io ahop ha haa a c q u lra d by b ag g in g , fo r h la U f a and th a h an g aan 'a Jo b , c o a tu a a , and aa ak . So, d la g u la a d aa th a axacu- tl o n a r , ha goaa to th a ro y a l p a la c a . Kara k u rru b l la b ro u g it by th a p ao p la; aha ra c o g n lta a In Nabukadnaaar on h la th ro n a h a r balovad "baggar1 1 and t r l a a to p a r- auada h la to g lv a up h la c ru a l povar and bacoaa In ra - a l l t y th a baggar aha one a thought ha waa. Tha K ing, who lovaa h a r a la o , cannot concalva o f t h l a , o f co u raa, and t r l a a to parauada h a r , w ith th a h a lp o f a l l th a w llaa o f h la C h laf M ln la ta r and a l l th a a o p h la try o f h la C h la f T h ao lo g lan , to bacoiaa h la Quaan. But K urrubl cannot ba avayad fro a h a r d lv ln a n la a lo n . Tha p ao p la, f r u a tr a ta d by th la lap aaaa and ancouragad by th a ab- aanca o f th a ro y a l a n y , r a v o lt and th ra a ta n th a King. So Nabukadnaaar o ffa ra K urrubl to anyona Who w ill f u l f i l l h a r c o n d itio n , g lv a up h la v a a lth , c o o f o rt, o r p o a ltlo n , and bacona a b ag g ar. Thara a ra no ta k a r a . At la a t th a King tu ra a ovar t h l a u n co w fo rtab la, un*an- 285 i g t i b l t g i f t from Heaven to A kkl, th e e x e c u tio n e r In d ls g u la e , w ith o rd e ra to ta k a h a r o u t in to th a d a a a rt and k i l l h a r . Yat Akkl la th a only ona tdio knows h a r fo r th a w ondarful g i f t aha l a , and f la a s w ith h a r In to a far-aw ay co u n try . Tha King raw aina b ah in d , an d , now th a t ha haa to m h la huaan lova out o f h la h a a r t , and th a t th a a n y has ra tu rn a d to glva h la th a uppar hand a g a in , ha becoaaa a b r u ta l ty r a n t: " I b atra y ad th a g i r l fo r m y powar, th a a ln la - t a r b atra y ad h a r fo r h la a t a t a c r a f t , th a p r la a t fo r h la th a o lo g y , and you (th a paopla] b atray ad h a r fo r th a aaka o f your gooda. Hay now m y powar cona ov ar your th a o lo g y , your a t a t a c r a f t , and your gooda! Laad th a paopla o f f In cap t i v i t y , bind th a th a o lo g ia n and th a a iln la ta r! Out o f t h a l r bod laa I a h a ll fo rg a th a weapon w ith which I a h a ll avanga m y ahaaa. A ll r ig h t th a n : la th a aky ao high th a t m y cu raaa do n o t raach I t? la i t ao f a r away th a t 1 cannot h a ta I t? la i t n lg h tle r th an ay w ill? L o ft i e r th an oty ain d ? D oughtier th an m y courage? 1 a h a ll round up annklnd in to ona c o r r a l and a r a c t In t h a l r a ld a t a tow er th a t p ie rc e a th a clo u d a and aa aau ra a I n f i n i t y , r ig h t In to th a h a a rt o f m y eneay. 1 a h a ll oppoae to th a c r e a tio n out o f n o th in g th a c r e a tio n out o f th a wind o f nuin, and aaa w hich la b a t t e r : ay Ju a t l c a , o r th a I n ju a tlc e o f God!"9* 9*Eln Enrol kowt nach Babylon, op. clt.. p. 93. 206 T his "m ighty lin e ,* ' th la to w trln g M arlovlan c h a l- langa aa— a to a a k t M sbukadnatar th a p r in c ip a l flg u ra o f th a p la y . W hatavar a l i a wo may th in k o f h l a , ha c a r ta ln ly shows changa and d av alo p * an t--o n a o f th a a a a a n tla la f o r a good p ro ta g o n is t. B afora h is ra g in g c h a lla n g a to Haavan, ha sa y s, sa d ly : I stro v a fo r p a r fa c tlo n . X c ra a ta d a now o rd a r o f th in g s . I sought to sta * p out p o v a rty . I w lshad to ln tro d u ca ra a so n . Haavan d asp lsa d m y work. I ra a a ln a d w ith o u t g ra c a .* ’ DUrranawct h ln s a lf says o f hlai: Ha Is Han w ith o u t g ra c a , who has baan ln s u lta d by Haavan and who b u ild s th a tow ar out o f rav an g a. . . . How Is ha ln s u lta d ? W all, you know th a f i r s t a c t. Ha ra c a lv a s th a g raca o f Haavan td tlla d ls - g u lsa d a s a b ag gar, and t h i s I n s u lts h i* : ha wantad to ra c a lv a g raca as a k in g and n o t a s a b ag g ar. Ha w ants to ba th a f i r s t o f wan, not th a l a s t , th a p o o ra st o f wan. As a king ha Is bound to powar, to h is a n tl- k ln g , to h is fo o ts to o l N laro d , whosa fo o ts to o l ho h i* s a lf ones was and w ill ba a g a in . Tha g i r l cannot lova h i* as a k in g , not bacausa ha Is a k in g , b u t bacausa as a k in g ha Is n o th in g , no p a r s o n a llty , only a d u a l b a ln g , a phantom-man; « p a r s o n s llty ho Is o n ly as a b ag g ar. T his b rin g s to wind what Una E llls - F s r * o r says about Hanry V, S h ak o sp aa ra's ld o a l king f lg u r a : ha la a l l *®Unpubllshad notas of DUrraimatt, In Dlllar, op. clt.. pp. 33-54. 287 k in g —th a ra le no p riv a te se n , no p riv a te p e rs o n a lity l e f t . T h erefo re Henry V le one o f S h ak esp e are's "unloved p la y s ." A udiences J u s t do not lik e a p e rfe c t ru lin g n e c h in e , end so Shakespeare never attem p ted a n o th e r fig u re lik e i t . W e co u ld a ls o th in k of C o rlo lattu s, a nan born and bred to pub l i c o f f ic e ; th e In d iv id u a l w ith in h ln never developed— I t had to be tra n sn u te d and su p p ressed . He Is a c tin g , b u t n ever r e a lly I d e n tif ie s h ln s e lf w ith th e p a r t- - I n b r i e f , he i s a "nalned p e r s o n a lity ." 99 The n o re Nebukadnesar p lay s th e r o le o f k in g , th e nore he lo se s h is own p e r s o n a lity . The ro le Is Ilk a a co s- tu a e , and h is c o u rt, th e C hief M in is te r, th e C hief Theo lo g ia n , th e G eneral—th ey are a l l In c o stu n e . To th e n a p p lie s what La R ochefoucauld w r ite s : 'V e a re so used to d is g u is e o u rse lv e s fo r o th e rs th a t In th e end we d is g u is e o u rse lv e s to o u r s e lv e s ." 100 Nebukadnesar no lo n g er knows Who o r what he h ln s e lf I s , and t h i s Is th e reaso n fo r h is 99una R llls - P e r n o r , The F ro n tie rs o f Prgna (2nd e d .; New York: Oxford U n iv e rsity P re ss, 1946), Ch. 3, "S h a k e sp e a re 's P o l it i c a l P la y s ," pp. 45-47. 100"Noue _ionnes s i acco u tu n ss a nous d ^ e u U tr aux a u tr e s o u 'e n f ln nous nous ddaulaons a nous p e n e s." H. D. L. G ilb e r t, e d .. Ls R ochefoucauld ( P a r is : L ib r a lr le H a c h e tte , 1 st e d ., 1868), Maxine CROC, V ol. I , p. 81. 260 d e s p a ir . In th a words o f Seneca: M Qul n o tu s n lw ls own1b u s . I gnor e m o rltu r s l b l " (he who Is to o w ell known to o t h e r s , d ie s Ig n o ran t o f h im s e lf). I f Nebukadnesar had become aware t h a t he was only a l i t t l e t r a n s it o r y beggar on E a rth , he would have re co g n ised h im se lf and could th en have r e ceiv ed K u rru b l, th e heavenly g ra c e . Hla blasphem y Is th a t he re fu s e s Cod and K urrubl because he cannot subw it to t h e i r c o n d itio n s . In th e end he sen ses t h i s , b u t he I s to o wuch possessed by e a r th ly power, he Is to o wuch a slav e to h is r o l e , to a c t acco rd in g to t h i s r e a l i s a t i o n . So he le fo rced In to an o u trag eo u s d ew o n stratIo n o f h is own power. In c h a lle n g in g God, he p e ra d o x lc e lly lo se s h is tr u e s e l f , th e wore h is e a r th ly power In c re a s e s . D llle r develops a v ery I n te r e s tin g p a r a l le l betw een Nebukadnesar w ith h is c o u rt and w ith h is prom inent sub j e c t s , and th e p ris o n guard In P ie S ta d t. None o f them knows w hether he Is a guard o r a p ris o n e r. They a re a l l Im prisoned In t h e i r d e a th ly fe a r to renounce t h e i r e a r th ly p o s s e s s io n s , and In t h e i r fo ib le s lik e crown, money, power, p r o s p e r ity , s e c u r ity , advancem ent, and so none o f them becomes an Independent I n d i v i d u a l . N e b u k a d n e s a r , a t l0lDlller, o p . clt.. p. 56. 289 l i n t , is th* only on* who knows I t and a da I ts I t b efo re tha assem bled paopla: X b atray ad th a g i r l fo r m y powar ..102 • • a An angal who Is so m istaken th a t ha g lv as th a d lv tn a g i f t to th a h lg h a st and r lc h a s t in sta a d of th a low- a s t and p oorast o f m o rta ls, say hava seamed, to asny r a llg lo u s paopla, Ilk a a blasphesx»us prank o f DUrrenmatt, b u t, a f t a r a l l , ha la only l l t a r a l l y follow ing th a b i b lic a l paradox th a t th a f i r s t s h a ll bacoaa th a l a s t . Tha passaga In which th a Angal t r l a s to a x p la ln t h i s paradox Is charm ing: AM CEL: K ings, o baggar A naschaasschtaklaku (H abukadnaxar's assumad nan* In h is beggar* im perso n atio n ), do not ln ta r a s t Haavan. Tha poorer a man I s , th a more does ha pleas* Haavan. NEW KADNEZAR: Why? ANGEL: (THINKS) No ld aa. (THINKS SO M E M O R E) A c tu a lly , I t Is stra n g * . (APOLOGETICALLY) I am no a n th ro p o lo g is t. I am a p h y s ic is t. Ky s p e c ia lty a ra suns. P rim arily rad g ia n ts . X have th a o rd er to go to th a le a s t o f men, but no c a p a b ility o f knowing God's reaso n fo r t h i s . (ILLUMINED) Perhaps i t i s bacausa, th a poorer a man l a , th a more m ig h tily th e p e rfe c tio n o f N ature is m anifested In him.*03 Thus th a Angal, In a l l h is Innocence, h i t s th * " n a il on th * h e a d ," a f t a r a l l . *^Eln Enxel. on. clt.. p. 93. *®*Ibld., p. 29. 290 As th a play p ro g re sse s, th a flg u ra o f Mebukad- n a a a r'a a n ta g o n is t, th a baggar, Akkl, grows w r e and more, so th a t wa r a a lly a ra In doubt as to who th a laad ln g fig* u ra l a . Akkl ranouncas av a ry th in g which n ig h t d ap rlv a him o f h la freedom. Ha Is a w s t e r baggar Who can g a t a l w s t anything ha w lsh as, bacausa ha knows w n and t h a l r v a n ltla s and s t u p ld ltla s so w a ll. Ha throws th a gold and s l lv a r ha Is glvan In to th a r l v a r , and kaaps only th a food ha n eed s-- and t h i s ha sh aras w ith a s w a n o f hungry, ho w la s s p o ats, 104 c rim in a ls , la p a rs , and o th a r o u tc a s ts . Iha King and h is buraaucracy o f fa r him a h ig h post In th a g o v a m w n t, but ha spurns I t . Akkl Is th a ax la which has to c a rry th a haavy load o f an o v a r - f u ll play d a a lln g w ith av a ry th ln g h u w n --p o li t i c s , th ao lo g y , p o a try , democracy, monarchy, aconom lcs, philosophy--and a n g a ls. Ha Is an o th ar o f th asa 'V a lia n t w n who stand up to th a w o rld ." Thara Is a r e la tio n s h ip to K nlpperdolllnck and tfbelohe, but w hile th a l a t t e r two becow tr a g ic fo o ls through th a C h ris tia n paradox, Akkl d e riv e s w orldly wisdom from I t . Since ha has renounced th a world to begin w ith , sin c e ha has nothing and Is ***A b i t t e r com wnt on th e p la c e w n t of th e poet In s o c ie ty ! 291 n o th in g , no one needs to revenge h im self on hUi o r to p e r s e c u te b in . At he is f le x ib le end s lip p e r y , he need not be broken. In th e end, th e g race o f Cod goes w ith him , a lth o u g h she wee not meant fo r h i e and alth o u g h he had not s tr iv e n to win h e r , and t h i s makes h i* th e v ic to r and th e w inner o f t h i s p la y . He l e t s th e n a tu ra l powers In h i* ta k e over and a c c e p ts e v e ry th in g th a t happens to h i* ; he fo rc e s n o th in g . Like The B lind One, he has an a b so lu te f a i t h In Cod and th e w orld; t h i s wakes h i* th e f i r s t l l f e - a ffirm in g c h a ra c te r o f our a u th o r. H is s tra n g e ly mixed a t t i t u d e o f exuberance and re s ig n a tio n ap p ears In h is f in a l speech: I love an E arth . . . o f b e g g a rs, unique In h ap p in ess and unique In d an g er, s u ltlc o lo r e d and w ild , w arvelous In p o s s i b i l i t i e s , an E arth tdtlch X always subdue anew, nad w ith I t s b e a u ty , In love w ith i t s Usage, th re a te n e d by power, y e t uncon quered . . . b e fo re us . . . f a r o f f l i e s a new c o u n try , em erging fro * th e dawn, steam ing In th e s i l v e r o f th e l i g h t , f u l l o f new p e rse c u tio n , f u l l o f new prom ise, and f u l l o f new songs! (THEY HO VE AUAY, VITO FEXHAPS A PEW POETS FOLLOW ING THEM , H0PP1HC TH RO U G H THE SANDSTORM)105 C ro te sq u e rle In An Anxel Comes to Babylon Is p le n t i f u l , a ls o th e p la in ly conic and e n te r ta in in g . P a rts o f I t re a d as i f th ey co u ld be co n v erted In to an e x c e lle n t *°*Eln Enael. op. clt., p. 94. 292 ■ u slc a l o r s o p h is tic a te d lig h t o p era and w ere J u s t w a itin g fo r a acora by R ichard Rodgara o r F ra d a ric k L oew e--especl- a l l y th a "neeanas" o r 'W k a a a s" o f AkkL, in Which D ttrren- w att in g an lo u aly uaad an o ld o r la n ta l fo ra o f b a lla d to c r a a ta aoaa b rav u ra p ie c e s th a t r a a l l y c ry fo r a ra c y , a I as-b an g M usical a e ttln g . Aa alw ays, "h e ro es" ra c a lv a p a r tic u la r ly rough tre a tm e n t fro a D U rran aatt. Mabukadnaaar IX who, ac co rd in g to h la to r y , c a r ta ln ly a u a t hava baan a pow erful and la - p ra a a lv a r u l a r , ia c a lle d " l i t t l e Mebl" by Akkl and con- ta a p tu o u a ly d e sc rib e d by h l a aa " p h y a lc a lly and a t n t a l l y a h a lf - p in t.* ' And whan N ebukadneaar, d ia g u la a d aa th a "beggar fro n N ineveh," p r o t e s t • th a t th a King ia alwaya ahown aa d ig n if ie d and w a ll- b u ilt on th a r e l i e f a , Akkl aaya: "W ell--on th a r e l i e f a . And who e*kee thaw? Our B abylonian s c u lp to re . They nake every k in g look lik e ev ery o th e r . I know ay N ebl, you c a n 't fo o l a m . . ." Nebukadneaar la th a " l u c l f e r l c Man" who w lahaa to d e ify h im s e lf, and fin d a h im se lf r e je c te d bacauaa ha o v er reach e a h lm s e lf--a a M arlow e'a F auatua d o es. Thus ha ba- cowea a ca se o f what D U rranaatt c a l l s "hollow tra g e d y ," fak e tra g e d y , w hich becaaaa co n ic (J u a t aa M la a la slp p l beeonea c o n ic ). The d r a a u tle t em phasises t h i s hollow ness by g iv in g him an a l t e r e g o . w ith tdiom he a lte r n a te s In r u l ing th e w o rld : an " a n ti- k in g ," Nimrod, who !■ a t p re se n t N ebukadnesar's fo o ts to o l (see F ig u re 6 ) , b u t w i ll be King eg e ln tome dey, as he has been b e fo re , and th e n Hebukad- n eaar w il l be th e fo o ts to o l. One s o u l, one m ind, one crown, one k in g sh ip --b u t two b o d ie s. T h is d u p lic a tio n makes fo r g ro tesq u e e f f e c t f s w ltlp llc a tlo n l . The d ev ices o f r e p e t it i o n and B M ltlp llc a tlo n a re used e x te n s iv e ly . In Act 1, th e Angel a r r iv e s d is g u is e d a s a b eg g a r, in t a t t e r s , w ith a long red b e a rd . Soon th e r e a f t e r Mebukadnesar ap p e ars and i s , by swans o f a b e g g a r's costume from th e w ardrobe o f th e ro y a l t h e a t e r , a ls o p ro v id ed w ith t a t t e r s and a red b e a rd . At l a s t A kkl, th e r e a l b eg g ar, e n te r s , a ls o In t a t t e r s and w ith a red b e a rd , so t h a t now th e re a re th r e e ragged beggars w ith long red b eard s onstage.*®® The d ev ice la "as o ld as th e h i l l s , " b u t i t never f a l l s to g e t lau g h s. On pages AS and 4 6 , th e r i c h b an k e r, E n g g lb l, th e wine m erchant, A ll, th e donkey m ilk d e a le r , C la m ll, and th e policem an Nebo, a l l sin g self-com posed love v e rs e s to K u rru b l, each one accompanying h l s u e l f on an "old-B abylon- 294 F lg u ra 6 To th a l a f t H ib u k td n a u r v l t h h i s a n t i king and fo o t* to o l* N larod. C t n tt r , to p , th a angal re tu rn in g a c s t a t l c a l l y fro a h is e x p lo ra tio n o f E a rth w ith flo w e rs, s t a r f i s h , c o r a l, and o th s r tr a a s u r a . In th a fo ra - ground r i g h t , th a paopla In awa o f th a a n g e l. I m k "I C 296 ian g u ita r ." lh e grotaaqua e f fe c ta a ra thoaa of lncon- a m ity and a a iltln llc a tlo n . Tha h a lg h t o f g ro ta a q u a rla In th la play la tha p o ata, who a ra c a lla d "th a v o ra t-p a ld workera o f tha coun t r y . " Thty llv a in A kkl'a "q u a rta ra " undar th a arch o f th a Euphrataa b rld g a In old c o ffln a and o th a r hldeawaya. Staga d tra c tIo n a raad aa follow a: THE SARCOPHAGI OPEN: POETS FOP UP O R C R A W L O U T FR O M U N D E R ALL KINDS OF THINGS . . . HE REA TS W ITH THE LAD LE U PO N THE SOUP KETTLE. A L O U D TONE. TH E POETS EM ERGE. (Than, whan th a ropa fo r th a hang ing of Akkl la low arad: ] THE POETS DISAPPEAR W ITH A SCREAM.107 Tha nonent caught In F lgura 7 muat ba Ju at b afo ra th la dlaappearanca. Thla "Ja c k -in -th e -b o x a f f a c t" la rapaatad aav aral tin e a . D U rrennatt'e nock contempt o f p o ata, In which aone paraonal b ltta rn a a a nu at ba h id in g , la ahown a la o In th la paaaaga: (FROM THE LETT C O M E S A YOUNGISH H A N W ITH APPALLING HAIR A N D B EA R D G R O W TH , H A N D S AKKI A C LA Y TABLET A N D RECEIVES A G O LD PIECE, THERE U PO N HE EXITS LEFT) N ESUK AD NEZA R: Who waa th la ? AKKI: A Babylonian p o e t. Ha got a fe e . (T H R O W S C L A Y TABLET INTO THE ORCHESTRA PIT)108 Whan a few lap ara tr y to b athe In th a r lv a r near Akkl*a " d o n lc lle ," ha chaaaa th an away w ith th a vorda: t07Ibtd.. pp. JS-S4. l0#Jbld.t p. 2J. 297 F igure 7 In the c e n te r th e henfpun end A kkl, aurrounded by hungry poeta tdio have gathered around the aoup k e t t l e . r~ 4 . • f j S ■ V . » * * • V U « w l i 4 . - v ' ^ ^ u % t J T < % V ; - + - I , X 299 T his b rid g e Is b u i l t in honor o f our n a tio n a l h sro G llgam esh and Is not s u ita b le fo r h e a lin g . N a tio n a l h e ro e s, more th an anyone e l s e , k i l l o f f M ankind--not even th e d o c to rs cone c lo s e to th e n . w A nother l e f t hook a t n a tio n a l h e ro e s! The in c o n g ru ity betw een th e w orld a s th e Angel see s i t , and a s i t i s when seen through th e eyes o f wan, ap p ears in th e p la in tiv e words o f K u rru b l: "With every s te p th a t 1 ta k e , th e i n j u s t i c e , th e d is e a s e , th e d e s p a ir around me grow. Men a re unhap p y ."110 T his b rin g s to wind th e r e f r a i n o f th e D aughter o f Xndra in S trin d b e rg 's Dream P la y : "Men a r e not h ap p y ." D e lib e ra te in c o n g ru itie s and anachronism s a re th e fo llo w in g : on page 75, Nebukadnesar " ta k e s out a check book. Akkl hands him a p e n c il." The s e t d e s c r ip tio n on page 37 ru n s as fo llo w s: . . . under one o f th e E uphrates b rid g e s , in th e h e a r t o f Babylon . . . High above, th e t r a f f i c o f th e g ia n t c i t y . The r a t t l i n g o f old -B ab y lo n ian s t r e e t c a r s . . . . A k k l's d o m icile is a w ild chaos o f th e s » s t v a rie d o b je c ts o f a l l p e rio d s . Cof f i n s , A fric a n demon im ages, o ld k in g s ' th ro n e s , B abylonian b ic y c le s and a u to t i r e s , and so on, sunk in legendary d i r t , m oldy, under m ountains o f d u s t. . . . On th e ground, re d sand, covered w ith t i n c a n s , p o e try m a n u sc rip ts. Everywhere a re hang in g parchm ents f u l l o f p o e try and c la y t a b l e t s , 1WIbid., pp. 37-38. ll0lbid., p. 38 300 In sh o re , th e c h a ra c te rs saa a to nova around on a g ig a n tic dump . . . And th e d e s c r ip tio n o£ th e s e t Cor Act 1 re sd s th u s : . . . in th e m iddle o f th e l i t t l e square an o ld-B abylonian gas la n te r n is b u rn in g . . . . Far* th e r back on house w a lls and F la k a ts iu le n (p o s te r colum ns, a ty p ic a lly European means o f a d v e r tls - ing] th e r e a re p o s te rs , some o f them to m , which re a d : M Begglng h u rts o u r c o u n try ," ''Begging Is a s o c ia l," "B eggars, e n te r th e c i v i l s e r v ic e ! " In th e more d is ta n t background we sen se th e s t r e e t gorges o f th e g ig a n tic c i t y , a m ate o f p a la c e s , sk y sc ra p e rs, and h u ts , which lo s e s i t s e l f in th e yellow sand o f th e d e s e r t , sm g n lflc e n t and f i l t h y a t th e same tim e . . . 12 Ih e q u a r te t o f th e C h ief M in is te r, C h ief T heolo g ia n , G e n e ra l, and E x e c u tio n e r, backed by th e e n t i r e c o u rt and h id in g behind a low w a ll in the background d u rin g N ebukadneaar's begging ex p erim en t, popping up s in g ly or to g e th e r in tune w ith th e d ia lo g u e , i s a n o th e r u se o f th e d ev ice s o f r e p e t i t i o n , m u ltip lic a tio n , and " U c k - ln - th e - b o g ." I f we tak e a s te p back and look a t An Anael Comes to Babvlon as a w hole, i t s statem en t i s p o s itiv e and hope* f u l . In h i s f in a l appearance th e A n g el--a v ery unorthodox a n g e l, to o , as can be seen in F ig u res 6 and 6 --e x c la im s: 1 U lbld.. p. 37. ll2Ibid., p. 7. Figure 6 H it angel u k i t h i t f in a l appearance In ch t foreground, w ith back coward u a, K urrubl in p lo rln g th e angel to ta k e h e r back w ith h ie , I t 303 A ll th a t I found on th i s s t a r was g ra c e , and n o th ing e ls e : An unreal wonder In the subllM wastes of the heav enly bodies* The b lu e S ir iu s , th e td ilte Vega, th e ru sh in g Ccphelds In th e n ig h t b lack n ess o f th e u n i v e rse - - As fa n ta stic as th e ir bodice My b e , and the power Vlth which th e ir n o s trils blow garbs of lig h t Into space, like world-wide bellows-- Mever can they equal th is l i t t l e grain of M tte r , th is Minuscule globe, gound to Its sun, circled by a l i t t l e Moon, tedded in eth er, B reath in g In th e green o f th e c o n tin e n ts , In th e s i l v e r o f th e seas . * . 113 Pros the author h lM e lf we have an unusually posi tiv e and clearly religious stateaen t: . . . t h i s d e a ls w ith a world which . . . was a t f i r s t not ouch d if f e r e n t fro n a l l o th e r human w orlds and e n p lre a th a t had t h e i r k in g s, t h e i r M in is te rs , t h e i r th e o lo g ia n s , t h e i r b an k ers, t h e i r w orkers, t h e i r p o e ts , and t h e i r b eg g a rs, and y e t becastt so ae th in g craay and In e sc a p a b le . T his w orld gaabled away I t s g race th a t had been brought by an a n g e l. How I t gaabled away i t s hap p in ess and i t s chance, th a t is th e c o n te n t o f t h i s c o m - edy . . . o p p o site th e g ra c e -le s s nan th e re Is alw ays th e one f u l l o f g ra c e ; l e t us never fo rg e t t h a t . The angel Is s t i l l r i g h t , and th e B arth Is s t i l l th e M iracle. The an g el M y seen nafve and iM p ra c tic a l to u s , but I b e lie v e th a t th o se who see th e w orld only as d e s p a ir a re b lin d e r and n o re n atv e s t i l l . The B arth does n o t hana In th e v o ld -- l t Is a p a rt o f C re a tio n . That Is a d iffe re n c e . But 1 d o n 't d re aa o f p u ttin g ny ca rd s on th e ta b le . ll3Ibld., p. 91. 304 I t Is not m y ta s k to e x p lo it m yself philosoph i c a l l y .* 1* t h i s Crank r e lig io u s co n fessio n should, one# and fo r a l l , do avay w ith a l l attem p ts to la b e l DUrrenomtt'• philosophy as atheism , n ih ilis m , o r absurdism . I f one of th e s t i l l younger w rite rs o f our tim e knows th a t th e angel is r i g h t , and I f he t r i e s to show u s , w ith power, courage, and co n sid erab le t a l e n t , th a t "our E arth Is r e a l ly th e m ira c le ," a long ste p beyond post-w ar n ih ilis m and d e sp a ir has been tak en . f r .n k d .r rU n ft« --0 P .r . t n . r P rlvatbank tFrank V --the Opera o f a P riv a te lan k ! w ith music bv Paul Burkhard This "o p e ra ," w ritte n In 1958, and produced on March 19, 1959, a t th e S chausplelhaus ZUrlch, was a r e sounding " f lo p ." 115 I t Is d i f f i c u l t to e x p la in o r J u s tif y . Even B rock-S ulxer, th i s a b je c t adm irer o f th e a u th o r, has a c e r ta in amount o f tro u b le In ex p la in in g avay I t s obvious shortcom ings, and th e re fo re w rite s even su re a b s tru s e ly ***"Ein Engel k o w t nach B abylon," Die Kownonden. V I I I :2 (January 25, 1954), 6. ***Erank d er rU nfte (ZUrlch: V erlag d er Arche, 1960), 93 pages. 305 •b o u t i t th an she does In th e r e s t o f h e r book. PLOT SU M M A R Y : Tha p lo t o f t h i s opus so rid ic u lo u s In a b a rs summary th a t one h a s l t a t s s to d iv u lg e I t . I t la th a sega o f a modem p l r a t a 's e n te r p r i s e , a p riv e ta bank, ru n e x c lu s iv e ly by g a n g ste rs w ith Swiss names b u t o f s tra n g e ly un-S w lsa, In te rn a t io n a l d a rin g , ru th le s s n e s a , and cunning. The bank has been b u i l t up by fiv e g e n e ra tio n s o f P ranks: Prank I c u e up fro * p o verty and s id e h is fo rtu n e as a sla v e t r a d e r , u s u re r , and a u rd e re r; Prank I I , b a c k -sta b b e r of f r ie n d ly f in a n c ie r s , s e c re t a d v is e r o f kings and p rin c e s , fin a n c ie r o f w ars, became a baron to g e th e r w ith R o th sc h ild ; Frank I I I was th e head o f an in te r n a t io n a l n a r c o tic s em pire and a frie n d o f J , P. Morgan; Frank IV was th e conqueror o f DuPont and Krupp; now we a re down to Prank V, th e weak modern re p re s e n ta tiv e o f th e fa m ily , plagued by a tta c k s o f co n sc ie n c e , a p a rt-tim e stu d e n t o f Goethe and Mtfrlke. Under h is v a c il l a t i n g le a d e rs h ip th e e rs tw h ile g re a t bank has d e c lin e d to such an e x te n t th a t he "can no longer fin a n c e even a m edium -sited power p l a n t . A l l U ^ T h ls " d e c lln e -o f-a -fa m ily theme" rem inds us o f P o e 's F a ll o f th e House o f U sh er. G alsw o rth y 's F orsythe 306 employees o f the firm are g an g sters an d /o r m u ltip le m urderers, and alm ost avary on# of them la punlahad fo r h la a v l l doings by sickness an d /o r d eath . E g ll, th e Chief o f P ersonnel, a su p er-g an g ster and k i l l e r , has damaged h is h e a rt through overexcitem ent. His sw eet h e a rt, F rie d a , w ith whoai he once hoped to r e t i r e to a happy fam ily l i f e In the co u n try , Is a m iddle-aged whore used to e x p lo it ric h custom ers and tu rn a share o f th e proceeds over to the bank; but sin ce she Is no longer what she used to be, she Is executed by E gll In the c e l l a r . H tfberlln, one o f th e t e l l e r s , % dio dreams of a peaceful old age In th e p e n ite n tia ry , goes the sane ro u te . In f a c t , anybody who is " u n re lia b le " or no longer o f use to the o rg a n is a tio n , i s rubbed out In the c e l l a r (tdtere the v a u lt I s ) , or otherw ise e lim i nated. Bbckmenn, the head acco u n tan t, who has fo r years Juggled th e books to keep th e e n te r p ris e a f lo a t and even k ille d a bank exaailner who was too c u rio u s, dies o f cancer and wants to confess to a p r i e s t , but la k ille d by Hrs. Frank to prevent th i s p o ssib ly dangerous confession. Mrs. Frank, a v e r ita b le Lady Macbeth, has Saga, and Thomas Mann's Buddenbrooks. 307 become a m o rp h in ist a s a r e s u l t o f h e r a s s o rte d n il* d eed s. T e lle r C eston Schm als, who h ss a ls o com m itted a few l i t t l e m urders fo r th e common good, has beeowe Im potent. They a l l t e l l t h e i r tro u b le s In a gay l i t t l e chanson which ends w ith the r e f r a i n : Freedom Is g r e a t, we know, we know-* But I f you grab I t , I t m elts lik e snow. For he Who's a t th e bacon, s i t s In th e t r a p , And I f he w ants o u t, th e tr a p goes " .n a p :" 1” In th e en d , th e bank Is blackam lled by an unknown fo r tw enty m illio n . At th e p o in ts o f two guns, C g ll fo rc e s a l l th e head em ployees to tu rn over t h e i r p riv a te sav in g s (m ostly embexcled out o f bank fu n d s, anyway). In th e end th e b la c k m a ile r re v e a ls h im se lf as Frank th e F i f t h 's so n , H e rb e rt, educated a t O x fo r d, w h o ta k e s o v er th e bank In o rd e r to run i t h o n e stly (not fo r **The re a d e r may r e s t a ssu re d th a t th e o r ig in a l la no sx>re p o e tic th an t h i s t r a n s l a ti o n : "Die F r e lh e lt 1 st schttn, ach, das w lssen w lr a l l e , Doch w l l l s t du s ie g r e lf e n , v erg eh t s le In Hu; Denn war am Speck s l t s t , s l t s t in d e r F a l l s , Und w l l l s t du h in a u s, k la p p t d ie F a lls s u ." l l 8 J u .t lik e M is s is s ip p i and S t. C laude In The H arr la s s o f H r. M is s is s ip p i, a backhanded cam pllsm nt to th e e x c e lle n c e o f Oxford a s a tr a in in g I n s t i t u t e fo r g a n g s te rs , " n u ts ," and r e v o lu tio n is ts . 308 n o ra l ra a so n s, b u t bacausa c r la a has bacons to o ris k y and l n a f f l c i s n t ! ) . H arbart fo rc a s h la f a th a t. Prank V, to 'S talk th a p lank" In to th e v a u lt, th a ra to d la of a sp h y x ia tio n o r s ta r v a tio n , and ha ta k a s ovar th a bank a s Prank VI. Tha no i t p u sslin g th in g about Prank V i s th a t i t saami a d a f in lt a r a tr o g ra s s lo n in D U rra n a u tt's work, A fta r ha had laarn ad to c r a a ta s ig n if ic a n t ly a l i v a , r a a l , th ra a - d ln s n s lo n a l c h a ra c ta rs in Tha V is it <1935), in Ronulus (1956), and in h is l a s t d a ta c tlv a s to r y , Tha Pladga (1957), i t i s a ln o s t ln co n p ra h an slb la th a t ha should hava gona back to th a tw o -d ln sn slo n a l cardboard flg u ra s o f Tha K a rrla s s o f Hr. M is s is s ip p i (1950) and Tha B lind Ona (1947). I t Is a ls o a sto p back to th a m n t a l a x a rc ls a s and b ald p h ilo so p h ic a l s ta ts n s n ts o f h is a a r l l a s t work a. His only pos- s ib la axcusa fo r t h i s n ig h t ba t h a t t h i s is supposad to ba an "o p ara" an d , as su ch , can a ffo rd to ba u n ra a l. Tha t a r n "o p ara" is a n isn o n o r, sln c a th a n u a lc was v r l t t a n by Paul B urkhard, conposar o f th a ra c a n t h i t song, "0 noIn P ap a," and f a c l la purvayor o f th a t l n k l i a s t o p a r a tta n u alc t h i s a id s o f B anatsky, Bonbarg, L ahar, H a rb a rt, and P r l a l . So th a a p p a lla tlo n " o u s ic a l" o r "p lay w ith n u o lc" would hava baan n o ra a p p ro p rla ta fo r Prank V. Tha llg h tw a lg h t 309 a u a lc o f Frank V vaa v ld a ly c r i t i c l e a d , and ra g ra ta v a ra volcad th a t D ttrran aatt had not approachad th a ijap o rtan t S vlaa-F ranch c o v p o a tr, A rth u r Honaggar, o r aoaaona o f aqua I a ta tu r a to c o ila b o ra ta w ith h la . B ut, aIn ca Burk- h ard haa baan id a n tlf la d fo r m m n y y aara w ith f a a th a r lig h t ■ u a lc , D U rra n a a tt'a ch o ica o f h i a aa a c o lla b o ra to r could not hava baan an a c c ld a n t o r a a ila ta k a -* lt a u a t hava baan I n ta n tlo n a l. Moat r a a l oparaa g lv a pracadanca and pradoa- Inanea to th a a u a lc a l a c o ra , v h lch ia ahovn by th a word l i b r a t t o ( l i t t l a book) in a ta a d o f lib r o fo r th a t a x t , and th a f a c t th a t va know, and c a ra a b o u t, o n ly th a coaooaar o f a o a t opara*. Evan tdian a a a ta rp la c a a o f l i t a r a t u r a lik a Th« — rb a r o f S « v lll« . Th» M rrl« « > o f F U t o . C «ra»n. O th a llo . Woaxack. o r P a n th a a ila a v a ra a a t to axialc, th a tauaic p ra d a a ln a ta d . That Paul B urkhard'a a u a lc vould c a rry la a a v a ig h t th an D U rra n a a tt'a ta x t vaa obvioua and fo ra - a a a a b la --th a ra fo ra d a lib a r a ta . Frank V ia in ta n tio n a lly rid ic u lo u a grand a u la n o l a a t to a u a lc . I t a u a t ba a a a ti r a o f a o a a th ln g --th a tro u - b la la only th a t va a ra l a f t aak in g " o f vhatT " and "ao v h a t? " I t cannot ba a a a t i r a on th a ro b b ar barona o f 19th and a a r ly 20th c a n tu ry l a la a a a - f a l r a c a p l t a l l a a . Thla kind o f c a p lt a l l a a d lad v i th th a a ld a r R o c k a fa lla r, Dohany, 310 Teapot D o n , Sanuel I n s u l l, Iv a r K reuger, Hugo St In n a s, and th a c ra s h o f 1929. N a lth a r can I t ba an I n d lc tN n t o f c a p ita l Is a and fra a e n te r p r is e as opposed to co aau n lsa. F ro a S t. C la u d e 's speech In The H arr U s e o f M is s is s ip p i*** and d ir e c t u t t e r ances o f th e a u th o r, we know th a t ha th in k s o f W estern c a p i t a l i s e and E a ste rn c o N u n ls a In th e i n te rn s as th e judge In a feaanis poea by H ein rich Heine th in k s o f th e two p a r tie s In a la w s u it: "They both stin k ."* * ® I t n ig h t be a a a ti r a on th a aodem s t a t e w here. In th e a i d s t o f a b so lu te o rd e r and o v er-o rg an Iced s e c u rity ( q u a lit i e s fo r which S w ltcerlan d Is e s p e c ia lly known), auch f a n ta s tic g a n g s te rIs a can go on w ith o u t anybody's know led g e. There was a h in t o f t h i s in Tha S u sp ic io n . *** Tha g ro tesq u e q u a lity o f t h i s is In c o n g ru ity . B rock-S ulcar th in k s t h a t , w ith h is o v e r-11f a s I c e , s u p e r- e v il fin an ce d esp e rad o s, D U rrenaett wanted to show th e l a s t sta g e o f In d iv id u a l e n te r p r is e b e fo re the t r a n s l - ***Sunra. pp. 269-70. . . und a s w ill a lc h s c h ie r bedttnken, Dass s le a l i a beIda s tln k e n ." ***Suora. p. 144. 311 tlo n in to th a modern c o rp o ra tio n , th a SoclWW A n o n v a . th a t 122 haa o ar d a f ln ltlo n a a no mora faca o r I n d iv id u a lity . "No, n o , no, va a u a t not ba so ra d ic a l!* sin g s th a o ld p ra s ld a n t whan Nr a . Prank w lah ta to "blow up" th a whola bank by a f u l l p u b lic co n fa a a lo n , and c o n tln u a a : I f you had a fav hundrad a l l l i o n la a a d ab ta and two doaan anirdara la a a on your co n a clan ca, va co u ld t a lk about i t . I would d a a l h a ra h ly w ith you . . . but now? 1 would hava to throw ovar th a a n t l r a w orld o rd a r, ay d a a r. X a u a t th in k o f th a l n t a r r a la t l o n o f th ln g a ; J u a tle a and in ju a tlc a a ra to o a u b tly aaah ad , ao th a t only t r l f l a a p a r a lt In ta r fa ra n c a -- b u t what you hava dona goas In to th a g ra n d lo a a . No, no, d o n 't axpact punla h aan t fro a a a ; axpact o n ly m ercy.*22 But aha g a ta a g ra a t d aa l a o ra than m ercy--ha hands h a r a la rg a govarnaant chack In o rd a r to aava th a bank fro a c o lla p a a : "Tha S ta ta Bank h alp a and paya fo r your fra u d e -- t h a t 'a how you and I g at o u t o f I t b a a t." Thaaa a ra th a ahadaa o f p o st-w ar G araany, whosa c r la a a a g a ln a t th a w orld had baan ao enormous and so m onstrous th a t no Nuremberg t r l a l a and no " d a n a a lflc a tlo n " could ad e q u ately d a a l w ith th a n . So th a v ic t o r s andad up fin a n c in g th a r a h a b l ll t a tl o n o f th a vanquished c rim in a ls and r a ln a ta tln g many o f th a 122 ***Brock-Sulter, op. clt.. pp. 68-70. *22Frank V. op. clt.. p. 87. 3 1 2 f o n i r economic «nd M ilitary leaders--because the a lte rn a tiv e s (so we were to ld ) would have been chaos and commu- So we see th a t th e m o relIst,D V rren m att, has h is In n in g s h e re . In tdiat Is one o f th e c e n tr a l sc e n e s, o r th e c e n tr a l sc e n e , o f th e " o p e ra ,*' C h ief A ccountant g8ck- auinn In h is d a a th agony say s: N othing was n e c e ssa ry . . . not th e s li g h te s t fra u d , not a s in g le m urder. FRANK V: But Ittckwann, we c o u ld n 't do o th e rw ise . Our h e r ita g e was to o b i t t e r ; you know th e n , to o , th e unIm aginable w lsdeeds o f our fo re b e a rs ; you know th a t we had no o th e r cho ice th a n to go on w ardering and c h e a tin g , t h a t I t was Im possible to tu rn around. B0CK M A N N : You l i e . In every hour we could have tu rn e d around, in every I n s ta n t o f our e v il l i f e . There Is no in h e rita n c e th a t cannot be re fu s e d and no crim e th a t e u s t be done. W e were f r e e , . . . c re a te d In freedom and l e f t to freedom . . .*** Whereupon Mrs. Frank r e lie v e s him o f h i s u n b earab le p a in s, p h y sic a l and m en tal, w ith a l i t t l e I n je c tio n , J u s t In tim e to have him " g e n tly pass away" b e fo re th e p r ie s t a r r iv e s to h ea r h is deathbed c o n fe ssio n (se e F igure 9 ). The claim th a t we a re " J u s t l i t t l e people" who have no c h o ic e , th a t we a re "v ic tim s o f circu m stan ce" and . p . 6 0 . Figure 9 Tha dying gbckairm 1* put out o f h i* a l a ir y and p rev en ted fro * nak in g any n b t r * r a is in g daathbad c o n f ia iio m by a q u ick in ja c tio n fro a M ri. P rank, w h ile Frank V • lng• h i* to Bleep. 3 1 5 " i l i v i i to «cono«lc n e c e s s ity " la th a g re a t a l i b i o f our t l a a , aq u a raly oppoaad to our a q u a lly hollow claim to ba "Lords o f th a B arth " and to llv a in tha**Cantury o f th a Cnnmnn N an." This la th a tw a n tla th c e n tu ry paradox o f C haptar 1 , ao a ta ta d by Jung. The v a ry aaaa excuse was glv an and la balng glvan by th a Garaana and by t h a l r apolo- g la ta aaong u i. D ttrrenm att h i t s a t t h l a p o in t a g a in and a g a in . In h la I t w t . r p r o b l — h . . . y . s In th is aaaa o f our c a n tu ry , in th la bankruptcy a a la o f th a w h lta ra c a , th a r a a ra no lo n g ar any « u llty o r r . i p o o . l b l . o n . . . *11 o f u . c .n n o t tw lp I t and did n o t y n t I t . • • a n to o c o u . c t l v . l y f u lity * to o c o ila c tiv a ly baddad in th a a ln a o f our a th a ra and f o r a f a th a r a . Va a ra o n ly c h lld ra n * a c b i l- d ra n . Thla la o u r m isfo rtu n e , n o t our g u i l t . . . lM Thla la a la o th a ra v a rs a o f th a C h ris tia n paradox o f K larkagaard: "Tha f a t a l i s t haa no C o d --o r, d u t la th a aaaa th in g , h la God la n a c a a a lty . . . . I f Cod'* w i l l la only th a n acaaaary , Han la a a a a n tla lly aa ap aach lasa ao th a b r u t e s ." 1** •Gckaann, d a a p lta a l l h is w rongdolngo, la a n o th a r ax aap la o f D ttrra n a a tt's nob la a rc h a ty p a , th a v a lia n t o a r* so n , o n ly w ith th a lim ita tio n th a t ha doaa n o t g a t aa fa r ao th a v a lia n t d ee d , but o n ly to th a v a lia n t in s i g h t. At th la p o in t daath c u ts him o f f , aa i t doaa in ao many a r a a l tra g a d y . To p o in t o u t th a g ro tesq u e in Frank V would ba c a rry in g "c o als to M aw caatla," ao any ona can g a th e r from 1 2 * l b l d . . p p . 4 7 - 4 8 H<Supr«. p. 11. 316 th a p lo t a u m r y ; i fan ch o lca a a a p tii w ill do, lh a nax t to la a t acana ta k a a p laca In th a faaoua c o l l a r , a acana o f ■any a a c ra t " a x a c u tlo n a ," in fro n t o f th a v a u l t, to which avary ona o f th a th Laving awployaaa haa Many 11 la gal d u p ll- c a ta kaya. Ona by ona th a c h la f amployaaa a n ta r , a l l c a r r y lng haavy b la c k a u ltc a a a a , in which th ay c a rry t h a l r 111- g o tta n aa v ln g a , aandw lchaa, thanaoa fla a k a ( f o r th ay a l l ln ta n d to a ta y th a ra to guard t h a l r a a v ln g a ), and two a u to - aM tlc ra v o lv a ra aa ch , Which th ay kaap p o in ta d a t aach o th a r , w atching aach o th a r v h lla th ay gobbla t h a l r v lc tu a la . I f D flrrannatt d id n o t aaan t h l a aa a g ro taaq u a ta b la a u o f our w orld to d a y , ha ahould hava! I t la to o p a rfa c t to ba nlaaad.* T o lia r Gaaton Schwala (a w o n d arfu lly Incongruoua n a n a --Schwala aaana f a t o r g ra aaa) aInga an outragaoua t r a v - a a ty o f C ra tc h a n 'a apin n in g Whaal aong In F a u a t. In a ta ad o f "Halna Huh l a t h ln --n a ln Kara l a t achwar . . / ' h a a Lng a: Ha In Gald l a t fa la c h , HaLn Kara l a t wund . . . 127 (N fy aonay la f a la a , M y h a a rt la ao ra . . .) Whan, fo r purpoaaa o f lnauranca fra u d , arao n and c o llu a lo n a ra plaim ad w ith a larcanoua h o ta l ownar*a widow, and th an r a a l , ganulna lig h tn in g a tr lk a a th a h o ta l and c h a a ta th a c h a a ta ra o u t o f t h a l r wagaa o f a ln (aaa F lg u ra 10)--w han th a govartaaant, in vlaw o f th a n ag n ltu d a o f th a an b aaclad auna and c o n n ltta d c rla a a can do n o th in g b u t aava ***Frank V. o p , clt., p. 28. 317 F ig u re 10 The fra u d u le n t widow, though s u ffe rin g from M u ltip le burns su sta in e d when h e r h o te l burned down, due to a genuine " a c t o f God,'* Is d e lir io u s ly happy because she w ill not have to s p i l t th e In su ran ce money w ith Frank V and h is gang o f b la c k m a ile rs and e x t o r t i o n i s ts . w ■ ,\ 319 th e bank--w hen th e g a n g s te rs , to a s co id tlle m a y th a w a it in g betw een c rim e s, b la a t hyana In p ra is e o f "decency whan Frank V la fo rc e d , by h la own charw lng so n , to move In to h la v a u lt and ba lockad up fo r good to a ta rv a o r a s p h y x ia te --th e s e a ra a l l g an u ln aly lu d ic ro u s g ro ta a q u a ria a . Frank V haa baan compared to th a B ra c h t-V a lll Thraa Fanny Opara bacauaa o f I ta a n t l - c a p l t a l l a t l c tandancy and bacauaa o f g ra c h t d l t t l a a auch a s th a fo llo w in g wdiich a n tlc lp a ta D ttrren m att'a l y r i c s : "Be good and k in d "--c o u ld an y th in g ba d a a ra r? B ut, aad to sa y , t h i s happy s t a t a co m a n ev e r, For a itn a a ra s c a rc e , and man la f a r to o low. Who w o u ld n 't choosa to llv a In paaca f o r e v e r ! . But fo rc a o f c irc u n s ta n c a w o n 't hava I t a o !1ZB Honaaty and dacancy a r a apokan o f only " In th a paradox": Two th ln g a a ra th a p rld a o f our f i n . . .: no honaat b u aln asa tr a n s a c tio n was av ar concluded h e r e , and no money was a v a r paid back, and t h i s In c iv ic a c i t y whoaa honaaty and c iv ic In d u atrlo u an aaa haa bacons a byword a l l o v ar th a w o rld , and whoaa p o llc a la a n o d al o f o r g a n is a tio n .1*9 T his b e a rs out th a ln c o n a ru ltv n o tI f w entloned on page 310. A fte r a young employee who t r i e d to b la c k n a ll th e bank o f f i c e r s h as bean "tak e n c a re o f" In th a u su a l a f f l c l e n t m anner, h la f r ie n d , P lfu li, scream s: 'H ir d e r e r s ! " and Frank V r e p lie s g e n tly , "Only businessm an in d la tr e a a , my s o n ." L a te r, In a gay l i t t l e q u a r te t, th ey sin g : v e r: U n iv e rsity •o M L S 'r g a s ? m n q p i a p t e One (Denver g u ta r Nansch aeln ? J a , war w N r's n lc h t g a m ? / Doch la ld a r sln d a u f d le a a n S te rn e e b e n / Die N i t t e l U r g ll c h und d ie (tenschan r o h ./ War mBchte n lc h t In F rie d und E ln tra c h t le b e n r/ Doch d ie V e r h lltn la s e , a le sln d n lc h t so . lZ 9 v r.* k W pp. g l r - - p. 17. 320 f r a n k v ; ECLl: B O C K M A N N : FRANK V: ALL FWR: MtULl: ALL: What m g r a f t and W ilt v t g ra sp , What wa b la c k b a ll and c r a a ta , What wa n u rd a r, dupa, and c h a a t, lls u ra , a t a a l , and fa n ca, and 11a, W a a l l do bacauaa wa n u a t. How w a'd lova t o do th a good! I f wa want to llv a In w a a lth , B ualnasa d a a la w a'va got to naka-< And In th la naan w orld J u s t th a poor can g at a laugh For t h a l r dough. Yaa, In t h i s naan w orld J u a t th a poor can g at a laugh For t h a l r dough* FRANK V: ECLl: B O C K M A N N : FRANK V: ALL: Ha who h a s , w ust go on s ta a lln g . Who la r i c h , a u a t s t r a i n and s u f f a r . What wa do cannot ba h a lp a d . Our f a ta la a l l so s h a a s f u l, *Causa wa can n o t h a lp o u rs a lv a s . How w a'd lova t o do th a good! Howsvar* I f wa wantad t o ba poor, B ankruptcy w a'd hava to f l l a , And In th la naan world J u s t th a poor can g at a laugh For t h a l r d o u g h .13® Frank V w a lla In s s l f - p l t y : I an no bank d l r a c to r , I an , u n fo rtu n a ta ly , a th o ro u g h ly good nan. . . . I f 1 look upon ny fo ra - b a a rs , I sin k In to th a ground w ith ahana. Thay d i d n 't glva a daan fo r l l t a r a t u r a . Tha word " c h a r ity " th ay n av ar h aa rd o f . Thay navar aaw th a l n t a r l o r o f a ch u rch , b u t th ay w ara chock f u l l o f v i t a l fo rc a . And what d la c lp lln a th ay k ap t! Thay ru ln a d whola c o u n trla a by t h a l r n a c h ln a tlo n s , but t h a l r anployaas w ara, w ith o u t a a c s p tlo n , d a- c a n t p ao p la. And 1? A ll ny anployaas s a fe s is la , avan th a c ls a n ln g wonan a t a a l s , and I d o n 't d ara to t a l l h a r a n y th in g , fo r f a a r sha n ig h t know l 3 0 I b l d . . p p . W - l l . 321 ■ o a tth in g . . . . Oht why c a n 't 1 be on* o f th o se h e a lth y , stro n g b u sIn * ■ta tn lik e ay a n c e s to r s ? ! 131 Hera la a pap t a l k by E g lt, th a C h ief o f P erson n e l: G aston S c h a a ls, Z J u s t sew you p ark your o ld Volkswagen. O bviously, you d o n 't want t o go in to d e b t, you w ant to save aoney, sake your s e l f Independent o f us! M o b a c k ta lk , now: n ext week y o u 'l l buy y o u rs e lf a lu lc k d ilc h w ill keep you on th e edge o f b an k ru p tcy , where you a re supposed to b e, g e t I t? ! . . . You, K appeler, w ith your g i r l frie n d --y o u d o n 't propose to a a rry th e g i r l ? ! KAPPELER: Next week. H r. E g ll. She Is p re g n an t. BCL1: P regnant?! I s th a t an excuse to a c t lik e a c o a p le te ly d ecen t person? . . . C h ild le s s w* a u s t go to h e l l , K appeler! Y o u 'll d itc h th e g i r l . That auch Inner decency I can ex p ect o f you. . . * H V berlln, l a s t Sunday I a s t you In th e Holy Ghost C hurch. U h a t's th e a a t t e r w ith you?! 1 a u st w arn you. You, w ith a l l your k n a v e rie s--y o u pray and sin g "A M ighty F o r t r e s s Is Our Cod"??! 1 fin d t h i s o u trag e o u s. You a c t as I f you were Head o f P erso n n el. P le a se ! 2 c *n a f fo rd to S° 1° c h u rc h --! a u s t c o a il t such enoraous c r la e s a l l th a t l a s th a t 1 n ev er g et In danger o f c o n s id e rin g a y s a lf h o n e st. But you th re e t e l l e r s , in your q u ie t Jo b s, w ith your l i t t l e s w ln d le s --fo r you th e danger to go s t r a i g h t I s overw helalng, and th en w e 're In tr o u b le . D is c ip lin e , g e n tle a tn , God daan I t ! Once th e bank Is liq u id a te d , you can a l l e n te r th e S a lv a tio n A ray, a s f a r a s l ' a co n cern ed , b u t u n t i l th e n you s ta y g a n g s te rs . 1 ap p eal to your c o n sc ie n c e . Now o f f to your d u tie s - - a a r c h ! 1^2 • P* I f th e te n s "rugged In d iv id u a l i s t " e x is te d In German, Frank V would probably u se I t h e r e . l 3 2 I b l d . , p p . 2 4 - 3 . 32* D U rranaatt has s a id th a t th a ld aa fo r rra n h V f i r a t caae t o h la a f t a r seein g a perform ance o f S h a k e sp e a re 's T ltu a A ndronlcus. W a can w a ll b a lla v a i t ; th a In c re d ib ly crude h o rro ra o f th la l n f a r lo r e f f o r t o f th e Bard can In - a p lra only com plete re v u ls io n o r a g ro te sq u e to and a l l g ro te a q u e s--a n d th la la What fra n k V became. D U rranaatt •v an acknowledges h la d e b t to Shakaapeare in an opening nuaber c a lle d "L ika Haroaa o f S h ak eap aare." The g re a t m istake D U rranaatt aada waa to m isjudge th a a la a o f t h l a opus. H la e a rly c a b a re t e x p e rie n c e w ith th a C abaret C ornlchon a la la d h la In to ex te n d in g a p o te n ti a l l y g re a t a u e lc a l • k etch in a re v u e , p o a a lb ly f a r t Ona o f two o r th re e in an evening o f p o l l t l c o - a a t l r l c a l c a b a re t,133 o r a a u e lc a l c u r ta in r a l a e r lik e The Telephone by H e n o ttl o r a .s .v .P .h v Offenbach In to a f u ll- le n g th a tag e work, but th e re la not enough a a a t on I t fo r a f u l l e v e n in g 'a f a r e . In any r e a l o p e ra , and even In th e t r l t a a t o f o p e r e tta s o r a u a lc a la , th e audience a u s t em pathize w ith so aeone o r soaa- t h l n a . In fra n k V th e re la not a a In g le c h a ra c te r o r a s in g le cause In tdilch we could have th e a llg h te a t p erao n al I n t e r e s t . There la not a s in g le a t t r a c t i v e fe a a le In I t , th e re fo re no love a to ry , no sym pathy, no i d e n t i f i c a t i o n . D U rranaatt had th e good sense to w ithdraw fra n k V from t h e a t r i c a l re le a s e In o rd e r to r e v is e I t . S ince h is t r a d i t i o n a l and popular European e n te r ta ln a e n t I n s t i t u t i o n - - I n t h i s c o u n try re p re se n te d o n ly by sp o ra d ic e f f o r t s such a s f in s and H eed las, f l y . B la c k b ird , e t c . 3 2 f t a l e n t to be o f th e b u lld o g v a r l i t y which never ib a n - doni an id aa u n t i l i t has baan f u lly r e a l is e d , wa sa y y et ■aa an e x c e lle n t naw v e rs io n o f t h i s o tran g a e x p e rla s n t. In c o n c lu sio n , wa sa y say th a t th a fu n d a a e n ta l weakness o f th a a ln o r d r a a a tic works tr a a ta d in t h i s chap* t a r is th a t D U rranaatt h as tra d a d away h is d r a a a tlc b i r t h r ig h t fo r a pot o f w a a sa g s, to usa an o ld pun. Ha o fta n d is p la y s th a paradox and g ro tesq u e lik a a b an n ar; ha aak es thaw h is c a n tr a l purpoaa around which ha w rlta s a p la y . With th a p o sa lb la a x c a p tlo n o f th a b a g g a r, A kkl, in An Anasi Cowss to B abvion. th a ra is not a s in g la w ara, th re e -d la e n - s Io n a I, fla sh -a n d -b lo o d c h a ra c ta r w ith whoa wa can ld a n tlf y and fo r whoa wa can f a a l lo v a , a f f a c tio n , o r a t la a s t con c e rn . Vhat B rscht a sa n t w ith h is ’’a lls n a tio n s f f s c t , ” b u t h l a a e l f , lu c k ily , navar c a r r ie d through to i t s lo g ic a l ex - t r a a s in h i s w onderful l a ta p la y s , i s a c c o a p llsh e d by DUr r a n a a tt. Tha r e s u l t i s I n te r e s tin g and p ro v o c ativ e but n o t s a tis f y in g . W a w atch and l i s t e n , b u t wa do n o t c a re what happens to th a c h a r a c te r s . I f B rec h t, th a t h e o r i s t (not th a p r a c t i t i o n e r ! ) , th a e a r ly D U rran aatt, and th a exponents o f a n tl- d r a a a wara r i g h t , th an tw a n ty -flv a hundred y e a rs o f w orld d ra aa would ba dead w rong--but th a in v e s tig a to r chooses to ta k a h is stan d w ith th a kind o f d ra aa tdiose p u r pose i t alw ays w as, and i s , to aova us and to Involve u s. CHAPTDt V INK PA R A D O X A N D GROTESQUE IN IKE THRU M A JO R FULL-UNCTH PLAYS Whereae th e m inor playe diecuaaed In C hapter IV B uffered from to o much me aaage and a to o d a lib a r a ta d le - p lay o f paradox and g ro tee q u e, th a th r a a m ajor playa a ra good th a a ta r . Paradox and g ro te a q u e rle a ra no longer gadgeta and d e v lc a a t h u t become p a rta o f an o rg a n ic td io le. A lien atio n * though a t 11I p re v a le n t, la toned down fa r enough ao th a t we can aym pathlae a t le a a t w ith th e p ro ta g - o n la ta . Romulue d e r C roaae«-olna u n « , c h l c h t l t c h , h t« to rt« c h » KoatMU CKowulu, t h , C tM t--» n U n h la to rlc H la to r lc a l Comedy) The f l r a t v e ra lo n o f th la p lay waa w r itte n In 1946 and had i t a prem iere on A p ril 25, 1946, a t th e S ta d t- th e a te r In R aale. I t waa an immediate eucceaa, acco rd in g to D l l l e r , and waa played on Swlaa and German atag ea 324 326 t h e r e a f t e r . A ll th a more a s to n is h in g la i t th a t th a drama- t l a t took up th e p lay ag a in e ig h t yaara l a t e r , in 1936, and re v is e d i t . 1 E a p e c la ily th a fo u rth and l a a t a c t vas d r a s t i c a l l y changed and given a new h eig h ten ed m eaning. T hla aecond v e rsio n vaa produced a t th e S chauapleihaua ZUrlch on O ctober 24, 1937. Follow ing O i l i e r 'a exam ple, th e v e rs io n s v l l l be r e f e r r e d to a s Romulus I and Romulus I I . S in ce th a second v e rs io n is g e n e ra lly co n sid ered a g re a t improvement upon th e f i r s t , t h i s a n a ly s is d e a ls v l th Romulus I I . PLOT SU1M ARY: The a c tio n o f Romulus I ta k e s p la c e in J u ly o f 476 A .D ., o f Romulus I I d u rin g th e Id e s o f March o f th e sane y e a r. The place i s th e s o -c a lle d "summer re s id e n c e ," a c tu a lly th a permanent re s id e n c e , o f Romulus, la s t em peror o f th e dying Roman E n p lra; i t Is a d ila p id a te d v i l l a in th e p ro v in ce o f Campania, n o t to o fa r from M aples. The E m peror's only I n t e r e s t , to th e d e s p a ir o f h is fam ily and c o u r t, is ch ick en r a is in g . An o f f ic e r g a llo p s in to th e c o u rty a rd on a c o l la p s in g h o rs e , v l t h th e d is a s tr o u s nevs th a t th e l a s t R om ulus d e r C rosse (3 rd e d .; ZU rlch: V erlag d e r A rche, 1961), 66 pages. 2 The d iffe re n c e is s ig n i f i c a n t , a s v l l l be shown l a t e r . 326 Roaen a ra y ha* su rre n d ere d to th* T eutonic invader*. Everyone 1* e i t h e r p a ra ly se d w ith f e a r o r ta lk * h e ro ic a lly about f ig h tin g to th e d e a th ; only th e Eaperor I* u t t e r l y c a la . He r e je c t* th e d e sp e ra te ae«sure* proposed by h i* c o u r tie r * and s t a f f and 1* th e re fo re c o n sid ered a t r a i t o r to Roae. Unbeknownst to each o th e r , v a rio u s c o u r tie r s and a l l l t a r y aen t r y to a s s a s s in a te th e E aperor. He ex poses th e w ould-be a s s a s s in s and c a la ly c o n fro n ts th e a w ith h is c o n v ic tio n th a t th e Roaen E ap ire has becoae a bloody, decadent ty ran n y tdilch Is n o t w orth saving and should be liq u id a te d w ith a s l i t t l e fu ss and bloodshed as p o s s ib le . Unable to g ra sp th e E a p e ro r's e n lig h te n e d re a so n in g , th* a s s a s s in s s tu p id ly advance on h la w ith daggers drawn, tdten a p ie rc in g cry "The T eutons are coalngt*' aakas th e n s c a tt e r and run away in p an ic. A c tu a lly th e T eutons a re n o t due u n t i l th e follow ing a o ro ln g , so th e E aperor goes to bed fo r a good n l £ i t 'e s le e p . The l a s t a c t d i f f e r s sh a rp ly In th e two v e rs io n s . In R oaulus I . th e nex t a o m ln g fin d s R aaulus w ell r e s te d . His c o u rt and h is f a a lly have f le d , except fo r h i s two f a it h f u l o ld ch am b erlain s. A fte r se rv in g 327 h i* b n a k f i i t Cor th * l a s t t i a e , a ls o th a t* two old se rv a n ts a ra d la a la a e d and la a v a . O doacar, th * la a d a r o f th* T autona, e n te r s , d a ta ra ln a d to k i l l th* E ap ero r, aa plannad. In ta lk in g to R oaulua, how ever, ha d ls - covara t h a t th a E ap aro r, Ilk a h l a s e l f , la an an th u sl* a a tl c ch lck an b ra a d a r and f a n c la r . Tha two aan bacoae f a a t frla n d s* Roaulua proves to Odoacar th a fo o lla h - naaa and u a a la sa n a ss o f bloodahad and revanga w hich, I f c o n tin u e d , w i ll only b raad a» r* bloodahad and ra - vang*. f u l l o f a d a lr a tlo n fo r th* suparftor wlsdoai o f th a Roaan, Odoacar a u b a lts h l a s a l f , h la a ra y , and a l l th a t a r r l t o r l a s conquarad by h la to th * E aparor. Thua Roaulua h o ld s sway ag a in fo r a a o a a n t, aa d id th * aa p a ro ra a t th a t l a a o f t h a l r g ra a ta a t g lo ry , ov ar th* a n tlr * Roaan E ap lr* . Rut o n ly fo r a a o a s n t- - f o r ha doaa n o t want th a a a p lr a . Ha d la a o lv a a I t r ig h t than and t h a n , naaaa Odoacar King o f I t a l y , and pans Iona h l a a a l f , ao a s to anjoy a p a a c a fu l and c o a fo rta b la old In Roaulua IX, th a E aparor la a rn s d u rin g h la la s t a a a l (In t h la v e rs io n ha f u lly e x p e c ts to ba k i lle d by th a T autona) fro a h is ch aafcerlaln s th a t h is whola f a a l l y . In t h a l r d a a p a ra ta a tta a p t to roach S ic ily on 320 a r a f t , hava drowned, A fte r th a cham berlains hava baan d ism isse d , Odoacar a n ta r a , v ary u n o s te n ta tio u s ly t look ing more Ilk a a Canaan t o u r i s t th a n a v ic to r io u s M ili ta r y le a d e r, accom panied by h is obsequious young nephew, T haodoric. Again th a E aparor and O doacar, dua to t h a l r coasson l n t a r a s t In chlckan b ra a d ln g , ta k a an ijB a d la ta stro n g lik in g to aach o th a r . Only t h i s tim e , Romulus c o n s id e rs th a s a c r i f i c e o f h is own U f a th a only f i t t i n g and t o h is d e lib e r a te s a c r i f i c e o f th a em pire, and bags Odoacar to k i l l h l a , i u t O doacar, a p e a c e -lo v in g , th o ro u g h ly r a ti o n a l a a n , caaa to I t a l y w ith th a In te n tio n o f su rre n d e rin g h is a ra y and h is co u n try to th a B aparor, about whoaa g re a t w lsdoa ha had long baan Inform ed through h is s p ie s a t th a Im per i a l c o u r t. I t develops t h a t , w h ile Romulus fe a rs th e bloody p a st o f th e Roman Em pire, Odoacar fe a rs th e bloody fu tu re o f th e T eutonic r u le and t r i e s to avoid I t . In th a en d , both man r e a l i s e th a t th ey cannot change h ls to r y - - th e y a re both d e fe a te d In t h a l r alm s. Romulus Is p revented from dying th e h e ro ic d ea th ha had planned fo r h im se lf and has to go In to In g lo rio u s re tire m e n t. Odoacar must become King o f I t a l y a g a in s t h is w i l l , fo re se e in g t h a t . In a few y e a rs , ha w il l be 3 2 9 overthrow n and k i lle d by h la e a b ltlo u a nephew, Theo dor l c , th e fu tu re 'T heodor1c th e G re e t." lo e u lm th e G re e t, even In I t e f l r a t v e rsio n In 1940, was c e r te ln ly f e r end ewey th e b e a t p la y o f DUrren- a a t t 's u n t i l The V is it In 1 9 5 6 --b est froai th a sta n d p o in t o f te c h n ic a l c o n s tru c tio n , b e s t In th e c r y s t a l l i n e c l a r i t y and Shavian w it o f I t s d ia lo g u e , and b e s t In c r e a tin g a r e a lly g r e a t, f u lly rounded p e rs o n a lity whoa we lo v e . In th e en d , e la o s t lik e a b ro th e r . There Is o nly one o th e r c h a ra c te r In a l l o f th a a u th o r 's p lay s fo r whoa we can f e e l a s l a l l e r w ara a f f e c t Io n --th e beggar Akkl In An Ansel Coass to B abvlon. but Roaulus Is r e a lly an e n lig h te n e d aodern nan, th e kind o f aan aany o f us would lik e to b e , and th e re fo re auch c lo s e r to ue th an A kkl. D U rranaatt*a s t r i v ing f o r " d is ta n c e " c e r ta in ly broke down In th e case o f k o a u lu s -- lu c k ily . J u s t a s B re c h t's s te r n " a lie n a tio n " broke down w ith Mother C ourage, Shen Te, and G e l l l e l - - a ls o lu c k ily . In th a fo llo w in g scen e-b y -scen e d e s c r ip tio n and a n a ly s is , Roaulua I I w i ll be u sed , as announced e a r l i e r , end R oaulus I w i l l be r e f e r r e d to only When th e d i f f e r ences between th e two v e rs io n s a re s ig n i f i c a n t . 350 The v ary t i t la o f t h i s coaady la * p arad ok: Roaulua A u auatulua. a nlck n aaa aaan ln g "A uguatlklna" o r " th a l l t t i a A uguatua," la d a f la n tly ranaaad "Roaulua th a G ra at" by D U rran aatt. Why? laca u aa ha l a , In t r u t h , g ra a t by v l r - tu a o f l a t t l n g h la a a p lra p a ria h . Ha doaa I t out o f In* a lg h t In to th a w o rthlaaanaaa and vaaknaaa o f th a r u lin g c a a ta , aa a Judga ovar a h l a t o r l c p aat whoaa g lo ry and a lg h t waa foundad on an ln a a n a lty o f h o rro ra and c r la a a . Tha a u b t l t l a , " a ln a u n a a a c h lc h tllc h a h la to rla c h a KoaBdla." la a aacond paradox: " h l a t o r l c ," bacauaa I t la baaad on a h la t o r lc f a c t , th a c o lla p a a o f th a Roaan la p a r- lu a undar th a o nalaught o f th a C araanlc fo rc a a In 476 A .D ., and " u n h la to r lc ," bacauaa D U rranaatt d a p lc ta th a f i n a l bankruptcy and liq u id a tio n o f th a a a p lr a , n o t aa I t waa, b u t "aa I t could hava baan, aa I t ahould hava baan I f God and nan bahavad raaao n ab ly acco rd in g to th a Im agination o f th la 3 2 -yaar*old praauawd C a lv ln la t." ^ Tha r a a l Roaulua A uguatulua, la a t Roaan a a p a ro r o f th a W aat, d id n o t r u la tw anty y a a ra , aa In D U rranaatt*a coaady, b u t la a a th an ona y a a r, fro a O ctobar 31, A.D. 475, ^R udolf S tobba, "Hut s u r L U c h a rllc h k a lt: Zu P rla d rlc h D U rranaatta RoaUdla 'R oaulua d a r C ro aaa.* " Dla V olkabO ina. IV (A ugust, 1953), p. 16. 331 to S «ptM b«r 4 , 476. (He) was e le v a te d to th e th ro n e by h ie f a th e r , O ra a ta a , 'W a t e r o f th a a o ld la ry " . . . who drove th a e a p e ro r J u liu s (Napoa) to D a la a tla In th a aua- a e r o f 475. R oaulua, who waa th an probably 14 y aara o ld , owad h la f i r s t naaa to an u n cle . . . h la nlcknaaa ha probably owad to th a b a rb a ria n a o ld la ry ; and by th e e e two chancea th a la a t e a p e r or aucceaaor o f a J u llu a C aeaar bora th a naaa a both o f th a f l r a t ea p a ro r and th e f l r a t k in g . The ra ln a o f power wara n a tu r a lly h e ld fo r h la by h la f a th e r , O re e te a , n o r la th e re any event o f h la re ig n w orthy o f re co rd ex cep t th e co n elu aIo n of peace w ith C a la e rlc th a V andal. S h o rtly a f t e r h la e le v a tio n to th a th ro n e , th a b a rb a ria n a e rc e n a rla a in th a a e rv lc e o f Roaa p reaen ted to R oaulua' f a th e r , O re atea, a daaand th a t th ay ahould ba a l l o t t e d o n e -th ird o f th a lande o f a l l I t a l y . With a l a a t f li c k e r o f Roaan courage and p r id e , O raataa ra fu a a d ; th a a e rc e n a rla a re v o lte d under t h a l r le a d e r and I n s ti g a to r , Odoacar (Auguat 23, 4 7 6 ), and In a v ary ab o rt td tlle O raataa waa d efeated and beheaded, and th a W aatarn a a p lra cane to an and. Tha v lc to rlo u e Odoacar waa touched by th a beauty and h eip leae n eae o f Roaxilua, and apared h la l i f e , o rd e rin g h l a to r e t i r e to th e v i l l a b u i l t by L ucullue fo u r c e n tu rle e b e fo re , n e a r N aples, Hare ha died a t a d a ta unknown to u s .5 D U rranaatt hae dona, In b r i e f , e x a c tly what ha b e lle v e a th a poet ahould do w ith h l a to r l c fa c ta and c h a r a c te r s , I . e . , to "p rocaaa" them , naka them g ro te sq u e , o r o th erw ise p re se n t th a n knowingly in c o n tra s t to what th ay *1hla la where D U rranaatt picked up th a naaa O raataa fo r Roaulua* d e fe a te d g e n e ra l. 5"Roaulua A u g u atu lu a," E ncyclopaedia I r l t a n n l c a . 1956 E d ., V ol. XIX, p. 522. 332 r e a l ty w ar# .6 In d e fe n ta o f h la p ro c e d u re , he uaaa aa a • o t t o fo r Roaulua a q u o ta tio n fro a L lc h te n b e rg :^ Tha R taat t r i c k o f ta k in g a a a ll d a v la tlo n a fro a th a tr u th fo r t r u th I t a a l f on which th a whole d i f f e r e n t i a l c a lc u la tio n la baaed, la a t th a aaaa t l a a th a b a a la o f our w itty thought a , w h ile th a Whole th in g would caaaa to e x le t I f wa fudged th a d a v la tlo n a w ith p h llo ao p h lc e tr lc tn e a a .* W hile th a In tro d u c to ry ra a a rk a about a a ttln g and aood a ra n o t aa len g th y or aa w itty aa th o aa fo r H l t t l t * e lp p l o r Die P h v tlk e r. th ay a ra Im portant enough to ba tr a n a la ta d : W e count th a y ear 476. On an e a r ly Harch a o rn ln g , th a p re fe c t S purlua T ltu e M b m b on a dying h o raa raachaa th e ta p e r le t auaaar re a ld e n c e In C aapanla, In h a b ite d by Hla H ajeaty a la o In th a w in te r. Ha Juapa o f f , d lr t- a n c r u a te d , p a in f u lly , th a l e f t e ra In a b lo o d -aaaarad bandage, a tu a b le a , ac araa up I v a n a e flo c k a o f c a c k lin g ch lck e n e, h a a ta n a --a ln c a he fln d a no one*-through th a v i l l a and f i n a l l y e n te r a th a B aperor*a atu d y . At f l r a t , h a r e , to o , e v e ry th in g aaaaa ea p ty and d a a o la ta . Only a few c h a I r a , r ic k e ty , n ear c o lla p a e ; on th a w alla th a v e n e ra b le b u tte o f a ta ta a a a n , th in k e ra , and p o eta o f Roaan h la to r y , a l l w ith aoatw hat exag g e ra te d ly a e rlo u e fe e a a .9 4C f. a u p ra . pp. 76-77. 7Ceorg C h rlato p h L ich tan b arg (1742-1799) waa a Canaan a a t l r l a t and h u a o r la t, p ro a ln e n t aaong Garaan w r it- a ra o f th a 16th c e n tu ry . ^Roaulua der Croaaa. op. c l t .. p. v ll. 9tbtd. . p. vlll. 333 Her* i§ th a f l r a t axawpla o f D U rranw att'a gro taaq u a p lay in g w ith n aaaa, "S purlua T ltu a Nw m " la a w o n d erfu lly lnconaruoua com bin ation, la a d ln g to n u airo u a a a a o c la tlo n a : " • p u r lo u t" h e r o i c a - - I I t t l a a i a a 'a b o y - - f a tty , b u aty w uacle- aan (J u a t aa Jon H all* th a fo n aar "T arran o f th a A pa a ," a t an advancad atag a o f h la developm ent), a t e . ; alm oat an y th in g la p o a a lb la . At l a a t , th a p ra fa c t n o tlc a a to a l t h a r ald a o f th a up ataga door two v ary o ld c h a a b e rla ln a , g ra y , lv o v a b la Ilk a a ta tu a a : Pyramua and A c h llla a , fo r a lx ty y aara In th a a a rv ic a o f th a Rowan em perora. Tha naaaa Pyraaua and A c h llla a , both atan d ln g fo r y o u th , v ig o r, and b a a u ty , uaad fo r th aaa two o ld f o a a lla , a ra a n o th a r a f f a c t o f conic In c o n g ru ity . Whan th a p ra fa c t b lu r ta o u t th a t ha muat apaak to th a E aparor a t onca, th a t th a nawa th a t ha b rln g a la o f th a utm oat Im portance and b aa ra no d a la y , ha la to ld th a t a t th a c o u rt o f a Rowan aw paror th a ra la no h u rry about a n y th in g . By going th ro u g h th a wajor-dowo and th a M ln la ta r o f th a I n t a r l o r , ha way ba a b la to d a llv a r h la waaaaga In paraon to th a E aparor w ith in a faw day a o r waaka. Ha run a o u t In d a a p a lr, axe la Iw ln g : "U n fo rtu n ate Rowat Two chaw- b a r la ln a hava cauaad your f a l l ! " C a lc If la d b u raau cracy la alwaya a good a u b ja c t fo r 334 b u rle sq u e end g ro tesq u e s e t I r e , e s p e c ia lly In Europe tdiere o ffic ia ld o m la so much o ld e r and more f in e ly en tren ch ed th an In a younger c o u n try , lik e th e U nited S ta te s . The in h e re n t comic e f f e c t I s d e riv e d from m ental r l a l d i t v . The Emperor e n te r s . "H is M ajesty Is over f i f t y , calm , c o m fo rta b le , and c le a r-h e a d e d ." I t Is e s ta b lis h e d a t t h i s p o in t t h a t th e Id es o f March a re h e re --a h i s t o r i c d a te o f Im portance a ls o In t h i s p la y . W e h ea r th a t th e M in is te r o f F inance has fle d w ith th e empty exchequer, hoping to v e i l , In t h i s way, th e bankruptcy o f th e s t a t e fin a n c e s . Komulus su g g e sts t h a t th e f u g itiv e m in is te r be given th e t i t l e o f "S av io r o f th e F a th e rla n d ," and hopes th a t th e w orthy man w i ll re c o v e r, In h i s new Job a s a c co u n ta n t fo r a S yracusan wine firm , from th e lo s s e s su s ta in e d In government s e rv ic e . Though Roswlus re g a rd s th e t r a d i t i o n o f paying c i v i l s e rv a n ts as "an o ld s u p e r s ti t i o n ," he does pay h is two f a i t h f u l o ld cham berlains by b re a k in g o f f two gold le a v e s from h is sa d ly denuded golden c o ro n e t, and ask s to be g iv en back th e change so t h a t he can pay th e cook, "th e most Im portant man o f ny e m p ire ," Again D U rrenm stt1s love fo r th e c u lin a ry a r t ! The im per i a l b re a k fa s t fo llo w s, d u rin g which we a re ac q u a in te d w ith Romulus' g re a t hobby o f ch ick en r a is in g . 335 Why c h lc k a n s, o f a l l th in g s ? Why n o t r o t a s , o r h o rs a s , which would s a a a such a o ra f i t t i n g fo r an a a p a ro r, a sk s R rock-S ulxar. D U rranaatt found t h i s d a t a i l in soaa apo cry p h al so u rc a , b u t th a ch lck an la r a a lly a v ary stag a* w orthy a n la a l: avary day I t laya an agg**or sh o u ld , a t la a a t* - th a rb y fo llo w in g th a u n ity o f t i n s w ith ao ra con- s la ta n c y th a n aany a c l a s s i c d r a a a t l s t . T his coaady l a s t s fro a ona b ra a k fa s t to th a naxt o n a; n a lth a r ro s a s n o r h o rs a s could a s s a r t th a a s a lv a s v a ry d r a s t i c a l l y In t h i s t l a t - - o n l y ch lc k a n t hava th a t la s - ta la s c o p in g q u a lity g a r- aana to d ra a a . T his chlckan y ard g lv as D U rranaatt a goldan o p p o rtu n ity to in d u lg a In fun w ith n a a a t: a l l h tn s a r a naaad a f t a r Roaan a a p a ro rs . Ona tAiola group o f hans a ra c a lla d th a J u l l l , a n o th a r ona th a F l a v l l , th a r a s t a ra naaad a f t a r In d iv id u a l a a p a ro rs and o th a r la a d a rs . T his r a a u l ts In th a fo llo w in g axchanga: ROM ULUS: Augustus has laid n o th in g ? FYRAM US: N othing, a lr a . ROM ULUS: T lb a rlu s? PYRAWS: N othing a t a l l f r o a th a J u l l l . ROM ULUS: And th a F la v ll? PYRAMJS: D oalt la n . Rut Your H a ja sty , by a x p rass coaaand, d o ts n o t w ish to a a t any o f h is ag g s. * °E llsa b a th B ro c k -S u lsa r, F r ltd r lc h D U rran aatt: S ta tio n a n s a ln a s Warkaa (ZU rlch: V arlag d a r A rc h a , 1960), p . i i . 336 ROWUJS: D o a ltiin m i ■ bad a a p a ro r. Ha My la y • I f i as auch a s ha w anta, 1 w o n 't a a t th e* . PYRAWS: As Your M ajaaty w lahea. (HIS M AJESTY SPOONS O U T THE EOG) EOttlLUS: Whoaa « u la th la ? nRAW S: Harcua A u r e liu s ', aa u a u a l. EONULUS: A s ta lw a r t han. Ih a o th a r a a p a ro rs a r e n 't worth a daan. Haa anyone a la a la id anything? PYRAWS: O doacar. (HE IS SO M E W H A T EM BARRASSED) EONULUS: W all, v a i l ! PYKAM US: IWo ag g a. EONULUS: E n o rm ia! And ay coamandar O ra a ta a , who la aupposed t o b e a t th la T eutonic p rin ce? PYRAWS: N othing. EONULUS: N othing. I navar did th in k much o f h l a . I would Ilk a t o aaa h la to n ig h t on m y t a b l e , s tu f f e d w ith c h a a tn u ta . PYRAWS: Vary w a ll, Your N eje aty . (HIS M AJESTY EATS H A M A N D READ) EONULUS: Of m y naaaaakc you hava n o th in g to re p o rt? FYEAM US: She la th a a o tt noble and ta le n te d fowl wa own, a to p product o f Roman p o u ltry b re a d in g . EONULUS: Doea th a noble fowl la y anything? (PYRAWS LOOKS APPEALINGLY AT ACHILLES) ACHILLES: A la o a t, Your M ajesty. ROWLUS: A laoat? What do you a a a n , a la o a t? E ith e r a han la y a , o r I t d o e a n 't. ACHILLES: Not y e t , my E aparor. EONULUS: Mot a v a r. Whoever w o n 't do In th a n e a t w i l l do In th a c a a a a ro la . Tha cook aay p re p are a a , O raataa, and C a ra c a lla . PYRAWS: C a ra c a lla you a te day b e fo re y aa ta rd ay w ith Ih lllp u a Araba and th a aap arag u a. Your M ajaaty. ROWLUS: Than l a t h la tak a ay p re d e c e a a o r, J u llu a M epos--he w a s n 't w orth a n y th in g , e i t h e r . And In fu tu re I w lah to aaa th a agga o f th a han O doacar, who an jo y a ay f u l l ayapathy, on m y b ra a k fa a t t a b l e . I h la han a u ic ba an a a to n la h - Ing t a l e n t . (Sea F igure l l . ) 11 11EoMulua dar Croaaa. op. clt., pp. 7-9. Figure 11 Flanked by th a two aged ch a afce rlaln s, th e E aperor co aaen te on th e e g g -la y in g c a p a b ili ti e s o f h is hens* € ? V T his sc e n t re a ln d s us o f t h t a ls o v ery a su sln g 'H o eggs? No eg g s?!" opening scene In Shaw's S a in t Jo a n . In to th e rooa ru sh e s th e H ln ls te r o f th e I n t e r i o r , T u lliu s Rotundua (a g ain a g ro tesq u e n a a s ! ) , tr y in g to p e r suade th e E aperor to re c e iv e th e P re fe c t S p u rlu s T itu s Means, who has g allo p ed fo r two whole days and n ig h ts to b rin g th e E aperor f a te f u l news fro a P avla. "Two days and two n ig h ts !" a a rv e ls th e E ap ero r, "sake h la a k n ig h t fo r t h i s a t h l e t i c fe a t.* 1 But he does n o t want to re c e iv e h l a and su g g ests th a t " th e a th le te " be put in to th e q u ie te s t g u est ro o a o f th e house to have a good long s le e p . TULLIUS ROTUNDUS: But th e s a s s a g e , Your M ajesty! ROM ULUS: T h a t's J u s t i t . Even th e most aw ful a e a - •a g e , when d e liv e re d by a w e ll- r e s te d , fre s h ly bathed and shaved aan who has e a te n w e ll, sounds q u ite p le a s a n t. L et h l a coae toaorrow . The M in iste r o f th e I n t e r io r Is th u n d e rstru c k : TULLIUS ROTUNDUS: But Your M ajesty! I t concerns a w orld -sh ak in g ae ssa g e! ROM ULUS: M assages n ever shake th e w orld. Only f a c ts do, and we cannot change th o se because th e y have a lre a d y happened by th e t l a a th e sa ssa g e s a r r iv e . Messages only e x c ite th e w orld. Beat g e t r id o f them as f a r as pos s i b l e . 12 T his r e f l e c t s th e idea D U rranaatt v o ic e s In th a 340 Theaterproblem * th a t to d a y 's g ra a t av an ts a ra only "p o st* huaoua a a ty r p la y s fo llo w in g th a tra g a d la s th a t hava baan c o a p le te d In s e c r e t . " 13 I t a ls o e x p la in s h is g ra a t con- ( • a p t fo r p re s s , ra d io , ta la v la lo n , and a o tlo n p lc tu ra naws r a p o r tln g , as avldancad In th a V i s i t . A Graak a r t d a a la r naaad A pollyon a r r lv a s In o rd a r to buy sons o f th a b u sts In th a la p s r i a l stu d y . T his g lv a s r l s a to ln n u sa ra b la w lsac rack s. R egarding a p u rp o rta d ly g ra a t dsaand fo r p la s ta r c o p iss o f th a b u st o f C lcaro In th a aany a w n a s la (high sch o o ls) th a t a ra b aln g found ad svaryw hars In th a T autonlc f o r a s ts , Roaulua a sk s: For G od's sak a , A pollyon, Is Germany balng c lv lllc a d ? APOLLYON: Tha lig h t o f raaso n cannot ba sto p p sd . I f th a T autons c l v l l l s a t h a l r c o u n try , thay w ill no lo n g ar lnvada th a Reman C «pIra. ROHUUUS: I f th a Tautons com to I t a l y o r C aul, wa c l v l l l a a th a n , b u t I f th a y sta y In Caraany thay c l v l l l a a th a a s a lv a s , and th a t a u s t ba h o r r i b l e . 1* (Saa F lgura 1 2 .) V h lls A pollyon c lla b a on a s ta p lad d ar and exaa- Inas th a b u sts d u rin g a o s t o f th la a c t , te p re s s J u l ia and P rln c a ss Raa a r r l v a fo r b r a a k f a s t, than M aras, th a M in is te r *3T h eater problem s (5 th a d .; ZU rlch: V arlag d ar A rchs, 195^), 60 pagas. 14 Roaulus dar Grossa. op. clt., p. 15. Figure 12 The Greek a r t d e a le r , Apo11yon, In between h a g g lin g w ith th e E aperor over th e p ric e o f th e b u ata he h as c o m to buy, re p o rts on th e new T eutonic t h i r s t fo r c u ltu r e . T m 4 343 o f War; ha I n s i s t s t h a t tha Enperor ra c a lv a P re fe c t S p u rlu s T itu s H i m , who re fu s e s to go to s la a p u n t i l ha has de- llv a ra d h is w o rld -sh ak in g message* However, Romulus, dua to th a omen o f th a h en , O doacer, o u t-la y in g a l l th a o t h a r s f has long guassad What th a message i s : Pavia has f a ll e n , Rome h as su ffa ra d th a b l t t a r a s t d a fa a t o f i t s h is to r y , and th a P ra fa c t b rin g s th a l a s t words o f Commander O ra sta s b a fo ra th a g a n a ra l and h is a n t l r a ansy f a l l in to T eutonic c a p tiv ity . I know th a l a s t words o f m y co n ten d e rs b a fo ra th ay f a l l in to T eutonic c a p ti v i t y . "As long a s th a ra i s a s in g le v a in a liv e in u s , th a r a w i ll be no s u rre n d e r!" Every l a s t one o f th a n has sa id th a t y a t. T a ll th a C avalry P ra fa c t ha r a a l ly should go to sle e p now, T his o u t-a n d -o u t debunking o f what D U rren sttt c a ll s "hollow tra g e d y " and f a ls a h e ro ic s c o n tin u e s through t h i s a n t l r a p lay . The next scene i s pure g ro te s q u e rle . The f u g itiv e ta p e r o r o f East-R one o r B yaantlun, Zeno th a Is a u r la n , a r r iv e s to bag h e lp and asyluai, accoaipanlad by h is two d ta a b e rla ln a , S u lphurIdas and ttio sp h o rld o s, one v ary t a l l , th a o th e r v ary s h o r t. Zano is ad m itted only on c o n d itio n “ ib id .. p. 19. 3 44 th a t th e B yaantine cham berlains s ta y cnit»Id* because th e y a re "to o s t r i c t . " A ft* r th * g re e tin g s and em braces, Zeno " a n u a i i th a p o stu ra o f an asylum -seeking East-Honan « • p a ro r" and s t a r t s to r a c l t a th a fo u r thousand v a rs a s o f "F or su cco r 1 bag you . . . " which th a B ysantlna c o u rt cerem onial p ro s c rib e s fo r such o c c a sio n s. Ha I s cu t o f f a t onca by R oaulus and Is v ary r e lie v e d : I a n g la d . For a change, 1*11 n o t r a c l t a th a p re sc rib e d p le a fo r h e lp to d a y - a s long a s my cham b erlain s d o n 't sea m m . X a n ex h au sted . S in ce 1 l e f t C o n sta n tin o p le , 1 had to r a c l t a th a Innum erable v a rs a s o f "F or succo r 1 bag you" about th re e tim es a day b a fo ra a l l pos s ib le p o l i t i c a l f ig u r e s . M y v o ic e Is r u in e d .1® At t h i s moment, how ever, th a two c h a a b a rla ln s ru sh In to th a room, ap p eal to Z eno's p rid e and sense o f d u ty , and smke him s tr i k e h is tr a g ic pose and b eg in h is r e c i t a t i o n . Romulus has them thrown out and locked In to th e ch ick en coop. Tha whole in te r lu d e w ith S u lp h u rld es and Phosphor- ldos was added in Romulus I I . I t shows th a t th e a u th o r w anted to go even f u r th e r th an he had In th e f i r s t v e rs io n in s tr e s s in g th e f a r c ic a l and g ro te sq u e . In th e p a r a l le l betw een Romulus' two c h a a b a rla ln s and Z en o 's two chamber- t6 Ibl<l.. p. 21. 345 1aIns I t t h t d ev ice o f n u l t l p l l c a t I o n . P a lrsd c o tid la n i, u s u a lly c o n tr ite in s and d Is p ro p o r tlo n a tt In i le a and ap p earan ce, a ra ona o f th a o ld a tt to u rc a t o f th a cow lc, f r o t th a Zeus-H ernas o r H eracles-H ernas d u o t o f th a t l a i t and p h ly ak at to L au rel and H ardy, G allag h er and Shaan, Wtbar and P la id s , o r A bbott and C o tta llo . In t h t B ytan- t i n t c o u rt c e re n o n la l th a t la navar a I Iowa d to u n fo ld , th a ra la a n o th ar ex aap le o f th a c o lla n ta d ao lew n lty . which raachad tuch h e ig h ts In th a e l a s t i c b u r ia l sc a n t o f H Ieh tar und t a in H anker. t r a n t l a t a d In C haptar I t . I h la c o u n ta r f a it so le w n lty , to ab h o rran t to DUrren- n a t t , I t nocked a g a in In th a n tx t s c a n t. A fta r Empress J u li a p r o t a i t t a g a in s t th a b a rg a in t a l a o f th a b u sts t o th a a n tlq o a d a a la r A pollyon, Eonulus t a i l s h a r th a t ha cannot a ffo rd to tu rn down A pollyon1t o f f a r bacauaa th a ch ick an fa td h a t not y a t b a tn p a id . Zano p r o te s ts : " I aw aw aatd. A w orld g o at up In fla w a t, and h a r t you a r a crack in g bad Jokes. Every day, thousands o f non d ie , and hare you nod d le a lo n g ." Ho ap p eals to t h a l r cownon b e l i e f In t h a l r o n a - tin t g re a tn e s s . In th a h e r ita g e o f C aasa r, A ugustus, T r a jtn , and C o n sta n tin . 10HILUS: A ll r ig h t th e n -- l e t *s b e 1la v a . (SILENCE. THEY SIT IN A N ATTITUDE OP BELIEF) 346 ZENO: (SO M EW H A T UNSURE) You b e lie v e ? ROM ULUS: S o lid ly a s a ro ck . ZENO: In our o ld g rM tn a ii? ROMJLUS: In our o ld g re a tn e s s . ZENO: In our historic Mission? ROM ULUS: In our h isto ric Mission. ZENO: And you, Empress J u lia ? JULIA: I have alw ays b a lla v a d In I t . (ZENO IS RELIEVED) ZENO: A s ig n if ic a n t f a a lln g , I s n 't I t? Ona p ra c t i c a l l y f a a ls th a p o s itiv e d r a f t blow ing through th a s a rooMi! I t was r e a l l y h ig h tim e , though. (ALL THREE SIT A N D RELIEVE)17 M ow th a t th ay b a l l t v s , th a y Must fin d an Idaa to b a lla v a In and a slo g an to answer th a T eutonic watchw ord, " f o r l i b e r t y and serfdom !" Zeno s u g g e s ts , " fo r s la v e ry and God!" Rut RomuI u b demure: " I'm not so sure t h a t God Is on our s ld e - - th e In fo rm atio n about t h i s is J u s t to o v a g u e .* ' Tha whole scana about b e lie f In th a " h i s to r i c M ission" is an a d d itio n to th a o r i g in a l - - q u i te o b v io u sly meant as a p a r a l le l to th e c o lla p s e o f European c o lo n ia lism In th a tw e n tie th c e n tu ry , to th a accompaniment o f a l l th e hollow p h rases from "th e w h ite n a n 's burden" to th e " to rc h o f c i v i l i s a t i o n " th a t we a lle g e d ly brought to th e b en ig h ted sav ages. The liq u id a tio n s a le o f R onulus' b u sts Is a sym b o l o f th e "bankruptcy s a le o f th e w h ite ra c e " o f which DUrrenmatt w rite s In T haatarp ro b lem s. 1B l 7 I b ld ., p. 2*. 1”n ) . . t . r probl»— . op. c l t .. pp. M > U . 347 Now th* M in is te r o f War, Mar*a, storm s in w ith th* c ry "The T*utona a ra m arching a g a in s t K o m ! " Zano, a l l h la b a l l a f n o tw ith s ta n d in g , t e e d l a t e l y d ac ld a s to f la a to A b y ssin ia . Romulus e le v a te s Maras (''a n Id io t* -b u t what s a n s lb la parso n In tim es Ilk a th a sa would th in k o f becoming War M ln lsta r o f th a Roain t a p i r *7") to "M arshal o f th a K a p lra ." Maras proposas " t o t a l m o b ilis a tio n ," a ta n s ha d a l a s to hava colnad on th a spot ( a c tu a lly borrowed from th a v o cab u lary o f Dr. G oabbela). Romulus d ls llk a s th a ta n s , both fro n a s t y l i s t i c and fro a a a o r a l p o in t o f vlaw : War has been a c r la a ev a r sin c e th a In v e n tio n o f th a s t i c k , and I f we now In tro d u c e t o t a l a o b ll lc a t lo n . I t bacoaaa n o n sen se, to o . I p la c e th a f i f t y asn o f m y body guard a t your d is p o s a l. M arshal o f th * K aplra. MARES: Your M ajesty! Odoacer h a s an army o f on* hundred thousand w all-aq u lp p * d Teutons! ROM ULUS: Hi* g r e a te r a co aaan d ar, th* few er tro o p s does ha need. M ARKS: M o Rosan coaaandar has av e r bean so g ro s s ly In s u lte d !* ? (Sea F ig u re 1 3 .) Maras flo u n ces o u t. At t h i s p o in t, D U rrenaatt s t i l l t r e a t s war no nor* s e rio u s ly th a n does a Roabarg o r M illttck ar o p e r e tta . E v id e n tly , w* a re n o t supposed to ta k e I t s e r io u s ly , e i t h e r . Tha f a r c i c a l o r o p a r a tta - llk e atm osphere Is *?Roaulus dar Crosse, op. clt.. p. 26. Figura 13 Roaulua to War N ln la ta r M araa; **Iha g r a a ta r a co a aan d ar, th a fa v a r tro o p a doaa ha n aa d ." 350 20 ra ln fo re a d by th a e n tra n c a o f C ksar R upf, an la a s n s a ly r ic h tro u a a r a a n u fa c tu ra r. Ha ta l k s t l a o i t a x c lu s lv a ly in th a » o st th ra a d b a ra b u s ln a s s a a n 's c lic h e s , th a Canaan 21 a q u lv a la n t o f Madison Avanua Jargon c ro ssa d w ith b o m s F o u rth -o f-J u ly o r a to r y .22 But Rupf*s p ro p o sal la v ary con- c r a t s : l a t 's faca I t , ha sa y s, "behind a s th a ra a ra s a v a ra l b i l l i o n s e s te r c e s , and bahlnd you l i a s th a a b y ss, p u rs and s l a p le ." R oaulus a g ra s s : "Ona cannot fo n a u la ta th a d if* faran ca any b a t t a r ." lh a r a f o r a Rupf proposas to buy o f f Odoacsr and th a T autonlc aray w ith ta n w illio n s e s te r c e s , and to put a n o th a r faw a l l l i o n s In to th a a a p lr a "so th a t th a v h o la th in g Ju st b a r a ly kaaps abova v a to r w ith o u t going to tha b o tto a --a s Is n o ra a l fo r any h a a lth y s t a t s . " In r e tu r n , ha deaands th a t tro u s a r s bs aada an o b lig a to ry g a r- a e n t, and th a t P rln cass Baa bacooa h is w ife , " f o r I t Is c r y a ta l- c la a r th a t only In t h i s way can wa glva our 2^Buofan aaans " to p lu ck "; In Canaan I t aaans to ch aat soaaona or o th arw laa s t r i p h la o f h ia aonajf. R upf, th a r a f o r a . Is a syabol fo r th a unscrupulous b u sln a ssa a n . 2 lAs parodlad In Tha H u c k sta rs. Tha A n a rta a n t. o r In S tan F re b a rg 's s a t i r i c ra c o rd ln g a . 22" Ic h b ln a i r a 1s k a It b sv u sat . . " a I s a ln Mann d a r u n v am ab a ltan V lr k llc h k a lt . , "schankan w lr uns k la ra a U assar a ln . . "ohna a l t d a r U lapar cu suckan . . . " 351 i l l U n c i an o rg an ic fo u n d a tio n .1 ' Thla la an u l tla a t u n ; th a te p a ro r has u n t i l th a a fta rn o o n to maka up h la mind. I f h la anawar la n o , Rupf w il l marry th a d au g h tar o f Odo* a c a r and glva th a T autonic c h la f ta ln h la f in a n c ia l a u p p o rt. On th a a u rfa c a , R u p f'a p ro p o aal aounda muc h Ilk a th a o ld Joka about Langandorf braad and th a Fopa, but i t goaa auch daapar th a n t h a t : a t th a p rlc a o f a a llln g h la d a u g h ta r, Roaulua haa a l a a t chanca o f aavlng th a a a p lra and h l a a a lf . N a tu ra lly , avaryona, a a p a c la lly th a Empraaa, t r l a a to b rin g p ra aau ra upon R o m iI u b t o g lv a in to R upf, b u t ha ra fu a a a . RONULUS: Tha Roman Cap Ira I ' l l a a l l h l a f o r a h an d fu l o f a a a ta rc a a , but 1 d o n 't d ra a a of a a llln g my d au g h tar. JULIA: Raa w il l a a c r lf lc a h a r a a lf v o lu n ta r ily fo r th a a a p lr a . ROWJLUS: Through th a c a n tu r la a , wa hava a a c r l- flc a d ao auch fo r th a a ta ta th a t I t la now t l a a th a t th a a ta ta a a c r lf lc a I t a a l f f o r ua, In tu rn . JULIA: R oaulua! ZINO: I f your d au g h tar doaa not m arry now. I t la th a and o f th a w orld. ROM ULUS: I t la th a and o f g a . T h a t'a a g r a a t d lf f a r a n c a . ZBIO: Ua a ra th a w orld, ROM ULUS: W a a ra l l a l t a d p ro v in c ia l aln d a aaaln g a w orld t h a t wa no lo n g ar conprahand grow ovar our haada. ZENO: A nan Ilk a you ahould not ba Emparor o f Roma! 23RoM»lua dar Croaaa. op. clt. , p. Jl. 352 But R o u lu i "doaa not want to ln ta r f a r a w ith h la - to r y .* At la a t S purlua T ltu a H i m i , th a ru n n ln t a* a o f th la conady, b u ra ta In , f a l l a on h la k n taa b afo ra th a Enparor and holda up to h l a In tra n b lln g handa h la faaoua ■aaaaga (aaa F ig u ra 14). But Boaulua doaa not ta k a I t . ROWUUS: Why th la Im an aa a f f o r t , S purlua T ltu a MaaaaT sn illU S TITOS M A M M A : So th a t Boaa aay llv a ! ROM ULUS: Ro m haa d lad long ago. You a a c r lf lc a y o u ra a lf fo r a c o rp a a , you f ig h t fo r a th a d a , you llv a fo r a dacayad to n b . Co to a la a p , P ra fa c t, our t 1 m ha a ran d arad your harolaai In to a u sa la a a poaa! (HE EXITS UPSTAGE CENTER. SfURIUS TITOS MAMA RISES, COM PLETELY DAZED, THEN SUD DENLY T H R O W S HIS M ESSAGE SCROLL TO THE FLOOR, TRAM PLES O N IT A N D SCREAMS:) SIVRIUS TITOS MAMA: Ro m ha a an abonlnabla a n p a ro r!! (END OF THE FIRST ACT)24 By now wa b ag ln to d la c a m th a lln a th a t w i l l ba- c o m av a r c la a r a r through th a p la y : th a a y a ta M tlc dabunk- Ing o f h aro laai, p a t r i o t Ia n , th a " f a th a r la n d ," and th a a ta ta In g a n a ra l aa a a u p a rlo r a n t l t y , to idilch th a In d iv id u a l la auppoaad to a a c r lf lc a h lM a lf w ith o u t q u a a tlo n ln g . Tha J u x ta p o a ltlo n o f an o ld * faa h lo n a d , t r a d l t l o n - a n c ru a ta d , l n a f f l c l a n t , b a n k ru p t, G ra u a ta rk la n a ta t a w ith th a u n a a n tlM n ta l a f f lc la n c y o f n o d am c a p lt a l l a a (h a ra 24Ibld., p . J J . 353 F ig u ra 14 S purlua T itu s H a w k n a a lln g b a fo ra th a E ap aro r, v a in ly try in g to d a llv a r h la w orld- shaking m assaga. A % ■ r 1 355 re p re se n te d by CHsar Rupf) , can be found nany decades e a r l i e r In Shaw's Arms and th e Man and In a now d ated novel by H ein ric h Harm, K H nlellche H ohelt (Royal H ig h n ess). So I t i s n o th in g new, but I t i s always good fo r a laugh. In Act I I th e d ir e c tio n s a re sw re e x p l ic it and tsore c o lo rf u l th an in th e f i r s t a c t: The a fte rn o o n o f th e unlucky March day o f th e y ea r 476. The park in fro n t o f th e E m peror's v i l l a . Everywhere m oss, iv y , weeds. Everywhere c a c k lin g and co ck -a-d o o d le-d o o s. Now and th en ch ick en s a re f l u t t e r i n g a c ro s s th e s ta g e , e sp e c i a l l y Nhen someone e n te r s . In th e background, b ad ly s o ile d by th e p o u ltry , th e fapade o f th e n e g le c te d v i l l a . . . On th e w a lls , smeared w ith c h a lk : "Long liv e s e rv itu d e ! Long liv e fre e d o a !" W e have th e la p re s s lo n o f b ein g in a p o u ltry y a rd , alth o u g h downstage r ig h t th e re a re a few g ra c e fu l garden c h a irs th a t have seen b e t t e r days. Soas- t l a e s th e scene i s enveloped in a soober saoke t h a t en sn a te s from a low b u ild in g - - th e c h a n c e lle ry . . . . A ll in a l l : brooding d e s p a ir , e n d -o f-th c - w orld a a g lc , " a p rts nous le d e lu g e ." On one c h a ir th e M in iste r o f th e I n t e r i o r , T u lliu s R otundus, on th e o th e r th e M in iste r o f V ar, M ares, newly p ro n o ted to M arshal o f th e Em pire, In f u l l arm or, s le e p in g , a nap o f I t a l y spread a c ro s s h is k n ees, h e ln e t and — r s h a l 's s t a f f on th e ground b e sid e him . The s h ie ld lean s a g a in s t th e w a ll o f th e h o u se--o n I t , to o , th e Germanic slo g an has been scraw led . S p u rlu s T itu s Ms— s , s t i l l d ir t y and bandaged, w alks p a in fu lly alo n g th e w a ll o f th e c h a n c e lle ry , le a n s a g a in s t th e w a ll, and d rag s h im s e lf forw ard a g a in . 25Ibid., p. 25. 356 1h« cook, k n ife hidden behind h ie b ac k , goat in ■ •arch o f th a hens " J u liu s N epoa," " O re s te s ," and *Hoau- lu a ." A aasaen g er gaapa th a t th a Tautona hava raachad Rowe by now. R aperor Zeno la a rn a fro * T u liiu a Rotundus th a t th a aaoke coaas from th a a rc h iv a a th a t a ra b ain g bum ad in th a c h a n c a lla ry . Ju a t aa ha exclaim s about th a Uaat-Rowan la c k o f rflan and co u rag e, h la two c h a a b a rla ln s , S ulp h u rid aa and Fhoaphorldoa, aacapad fro a th a ch lck an coop, c a tc h up w ith h l a and lead h l a o ff to re h e a rse th a fo u r-th o u san d e le g ia c v e rsa a o f h la "For su cco r I bag you . . . " S purlua T ltu a K e n t t o t t a r a around and t a i l s e v e ry one w ith in e a rsh o t th a t ha has n o t s le p t fo r a hundred h o u rs and la dead t i r e d , a la p ly dead t i r e d . The ru n n tn a t i l fu n c tio n o f th la a e lf-a p p o in te d a a r ty r and a a v io r o f th a fa th e rla n d la e v id e n t. In v a in does T u lliu s Rotundus t r y to persuade th a h e ro to go to s le e p somewhere, o r a t le a s t to a l t down, b u t S purlua T ltu a Haaaa la a f r a id to a l t down becauaa ha would la a a d la ta ly f a l l a a le e p --a n d ha doaa n o t want to a la a p : ha wanta to revenge h la a a lf ! A ll t h l a t a l k haa awakened th e X arahal o f th e E a p lre , % dio r la e a " d e s p e ra te ly " and d e liv e ra h la a a lf o f t h la gea: 357 C a n 't on* cone*tv* s tra te g y her* in p**c* any more? S tra te g y la a cuttt e r o f i n tu itio n . R efora th e bloody in c is io n , aa in su rg e ry , q u ie t r e f l e c ti o n i s needed. N othing i s more damaging to a war th an n o isy le v ity a t h e a d q u a rte rs !2* He f i n a l l y " t o t t e r s o f f " to fin d a sh ip fo r th e f l i g h t o f th e im p e ria l c o u rt and s t a f f to S ic ily . From th e l e f t comes "slo w ly , in t a t t e r s , gaunt and p a le , th a fig u re o f A em illan ." Thla i s th a e te r n a l fig u re o f th e re tu rn e d s o l d ie r , c r ip p le d , d is fig u re d , in ra g s , b itte r - - m e e tin g w ith th e ssugness o f th e w e ll-fe d c i v i l i a n ; i t Is a c o n f lic t as o ld as th * f i r s t war on E a rth and as ra c e n t aa any c u rre n t ona. DUrrenmatt d e a lt w ith i t in S tra n lta k v and th e N atio n al H ero. O ther modern tre a tm e n ts a re M au ld in 's c a rto o n s , Wolfgang B o rc h e r's w eird p la y , D raussen vor d ar Ttlr (a v a ila b le in E n g lish tr a n s la t io n as The Han O u tsid el . K arl W itt U n g e r 's Kennen S le d ie H ilc h - a tr* ss* 7 (Do You Know th* M ilky Way7 ), e tc . W * le a rn th a t A em illan was once a re g u la r g u est a t th e im p e ria l c o u rt and knew T u lliu s Rotundus w e ll, b u t th a l a t t e r does not re c o g n ise him: 7ULLIUS ROTUNDUS: You com* from th e fro n t and a re a brave man. You have shed your h e a r t 's blood fo r th e fa th e rla n d . Can 1 do an y th in g fo r you? 26Ibld., p. 38. 358 AEMILIAN: Can you do som ething a g a in s t th a Tautona? TULLIUS ROTUKDUS: D ir e c tly , no--nobody can do th a t to d ay . Our r a s ls ta n c a la c a lc u la ta d fo r th a long v la v . God1 a n l l l s g rin d slow ly. AEMILIAN: Than you c a n 't do an y th in g fo r ma. 7 In th a ailddla o f th la c o n v e rsa tio n , a avarai o f PlenstnM nnar^ b rin g th a tru n k s o f th a Empress out o f th a houaa and a ra to ld by T u lliu s Rotundus to ta k a th a n "down to H a p la s." T u lliu s Rotundus t r l a s to consola th a b l t t a r A atnlllan w ith sons ty p ic a l c i v i l i a n 's t a l k : I t Is a b l t t a r t i n e , a tr a g ic epoch, but J u s t th a san s: a le g a l s tr u c tu r e as p e r f e c tly o rg an ised as th a Ronan E n p lre , dua to i t s In n er v a lu e s , w eath ers even th a w orst c r i s e s . Our h ig h e r c u l tu r e w ill win out over th a b a r b a r ia n s .2" These hollow p h rases (a Romulus I I a d d itio n ) sound lik e an echo o f Goebbels try in g to b o ls te r th e m orale of th e crum bling T hird R eich, o r o f le a d e rs o f th e "Free World" try in g to a ssu re us o f v ic to ry over communism. In a " h is t o r i c a l " o r s e m l-h ls to rlc a l p la y , where we know th e r e a l 27l b l d . . p . 41. \ h a n t v a r D U rr.n a .tt w an t, an y th in g novad on o r o f f s ta g e , he b lith e ly b rin g s on a p a ss e l o f D ienstnH nner, a C entral-E u ro p ean com bination o f uniform ed mover and re d cap . Where th e se q u ite Incongruous fig u re s cone from a t th i s tin e o f n ear-ap o caly p se7 and how th ey manage to go about t h e i r b u s in e s s , is l e f t u n ex p lain ed . They have tu rn ed up p re v io u sly In th e f i r s t a c t to h au l away th e b u s ts fo r th e a n tiq u e d e a le r A pollyon. 9Q TRonulus der Crosse, op. clt.. p. 41, 359 o utcon*, t h i s l a . o f c o u rse , a cheap e f f e c t , but th e g ro te sq u e In c o n g ru ity b e t v a n thought and r e a l i t y rem ain s. The n e s tin g between A e n llla n , t h i s ru in o f a nan d e se c ra te d and deformed by war and c a p tiv ity , and h is one tim e fia n c e e , P rin c e ss Rea, Is a m asterp iece o f th e e e r i e . w eird g ro te sq u e . Rea e n te rs w ith th e a c to r , R ty lax , en gaged in a d ram atic le sso n , r e c itin g a monologue from A ntigone. There Is a b r i e f In te r ru p tio n by th e "a th le te * ' S purlus T itu s M am a, who ex claim s: "1 c a n 't l i s t e n to c l a s s ic s now, or I ' l l f a l l a s le e p on th e s p o t!" and s tu a b le s o f f s t a g e .30 Rea r e c ite s th e famous passage: Behold me, people o f my n a tiv e land: I wend ny l a t e s t way: 1 gaxe upon th e l a t e s t lig h t of day That I s h a ll ev er se e ; D eath, who la y s a l l to r e s t , Is le a d in g me To A cheron's f a r stra n d A liv e ; to me no b rid a l hymns belong, For me no m arriage song Has y e t been sung; but Acheron in ste a d Is I t , whom I must w ed.31 A m i 1 lan ste p s forw ard. She does not reco g n ise him . Only 30 A q u ick DUrrenmatt Jab a t " th e c la s s ic s " t h a t , due to t h e i r a lle g e d and o fte n Im aginary p e rfe c tio n , s t i f l e th e c r e a t i v it y o f th e modern a r t i s t . C f. pp. 383-06, In th e a n a ly s is o f The R iv s lc ls te . ^ A ch ero n is both th e R iver o f Death and th e Cod o f D eath. The t r a n s la tio n used h ere Is th a t by S ir George Young In B a rre tt H. C la rk , World D ram (New York: Dover P u b lic a tio n s , I n c ., 1933), 1, 33. 360 when h i shows h e r h is h o r r ib ly ac a rra d and daformed l a f t hand w ith th a rin g sha had one# glvan h l a , aha r a a llc a a who ha la b u t, tru a to D U rranaatt*a *'no love*' pr Inc Ip l a , th a r a la no aafcraca, no k la a . Sha only a ta ra a a t h la : " I do not ra co g n laa you any a o ra , A a a llla n ." "You w ill navar ra c o g n lsa aa any a u ra , P rin c e s s ," ha answ ers. S t i l l , ha la h a r fla n c ^ , and ao aha ask s h la to coaa In to th a housa o f h a r f a th a r . But A a a llla n d a c lln a a . AEMILIAN: Tha Taut ona a ra c o a ln g . BEA: Va know I t . AEMILIAN: Than go and g a t a k n lfa , (THE FtlNCESS STAKES AT HIM, FBIGHTENED) BEA: How do you aaan t h a t , A a a llla n ? AEMILIAN: I aaan th a t a woman can f ig h t w ith a k n lfa . BEA: Ua d o n 't hava to fig h t any a o ra . Tha Boaan aray la d a fa a ta d . Va d o n 't hava any ao ra a o ld la ra . AEMILIAN: S o ld la rs a ra p ao p la, and paopla can f i g h t . Thara a ra at111 many paopla h a ra . Uoaan, a la v a a , old man, c r lp p la a , c h lld ra n , m in is te r s ,* 2 Co g a t a k n lfa . BEA: But th a t la s a n a a la s s , A a a llla n . Ua aaiat au rran d ar to th a T autona. AEMILIAN: I had to a u rra n d a r to th a Tautona th ra a y aara ago--and what d id th a y do w ith aa? Co g a t a k n lfa . BEA: Thraa y aara I w altad fo r you, day a f t a r d ay , hour a f t a r h o u r, and now I a a a f r a id o f you. AEMILIAN: "But Acharon ln a ta a d la I t , whoa I must w ad." D id n 't you r a c l t a th a a a v araaa? Thay hava bacoaa t r u a , your v a ra a a . Co g a t a k n lfa . Co, got 32 I t would not ba D tlrraraaatt I f m ln ls ta ra wara not naaad l a s t , a f t a r c h lld ra n and c r lp p la a t 361 (THE PRINCESS FLEES T O W A R D THE HOUSE) PHYLAX, THE ACTOR: But P rin c e ss! Th* l**son 1* n o t F*t o v tr . W * h a v e n 't y*t reached th e high p o in t, a sublim e passage about Acheron, th* most b e a u tif u l In a l l o f c la s s ic l i t e r a t u r e ! REA: Z d o n 't need any nor* l i t e r a t u r e . I know now Who th e god o f d eath I s . ' ' A ll a t once, D U rrcnsatt has to rn o f f th* sta llin g mask o f h a n s le s s bus le a l comedy humor, and th e Gorgon o f s ta r k trag e d y s ta r e s us In th e face.**1 The l a s t two speeches o f A e a llla n In th e passage above were euch more e x p l i c i t l y sp e lle d out In Romulus I : AEMILIAN: I su rren d ered to th e Teutons th re e y ea rs ago, 1 was a young su n , ra d ia n t as A pollo. I d esp ise d w ar, and I loved peace. I d id not r e s i s t tdien th ey f e l l upon s e . What d id th ey do to a s , d au g h ter of th e Enparor? D id n 't you see my hands? S h a ll I hold up th e m u tila te d ones b e fo re your eyes? Co get a k n ife ! "But Acheron In ste a d i s I t , whoa I o u st w ed"-- d ld you not speak th u s? I a a A cheron, daughter o f th * Emperor, I a a th a god o f d e a th , 1 wear your r in g ; I t h as grown In to ay f le s h . I have coo* to throw a fire b ra n d o f h o rro r In to t h i s ch ick en coop. I an h e re to screaai th* tr u t h about th * Teutons In to th * E a p e ro r'e d e a f e a r. W ith ay broken fin g e rs 1 b eat th e drun o f th e l a s t night!-** Fron th * h o le o f ay sm ith I w h is tle th e ae lo d y o f Judgment Day! I blow 33 Romulus der Crosse, op. clt.. p. 44. **Cf. supra. p. 74. ■**Could th la have been in s p ire d by B re c h t's Tropsseln in d e r Nacht (Drums in th* N ight)? 362 th* trum pet o f th* A pocalypse! Go S * t,* k n ife , d au g h ter o f th* Emperor! Go, go, g o !36 Th* words a rc pow erful and sonorous, th e Idea is amde so c le a r th a t even th e p ro v e rb ia l "d e a f l i t t l e o ld lady in th e l e s t row" cannot ailss lt- - a n d y e t, i t i s c e r ta in ly not as good as th e p re v io u sly tr a n s la te d scene from Romulus I I . t h i s is e s t r i k i n g exam ple. Id e a lly s u ite d fo r co u rse s in p la y w rltln g , I l l u s t r a t i n g a g e n e ra l a r t i s t i c p r in c ip le : th a sk e tc h , th e fla s h o f c o lo r , i s o fte n b e t t e r th an th e f u ll y fin is h e d p a in tin g ; th e h i n t , th e s u g g e stio n , i s b e t t e r th an th* f u l l sta te m e n t; th e w hisper is b e t te r th an th e shouted o r a tio n . Q uite a sid e from t h i s , such d e f i n i te l y Ju d e o -C h rlstla n id eas as "Judgment Day" and "A pocalypse" e re d is tu r b in g % A ien coming from th * mouth o f a pagan Roman, and any man who speaks o f h im s e lf as having been " ra d ia n t as A pollo" becomes s l i g h tl y com ic, Ilk * an aged s i l e n t sc re e n s t a r showing o ld p u b lic ity p ic tu r e s . The a c tio n c o n tin u e s r e le n tl e s s l y from now on. A s p e c ia l m essenger sh o u ts th a t "th * Teutons a re m arching so u th on th e Via A pple!" Hares has not been a b le to fin d a sh ip fo r th e f l ig h t to S ic ily . The l a s t g a lle y in th e ^ A c tin g s c r ip t o f Romulus I . 363 p o rt o f IUpl«> "has rowed over to th e T eu to n s." Mares w i ll t r y to c h a r te r a fis h in g b o a t: "Hoe I a s degraded to a sh ip b ro k e r!" T u lliu s Rotundua ia fu rio u s : T hara! To g a t one “J o b 's m essage" a f t a r a n o th e r and to be unable to h e lp I t I s prob a b ly th a w o rst th in g th a t can happen to a p o l i t i c i a n . . . . I hava prep ared e v e ry th in g fo r a re o rg a n is a tio n o f th e em pire froai S ic ily . 1 have planned s o c ia l re fo rm s, an a c c id e n t Insurance fo r dock w ork ers. But a l l th e s e p la n s , o f c o u rse , can be r e a lis e d only I f we can fin d a v e s s e l! 3 ' C le a r Rupf, th e tr o u s e r M an u factu rer, r e tu r n s to g e t th e answer to h is ultim atum , When A em illan fin d s o u t th a t Rupf Is ready to save th e em pire on c o n d itio n th a t P rin c e ss Rea u r r y him , he sends fo r h e r. The news o f th e a r r i v a l o f th e own w ith th e swney has spread lik e w ild f i r e ; th e r e f o r e , th e e n tir e p erso n n el o f th e c o u rt e n te r s w ith R ea, except th a Emperor. A em illan r e le a s e s Rea from h e r b e tr o th a l to him and coH ands h e r to m arry Rupf. Urged on by th e c o u rt 'h o p e fu lly s ta r in g a t h e r ," Rea r e lu c ta n tly g iv es h e r hand to th e v is ib ly moved tr o u s e r m an u fa ctu rer. There a re c r ie s o f " lh e Empire la sav ed !" S u lp h u rId es and th o sp h o rld o s Jo in w ith t h a l r Enperor Zeno In th e “J u b ila tio n v e rs e s " p re sc rib e d fo r such an e v e n tu a lity , and 37»o»ulvn d .g C r o w , op. c l t . . p. *S 364 T u lliu s Rotundua g iv e s o rd a ra to ato p th a h u n tin g o f th a a rc h lv a a a t onca. C ntar R oaulua, and la a a d la ta a lla n c a daacanda. Only A a a llla n b o ld ly r a is e s h la v o lc a : V alcoaa, E aparor o f good a a tln g ! C ra a tln g a to you, C aaaar o f th a ch lck an coop! H all to you whoa th a a o ld la ra c a l l Roaulua th a L l t t l a Ona! (ROMRJUS GAZES AT AEMILIAN) ROtftJLUS: You a r a A a a llla n , th a b a tro th a d o f ay c h ild . AEMILIAN: You a ra th a f i r s t ona who ra co g n lsaa a a , E aparor Roaulua. Not avan your d au g h tar raco g n lsad a a . ROMJLVS: D o n 't doubt h a r lo v e . Only aga haa aharp a y a s. V alco aa, A a a llla n .3* th a follow s a n o th ar round o f a c c u s a tio n s o f th a ra tu rn a d s o ld la r a g a in s t th a u n w srllk e E aparor: Thara v a ra a a p a ro ra who wara g ra a ta d w ith c r la s o f 'V a i l conquarad, August Ona!" o r *V all a u rd a ra d . Your M ajesty. b u t you w i ll ba g ra a ta d w ith "V ail s l a p t, E aparor R o au lu s!" . . . I s ta r v e d , and you kept t o your re g u la r a a a ls . . . . I was to r tu r e d , and your p o u ltry fa n s flo u ris h e d . . . . Your people hava bean plucked c le a n by crooks and war p r o f i t e e r s , raped by s o ld ie r s o f fo rtu n e , and ta u n te d by T eutonic a a ra u d e rs . . . A ll o f t h i s Is new m a te ria l In Roaulus I I . soaa o f I t , no d o u b t, In s p ire d by s t o r i e s o f g r a f t and war p r o f i t e e rin g d u rin g V orld War I I , soaa by r e p o r ts o f th a h o rro rs ]SIb ld .. p. 49. 365 40 p e rp e tra te d by th e R ussians In b i t Germany and B e rlin , most o f I t an e x p re sa lo n o f D ttrren m att's own deeply f e l t p a c i f i s t In d ig n a tio n a g a in s t w ar. Romulus rem ains calm and k in d : "X see your han d s. You were to r tu r e d . . . . You a re d e s p e ra te . . . . Come now In to my house. M y d au g h ter has w aited fo r you a l l th e s e y e a r s ." A em illan r e p lie s th a t he Is now unworthy o f re c e iv in g th e hand o f th e E aqieror's d a u g h te r In m a rria g e , because he has been dishonored fo re v e r by th e b a rb a ria n s Who fo rced him to craw l naked, lik e an a n ia m l, under a blood-sm eared yoke. H ere, a g a in , Rosxilus I Is much w orse. At th e c l i max o f a long r a n t , so a s to prove h ls unw orthlness o f P rin c e ss R ea, A em illan t e a r s o f f h is cap and sta n d s th e re s c a lp e d , w ith b lo o d -re d s k u ll! t h i s was a fla g r a n t example o f th e young a u th o r 's c r u d ity In 1946, toned down In th e l a t e r v e rs io n . I t Is hard to b e lie v e t h a t au d ien ces d id n o t g re e t t h i s b i t o f arand eu lx n o l w ith guffaw s o r a t l e a s t s n ic k e rs . C e rta in ly no American a u d ie n c e , brought up on s t o r ie s o f In d ia n s c a lp ln g s a s th e y a r e , would have *®They a ls o In sp ire d Max F r i s c h 's p lay Ala d e r xu Ende war (When th e War Vas O ver). 366 r e s i s t e d th e te n p ts tlo n o f b reak in g in to g a le s o f la u g h te r. T his i s a ty p ic a l In sta n c e o f th e f r la h te n ln a g ro tesq u e going to o f a r and b a c k firin g . When A e n llia n announcea to Ronulua as a f a i t a c c o n p ll th a t "your d au g h ter has be cone th e w ife o f t h i s tr o u s e r M anufacturer, Enperor o f Room, and your e n p lre is saved by m y sh o n e," Ronulus r l s e a , now ev ery inch th e En- p e ro r: The Enperor does not g ra n t p e rn io sio n fo r t h i s ■ a rria g e . . . M y d au g h ter w ill coMply w ith th e w il l o f th e CMperor. The E nperor knows what ho d o es, When he throw s h ie e a p lre in to th e f i r e , when he drops what should break , and cru sh e s u n d erfo o t what belongs to d ea th . (RCA GOES W ITH BENT HEAD INTO THE HOUSE) ROMJUUS: To our d u tie s , Pyranus! Hand ms the chicken fe ed . A ugustus! T ib e riu s ! T ra ja n , H adrian, Marcus A u re liu s! Odoacer! (HR GOES OTP RIGHT, STREW ING CHICKEN FEED, FO LLO W ED B Y HIS CHAMBERLAINS. ALL STA N D MOTIONLESS) TULLIUS ROTUNDUS: C ontinue th e b u rn in g o f th e a rc h iv e s a t once! (EVERYTHING IS AGAIN ENVELOPED IN B LA C K SMOKE) AEHILIAN: T his E nperor has got to g o!*1 (CURTAIN*-END OF ACT I I ) * 2 **"Hos got to go" May sound f a r to o c o llo q u ia l to th e h o r r if ie d s c h o la rly re a d e r, but he May r e s t e a s y : th e Gernan "D leaer K aiser muss wag!” naans J u s t th a t. I t la a d e lib e r a te D d rrsn n stt a n tip a th o s d e v ic e . *^ omi1 ui der Croase. op. clt.. p. 50. 367 Tha and o f th la a c t a x o n p llfla a D U rran n att'o f l i g h t fro n any kind o f grandaur o r a o la n n lty . R onulua' apoach about h la d a llb a r a ta a a c r lf lc a la g ra a t th a a ta r and h l ^ i huann g ra n d a u r--a t th a t nonont ha atanda " ta n fa a t ta ll.* * gut th a a u th o r » In o rd a r to p rav an t th a audlan ea fro n ad ailrln g Ronulua to o tauch o r f a l l i n g In lev a w ith h l a , haa h la r a v a r t Ian* d l a ta ly to h la lu d lcro u a r o la o f ch lck an b ra a d a r. Tha t ln a o f Act 1X1 la th a n ig h t o f th a Idaa o f M arch, 676 A.D. Tha p la c a la th a E n p o ro r'a badroan, Thara la a f u l l noon, and th a ro o a lla a In d ark n aaa. Pyranua appaara w ith a th ra a -a m a d ca n d alab ru e, th a n goaailua In a r a th a r ahabby nightgow n. By now th a a rc h lv a a hava baan b u m a d --f,th a only a a n a lb la o rd a r ny M ln la ta r o f th a I n ta r - lo r a v a r g a v a ," aaya th a B nparor. FVRAWS: Tha h is to r ia n * w ill w a ll, a lr a . ROM ULUS: Nonsanaa. Thay w i l l litvant b a t t a r aourcaa th a t o u r a ta ta a r c h lv a a .63 Capraaa J u l i a conaa to aay good-by. Sha la la a v ln g j t h a t v ary n ig h t fo r S ic ily - - o n a r a f t , a Inc a no fla ttin g b oat could ba found. Ronulua aaya th a t th a y w ill n av ar 4JDUrr a n n a tt'a ra s p a c t fo r th a a c la n c a a , w hathar a x a c t o r In a x a c t, lo not g r a a t. 36S a ic h o th e r a g a in * -th a f i r s t in d ic a tio n o f h is c a r ta in ty o f d a a th . J u l i a la determ ined to co n tin u e th a ra a ls ta n c a a g a in s t th a anaay f r o s S ic ily " a t a l l c o a t." ROM ULUS: A r a a ls ta n c a a t a l l co a t la th a Boat san a alaaa a c tio n th a r a l a . JULIA: You a ra a d a f a a t l a t . ROM ULUS: X an only w eighing th a odda. I f we fig h t back, our and w ill only ba b lo o d la r. T hat nay ba g ra n d io se , b u t what fo r? One d o e s n 't s a t f i r e to a w orld th a t la a lre a d y l o s t . 4* Romulus a ls o re fu s e s to f le a w ith h e r to S i c ily : "Tha Enperor does n o t f l e a . " They have bean n a r rla d fo r tw enty y e a rs , b u t have n ever loved each o th e r. "Our a a rrla g e was 1 h o r r i b l e ," says Romulus* T his n o t I f o f th a " h o r r ib le m ar- ! r ia g e " re c u rs as a l a I t n o t I f In Tha K a r rla s t o f Mr. Mis s i s s i p p i . and a l s o , b r i e f l y , in Tha V i s i t . However, to c a l l I t " a rc h e ty p ic a l" fo r D d rre iw a tt, as B ro ck -S u iter d o es, seams a g ro ss e x a g g e ra tio n . One n ig h t say t h a t , j u s t a s ha av o id s love and sax in h is p la y s , ha a ls o avo id s showing a happy, s u c c e s s fu l m arriage, and probably fo r th a | i seam e s th e ti c re a s o n * -th a t o f m ain ta in in g d is ta n c e between | play and au d ien c e. The re aso n fo r t h i s " h o r r ib le m arriage'* was t h a t Romulus m arried J u l ia because she wae th e d au g h ter d tr CTOMt. OP. c l t . . p. S3. 369 o f Enperor V ale n tIn la n u a and aade I t p o a e lb le fo r l o a i l u i to bacoaa e n p e ro r, and aha a a r r le d h la bacauaa b a r a o th e r wae only a a la v a , and ha belonged to th a h lg h e a t Roaan a r la to c r a c y . Ha l e g i t la ls e d b a r , and aha crm m ad h la . Xn th a couraa o f th la f i n a l a a r l t a l d u a l, th a Eapreaa d leco v - a ra th a raaao n fo r R onulua' tw enty y aara o f doing n o th in g : ROM ULUS: I t la ay p o l i t i c a l ln a lg h t not to do anything* JULIA: For t h l a you naad n o t hava bacoaa a a p a ro r. ROIftlLUS: Only t h l a way could ay doing n o th in g hava any w eaning, o f c o u ra a . To ba la s y aa a p riv a te paraon la u t t a r l y I n e f f e c tiv e . JULIA: And to ba laay aa an a a p a ro r andangare th a a ta ta * ROMJLUS: E x a c tly . JULIA: Uhat do you aaan by th a t? ROMJLUS: You hava uncovered th e aaan ln g o f ay la s ln e a e . JULIA: But I t la la p o a a lb le to doubt th e n e c e a a lty o f th a a t a t a . ROM ULUS: I d o n 't doubt th a n e c e a a lty o f th a a t a t a , 1 only doubt th e n e c e a a lty o f o u r a ta ta . I t becaaa a w orld e a p lr e , and, w ith I t , an I n a tl- tu tlo n th a t waa p u b lic ly engaged In a u rd e r, p i lla g e , o p p re aalo n , and a ra o n , a t th a ex- penae o f o th e r p e o p ie a --u n tll I caaa. JULIA: I d o n 't u n d erstan d why you becaaa a a p a ro r, o f a l l th ln g e . I f t h la la th a way you th in k o f th a Roaan w orld e a p lr e . ROMJLUS: The Roaan E ap lre ha a e x la te d fo r can* t u r l a a o n ly bacauaa th e re hava bean e a p e ro ra . X had no o th e r p o a a lb lllty th an to bacoaa a a p a ro r a y a e lf i f I w anted to liq u id a te th a e a p lr e . JULIA: E ith e r you a ra a a d , o r th a w orld la . ROM ULUS: I hava coaa to th a l a t t e r co n c lu a lo n . JULIA: So you a a r r la d ae in o rd a r to d a a tro y th a e a p lre ? 370 ROMJLUS: For no o th e r re a s o n . JULIA: Fro* th a v ary b eg in n in g you thought o f n o th in g but K o aa 'f end? ROMJUJS: Of n o th in g e l s e . JULIA: You d e lib e r a te ly sabotaged th e s a lv a tio n o f th e e a p lre ? ROMJUJS: D e lib e ra te ly . JULIA: You played th e cy n ic and th e g lu tto n o u s clown only eo ae to e ta b us In th e back.** ROMJUJS: You a lg h t put i t t h i s way. JULIA: You deceived a e . ROMJLUS: You deceiv ed y o u rs e lf In a e . You aseuaed th a t 1 was J u s t a s power-aad as you . . . but your c a lc u la tio n was wrong . . . JULIA: You a re R o sa 's b e tra y e r. ROMJUJS: No, I a a R o ae's Judge. (SILIMCI. THEN TNI EMPRESS SCREAK! IN DESPAIR) JULIA: Romulus! ROMJUJS: Now go t o S ic ily . 1 have n o th in g ao re to eay to you. (TNI IMPRESS EXITS SLOWLY)*6 T his Is th e f i r s t o f fo u r deeply re v e a lin g e n c o u n te rs o f th e h e ro . With each one he grows in s t a t u r e , and w ith each one I t becoaes c le a r e r th a t t h i s Is a h ig h ly a o r a l and t r u ly huaane aan Nto Is s e v e ra l thousand y e a rs ahead o f h la t l a e . H ts second opponent Is h is d a u g h te r, Rea, who Is The phrase '*atab us In th e back" r e c a ll s th e legend o f th e " a ta b In th e back fro a th e h o a e fro n t" w ith which H itle r and th e e a tr e a e n a t io n a l is ts In th e e a r ly T w enties ex p lain ed away Germany's d e fe a t In World War 1 and s ta r te d th e f a s c i s t movement. I t e use by th e power-aad Empress le v ery a p p ro p ria te . **Roaulue der Crosse, op. clt.. pp. 53-56. 371 ■ t i l l convinced th a t I t !■ h er d u ty to s a c r i f i c e h t r a i l f fo r th e em pire end merry Rupf. Aa alw ays, Ronulua aplkea h la deeply aerlo u a th o u g h ta w ith w laecrecka end c y n ic a l boaajoga. ROMJUJS: Thla R upf, my d au g h ter, ap p eala to me because he haa money, but he makes u n accep t a b le c o n d itio n s . XKAl M e w i ll save Roma. ROMJUJS: That*a J u a t what makes th la man auapect to me. A tr o u s e r m anufacturer who w ants to ■eve th e Roamn s t a t e must be c r a ty . REA: There la no o th e r way to save th e fa th e rla n d . ROMJUJS: 1 a g re e , th e re la no o th e r way. The fa th e rla n d can o n ly be saved w ith money . . . tie must choose between a c a ta s tro p h ic c a p i t a l ism o r a c a p ita l c a ta a tro p h a . . . . RIA: Should we n o t love our fa th e rla n d more th an a n y th in g In th e world? RONJIDS: Mo, we ehould love I t leaa th an a human b ein g . Of a l l th in g s , one must be au sp icio u s o f th e fa th e rla n d . M o one tu rn a m urderer more e a s ily th a t a fa th e rla n d , RKA: I cannot liv e w ith o u t th e fa th e rla n d ! ROMJUJS: Can you liv e w ithout your beloved? I t la much g re a te r and much h a rd e r to keep f a i t h w ith a man th a n w ith a a ta ta . REA: I t la a q u e s tio n of th e fa th e rla n d , not o f a a ta ta . ROMJUJS: F a th e rla n d la what th e s t a t e always c a l l s I t s e l f when i t la about to engage In mass mur d e r. REA: Our u n c o n d itio n a l love to th e fa th e rla n d haa made Roma g r e a t. ROMJUJS; But our lo v e haa not made Roma good. W e have fa tte n e d a b e a st w ith our v ir t u e s . . . . REA: You a re u n g ra te fu l toward th a fa th e rla n d , ROMJUJS: No, I'm J u a t not lik e th o se h e ro ic f a th e r s In th e tra g e d ie s d io w ish th e s t a t e a 372 good a p p t t l t t «h«n I t 1b about to g a t up t h a l r c h ild re n . Co and B arry A t a l l l a n ! ^ but ta a la a f r a ld - * a f r a ld o f A a a llla n h la a a lf and a f r a id o f th a fu tu ra . **Than Ia a rn to conquar f a a r . lh a t la th a a r t wa m i a t a a a ta r In tla a a Ilk a th e a a . f a a r la a a ly to look a t th ln g a , f a a rla a a ly to do r i g h t - - 1 hava workad a t I t a l l f a t l a a . " Thara la D U rraiaaatt*a fa v o r lta paradox, th a t o f th a v a l i a n t huaan b a ln a . outnuw barad. pow arlaaa, avan rld lc u lo u a -- b u t u n a fra id , aa In H an lay 'a I n v lc tu a . At la a t ta a la convlncad and p ro a la aa to go back to A aailllan. Tha la a t worda o f to a u lu a to h a r a ra v ary BKrvlng. What w a r bacaaa o f D tirranw att' a "d la ta n c a " h ara? Thara la not avan a h in t o f cowady l a f t : Than a l l la r i g h t , ay c h ild . T h a t'a how I lova you a o a t. Co to A a a llla n . Say fa ra w a ll to a a . You w ill n avar aaa aa a g a in , fo r 1 aha11 d la . (SILW CK) 8IA: rat h a r! tOMJUUS: Tha Tautona w i ll k i l l a a . 1 hava alwaya countad on th la d a a th . That la ay a a c r a t. 1 a a c r lf lc a to a a by a a c r lf lc ln g ay aa I f . 1,9 Thla la Indaad to au lu a* g ra a t a a c r a t. Thla aay ba th a t l a a to quota D ttrra n a a tt'a own d ira c tlo n a and h i n t a , aa a ta ta d In h la Ajggarkugg, o r p o a ta c rlp t to th a p lay : ^ I b l d . . pp. 38*39 4 S u p r a , p. 2. 49toiM lua_dar C ro aaa. o p ^ c l * . . p. 60. 373 A d i f f i c u l t comedy, because I t la seem ingly l i g h t . The ll ta r a t u r a - b a n t sc h o la r o f Carman tongue w i ll n o t know a t a l l what to aaka o f It* " S ty le " la (In h la opin io n ] th a t which sounds so la a n . Thus ha w ill aaa In Romulus n o th in g but a a a rla a o f w isecrack s and p laca th a play somawhere batwaan Thao Llngen50 and Shaw. But th la f a ta la not ao In a p p ro p ria te fo r Romulus. Ha playad th a clown fo r tw anty y e a ra , and th a paopla In h la immediate c i r c l e d id n o t fin d out th a t th a ra waa method In th la madness . . . The p a r tic u la r d i f f i c u l t y fo r th a a c to r por tra y in g tow ulus . . . la th a t ha a u a t not appaar e y n p a th a tlc to th a audience to o soon. . . . The tru e n a tu re o f th a Emperor wuat ba re v e a le d only In th a th i r d a c t. In th a f i r s t a c t th a o u tc ry o f th e P re fe c t, "Koai h as an abom inable a a p a ro r!" In th a second a c t th a t o f A a a llla n , "T his a a p a ro r haa got to go!" a u a t ba J u s t i f i e d . I f , In th a th ir d a c t , koaulus p asses Judgnent over th a w o rld , th a w o rld . In th a fo u rth a c t , peases Judgnent over H oaulua. Hatch c lo s a ly what kind o f a aan I hava drawn, w itty , re la x e d , h u a a n e --c e rta in ly ; b u t u l tim a te ly a aan who proceeds w ith a x tra a a hardneea and r u th le s s n e s a , who does not shy away fro n de ne ndlng th a aana a b so lu te n e ss o f o th e r s , a danger ous fa llo w who la aim ing a t d e a th ; th a t la th a t e r r if y in g a sp e c t o f th la Im p erial chicken b re e d e r, th la cosmic Judga d la g u lse d a s a fo o l, whose trag e d y l la a e x a c tly In th a comedy o f h la an d . In h la ra tlr a m e n t, b u t who--and only th la makes him r e a l ly g r a a t—has th e v is io n and th a wisdom to accep t I t , a l s o . 31 Tha d ialo g u e In th a Romulus-Rea scene ahowa a ls o how u n f a ir ly DU rranm att, as ao o fte n In h la w r itin g , haa Carman comedian and p la y w rig h t, Llngen playad th e p a r t o f " K ln ste ln " In D U rranm att'a re c a n t su c c e ss, Tha I h y a l c i i t i . **Romulus dar Proses* op. clt.. pp. 85-86. w eighted th e e c e le e In favor o f age a g a in s t you th . Every lin e o f R oaulus is a " b u l l'e - e y e ," every lin e o f th e g i r l i i s a c o lo r le s s I n s ip id ity . M ow Roaulus wakes th e aged ch am b erlain , P yraaue, r e f i l l th e cup froai th e l a s t b o t tle o f F e le rn o , b ecau se, " In tim es lik e th e se we wust d rin k th e b e s t ," and f i l l a second cup, b ecau se, as he s a y s , he s t i l l wust t a l k to someone. That sows one. I t develops a few moments l a t e r , Is A eeilllan tdio, as so many c h a ra c te rs in D ttrren m att'e w orks, has clim bed In by th e window. Romulus had seen h la In th e r e f le c t io n on th e g o b le t. A a a llla n Is In v ite d to coae c lo s e r ; he le c la d In a b la c k cape. Ha speaks omin o u sly o f " v i s i t s th a t a re only paid a t a ld n lg h t," and, when| in v ite d to sh are th e F a la m o , su g g ests th a t th ey d rin k to " J u s ti c e ." J u s t a s th ey l i f t t h e i r g o b le ts , sosaone s c re a a s , and fro a beneath th e Em peror's d iv an ap pears th e | head o f T u lliu s R otundus, th e M in iste r o f th e I n t e r io r . R oaulus has stepped on h is f in g e r s . He craw ls o u t, embar r a s s e d , and c la d In a s im ila r cape as A a a llla n . ROM ULUS: I a a s o rry . Rut I r e a lly c o u ld n 't know t h a t you w ere down th e r e . Every M in iste r o f th e I n t e r io r ec reaa s when one d rin k s to J u s tic e . TULLIUS ROTUNDUS: 1 only wanted to propose a com p reh en siv e o ld -a g e In su ran ce to Your M ajesty. (See F ig u re I S .) F ig u re IS T u lliu s R otundus, « would-be s s s s s s l n , • s s u r s s th e Enperor t h a t h s has hidden under th e bed only to propose en o ld -ag e Insu ran ce p la n . 4 : s £ 377 S ince T u lliu s Rotundus Is b Is •d in g , having nicked h t a i a l f w ith h la own d ag g tr (**Wlth d a g g a rs, ay d a a r T u lliu s , ona i a u s t ba e s p e c ia lly c a r e f u l " ) , R oaulus goas to ona o f th a w a ll cupboards to fin d soae d r a s sin g fo r th a wound. Aa ha opana I t , R aparor Zeno Is ra v a a la d In an u n c o a fo rta b la p o s itio n . Ha c lla b s o u t, a ls o wrappad In a b la c k cap a, s u rp ris e d to fin d two o th e r c o n s p ira to r s . As R oaulus goas to th a o th e r cupboard to fin d soaa lin e n , ha d isc o v e rs th a i i enorm ously t a l l B yaantlne c h a a b e rla ln , S u lp h u rId a s, a ls o fo ld ed up In an u n c o a fo rta b la p o s itio n , a ls o wrapped In a b la c k ca p e. L i t t l e Ih o sp h o rld o s craw ls out f r o a under th a ■ a p e ro r's bad, a ls o In a b la c k cape. Thay had coaa " to r e c i t e th a v e rse s o f sorrow w hich Your M ajesty d id n o t y e t hava th a p le a su re o f h e a rin g In t h e i r e n t i r e t y . " "Y es-- b u t not In t h i s s i l e n t n ig h t," says R oaulus. J u s t th a n , th a c lo s e t door to th a r ig h t b u r s ts open, and S p u rlu s T itu s i Means c ra sh e s f u ll- le n g th to th a flo o r . ROMJLUS: M all! I s n 't th a a t h le t e a s le e p v e t? SPURIOS TITUS MAM*: I a a t i r e d , 1 a a s ia p ly dead t i r e d . (HR RISRS, SHAYtM G RA CK A M D FORTH) ROM ULUS: You lo s t your d ag g er, S p u rlu s T itu s Massss. (SrUllUS TITUS MAM* DAZEDLY GRASS THK D A G G ER A M D HIDES IT HASTILY UMJDL MIS BLACK CAP!)52 5 * l b t d . . p . 6 3 . 378 M ow Roaulus d e c la re s open h o u s e -- if t h s r s Is anyone c ls s p re ss n t h e re , w ill h s p ls s s s coas out? T his flu sh e s out H srsh al H ares and h is a d ju ta n t, b o th , o f c o u rse , In b lack ca p es. And f i n a l l y , slo w ly , th e cook w ith h is t a l l vdiite h a t , b u t a ls o clad In th a o b lig a to ry b lack cap e, craw ls out fro a under one o f th e d iv a n s. For th e f i r s t t l a e , th e Eaperor la v is ib ly shaken: "You, to o , Cook? And w ith th e k n ife th a t has au rd ered so aany e a p e ro ra ? " ( r e f e r r in g to th e chickens th e cook has s la u g h te re d ). A fte r soae ao re fun a t th e expense o f th e c o n s p ira to r s , R oaulus ask s th e a p o in t-b la n k what th ey w ant. They want back th e lo s t prov in c e s , th e captured le g io n s , th e ru in e d e a p lr e . R oaulus t e l l s th e a th a t th e E aperor does not owe th e a an acco u n t in g . . . . I f I had conquered th e w orld w ith your h e lp , you a lg h t have th e r ig h t to speak Ilk a t h i s , but I lo s t a w orld th a t you never won. 1 gave I t away lik e a bad c o in . I a a f r e e . . . . You a r e n o th in g b u t a o th a th a t dance around ay lig h t* n o th in g b u t shadows th a t sin k away when X d o n 't sh in e any lo n g e r. (THE CONSPIRATORS RETREAT TO THE W ALL) Only one o f you 1 owe an a c c o u n tin g , and to t h i s one 1 s h a ll speak now. Coas to a e , A eall* la n . Ibid.. pp. 64-6S. 379 Roaulus h as lo v sd t and s t i l l lo v e s, A a a llla n Ilk a a son. A a a llla n Is th a sacond a o s t d i f f i c u l t p a rt In th is p la y . How should ha ba playad? A gain, D U rrenaatt g lv a s an answ er: Ha h as aarchad fo r d ay s, psrttaps w eeks, on hlddan p a th s , through rasad c l t l a s , and non ha ra ach as th a housa o f th a C aparor, which ha knows, a f t a r a l l , and y a t ha asks on a r r i v a l : " I s t h i s th a v i l l a o f th a C aparor In C aapanla?" I f th a ra Is not f a i t In t h i s san tan ca th a In crad u lo u s aaaae- a a n t about th a p o u ltry fla d and run-down s ta t a o f th a v i l l a . . . th a q u e stio n bacoass r h e to r ic a l ; a ls o when ha ask s h is b elo v ed , anxious and c a p tl* v a ta d : "Who a re you?" Ha r e a l l y does n o t know h a r any a o re ; ha has r e a l ly fo rg o tte n h e r , but sen ses th a t ha once knew t h i s woaan and loved h a r, A a a llla n Is th a c o u n te rp a rt to C oaulus. His f a ta a u s t ba seen fro a th a huaan p o in t o f view , w ith th a ayes o f th a C aparor who saas behind th e facade o f th a degraded o f f i c e r 's honor " th a v l c t l a o f power, a thousand t l a e s s o ile d ." Roaulus tak es A e a llla n s e r io u s ly , as th a aan tdio was ca p tu red and to r tu r e d , as one who Is unhappy. But he s t i l l does not concur In th e deaand, "Go g e t a k n if e ," o r tha s a le o f th e beloved so th a t th a fa th e rla n d Bay liv e . H w rn lrv * > • bv_the a c to r behind each one o f av f ia u r a a . o r e ls e th ey cannot ba p laved. T his aoes fo r a l l ay A a a llla n was a h ig h ly c u ltu re d a a n , a co n n o isseu r o f H orace, a aan who 'W o te th a b a s t s ty le In I t a l y , " and a p a c i f i s t t4io s u ffe re d and was to r tu r e d . Roaulus se e s In h l a th a l a s t g ra a t arg u aen t a g a in s t n o n -v io le n c e . "What d id you d o ," ask s t h i s a a n , "so th a t Roae w ill not be 54Ibld., p. 85. 380 v io la te d aa Z waa v io la te d ? " "N o th in g ." "You ara accuaad o f having b etray ed your e a p lr e ." Thla c a ll a fo r an honaat a n a v a r, and Roaulus answ ers w ith an eloquence th a t d e fle a r e f u ta tio n : Not Z b etra y ed ay e a p lr e . R o w e b etray ed h e r- a e lf . She knew th e t r u t h , b u t ahe choaa fo rc e . She knew h u a a n lty , but ahe choae ty ran n y . She debaaed h e r a e lf doubly: b efo re h e r s e l f , and b efo re th e o th e r n a tlo n a who had been given In to h e r power. You atand b e fo re an ln v la lb le th ro n e , A a a llla n , b e fo re th a th ro n e o f th e Roaan eap ero r a , o f whoa Z a a th e l a a t . S h a ll Z touch your eyea th a t you can aee th la th ro n e , th la a o u n ta ln o f p lle d -u p a k u lla , theaa a tre a a a o f blood th a t a re a te a a ln g on I ta a te p a , th e a e e te r n a l c a ta r a c ta o f Roaan a lg h t? What a o rt o f anawer do you expect fro a th e p in n acle o f th e g ig a n tic e d if ic e o f Roaan h la to ry ? What ahould th a C aparor aay to your wounda, th ro n in g over th e cadavera o f h la own and o th e r aan*a aona, over th e hecatoaba o f v ic tim s th a t w are fo r th e honor o f Roaa, and w ild a n la a la fo r th e p leaa u re o f Roae, awept b e fo re h la fe e t? Roaa haa becoae weak, a t o t te r i n g old woaan, but h a r debt haa not bean p a id , and h ar c r la e e have not been atoned fo r. Over n l £ i t , th e day o f reckoning haa coaa. The cu raaa o f her v lc - t i a a have coaa tr u e . The u ae le aa tr e e la f e ll e d , th e ax la awung a g a ln a t th e tru n k . Tha Teutona a re co aln g . W e have a p llle d a lie n blood; now we a u a t pay back w ith our own. D on't tu rn away, A a a llla n . D on't r e t r e a t b e fo re ay m ajes ty th a t r le e a b e fo re you, d rip p in g w ith th e ag e -o ld g u i lt o f our h la to r y , a o re t e r r i b l e th an your body. I t la a q u e stio n o f J u s tic e , to which we drank. Answer ay q u e s tio n : Have we a t l l l th e r ig h t to defend o u rselv e s? Have 301 we s t i l l th s r ig h t to b* n o n than a s a c r i f i c i a l o f f e r i n g ? " A a a llla n has no a n sv a r. Who could hava any? Here la a g a in pronounced th e Lea o f Moses (as in aa in Die Panne, and as In P t r l«»uch d .r « lt« n P— >. b o ld ly h u m in to (to n * t . b l . . : J u . t l c . n u it bo . . r v . d ! So A a a llla n slow ly sneaks back to th o ae «dio surround th e E aperor in a wide a rc . You r e tu r n to th o se who caae sneaking in h ere lik e th ie v e s t h l a a ld n lg h t. You thought you were d e a lin g w ith a d e fe n se le a s a a n . M ow 1 sp rin g a t you w ith th e paws o f J u s tic e and g rip you w ith th e fangs o f tr u t h . Mot 1 a a a tta c k e d ; 1 a tta c k you. Not I a a accu sed ; 1 accuse you. Defend y o u rse lv e s! F ig h t back! . . . K ill ae I f you b e lie v e th a t I a a in th e wrong, o r su rre n d e r to th e Teutons I f i t Is tru e th a t we have no ao re r ig h t to fig h t back. Answer a e ! 56 There Is no answ er, because th e only p o s sib le answer could b e : You a r e r i g h t , you a re a thousand t l a s s r ig h t ! In s te a d , A a a llla n , in a g e -o ld , s tu p id c h a u v in la a , r a is e s h is d ag g er: "Long liv e R oae!" A ll draw t h e i r dag g ers and c lo se In on R oaulus who a l t s a o tlo n le s s and c a la . The daggers above h la u n i t e , as th e d ir e c tio n in R oaulus 1 e x p re sse s i t , " in to th e c h a lic e o f a s i l v e r flow er about to >s Ibld. ■ pp. 63-66. 56Ib id .. pp. 66-67. 362 clo se"--w h en fro * io«W h«r« o u ts id e c o s ts s trem endous, u n h eard -o f kind o f scream : "The T eutons s r s costing!" S s ltt d w ith p a n ic , th ey a l l s c a tte r through th e window and through th e d o o rs. Only th e E aperor rem ains s e a te d , calm and u n h u rt. In th e end o f th e a c t , Romulus i s ag ain th e f a r c e u r , as he was In th e f i r s t h a lf o f th e p lay : (OUT OF THE B A CK G RO U N D , PALE W ITH HORROR, C O M E PY R A M U S A N D ACHILLES) R O M U X JU S : V e il, where a re th e Teutons? PYRAM US: In N ola. Your M ajesty. ROM ULUS: Then w hat a ra you scream ing fo r? They w o n 't he h e re b e fo re tomorrow m orning. I want to go to s le e p now. (HE RISES) PYRAM US: Very w e ll. Your M ajesty. (RO M U LU S COES T O W A R D HIS BED, STOPS, ASTON ISHED) ROM ULUS: There Is someone ly in g In fro n t o f my b ed, A c h ille s . (ACHILLES BUNGS THE C A N D ELA B RU M ) ACHILLES: I t i s S purlus T itu s Masses, Your M ajes t y . He sn o re s. ROM ULUS: Thank Cod! The a th le t e sle e p s a t l a s t . Leave him th e r e . (HE CLIMBS 0VIR HIM INTO BED. PYRAM JS B LO V S O UT THE CANDLES OP THE C A N D ELA B R U M A M D DCITS W ITH ACHILLES IN DARKNESS) ROMJLUS: pyramus! PYRAM US: M y ta p e ro r? ROM ULUS: Vhen th e Teutons g e t h e re , show them In . (CURTAIN--END OP ACT I I I ) 57 T his end I s , q u ite o b v io u sly , pure fa rc e . The step p in g over a s le e p in g , p a ss e d -o u t, o r dead c h a ra c te r on sta g e Is 57lb ld . . p. 67. 383 an old t r i c k th a t navar f a i l s to g at a laugh. Tha f a ls a e x it o f Fyraaus and A c h illa s and R oau lu s' rid ic u lo u s draw in g -ro o a coasdy l i n e , "Show th a a I n ," b u ild on th a p rav lo u s laugh and r in g down th a c u r ta in undar p a a ls o f la u g h ta r. j I t Is probably c la a r to a la o s t avaryona by now j | th a t tha pravlous scana was th a a s s a s s in a tio n o f J u liu s | C aasar In re v e rs e , p a r tly through b u rlesq u e and g ro te s - q u e r le , p a r tly through id e o lo g ic a l r a v a r s a l. That was a ls o th a raaso n Why th a au th o r changad th a d a ta fro n Ju ly 476 In Roaailus I to " th a Idas o f March 476" In Ronulua I I . Tha " ty r a n t" h a ra Is a m ild-m annered p a c i f i s t , so f a r ahaad o f h is t i n s th a t ha eeeas Ilk a a balng fro a a n o th e r s o la r s y s te a . Tha c o n s p ira to rs a ra narrow -m inded, s tu p id n a t i o n a l i s t s , who naan t h a l r own Jobs and t h a l r own pos- s a s s lo n s tdian th ay t a l k g ra n d lo sa ly about th a g lo ry o f th a Rowan Cap I r a . Tha C avalry P re fe c t f S purlus T itu s M s m i , Ilk a h is s i l l y n an s. Is an o u td atad p o se u r. Tha M in iste r o f War and newly c re a te d M arshal Mares ("M ars"?) p lay s a t grand s tr a te g y w ith th a f i f t y aan o f th a Im p erial body g u ard . The Cast-Roaan C aparor Zeno t r i e s to s u b s titu te C r s a ta - b a lla f and p se u d o -p o sitiv e th in k in g fo r h la la c k o f r e a l power and r e a l courage. T u lliu s R otundus, th a 364 H ln la te r o f th e I n t e r i o r , d re a a a , In th e a ld a t o f c o lla p a a , o f a flo o d o f u a e le a a a o c ta l l e g i s la tio n . Only th a M la td and fa n a tic la a d A a a llla n la n o t c o a p le te ly r a fu ta d aa an arg u aan t a g a ln a t n o n -re a le ta n c e . A ll o f th e a , In t h a l r I n f l e x i b i l i t y and I n a b il it y to abaorb any new ld e a a , a ra g ro teaque exaaplea o f a a n ta l r l x l d l t v . Thay a ra B ru tu a, C aaalu a, C aaca, T rebonlua, and th a r e a t , "reduced" by D(lr- r a n a a tt and rand arad g ro tea q u e. That thay pop up, ona by ona, Ilk a la c k * In -th e -b o x e s. a l l a u f fla d in b la c k capaa and c a rry in g daggara, th a t r a d i t i o n a l , a e lo d r a a a tlc g arb of a a a a a a ln a , lnvolvaa r e p e t i t i o n . n u l t l p l l c a t I o n , and d ie * x u la e , R oaulus' h u r t and re p ro a c h fu l, "You, to o . Cook?" la a c le a r ta k a - o ff on "Et t u . B ru te?" Va know th a t th a cook la c lo a a to th a E a p e ro r'a h e a rt-* h e c a ll a h la a t ona t l a a " th a ao a t la p o rta n t own In ay e a p lr e ." To ba b e tra y e d by h la la a la o a t aa bad aa C e e a a r'a b e tra y a l by B rutua. I f wa d la ra g a rd th a cook, we a lg h t aay th a t A a a llla n haa th a aaaa r e l a t i o n to Roaulua th a t B rutua had to C aaaar. The u n itin g o f th a daggara above th a E a p e ro r'a head Ilk a "th a c h a lic e o f a a liv e r flow er about to c lo a a " la auppoaed to ay a b o llae th e coMaon g o al o f th a a a co a lc c o n a p lra to ra who d id not know o f each o th er* a p lana b e fo re 383 t h i s n ig h t. U nlike tha a s s a s s in s o f C aasar, th s s s a ra g ro tasq u a c o n s p ira to r s ; t h a l r deed doas not succaad. t Thara is c o lla p sa d e x p e c ta tio n and in c o n a ru itv between i j Idaa and r e a l i t y . L'hosmm propose. P iau d ls p o s a . In ; s h o r t, t h i s scans i s a compendium o f n e a rly every known d ev ice o f th e co n ic g ro tasq u a . Tha tin e o f Act IV is th a a o rn ln g a f t e r th a Id as o f H arch. Tha p lace is th a study o f th a E nperor, as in r 1 Act I , only th a t now th e re is J u s t ona b u st l e f t , th a t o f | th a f i r s t Romulus, th a founder o f It o n a. The opening d la - ' logue between th a two o ld ch a m b e rla in s, A c h illa s and Pyramus, is spiced w ith d e lib e r a te anachronism s: ACHILLES: I t i s a b e a u tif u l, fre s h m orning. PYRAM US: I cannot b e lie v e th a t on t h i s day o f g en e ral c a ta s tro p h e th a sun could r i s e . ACHILLES: Not avan n a tu re can ba r e lie d upon any lo n g er. (SILENCE) PYRAM US: For s ix ty y e a rs we hava served th a Roman s t a te under elev en em perors. I fin d i t h i s t o r i c a l l y Incom prehensible th a t th e em pire should c e a se to e x is t in o u r llf e tia w . | ACHILLES: I wash my hands in innocence. I was always a p e r fe c t cham berlain. PYRAM US: Ve w ere, in every r e s p e c t, th e only I s ta b le columns upholding th e em pire. \ ACHILLES: When we leav e th e s ta g e , one can tr u ly 1 say : now a n tiq u ity has come to an end. (SILENCE) 3B6 miAMIS: To th in k th a t th a ra w ill c o m a t i M whan L a tin and Craak w ill no longer ba spoken, and, In s te a d , th a ra w ill ba such Im possible la n guages a s th la T eutonic! ACHILLES: To lM g ln e th a t Germanic c h ie f ta in s , Chinaaa and Zulu K a f fira , who*a e d u c a tio n la n o t avan ona thouaandth o f o u ra , w i l l tak a th a h e lp o f w orld p o l l t l c a . "Arms vlrum que cano* 1 - * l know a l l o f V ir g il by h e a r t. PYKAHUS: * *Hahnln a a ld a th e a * 1 - - I know a l l o f H oair! ACHILLES: In any c a s e , th e perio d which now bag ln a m utt ba re p u la lv e . PITK A H U S: Tha r e a l ly dark Middle Agaa. W ithout being o v erly p e s s im is tic , 1 aay th a t Mankind w i ll never re c o v e r from to d a y 'a catastrophe.*** Tha p a r a lle l to our own t 1m and th e -- e s p e c l- a l l y In W aatarn E urope--ao p re v a le n t "D e c lln e -o f-th e -V e a t" mood la vary a tro n g ly pointed up. In an a ra th a t haa aaan th a d la a o lu tlo n o f th a two la rg a a t taodem c o lo n ia l em p ires, many an old factotum In Downing S tre e t o r th a Qua! d*Oraay probably M kea s im ila r ly gloomy pronouncement*. Tha g ro te sq u e ly comic a f f e c t l i e s In th a I n a b ility o f th a average huaan mind to see beyond h la own H m ; I t la not only M n ta l r l a l d l t v b u t a la o th a S w iftia n and B re c h tla n to g roteaque o f th a lim ita tio n s o f mankind. Tha f i r s t news th a t Komulua re c e iv e s from h la cham berlains la th a t h la e n ti r e fam ily and c o u rt hava i gIb ld . . pp. 69*70. Supra, pp. 62*63. drowned d u rin g th e f l i g h t to S ic ily on a r a f t . Only fiaperor Zeno w ith h is cham berlains could sava h lm sa lf be- causa ha took "tha ra g u la rly schadulad ship to A lex an d ria." Roaulus rem ains calm : M y d au g h ta r, Rea, and m y so n , A a a llla n - - - (HE LO O K S AT THE T W O CHAMBERLAINS) 1 saa no ta a r s In your ay a s. ACHILLES: Va a ra o ld . ROHUUIS: And 1 must d la . Tha Tautons w ill k i l l ■a. T his v ary day. So no sorrow can touch am. Ha who o u st d la soon, doas n o t mourn th a dead. * Va la a m th a t S purlus T itu s M a n s, th a " a t h l e t e ," is s t i l l sn o rin g in fro n t o f th e E m peror's bad. R oaulus s i t s down, ra la x a d aa alw ays, and o rd a rs th a tram b lin g cham barlalns to sarv a b re a k fa s t. Thara is a r e p r is e o f th a g ro tasq u a a g g -la y in g re p o rt o f Act 1. Again th a J u l l l and th a F la v ll hava la id n o th in g , ag a in old r e l i a b l e Marcus A u re liu s has la id h is d a lly agg, b u t t h i s t i n s Odoacar has outdone h im self (o r h a r s a lf ) and la id th re e eggs! The old cham barlalns a ra now ask in g fo r t h a l r r e le a s e ; th ay hava re c e iv e d a m ag n ificen t Job o ffe r from CHsar Rupf, th a modern C aesar, w ith th re e a fte rn o o n s o ff par weak, and tim e enough to w rite t h e i r memoirs. Romulus 366 a d a its th a t th a c o n d itio n ! a ra " f a n t a s t ic ” and s a t! th a n f r a a . As a f a r a v a ll p ra sa n t and to rew ard th e n fo r " s ix ty y aa rs o f b i t t a r a s t p o varty in th a a a rv ic a o f th a monarchy ha ta k a s o f f h is golden 1a u r a l v ra a th and g iv es th a a th a l a s t two gold la a v a s . With trem b lin g h an d s, th ay pour th a E aperor a l a s t g o b la t o f asp arag u s wina and la a v a . Thara i s sh o u tin g o u ts Id a - -th a Tautona a ra h a ra ! A b a rb a ria n e n te r s , w aarlng tr o u s e r s , a wida c o a t, a b ro ad - brU aw d h a t, and c a rry in g a la a th a r pouch w ith a not shook o r d ia ry in which ha now and th an nakes an a n tr y . Ha la follow sd by a young nan in a a r t i a l a t t i r a who draws h is sword and is about to k i l l R onulua, b u t is stoppad by th a o th a r nan. Tha two o ld a r nan look each o th a r o v sr and a ra anaaad to saa th a t n a lth a r looks a t a l l Ilk a th a s te re o - ty p as th ay had sx p a c ta d . "O b v io u sly ,” says R onulua, "o u r ld aas o f o th a r ra c a s a ra q u its w rong.” Ronulus is iapresan) w ith th a p r a c t i c a l i t y o f th a tro u s a r s th a t can ba b u tto n ad in f r o n t. Tha o ld a r ona o f th a T autons asks to sam pls R oaulus' asp arag u s wina and ahuddars: "Im p o ssib le! T his beverage w ill not l a s t . Bear is b a t t e r . " Ha t a i l s th a a sto n ish e d Ronulus th a t th a s ta tu e o f Venus in th a park la a genuine P r a x ite le s , in ste a d o f a w o rth le ss copy as th a Esqwror had thought i t was. Than ha exam ines th a empty 389 •80 • h a i l l a f t over fro n th a Caparor*a b re a k f a s t. T his b rin g s th a c o n v a ra a tlo n to chlckan fa rm in g --th e s u b je c t which la n a a ra a t to both a a n 'a h e a r ta . Odoacar in tro d u c e s h l a a a lf and th a young a a n ( h la nephew, T haodorlc. Odoacar haa known Roaulua a l l a lo n g , b u t thought I t b a tt e r to opan th e e o h a rra s sln g a t e t i n g w ith h la eneay by a t a l k about chicken farm ing. When Odoacar f i n a l l y aaya th a t " th e mo a t n t fo r which 1 w aited fo r y aara haa c o a a ," Roaulua r l a a a , e x p e c tin g to be k i l l e d . In a ta a d , Odoacar makes h la nephew k neel b e fo re th e "B aperor o f Rone,*' th en atnda h la out and k n eala h l a a a lf b e fo re R oaulua, o ffe rin g h la and h la whole people*a au b n laa io n . Roaulua la throw n com pletely o f f b alan ce and aaka Odoacar to a l t down and e x p la in . Odoacar la a h ero and a w a r rle r a g a ln a t h la w i l l . Hla young nephew la th a r e a l w a r rio r; h la l i f e la b la m e le ss. Ho In fa c ta ay people by h la way o f liv in g . Ha doee n o t touch g l r l a , d rln k a only w a te r, and aleopa on th e f lo o r . Ha p ra c tlc e a sword* f ig h tin g and ap ear-th ro w in g d a lly . Even now, w h ile w a itin g In th e a n te ro o a , ha la probably doing p h y s ic a l e x e r c is e s . Ha re p re s e n ts th a Id e a l o f th a T eutons. Ha d raaaa o f conquer* Ing th e w o rld , and th a people d re a a w ith h la th e d e s c r ip tio n o f T h e o d o rlc 's p h y sic a l prowess and c le a n 390 liv in g pokes fun a t th a p h y sic a l c u ltu r a a a n la o f f a s c i s t and cosssunlst youth sttv e a sn ts and t h a l r ld a a l o f th a "body 62 o f s t e a l . " Odoacar c o n tin u e s h i s t a l a o f voa: T h a t's why I had to u n d ertak e t h i s cam paign. I alo n e stood In o p p o s itio n to wy nephew, to th e p o e ts ,63 t o p u b lic o p in io n , and was fo rced to g iv e In . 1 had hoped to conduct th e war h u a a n e ly ; a f t e r a l l , I o m h r e s is ta n c e was a l i g h t . But th e f a th e r so u th 1 pushed, th e g r e a te r th e a lsd e e d s o f m y a r m y b ec aaa, not because I t was c r u e le r th a n o th e r a rm ie s, but because anv war la b e s t i a l . . I f we coapare t h l a w ith E o au lu s' s ta te a e n t t h a t war haa been a c r la e e v e r sin ce th e in v e n tio n o f th e s t i c k , w ith th e w ar-caused d e v a s ta tio n , d e g ra d a tio n , and s ta r v a t i o n d e p ic te d In Es s te h t a e sc h rle b e n and P er B lin d s , and w ith th e c e n tr a l message o f Die ih v a lk e r . we g e t a v ery d i f f e r e n t p ic tu re o f D U rrenaatt f r o a th a t o f a s a d is tic b lo o d - and h o rro r-a o n g e r who d e lig h ts In t e l l i n g s to r i e s o f e x e c u tio n s and t o r t u r e s ; I t Is th a t o f an e a rn e s t p a c i f i s t o f b u m ln a x e a l and c o n v ic tio n . To co n tin u e w ith O doacar*s c o n fe ssio n : 63Z uckaeyer, to o , r id ic u le s I t In The D e v il's G e n e ra l. ^ L l k e C lraudoux In La G uerre do T ro le n 'a u r a pas l i e u . D U rrenaatt accu ses th e p o e ts o f fom enting war h y s- t e r l a . 64 Boaulus der Crosse, o p . clt.. p. 70. 391 Z m i h o r r if ie d . 1 t r i e d to b reak o f f th e ca ap elg n , 1 was w illin g to a c c e p t th e aua fro a th e tr o u s e r a a n u fa c tu re r. As y e t ay f i e l d coaaandere were c o r r u p tib le , a s y e t I could perhaps s t e e r th in g s ac co rd in g to ay w i l l . As y e t. F or soon Z s h a ll n o t be a b le to do i t any lo n g e r. Then we s h a ll have becoae Irre v o c a b ly a n a tio n o f h e ro e s. Save a e , Aoaulus! You a re ay only hope. HOHUIJUS: Of What? ODOACEk: Of sav in g ay l i f e . kOMULUS; You a r e in danger? ODOACEk: As y e t ay nephew Is t e a s , as y e t he is a p o lite a a n , but In a few y e a r s , he w i l l a u r- d e r a s . Z know T eu to n ic lo y a lty . kOtftJUJS: And because o f t h i s you want to su rre n d e r to ae? ODOACDl: A w hole l i f e long I search ed fo r tr u e huaan g re a tn e s s , n o t th e f a ls e one, n o t th e g re a tn e s s o f ay nephew who w i l l once be c a lle d Theodorlc th e C re a t--Z know h i s t o r i a n s . Z a a a fa ra e r and h ate w ar. I search ed fo r a huaanLty t h a t 1 co u ld not fin d in th e w ild T eutonic f o r e s ts . 1 found i t in you, E aperor k o au lu s. Your M ajor-doao A blus saw through you. „ kOHJUJS: Abl was a t ay c o u rt in your pay? ODOACEk: He was ay sp y . But h e re p o rte d good th in g s to a e , o f a tr u t h f u l a a n , o f a J u s t isan - • o f you, k o au lu s.6 5 The c la irv o y a n c e o f Odoacer In fo re se e in g h is own d ea th a t th e hands o f T heodorlc and th e fu tu re * 'g reatn ess" o f T heodorlc is h a rd to sw allow ; t h i s kind o f p ro p h e tic fo re s ig h t based on our h in d s ig h t Is to o easy and v io la te s p r o b a b ility too au ch . The s to ry o f th e N ajor-doao Xbl (a v ery ty p ic a l Sw iss n a a e ), c a lle d Jtblus by th e k o aan s, who <5n>id.. p. 7*. 392 apaaka, llk « so M ny Sw iss, s a v s ra l languagas And s p ls s Cor O doacar, M y ba a M llc lo u s Joka a t th a axpansa o f ■o m Swiss paoplo d u rin g th a l a s t w ar, tdio M y hava angagad in asplonaga undar th a p ro ta c tlo n oC t h a l r Swiss p a s s p o rt. In Act IX th a ra la a ls o t a l k o f a **Halvatlan (Sw iss) aarv - a n t M id " Who Is su sp actad o f spying and having acraw lad th a Ganasnlc slo g an s on th a w a lls . And now c o s ts th a b l t t a r "aoM nt o f tr u th " Cor R oaulus, who has boon so s u p a rlo r to avaryona up to th i s p o in t: Xbl to ld you oC a Cool, O doacar. X plannad m y whola UCa Cor th a ona day tdian th a lo a in E aplra would c o lla p s a . X gava n y s a lf th a r ig h t to ba X o m ' b Judga, bacausa I was raady to d la . X daM ndad an lan an sa s a c r lf lc a o f m y country bacausa I oC farad n y s a lf as a s a c r l f lc a . I l a t th a blood o f m y paopla Clow by M k ln g I t d a fa n s a la s a , bacausa X wantad to s p i l l m y own blood. And now X an auppoaad to llv a . Now m y s a c r lf lc a la not to ba ac c a p ta d . Now X an to stand as tha only ona who savad h lM a lf. And not only th a t: bafora you c a m , X ra c a lv a d th a nawa th a t th a d au g h tar I Iova h as p arla h ad w ith h ar b a tro th a d , to g a th a r w ith sty w lfa and th a c o u r tl a r s . X bora th la naws w ith aasa bacausa X ax p actad to d la ; now I t h i t s m M r c l l a s s l y , now I t r a f u ta s m n a r c l- la s a ly . What X did has a l l bacos* ab su rd . K ill m , O doacar. (SXLOICE) ODOACDl: You apaak out o f g r l a f . OvarcoM your sorrow and accap t ny subm ission. ROM ULUS: You a ra a f r a id . OvarcoM your fa a r and k i l l m . 393 (SILEKCE) O doacer: . . . . I f you d o n 't accep t my subm ls- ■lon, I f we two do n o t a c t to g e th e r, th e w orld w il l f a l l to my nephew, and a second home w il l r i s e , a Gerwanlc w orld em p ire, ju e t ae t r a n s i to ry as th e Roman, J u s t a s bloody. The de s tr u c tio n o f Rome, your work, w ill become s e n s e le s s I f th le happens. You cannot escape your g re a tn e s s , Romulus, you a re th e only man who knows how to govern t h i s w orld. Be sm rcl- f u l , accep t my subm ission, become o u r Emperor, guard us from th e bloody g re a tn e s s o f Theo dor I c ,66 A com plete im passe has been reach ed . Romulus f e e ls unable to liv e and r u le ; Odoacer re fu s e s to k i l l him b e cause he loves him. At l a s t Romulus remembers th e o nly man % A io s t i l l s tr iv e s to k i l l h lm --th e " a t h l e t e ," s t i l l sle e p in g In fro n t of h is bed. He r i s e s to wake him , but Odoacer sto p s him: " I h ls is no s o lu tio n , Romulus. You a re d e s p e ra te . Your d e a th would be m ean in g less; I t could have meaning only I f th e w orld were as you Imagined I t . But I t la not . . . Accept your f a t e ." There la only one a o lu tlo n l e f t : Odoacer w il l r e t i r e Romulus. Romulus c a l l s t h i s th e s » s t f r i g h t f u l th in g th a t could have happened to him. Odoacer p a in ts h is own gruesome f u tu r e . Being proclaim ed Ring o f I t a l y w ill be th e b eginning o f th e end “ ibid. . p. 79. 394 Cor h i t , u n lta i he s e t* t t one* and b eg in s h ie re ig n w ith a u r d e r - - o f h ie nephew. He r i s e s and draws h is sword. T his t in e Romulus sto p s him. Now you a re d e s p e ra te , Odoacer. I f you k i l l your nephew, a thousand new T heodorlce w ill a r is e a g a in s t you. Your people th in k d i f f e r e n tly from you. They want h e ro ls n . You c a n 't change i t . 67 They s i t down a g a in ; fo r th e th ir d tin e in t h i s scene th e s e two a n ta g o n is ts tr y to a c t , r i s e , convince each o th e r o f th e f u t i l i t y o f t h e i r a c tio n s , and s i t down a g a in . The r e p e tit i o n o f th i s aetaen w tr una w leder is a s ta p le b u t e f f e c tiv e device In d ic a tin g conic f u t i l i t y . Now Ronu- lu s suns up t h e i r f a te In a c le a r resume': Hy d ear O doacer, 1 wanted to play f a te , and you wanted to avoid youra; now I t has become our coanon f a te to play shipw recked p o l i t i c ia n s . X executed Rone because X fe a re d I t s p a s t, you t r i e d to su rre n d e r your country because you shuddered b efo re I t s fu tu re . . . . R e a lity h a s c o rre c te d our Id e as. . . . Try to put sense In to th e nonsense In th e se few y e a rs th a t rem ain to you to a d m in iste r th e w orld f a i t h f u lly . Clva peace to th e Teutons and to th e Romans! . . . These w ill be a few y ears th a t w orld h is to r y w ill fo rg e t because they w ill be u n h e ro lc --b u t th ey w ill be m o q | th e h a p p ie s t y ears on t h i s confused e a r th . ® 6 7 l M d . , p . so. 68l k « - . P. 81. 395 T his Is th a idea wa ancountarad In Ea a ta h t a a - ac h rlab an and In P ar V ard ach t: nan cannot do th a g ra a t thInga*> thay a ra aln p ly n o t glvan In to h la powar. Ha can do only th a l l t t l a th ln g a , but th aaa a ra nora Im portant th a n th a g ra a t onaa. Thla la % diy D tlrratm att navar n la a a s a chanca to d a rld a and lanpoon h a ro la n and p ro fa a a lo n a l h aro aa, "L at ua p lay coaady onca o w ra," aaya R onulua, ’’fo r th a l a a t t l a a . Lat ua a c t aa I f th a c a lc u la tio n caaa out avan, aa I f th a aln d conquarad th a n a t t a r n a n ." Can nlnd a v a r changa a w orld th a t only a x la ta , th a t haa no ld a a , o r la th a w orld, balng n a t t a r , u n lap ro v ab la? Thla waa th a q u a a tlo n aakad In H la a la a lp p l^ and la aakad h a ra a la o . Odoacar auanona h la naphaw and h la f l a l d c o w a n d a ra , a u lo g la a a Ronulua (" I n avar aaw a g ra a ta r n an , and you w ill navar aaa a g r a a ta r ona, a l t h a r , whoavar w ill ba ny auc- c a a a o r" ). Than Ronulua la glvan th a f lo o r fo r th a la a t t l n a : Tha E nparor d la a o lv a a h la a n p lra , Look onca ax>ra a t th la c o lo ra d b a l l , t h l a d raan o f a g ra a t X nparlun f lo a tin g fra a ly In apaca, d rIv a n by th a a o ft b ra a th fro n ny U p a-* th aaa ap raad ln g c o u n trla a around th a b lu a aaa w ith I t a dancing ^ S u p r a . p. 267. 396 d o lp h in s , th e s e r ic h pro v in ces ysllow w ith co rn , th s s s c i t i e s team ing w ith l i f s - - s sun th a t v itM d a n and, when I t stood high in th a h aav an s, burnad th a w o rld , and now, In th a hands o f th a Esiparor, d ls a o lv a s in to n o th in g .’ 0 T his b a a u tif u l spaach was th a only im portant p a rt th a t was salvagad from th a f in a l scans o f Romulus I . Now Roaulus names Odoacar King o f I t a l y . O doacar, in tu r n , a s s ig n s to th a ex-Emperor th a v i l l a o f L ucullus in Cam p a n ia , w ith a p ension o f s ix thousand gold co in s a y e a r. Romulus' fo llo w in g spaach Is a n tlc lim a c tlc to o f f s e t th a a f f e c t o f th a b a a u tif u l a b d ic a tio n : The lean im p e ria l y e a rs a ra o v er. Hare is your la u r e l w reath and th a im p e ria l to g a . Tha im p e ria l sword you w ill fin d w ith tha garden t o o ls , th e S enate in th a catacom bs o f Roam. Now hand ms my namesake, th a b u st o f King Romulus, from th a w a l l .71 J u s t aa th a Teutons break in to "Long liv e Romulus th a G re a t!" S purlus T itu s Hamms, our runnlnx a a a . ru n s In from u p s ta g e , a naked sword in hand, scream ing: "Uhere la th a Bmperor? I want to k i l l him !" (T his must ba th a mo ment d u rin g which F ig u re 16 was ta k e n ) But Odoacar ste p s In h is way and t e l l s him t h a t th e re i s no more em peror, and th a t th a em pire is d is s o lv e d . S p u riu s T itu s M am m a s in k s . 70Ib ld . . p. 02. 71J b ld ., pp. 02>03. Flgura 16 Rooulua a f t a r h la a b d ic a tio n , c a rry in g th a buat o f R o o t'a f l r a t king undar h la 39f b ro k an , In to th a n a a ra s t c h a ir : "Than th a l a s t Iw p a rla l o f f lc a r has s la p t through th a and o£ h i s fa th a rla n d !" C olIansad a n p a c ta tlo n Is th a la b a l fo r t h i s paak o f g ro - tasq u a cowady. "With t h i s , g a n tla a a n ," says kow ulus, " th a Rowan C apIra has caasad to a x l s t , " and a x lts slo w ly , w ith b an t h aad , th a b u st undar h is a r a , as th a r a s p a c tf u l Teu to n s stan d a t a tta n tlo n . F in a l c u r ta in . Tha a x c ltln g th in g about th is p lay Is th a t I t s c h a ra c ta rs llv a alasaltan ao u sly on t o t a l l y d if f a r a n t p la n a a . kowulus llv a s th a way a Roswn r u l t r o f th a l a t a f i f t h ca n tu ry could hava llv a d , but w a n lfa s ts th a s p i r i t u a l a t t l - tu d s o f a c l t la a n o f th a d a c lln ln g V ast o f our t l a s . I t Is p a rt o f DUrranmatt*s tach n lq u a to b l a s t a p a rt th a fra a a - work o f h is t o r i c s u p p o s itio n s : Rowan ch a sfcarla ln s spaak o f th a "d ark Mlddla A gas," th a C aprass c a l l s h a r husband a " d a f a a t l s t ," and a " sa rv a n t wald frow H a lv a tla " la sp y in g . Thasa a ra d av lcas which a lla n a ta us frow th a Rowan w llla u , c r a a ta d ls ta n c a frow th a s u b ja c t, and waka su ra th a t i t cannot ba w laundarstood as r a a l , slw on-purs h is t o r y . At o th a r tlw ss th a sa d a v lc a s suspand th a n a tu ra l a a th a tlc d ls ta n c a batwaan audlan ca and s ta g a . At any r a t a , th ay p ra v an t th a c o n v a n tlo n a l th a a ta r o f I llu s io n j u s t as s u ra ly and r a d ic a lly aa th a a lla n a tlo n tach n lq u a o f B ra c h t, 4 0 0 to Which th ey a r t r e la te d lik e e w itty v a r ia tio n . W hile B recht v a n te to fo rc e th e e p e c ta to r In to a d i a l e c t i c d l s - cu a alo n , th e outcoae o f tdtlch la p re d a te ra in e d by h ie doc t r i n e , D U rrenaatt a la a a t c o a lc and t r a g i c ahock a f f e c t a. He g rlp a bourgeola au d ien ces th e r e th ey b e lie v e th e a a e lv e a le a a t v u ln e ra b le --b y t h e i r t r a d i t i o n a l Id e a le . The d eb a te between Boaulua and h la d a u g h te r, Rea, about a t a t e , f a th e r la n d , and th e In d iv id u a l concerne ua; and R o au lu s' s c e p t i c a lly dropped q u e s tio n , " Is c u ltu re soaw thing th a t can be saved?" la addreased to ua. Everywhere ona f e e la th a f e r - aw ntlng o f a f a n ta s tic and stu b b o rn ly d if f e r e n t a ln d . In c e s s a n tly one la su b je c te d to n a jo r o r ailnor blow s, s u r p ris e d by unexpected tu rn s an d --n o t in f r e q u e n tly - - p r o voked. The h i s t o r i c a l s itu a tio n s o f 476 A.D. a re Meant fo r th a tw e n tie th c e n tu ry , and «dtlle th e p ro ta g o n is t a t th e end o f th e p lay c o n fe sse s to have a is s e d th e p re s e n t, th e a u th o r i s a l l th e s u re r o f h is e f f e c t on th e h ere and now. D esp ite h is s c e p tic p a s s iv ity , Roaulue Is n o t an eabod le a n t o f n ih ille a - - o n th e c o n tra ry , lik e D U rrenaatt h l a s a l f , he Is a d isg u ise d M o ra list and an e a rn e s t p a c i f i s t , In whose o p in io n th e s t a t e , d eg en erated In to a aon- s t a r , c ru sh e s th e in d iv id u a l. 401 The end o f th a p la y , to t h i s re s e a rc h e r, i «h u d e f in i t e l y fo rced and " l n t e l l e c t u a l l s e d “ - - a a h o rtc o aln g th a t D U rren aatt, w ith h la p e n e tra tin g s a l f - c r l t l c l s a and w orkaanllke h u a l l l ty , w ill probably a pot aoonar o r l a t e r , and reaed y . Thla la p re s s lo n waa v o iced in ona o f th a r e view a : . . . And ao, in th a and, two d re a a a rs a l t o p p o aita each o th e r who ware a ls ta k e n about r e a l i t y , o n e --lto a u lu a --fo r fe a r o f th a p a a t, th a o th e r --O d o a c a r--fo r fe a r o f th e f u tu r e . To u a, th la c lo s in g seeaa r a th e r c o n a tru e ta d and not f e l i c i to u s , bacauaa i t c o a p llc a te a th a id e o lo g ic a l s tr u c tu r e u n n e c e s s a rily . Of c o u rse , through t h i s , D U rrenaatt e x p re sse s i h a t a re probably s p e c ia l concerns o f h i s - - t h e a n tIv e s o f to le ra n c e and o f re s ig n a tio n ; th u s th e coaedy, n o re s tro n g ly tb an b e fo re , becones th e trag lco n e d y o f d i s i l l u s i o n . Tha w r ite r o f th e fo llo w in g review p re fe rs th e new ending o f Uoaulus l i t D U rrenaatt has developed a c o n s te lla tio n o f p r in c ip a l c h a ra c te rs In th la coaedy th a t la ty p ic a l o f h la p o e tic work. Opponents who a In paat r e a l i t y , who c a rry out t h e i r b a t t l e s In a u to p ia n w orld o f id eaa and, in th e a tt e a p t to cope w ith r e a l i t y , a re condeaned to co a lc o r tr a g ic f a i l u r e . W e fin d th e n a lre a d y In h la e a rly works a n d --to naae a s u re re c e n t ex a ap le— in The H a rris e s o f Hr. M is s is s ip p i. I t scans to be . . . one o f thoae s u tlv e s tn a t a re e s s e n ti a l . . . in th e s tr u c tu r e o f h is p o e try . I t se e a s a d a lra b le to u s , th e r e f o r e , 72"IU>nulus d e r I n c i t e , " Luxe m a r T a g b la tt. O ctober 20, 1937, p. 3. 402 how th e a u th o r managed to carv a out of th a baroqua v a r ie ty o f th a f l r a t lo a u iu i v a ra Io n th a d i a l e c t i c p lay and c o u n ta rp la y batw aan th a t i t l a r o la and th a T autonlc p rin c e . T his apaaks fo r a d i s c i p l in ing o f th a a r t i s t i c temperament which b a n a f lts a ls o th a r a s t o f th a p la y . Tha naw Kowulus Is th a . . c r a a tlo n o f a s u p e rio r a r t i s t i c in te llig e n c e . . . . Tha c r it iq u e by "Hobs" In D aily V a rie ty o f an Amer- ic a n a d a p ta tio n by Cora V idal* played by C y ril K ltchard* la cow p letely n e g a tiv e : . . . a a a lf-c o n s c lo u s t a l k - f a s t . . . an e la b o r a te ly Bannered* windy b o ra . . . . Kowulus is e v id e n tly intended a s a s o r t o f parable* a tr a n s la tio n o f h is to r y in te r n s o f contem porary a p p lic a tio n . Zn th a t case* i t seems f a i r to r e - | aark* th a naw work Is n o t so much an e x p re ssio n o f wisdom as a cry o f c y n lc lsB and d e s p a ir . . . 1 th a message seams to be c le v e r ly worded shrug o f j th e shoulders* a su g g estio n th a t th e b a t t l e was lo s t b e fo re i t sta rte d * and b e tte r so. In s h o r t, | Kowulus seems to be saying* w ith comic so p h ist le a - | tl o n , **V hy b o th e r--w h a t' • th e u se?" . . . In term s | o f b o x o fflc e p o te n tia l* i t ' s slow in actio n * d l f - | fu se in theme* shallow In c h a ra c te ris a tio n * syn t h e t i c in language end u n s a tis fy in g in d ram atic re s o lu tio n . . . j ! I f a play th a t has been acclaim ed as in te re s tin g * a tlm u la t-j ing* and p ro v o c ativ e by th e a te r-w is e au d ien ces In Europe, j i s condemned as roundly as i t Is h e re , th e re a re fo u r ^ H a n s U lric h V oser, "H otisen su r Neufassung von D drrenam tts 'Kowulus dor C ro s s e ,1" P roera—h a f t des S ch auspjelhaus Z U rich. 1957/1958, pp. 3-10. ^"H obaJ1 Koeulus Kevlew* P a lly V a rie ty . January 11* 1962. 403 p o s s i b i l i t i e s : o n e, th e c r i t i c is a H o rtl* e r S n e rd -llk e lowbrow whose re g u la r b e a t may be th e n ig h tc lu b c i r c u i t o r daytim e te le v i s i o n ; tw o, th e Gore V idal a d a p ta tio n was v ery bad (th e words " s y n th e tic in language" c e r ta in ly is* p ly t h i s ) ; th r e e , th e p ro d u c tio n , d ir e c tio n , and a c tin g w ere v ery bad; and fo u r, a com bination o f any two o r a l l th re e o f th e s e f a c to rs was to blam e. F in a lly , a g a in , a more p o s itiv e a p p r a is a l: . . . Even where t h i s stra n g e w o rld -refo rm er c h a lle n g e s u s to c o n tra d ic t him , he i s I n t e r e s t in g , because h is g ro tesq u e comedy c o n s tru c tio n is alw ays tw is te d tow ard th e r e a l l t v o f our tim e . An a d m itte d ly spooky r e a l i t y , toward whose v ls u - a l l a a t i o n F rie d ric h DUrrensmtt as a dream t 1st alw ays s t r i v e s . '5 D .r — luch d . r . l t . n D — «—t i n . t r . « l . c h . K o«B dt.. » l t « li» » Kachwort flh e V is it o f th e Old Lady--A T ra a lc Comedy, w ith a P o s ts c rip tS . tr a n s la te d and ad apted bv H surlce V alency- as The V i s i t . P e r leau ch d e r a lte n Dams, u n le ss i t be e c lip s e d by P ie P hyalkeg. i s Dtlrrenme t t ' s g r e a te s t su ccess to d a t e . ^ * * S t o b b e , o p . c l t . . p p . 1 5 - 1 7 76p er Besuch d e r a lt e n Paam (4 th e d .; ZUrlch; V erlag d e r A rche, 1956), 103 pp. 404 I t M d« it* a u th o r, u n t i l th a n only " th a a o a t im portant d ra m a tis t o f Ceraan tongue ain ca th a d aath o f B re c h t," 77 In to an ln ta m a tlo n a l c e le b r ity . It* w orld prem iere took p la c a on January 29, 1956, a t th a Schauaplalhau* Z U rlch. and i t a American v a ra Io n , produced by, and a ta r r ln g , A lfra d Lunt and Lynn F ontanna, opanad on Nay 5 , 1950. In I t a American a d a p ta tio n , th a p lay won th a Broadway C r i t l c a ' C lr c la Award in 1959. S lnca th a n , th a am ateur r ig h ta to Tha V ia it have been re le a a e d , and th a play haa ap p eared , and la ap p ear in g , on th a p ro d u c tio n achadulaa o f coaaaunlty, c o lla g e , and u n lv e r e lty th e a te r a . I t l a , th e r e f o r e , th a only work o f D U rranaatt*a th a t la w idely known In th la c o u n try . Con- e e q o e n tly , tr a n a la tI o n a o f tdiole paaaagea o r acanaa w ill ba o ffe re d In th a fo llo w in g a n a ly a la only tdien th a o r ig in a l doaa not appear In th a American v a ra lo n a t a l l , o r d l f f a r a M arkedly from I t . The a n a ly a la w ill ba baaed on th a Garaan o r i g in a l, aa waa announced In C hapter 1 , p o in t- 77S le g frle d M elchlnger, Draaa awlachan Shaw und B recht (2nd a d .; Bremen: C a rl Schuneaann V arlag , 1957), p. 165; A dolf K laraan n , " F rie d r ic h D U rranaatt and th a T ragic Sanaa o f C oaady," T ulana Draaa Bavlaw. IV (Hay, 1960), 77- 104; W alter Ja n a , " E m it g eaach t a l t d e r K oaodla: Ubar Nord, H oral und F rie d ric h D U rra n a a tt," Dla Z a l t . Ju ly 16, 1953, pp. 15-17. 405 tng out d lffe re n c e a b c tv tm o r ig in a l and a d a p ta tio n tdien- e v e r th ey • • • « Im p o rta n t.7® PLOT SIM M Y : Tha l l t t l a town o f C U llen la ao l* p o v e rla h e d --ln th a s l d a t o f an eco n o slc boom e v e ry where e l a e - - t h a t avan th a bankruptcy c o u r t'a b a i l i f f cannot fin d a n y th in g to a a ls a any s o r e . Than a fo m a r c l t l a a n who haa becoas a b llllo n a lr a a a ab ro ad , and o f whoai h a lp In t h la s la e r y can ba e x p e c te d , coawa to v l a l t . Tha tr u a p ca rd o f th a paopla o f OUllan la th a o n e -tin * b o y frla n d o f th a auppoacd b a n a fa c tra a a , th a ahopkeeper, I I I . Thla hopa aeesa to ba J u a tlf le d b ecau ae, to n e d la te ly a f t a r h a r a r r i v a l , th a laattn aely r ic h C la lra Z achanaaalan a a ta out to r a v l a l t th a apota whara aha and 111 uaad to auika lo v a. On th a occaalo n o f th e g ala banquet ten d ered by th a c i t y , th a o ld lady o ffa ra ona b illio n - - o n a - h a I f o f I t fo r th a town, th a o th e r h a lf to ba d iv id e d asong th a to v n ap eo p le. She a tta c h e a only ona c o n d itio n to th la g l f t - - t h a t aha ba glvan J u a tlc e . Thla aaa* 111 had onca den ied th a *®Por t h l a , th a ra a a a rc h a r haa uaad th a a r t i c l e o f Ian C. L o ras, '" D e r ieau ch d a r a lta n Dana* and 'The V la lt,* " which appeared In H o n atah efte (H adlaon, V Iaconain: Uni* v a r a lty o f W laconaIn), L i t I (Ja n u a ry , 1961), 15-21, d e p a rt in g f r o s I t whenever I t aeeaed a d v la a b le . 606 p a te r n ity o f t h e i r c h ild and a id e h e r loaa h e r p a te r- n lt y e u lt a g a in st h l a by aeans o f b rib ed w itn e s s e s . In o rd e r to a a rry a shopkeeper*■ daughter fo r samey and s e c u r ity . The c h ild was taken away froei C la ire and d ied soon a fte rw a rd s ; she had becone a p r o s t i t u t e , u n t i l th e o ld o i l su g n ate Z achanasslan took h e r out o f a b o rd e llo and m arried h e r. S ince e v e ry th in g can be bought, so can J u s tic e . The o ld lady deaands th a t th e C U lleners do away w ith 111; th en th ey w i ll re c e iv e one b i l l i o n In cash . At f i r s t , th e people o f G lillen r e fu s e , o u trag e d . Madaaa Z achanasslan answ ers, "1 can w ait,* ' and ta k a s up ra sld e n c e w ith h e r r e tin u e and h e r In c re d ib ly f a s t changing husbands in th e "Colden A postle" Inn. She s i t s on h e r balcony and ta k e s ca re o f h e r fin a n c ia l e f f a l r s - - a dangerous s p id e r In a web o f g o ld . However, th e G tillen ers a re h o norable through and through and, ag a in and a g a in , a ssu re 111 o f t h e i r lo y a lty to h la - - w h ile , e l l th e t l a e , th ey buy on c r e d it e l l th e th in g s th ey have been w ith o u t fo r so long. From th e new yellow shoes In idilch th ey w alk a b o u t, I I I can read h is f a te . Only th e p a s to r and th e te a c h e r a re h o n est enough to r e a l i s e what I s coming, and urge 111 to f le e o r f i g h t . But tAten 111 goes to th e ra ilw a y 407 s t a t i o n to g et th a t r a i n , a la rg a crowd o f h is " lo y a l £ rla n d s and n slg h b o rs" acco ap an las h la to s a t h l a o f f . Though th ay urga h la to on th a t r a i n , th ay aova In on h la , c lo s a r and c l o s s r , and th a fa a r th a t "ona o f you w ill k i l l a s" p ra v a n ts 111 fro a board in g th a t r a i n . Tha d a b ts o f th a l l t t l a town grow a s n a c ln g ly . An o f f a r Is aads to th a o ld lady to tak a ovar a l l th a - - now d o raan t and b a n k ru p t-* In d u s tria l p la n ts ; a f t a r a l l . Is t h i s n o t a b a t ta r b a rg a in th a n th a U f a o f th a l l t t l a cro o k . 111? Sha ra fu s a s bacausa aha has bought up a l l th a s a p la n ts long ago and clo sad th a a down, so as to b rin g GUIlan In to h a r p o v sr. J u s t th a sa n a , tdian a sk a d , sha d a c la ra s th a t th a b i l l i o n would ba paid a ls o I f 111 c o a iltta d s u lc ld a . T his i s su ggastad to 111, but ha d a c lln a s c a ln ly . Bacausa th a C U llanars hava d rIv a n h la In to a n la a l- I lk a f a a r , th ay hava h u a llla ta d h l a bayond anduranca. Now ha w ill s u b a it to t h a l r Ju d g aan t, b u t ha ra fu s a s to ba h is own axacu- tlo n a r . For th a f i r s t and l a s t t l a a ha ta k a s an a u to a o b lla d rlv a w ith h is f a a lly and sav o rs th a fa a lln g o f having aonay: h la son has bought th a c a r , h is w lfa a fu r c o a t, h is d au g h tar ta k a s languaga, l l t a r a t u r a , and ta n n ls 406 leaaona--all on cred it, t i l la realgnad to hla fa te. There la a laat M eting with hla forMr paramour In the woode where they aide love ao long ago* In trihlch he thanke her for the funeral wreathe aha haa placed day a fter day on the co ffin deetlned for hla; he aaya fare well* very alaply, very auch lik e a real aan. Sha proalaea hla,her "black panther*" a auaptuoua toab In the garden of her palacco on Capri. Then c o m b the town M eting In tdilch the acceptance or rejection of the b illio n la to be voted on. ftadlo* televlalon* movie newareel, and preae are repreaented. Solemn apeechea In praiae of Juetlce are aide In tdilch the price to be paid la never M ntloned. At laat the h a ll la cleared; only the male cltlcen a remain. They fora a paaaage. I l l la aaked to enter It; the paaeage cloaea behind hla. Uhen It opena again* the attending doctor dlagnoaea a heart attack aa the cauae of 111'a death, which the onruehing reporter* Interpret aa death out of Joy. The old lady handa over the check, the body la placed In the coffin* and aha departa* reunited with her beloved. Cleanaed and purified of gu ilt* wleder ao. wle or war, vor lanaer f e l t , he w ill 409 be w ith h e r from now on, e ln g lid e s Ceapenet In etnew v r f i l l t n t n As was done w ith Kowulus. ws s h a l l now examine Tha V is it scana by scana fo r c o n te n t, s t y l e , and ev id en ces o f th e paradox and th a g ro te sq u e . As Act I opens, th e scene is th e d i s a a l , n e g le c te d , d ila p id a te d ra ilw a y s ta tio n o f a sw ell town th a t la in d ic a te d In th e b ack g ro u n d --aIso ru in e d , d ila p id a te d . To th e l e f t , 00 a b a re , u gly l i t t l e b u ild in g , th e p u b lic t o i l e t . A ll th e wan in th e scene a r e " in d e s c rib a b ly n e g le c t e d ." T here Is n o th in g In t h i s m a tte r - o f - f a c t, sp are s e t o f d ir e c tio n s , n e ith e r a c h a ra c te r nor an o b je c t, th a t la not im portant to th e s to ry . Why th e ra ilw a y s ta tio n ? W hy n o t th e m arket p la c e o r th e c i t y h a ll? DUrrenmatt h im se lf answ ered t h i s in a le c tu r e : The audience knows n o th in g o f th e town. W ell, p o v erty i s e a s ily p re se n ta b le on th e sta g e through th e s e t , through ragged costum es, g u t we must put ^ " a g a ln as he w as, a long tim e ago . . . a m ild g h o st in a crum bling h o u se." 0Ob lr e c tlo n s in th e C e n tra l European th e a te r a re alw ays understood from th e d i r e c t o r 's o r th e a u d ie n c e 's p o in t o f view ; so t h i s would be " r ig h t" on th e American s ta g e . 410 up a vary p a r ti c u l a r , Invantad to w n --e re c t I t , aa I t v a ra , on th a a ta g e . Laat y aar tdien 1 had to t r a v a l , av ary day fo r a month, fro * N au ch atal81 to g arn . . * alvaya obaarvlng th a sa*a l l t t l a duspa fro * th a t r a i n v in d o v , th a thought occurrad to *a q u ite n a tu r a lly th a t ao o fta n th a f i r a t th in g ona aaaa o f a town la th a a ta tlo n . T h a t'a v h ara you hava to a r r lv a . . . lh u a o rlg ln a ta d th a f l r a t acan a: *on, rag g ad , d a a tl t u t a , a I tt i n g on a banch and ta lk in g about t h a l r p o v e rty . T h eir only pae- t l a e la to watch th a tr a ln a aa th ay ra c a p a a t. H lth th la a atag a r e a l i t y ap p eara: th a lo c a le , GUIlan, la a a t, g e o g ra p h ic a lly a a tt l a d , even I f v a g u e ly - -It Ile a on a ra ilw a y lin e . Thla aakea ao *ethlng a la a poaB ible: th a I n te n a lf lc a tlo n of t h a l r p overty through th a fa c t th a t the axpraaa tr a ln a th a t onca atopped In GUIlan now no lo n g er a to p th e r e . Thla la a lre a d y a p lay ab le t h e a t r i c a l a l t u a t l o n .82 Nawee, aa ao o fta n la th a caaa w ith D U rran aatt, a ra re v e a lin g . Tha S vlu-G erm an xU lle neana fa rn en tad c a t t l e u r in e - - a h o rrib ly nalodoroua liq u id f e r t i l i s e r much uaad on th a f le ld e In Europe. Tha word la aym bollc fo r th a w retched a ta ta o f th a town, and perhapa a l i o fo r th a l a t e r re v e a le d a o r a l r o t . ■■Cudrun." "D .r ta » « n d . Roland" f ttO rlando F u rlo ao * 1 ! . and*t*orelevM aa n ao ei fo r axpraaa t r a l n a a ra a g ro teaq u a lin k in g o f ro * a n tlc Mythology w ith modern tech n o lo g y . The ae n tlm en tal claim in g o f an u t t e r l y 8*DUrrenmatt• a p lace o f re eld en ce fo r *any y a a ra . ■2 P ro* an unpubliahad le c tu re a a n u a c rlp t k in d ly le n t to th a p re e e n t w r ite r by Dr. D ll l a r . All dead pate fo r purpose* o f self-ag g ran d isem en t and to u rle e a t t r a c t i o n la c r u e lly nocked In th e lin e s : "G oethe spent a n ig h t h e re . . ( l ik e our "George W ashington s le p t h e r e " ) , "Brahms com posed a q u a r te t . .. " and "B arth o ld Schwars Invented gun pow der." The b a i l i f f a r r iv e s to a tta c h th e c o n te n ts o f th e c i t y h a l l , h e re c a lle d th e S tad th au * - - a d e f in i te H elvetlasi o f th e Sw iss a u th o r, because th e c o rre c t High German word ** H athaus. There a r e s e v e ra l l a t e r c lu e s t h a t p o in t to S w ltsa rla n d , alth o u g h th e lo c a le Is given as "somewhsre In C e n tra l E urope." "From th e d ir e c tio n o f th e l i t t l e town c o s t th e su y o r, th e s i n i s t e r , th e te a c h e r, and 111, . . . a l l shab b i l y d re s s e d ." That "A lfred 111" was changed to "Anton S c h lll" by Valency i s h a rd ly w orth th e a tte n tio n th a t L oras g iv e s it.® * " I l l " was o b v io u sly u n s u ita b le fo r an E n g lish v e r s io n , and "A lfred " h as ac q u ired a s l ig h tl y c o s lc f la v o r through th e c a rto o n c h a ra c te r. Perhaps Valency a ls o thought o f th a American slan g word " s h i l l " a s d s s c r lp tlv e o f I l l ' s s h if ty c h a ra c te r . The en su in g c o n v e rsa tio n between th a b a i l i f f , th e ®*Loram , op. clt. 412 M /o r , th e M in is te r, th e te a c h e r, 111, end th e fo u r tow ns people has a few co n ic to u c h e s. When th e b a i l i f f wonders why "O tlllen w ith th e ’P la c e -In -th e -S u n Works* goes bank r u p t, o f a l l p la c e s , w h ile th e c o u n try p r o s p e r s ,” th e tow nspeople t r o t out th e sane o ld and c o n tra d ic to ry scap e g o a ts th a t n a lc o n te n ts and n i s f i t s have been u sin g fo r g e n e ra tio n s : THE FIRST: I t ' s a l l arran g ed by th e F ree Nasons. THE SECOND: A web spun by th e Jew s. THE THOU): The b ig fin a n c ie r s a re behind i t . THE FOURTH: I n te r n a tio n a l connunisn is p u llin g th e s tr in g s . When 111 o b je c ts to th e fa m ilia r "111Erl" (an unm istakably Swiss d im in u tiv e o f "K la ra” ) on th e welcome s ig n , D tlrren- makes fun o f solem nity and f a ls e em otion: "A ll r i g h t , ” says th e sig n p a in te r , "1*11 sim ply w r ite , 'Welcome, C la ire Z ach an asslan !' on th e b a c k sid e . Then, i f th e b l l l l o n - a lr e s s Is touched, we can s t i l l tu rn th e fro n t s id e toward h e r ." The d iffe re n c e s betw een th e o r ig in a l and th e Amer ic a n v e rs io n In th e next few lin e s a r e s ig n i f i c a n t. Here Is th e o r ig in a l: M A Y O R : Gentlem en, th e b l l l l o n a i r e s s i s our only hope. MINISTER: R esides God. M A Y O R : R esides God. TEACHER: And he d o e s n 't pay. 413 In th a V«l«ncy v e rs io n m have "under God," end th e te a c h e r 's c re e k Is o m itte d --p ro b a b ly a co n cessio n to th e more c o n v e n tio n a l r e l i g i o s i t y o f American au d ien c es. The m ayor's " s ta g in g " of th e planned re c e p tio n , w ith a l l th e d rip p in g s e n tim e n ta lity and th e melodramatic* th a t DUrrenmatt h a te s so much In our c i v i l i s a t i o n . Is p ro p e rly re p u ls iv e ; Hadama Z achanesslan ste p s on th e s o i l o f h er hometown, she h as found h e r way back home, moved, te a r s In h e r e y e s , see s o ld fa m ilia r s ig h ts . . . T his does n o t c a l l fo r abandoned Joy, b u t Inner em otion, alm ost sobbing, a f e e lin g o f warmth tow ard a c h ild corns home a g a in , be re la x e d , h e a r ty , b u t d o n 't u p set th e arran g em en t.'** One can alm ost h e a r DUrrenmett r e tc h in g . And th en a l l plans a re blown sky-high by th e t o t a l l y unexpected sto p o f th e "taaen d e P oland" and Ham. Z ach an assIan 's prem ature a r r i v a l . T his Is a c la s s ic case o f d ie v e rh ln d e rte F e l e r l l c h k e l t , th e p re v e n te d , s p o ile d , c o lla p s e d so lem n ity , J u s t a s g ro te sq u e ly e f f e c tiv e as th e ru in e d b u r ia l scene In D r l i c h t t r u n d . . I n H .n tfT .” The re a d e r o r s p e c ta to r may ask h im se lf why a b illio n a ir e s * should t r a v e l , o f a l l th in g s , by t r a i n . W hy ^ D e r Eesuch d e r a lte n Pams, o p . c l t .. p. 14. 85Supra, pp. 130-133. 414 not a luxury lUaoualna or In har prlvata airplana? Again tha author hlmaalf axplalna: In ordar to aacapa thla dilamM, I h it upon tha ldaa that th la b llllon alraaa onca had an auto accldant and tharafora a1waya travala by tra in or, (or abort dlatancaa, by chalaa, and X ahow tha fact o£ tha auto accldant through har proathaala. You My aay that thaaa ara a ll highly abatruaa •ovaa to covar up a lo g ica l flaw in conatruction by a compllcatad J u a tiflca tlo n . Ladlaa with proathaaaa ara alwaya an alarming aubJact-*alao hara. So, I f wa bring aoMthlng aa cockayad aa thla onataga, thara muit ba a daapar maaning to It than mara J u a tiflca tlo n of aoai ataga bualnaaa. . . . I l f w i r l n i o f « P T O « t h « » t » i » t c lu n c tM - lxa tha old ladv. Har proathaala la what tha hunchback la for Richard tha Third, not a gag, but tha vlaual algn of a dafact of tha aoul: tha old lady la a craatura dlaflgurad by U fa ; to tha Indignity aha had auffarad In har youth comaa now a dlaflguramant of tha body. It My ba a colncldanca that DUrranmatt Mntlona Richard tha Third, tha vary aana axampla that Klarkagaard uaaa for balnga who "ara In tha paradox,and tdilch, In thla atudy, ara claaaad undar tha xrotaaaua of dlaprooortion or daformltv. 88 In tha M ttar of tfcaa. Zachanaaaian'a a rriv a l, DUrranaatt continual with hla ravalat Iona from tha play wright'a workahop: ^ U n p u b llah ad la c tu r a m an u acrlp t, c l . p. 410, fn . 62 ( l t a l l c a m lna), 87Supra. 23*24. 8BSupra. tp. 22-24. 415 Tha q u e stio n a r i s e s , n e c e s s a r ily , how she a r r i v e s , how we work out h e r f i r s t e n tra n c e . I t Is • l i t t l e s ta t i o n , as we s a id b e fo re ; ex p ress t r a i n s d o n 't s to p . So th e lady a r r iv e s in a s p e c ia l t r a i n - - t h a t would be th e o u s t obvious. T h a t's p o s s ib le , but I t would be wore e f f e c tiv e I f she p u lle d th e emergency b ra k e. She can a ffo rd t h i s as a b l l l l o n a l r e s s ; t h i s way she a r r iv e s u n ex p ected ly , ahead o f t l s e , which h e ig h t ens th e t h e a t r i c a l e ffe c tiv e n e ss.® 9 Anyone who saw th e Lunte* p ro d u ctio n o f The V is it w i l l ag ree th a t t h i s provided H iss Fontanne w ith an e n tra n c e th e e f fe c tiv e n e s s of which has soldo* been su rp assed In sta g e h is to r y , C la ire Z schanasslan Is d e sc rib e d by D U rranaatt as " s ix ty - th r e e , re d -h a ire d , p e a rl n e c k la c e , g ig a n tic gold b r a c e le ts , d o lle d up, im p o ssib le, b u t J u s t because o f th is a lady o f p o lis h and stra n g e g ra c e , d e s p ite e l l th e g ro tesq u e d e t a i l . "9 ° In The V is it she la d esc rib ed a s "In h e r f i f t i e s . . . rem arkably d re ss e d , w ith a face a s im p assiv e a s th a t o f an a n c ie n t Id o l" and " s tr ik in g t o th e p o in t o f th e u n b e lle v a b lm " ^ She became, th e r e f o r e , about te n y ea rs younger and lo s t th e "g ro te sq u e " q u a lity o f th e o r l g l n s l - - s co n cessio n to th e glamor needs of H iss Fontanne ^U n p u b lish ed le c tu re a a n u s c rlp t, lo c. c l t . 9°Per le su c h d e r a lte n Pams, op. c l t . . p. 15. ^ ^ h e V i s i t , op. c l t . . p. 14, 416 and h e r lo y a l au d ien c es. A fte r th la trem endous e n tra n c e , and bacauaa o f h a r commending p o s itio n throughout th a play* th a n afv e spec- t a t o r w il l b a lia v a C la ir# Z achanassian to ba th a p r in c ip a l c h a r a c te r , b u t sha i s n o t. She i s only th e r e le a s e o f th e a c tio n , th e c a ta ly s t , as I t w ere. The p ro ta g o n is t o f t h i s t r a g i c comedy Is 111, th e a n ta g o n is t i s th a whole town o f GUllen. Mae. Z achanassian, as f a r as h e r fu n c tio n in th e s tr u c tu r e o f th e p lay i s concerned, Is n o t much wore th an what was c a lle d in th e p lay s o f I b s e n ."der Bote aue d er A u s s e n w e l t "th e m essenger from th e o u tsid e w o rld ,*' him- s e l f n o t Involved In th e a c tio n b u t, through h is "m essage,” d is c lo s u r e , o r demand, s e ttin g th e p lo t in m otion o r b rin g ing i t to a clim ax. DUrrenmatt has done e v e ry th in g to remove th e fig u re from l i f e : he gave h e r an a r t i f i c i a l le g and an a r t i f i c i a l hand and surrounded h e r w ith autom atons. A ll seem ingly a b s tr u s e , im probable t r a i t s , Whims, and a c tio n s in t h i s play have been heaped upon h e r : th e w a itin g c o f f in , th e I n s ta lle d and d ism issed husbands Numbers 7 to 9 , th e c a s t r a t e s , th e c rim in a ls from S ln g -S ln g c a rry in g h e r c h a is e , th e s ig n if ic a n t s ta g ln e s s o f an embalmed em otion. These t r a i t s have been c a lle d v io la tio n s o f p sy c h o lo g ic a l 417 p r o b a b ility - - c e r ta in ly a Group T h eatre or A ctors* Workshop d is c ip le would d is lik e th e n In te n se ly as "u n tru e to l i f e . " But La Z achanassian sta n d s a lre a d y f a r beyond any such lim ita tio n s . A nything th a t sounds human in h e r i s only an echo. N othing happens to h e r any lo n g e r; only through h e r , th in g s happen to o th e r s - - a g re a t many th in g s . Human i t y Is no lo n g er In h e r , only behind h e r , lik e an empty anakeskln o r s n a il s h e l l , som ething out o f a dim p a s t. C la ire has no longer any f e e lin g s , only a memory o f f e e l in g s. A lso h e r h a tre d Is such a memory, a p lan hatched long ago t h a t , J u s t because I t Is no lo n g er a li v e , has hardened a l l th e more w ith dead tim e le s s n e s s . She Is be yond th e human, a b s o lu te , not to be c la s se d In to e x is tin g p sy ch o lo g ical c a te g o r ie s , and th e re fo re J u s t a s tr a g ic as 92 com ic. J u s t as g ro tesq u e as m elodram atic. Such a fa s c in a tin g fig u re Is an in v ita tio n to l i t e r a r y p u n d its to t r y t h e i r hands a t I n te r p r e ta tio n and e x p la n a tio n . Henry Hewes a sc rib e d to h e r " th e power and m ystery o f a pre-New Testam ent God,"** The review er o f **B rock-S ul»er, o p. c l t . . pp. 52-53. **Henry Hewes, "Tragedy w ith o u t T ears,*1 S aturday Bevlew. Hay 24, 1958, pp. 30-31. 41ft DU Volkibtttiw stressed . . . th e f u t i l i t y o f a n a ly sin g th a o ld lady Ilk a a n a t u r a l i s t i c c h a ra c te r . . . . The o ld lady l a , to bagln w ith* a husmn being o r a t la a s t a huaan r u in . But sim u ltan eo u sly aha embodies F ata descending upon th a comssuilty o f O ttllan. However, J u s t as f a ta la never an y th in g th a t comas o n ly from w ith o u t, C la ire Z achanassian was b om r ig h t In G illian. Her m any-faceted c h a ra c te r and h e r l i f e e ra in d is s o lu b ly connected w ith th a tow n.** D llle r v ary c le v e r ly lln k e th e symbolism o f h e r maiden naam, K lara VMscher, to th e tr a g ic s o lu tio n o f th e p la y : I t meana th a t I t s w earer 'Slashes c le a r " o r " c le a n " th a t Which h as become d i r t y In t h i s case I l l ' s ao u l th a t had been s o ile d by s in . In th e end, ly in g dead b e fo re h e r , ar | he Is "a g a in a s he w as, a long tim e a g o ." J A French 1 c r i t i c su g g esta th a t one could th in k o f th e o ld lady as H i t l e r , S t a l in , o r c a p i t a l i s m .^ B rock-S uiaer has t h i s to j say: She liv e s In a sphere where a l l Is e v e ry th in g sim u lta n e o u sly , sin ce I t Is removed from th e d i s c rim in a tin g , d iv id in g re a so n . She Is not J u s t- - : she la j u s t i c e , an a b s tr a c tio n , a robot In s p i r i t . j ^Edwin Hubacher, "Der Besuch der alten Dame," Die Volksbllhne. February 15, 1956, p. 10. *5D U ler, op. c i t .. p. 97. *®'tlne tragedle contemporalne," Carrefour. Parle, March 3, 1957. 419 T his le th e n ta n ln g o f h e r body th a t l e , In p a r t, noved only by p ro a th e a e e .9 ' Tha d r a n a tle t h ln e e lf t r l a a to equaah a l l auch a la b o r a t a a tta a p te to in ta r p r a t hlai: C la Ira Z achanaaaian ra p ra a a n ta n a lth a r J u e tlc e , nor th a N arah all P lan , and avan la a a th a ap ocalypaa. Lat h a r ba only what aha l a , th a rlc h a a t wonan in th a w o rld , anablad by h a r fo rtu n a to a c t Ilk a a h a ro ln a In a Craak tra g e d y , a b a o lu ta ly , c r u a lly , aonewhat Ilk a Ha daa. Sha can a ffo rd I t , Tha lady haa h u n o r--th la cannot ba ovarlo o k ed --b ecau ee aha haa d la ta n c a fro n paopla aa froai a purchaaabla war* ch a n d laa; d la ta n c a a la o froai h a r a a lf . In a d d itio n a a tra n g a g ra c a , a n a llc lo u e ch a r* . Howavar, aa aha •ovaa out aIda th a hunan o r d a r , aha haa becone eone- th ln g unghan— b l a . a one th in g r l a l d . w ith o u t any f u r th a r developm ent u n leea I t ba th a t to p o t r l f y . to become a gravan I d o l.9 ® F roa th a view point o f th la In v e a tlg a tlo n , I t la a l l h e re : "u n ch an g eab le," " r i g i d ," " p e t r i f i e d ," "a ro b o t In a p l r l t , " w ith a h a lf-w e c h a n le a l body th a t la " p a r tly noved only by p ro a th e a e a " --a ll th e re q u lre n e n te fo r th a g ro te a q u a , aa p ra v lo u a ly d e f i n e d , " In c lu d in g B ergaon'a "aone th in g a e c h a n lc a l a n c ru a ta d upon th e l iv in g ," No w onder, th e n , th a t n o t only La Z achanaaaian h a r a a lf , but 9? B ro ck -S u laer, op, c l t . . p. 53, l t a l l c a n in e . 9®Per laau ch d a r a lta n P ane, op, c l t . , p. 103, l t a l l c a n in e . 90 Sugja, pp. 26-30. 4 2 0 e v e ry th in g around h a r and • v a ry th in g aha d o ea, la g ro - taaq u a . C la I r a 'a vary f l r a t acana v lth th a t r a i n conductor la a gam o f c h a r a c te r is a tio n o f th a au b o rd ln a ta European o f f i c i a l 'a a m n ta llty (a a a F igure 17). Tha co nductor r a - • o n a tra te a w ith h a r: '*1 p ro ta a t! E m phatically! Tha emergency brake la n av ar p u llad In th la c o u n try , n o t avan In an emergency. Tha p u n c tu a lity o f th a achadula la th a loo h lg h a a t p rln c lp la . , ." Thla la by no meane a g ra a t e x a g g e ra tio n ; th a p ra a a n t v r l t a r remembera from h la boy hood a traaw ay co n d u cto r, who had Ju a t paaBad a group o f paopla w a itin g a t an o f f i c i a l ato p w ith o u t ao auch aa alaw lng down , to grumble lo u d ly : "Tha traaw ay la not aa an t to ato p a l l th a t l a a - - t h a traaw ay la a a a n t to ao v a!" Tha u n d e rly in g co a lc a f f a c t l a , o f c o u ra a , th a t o f a a n ta l r l e l d l t v . In th a A aarlcan v a ra Io n , C la l r a 'a f l r a t ra p ly to th a p ro ta a tln g t r a i n conductor la "Who th a h a l l a ra you?"101 Aa th a co n d u cto r waara a rad cap and c a r r l a s a ra d t l c k a t c a a a , I t la p r a tty obvloua tdio ha la . Loran b a lla v a a th a t th a raaao n fo r th la waa a Imply to g lv a th a ***b a r B a a u c h . . o p . c l t . . p . 1 5 . * ° *T ha V l a l t . o p . c l t . , p. 14. 421 F ig u re 17 C la ire Z ach an aaalan 's re c a p tio n in 0(11 Ia n . To th a l e f t o f th a c h a la a th a ob sequious M y o r . Top l e f t th a u n fin ish e d u alco ae sig n . m ? v __________ I ! / ■ 423 audience a laugh: I t la a co m m o n davlcft on th a Broadway s ta g e fo r a g re a t lady o f th a th a a ta r o c c a s io n a lly to say *31011*' o r "daan** s i t h a r to shock th a a u d ie n c e , o r to kaap I t happy bacausa I t Is e x p e c tin g I t . 102 Ih a passage whara Mas. Z achanassian so o th as th a o u trag ad co n d u cto r w ith a l i b e r a l a p p lic a tio n o f Money I s ona o f fra n k ly e x p r e s s io n is tle g ro ta s q u s r la ; th a d ev ice usad Is M u l t i p l i c a t i o n ; CIA DIB ZACHANASSIAN: C ivs h la a th o u san d , Boby. ALL OCBW IIIIO); A thousand. C T C K BUTLSB C1VIS TKZ COWUCTOB A THOUSAND) COttUCTOH: (DUM BFOUNDED) H edane-- CLAtBB ZACHANASSIAN: And th ra a thousand fo r th a fo u n d atio n fo r r a ilr o a d a a p lo y a a s' widows. ALL (MJEMJEINC); t h r s s thousand. (1HK C O M D U C T O B BHCB1VBS THBKB TH O U SA N D PNO H THK BUTUN) CONDUCTOB: (CONTUSED) T hsrs Is no such founda t io n , Hedaae. CLAIKZ ZACHANASSIAN; Than found ona. | (THE M 4Y0N VHISPINS S0IC1H1NG INTO THE CONDUCTOB'S ] BAN) CONDUCTOB: (CBESTPALLEN) You a r a Mrs. C la ir s Z achanassian? Oh, pardon a t . T h a t's d i f f e r e n t, o f c o u rse . N a tu ra lly we would have stopped I f wa had had th a l e a s t Id e a --h e re I s your aoney back, H adane--four th o u san d --ay ! Ood-- ! ALL (MUUftJBlNG): Pour thousand. CLAINE ZACHANASSIAN: Kaap th a t r i f l e . ALL (MUBMJEINC): Keep.™ * “ “ l o r . . . O P. c l t . , p. 20. l0>P»r W .u ch . . . , O P. c l t . 424 M ow th e prem ature n c t p t l o n g a ts under way, w ith t h t sig n a t y e t u n f ln lth td by t h t p a in te r , and th a mayor h a s t i l y • lip p in g on h i t c o a t th a t someone *has brought h la . Tha spooky g ro te a q u a rle o f th a scan* i s shown In F lg u ra 17. That th a p rap arad o r a tio n o f th a mayor i s drownad out co m p letely a f t a r th a f i r s t san tan ca by th a ro a r o f th a d e p a rtin g t r a i n i s a c o n tin u a tio n o f th a v a rh ln d a rta P a l a r l l c h k a l t . th a c o lla p se d so le m n ity . and th a n a y o r's s tu p id p a rs la ta n c a in " b a ttin g h i s guns" through th a d e a f e n in g n o ls a , alth o u g h nobody can h e a r a word ha is sa y in g , i s a fin e example o f t n t . l r i g i d i t y . The c o lla p se d a o le n n lty i s re p e a te d In th a p a th e tic a tte n p t o f th a te a c h e r w ith h is mixed c h o ir and th a youth group to p re se n t a "m odast fo lk so n g ." 'V e i l , te a c h e r, b la s t o f f w ith your modest fo lk so n g ," c ra c k s l b s . Zach a n a s s ia n . Aa toon a s th ey a re sin g in g "so laaaily " (D ttrren- m att*s d i r e c ti o n ) , a n o th e r t r a i n th u n d ers p a st and drowns out th a r e s t o f th a song. Tha so a sn t o f th a f a te f u l re u n io n o f C la ir* and 111 t e l l s u s wuch, as L oraa shows in h is com parison between P a r ia su c h and Tha V i s i t . D ttrrenm ett has C la ire re c o g n ise 111 ijm m d lately . T h is has th a a f f e c t o f im pressing upon us t h a t , in th a f o r ty - f iv e y e a rs she has bean away, aha h as 423 c a r r ie d th e Image o f t h i s te n w ith h er d e r end n l ^ i t , a w a itin g h e r o p p o rtu n ity . She haa been a b le , u n c a n n ily , to keep tr a c k o f tim e , ao th a t ehe knowa a t a given a o a m t what 111 w i ll look l i k e . And ha c e r ta in ly b eare l i t t l e re a e a b la n c e to th e young " b la c k p a n th e r" he once wee; when he claim s to be a t i l l aa he w aa, aha a le p a h la down w ith , "N onsense. You have g o tte n f a t , g ra y , and f u l l o f b o o se ." In V alency*a v e r s io n , C la ire haa been away only "aeny y e a rs " and does n o t know S c h lll a t f i r s t ; we a re mad# to f e e l th a t ehe hae n o t sp en t h e r l i f e consumed by th e thought o f revenge. Every le a t to u ch d u rin g t h i s a r r i v a l scene la designed t o c r e a te " d la ta n c a ," d i s i l l u s i o n , and u n se a l- n e s s : C la ir e l i f t s up h e r s k i r t and d em o n strates th e work in g o f h e r p r o s th e s is ; th e seventh husband, whose r e a l nams Is "Pedro** and idiom she c a l l s 'Vtoby," la Intro d u ced and made to perform some " th in k in g ," lik e a tr a in e d s e a l; we h ear t h a t C l a i r e 's f a th e r was th e " a r c h ite c t" o f th e p u b lic t o i l e t , end t h a t , as a g i r l , ehe used to a l t on th e ro o f and s p i t on th e man u s in g I t- - " o n ly on th e m en"--a b i t o f e a rth y D ttrrenm ett humor th a t w as, a p p a re n tly , to o stro n g f o r V alency and th e L u n ts; th e p o lic e se rg e a n t Is to ld t h a t , In th e f u tu r e , he had b e t t e r wink w ith both 426 t y c i « t v io la tio n s o f th s law In G ttlltn ; th s g randdaughters o f th s mayor a r s c a lle d Hs ra in s and A dolf I n s , la p ly in g th a t h s and h is f s a l l y e r a , o r a t l s a s t w ars, p ro -g a s 1 a d a lr s r s o f Harastm O osrlng and A dolf H i t l e r ; th s p a s to r , to h i s bew ilderm ent, h s a rs th a t th s d sa th p s n a lty " a lg h t bs r s I n tro d u c e d ," and th a t he m ight have to c o a fo rt th s condemned; and th s two "gua* chawing a o n s te re " a r s o rd srsd to c a rry In C la irs * s c h a ls s and a r s In tro d u csd as goby and Toby, two a u r d e rs rs f r o a Sing S in g , condsansd to th s s l s c t r l c c h a ir b u t pardoned fo r th s purposs o f c a rry in g C la irs * a c h a ls s , a t a c o st o f ona a l l l I o n d o lla r s a p ls c s to th s o ld lad y . Thsy a r s , In o th s r w ords, n o th in g a o rs th an bondsd alav sa fo r I l f s . Vary c a s u a lly , th s o ld lad y a ls o n o n tIo n s a c o f f in shs brought a lo n g * -" ! aay bs a b ls to u ss I t . " T his c o f f in , as I t la c a r r ls d p a st and In to th s town, c o n s id e r a b ly "daapsns by p e r p le a lty " th s "Long U v s C la ir s Zach a n a s s ia n !" c h s s rs o f th s p o p u la tio n th a t havs been s ta r te d a t a s e c re t cue fro a th s a a y o r. A nother "c o lla p se d s o ls a n ltv ." At th s and o f th s p ro c e ssio n coas "two l i t t l e , f a t , o ld a sn w ith s o f t v o ic e s , h o ld in g each o th s r by th s hand, both w e ll d rs s s s d " * -th s auch d isc u sse d eunuchs, goby and Loby. By now we have been in tro d u ced to th s 427 b u t l e r , boby, huaband Mo. 7 , Moby, th e gun-chewing won- • t e r e , Moby end Toby, end th e two eunucha, Roby end Loby. D l l l e r 's e x p la n a tio n o f th e o ld le d y 'a p lay in g w ith th e a e names aeya I t e l l : With th la la ahovn how power end w ee lth te k e e l l In d lv ld u e llty ewey fro a thoae who have to aerve th e a , end how conform able auch a e rv e n ta b ecoaa. Only one l e t t e r d is tin g u is h e s th e a f r o a each o t h e r .1®* Whet la th e e x p la n a tio n fo r th e tiro eunucha7 Dlir- r e n a e tt g iv ea I t In th e p re v lo u a ly quoted le c tu r e : Thla p ro je c tio n o f e v e ry th in g In to th e p ra een t la th e c o n c e n tra tio n In n a te In d r e a e tlc a r t . M ow doea ona p raeen t th e n a a tT Thla can be done by d ra n e tla ln g th e e f f e c t o f th e n eat upon th e p ra e e n t . The c la a a ic c a a e o f th la la Oedipus bv S ophocles; th e re th e u n ra v e lin g o f th e peat l a , a t th e aaae tim e , th e p lo t o f th e tra g e d y . The aaae goes fo r a c o u rt t r i a l ; w ith l t a p ro s e c u to r. Judge, d e fe n d a n t, and d efen se c o u n se l. I t la a prim al form o f th e a te r . T hla same problem o f how to show th e peat aa being iM e d la te ly a t hand le d to th e In tro d u c tio n o f th e n o to rio u s two eunucha. They a r e n o th in g b u t th e p a s t e n te r in g , b e in g , a t th e same tim e , th e two f a ls e w itn e sse s ( in C l a i r e 's p a te r n ity s u i t a g a in s t 111 f o r ty - f iv e y e a rs ago] and th e com pleted v e r d ic t: b lin d , because they co em itted p e rju ry , c a s tr a te d because th e y had b o asted t o have s l e p t w ith C la ire Z achanassian (th e n a t l l l KlVrl UM achar]. 105 op. clt., p. 120. 1 ^Unpublished lecture manuscript, loc. clt. 428 And d o u b led f we n ig h t add, as w e ll as speaking In u n iso n , because s u i t l e i l e a t i o n la one o f th e p r in c ip a l d ev ice s o f g ro tesq u e s t y l t s a t l o n . As i s w e ll known, th e secondary sex c h a r a c t e r is t i c s o f | ^ g | an Ian Is o r hunan b ein g s do n o t change a f t e r renova1 o f th e sex g la n d s. W e can be su re th a t D ttrren n ett knew t h i s , to o ; t h i s la why he does n o t want th e se eunuchs played " r e a l 1 s t l e a l l y re p u ls iv e w ith c a s t r a t e 's v o ic e s , b u t u n r e a l, f a i r y - t a l e - l i k e , s o f t , g h o stly In t h e i r v e g e ta tiv e h a p p in e ss , v ic tim s o f a t o t a l revenge th a t Is a s lo g ic a l as th e law codes o f e a r l i e s t t i n e s . " 10* The p h ra se , "law codes o f e a r l i e s t t i n e s , " c o n ju re s up M is s is s ip p i w ith h is Law o f H oses. I t Is in te r e s tin g th a t In th e sphere o f th e o ld lady t h i s t o t a l revenge can produce a " v e g e ta tiv e h a p p in e s s ," a n o th e r p ro o f o f how f a r sh e , and a l l th a t Is h e r s , is removed fro n everyday r e a l i t y . M o wonder th a t th e te a c h e r, d is p la y in g h is c l a s s i c a l e d u c a tio n , co e^ares h e r f i r s t to C lo th o , ona o f th e C reek F a te s , th e n , because o f h e r consum ption o f nan, to L a is , d e s c rib e s th e eunuchs as som ething ascended " fro n O rc u s," and ends by sen sin g " f o r th e f i r s t t i n s , a n tiq u e g re a tn e s s in O U llen." l06Psr ietuch . . ., op. clt.. p. 102. 429 The acene In th e Konrad w a l l e r fo ra a t la , f r o a th a v ary f l r a t , raaovad fro a r a a l l t y by th a appaaranca o f th a fo u r c lt l s a n a p lay in g tr a a a and a n la a la o f th a f o r a a t. D tirra n aatt d an laa any d o g a a tlc a a th a tlc la a and any a t t a a ^ t a t " a u r r a a lla a ” o r any o th a r kind o f "lam*': I f th a G d llen ara p lay t r a a a . I t la not bacauaa o f e u rre a lle m , b u t In o rd e r to remove th a aoaewhat a a b a rra a a ln g lova a to ry th a t playa In t h l a f o r a a t, th a t l a , an o ld n a n 'a attaatp tad approach o f an o ld woman, In to a p o a tlc t h e a t r i c a l a p h a ra, and thua to ra n d a r I t b e a ra b le .* 07 Bayond th a u au al s tr iv in g fo r d la ta n c a , th la atatem en t a la o ahowa th a r a a lly daap a a n a ltlv lty o f th la aeem lngly ao co araa and o fta n b r u ta l fa llo w , DUrrenm att. Tha f l r a t p rlv a ta t a l k betw een C la Ira and 111 ra v a a la how f a r a p a rt th ay a r a . Sha ra n aab ara th a p a a t e x a c tly aa I t waa, ha th a way ha would Ilk a I t to hava baan. B a s ic a lly , ha la a t l l l th a shallow a n a l1 -town an o o th la who sham efully abandoned h a r , alth o u g h ha lovad h a r , fo r th a p ro ap act o f m arrying In to a g ro cery a to r y . A lthough th a worda a ra n o t ueed, l l l ' a m arriage to p a le , th in , p in ch -faced M athlldchen llu A a r d w ith h a r l i t t l e a to ra la a n o th e r " fO rc h ta rllc h a KheM (" g h a s tly m a rria g e " ), I07Ibld.. p. 101. 430 o f which char* t r i i m r i l In D l l r r t n a i t t 'i works f H U i l t * a to o l and B ow ulual. I l l r i v i i l i ch at ha b ate la a h is f a a lly who ra p ro ach h la a v ary day fo r t h a l r p o v arty . D drrenaw tt*a a lie n a tio n a f f a c ta c o n tlm ta . Vhan C la Ira p ro n lsa s to h a lp h a r how* town ( th la l a , o f c o u ra a , b a fo ra th a banqoat a t which aha announcas h a r " c o n d itio n " ), 111 ala p a h a r a n th u a la a tlc a lly on th a l a f r th ig h and h u r ts h l a a e lf on th a hlng a o f h a r p ro a th a a ls . L a ta r on, graaay o ld Don Juan th a t ha l a , ha t a l l a h a r th a t ha a t i l l Iovaa h a r , and k lsa a a h a r r ig h t hand. ILL: Tha saws c o o l, w h lta hand - - C LA M Z .: M istake. A lso a p ro a th a a ls . Iv o ry . (ILL, AGHAST, LETS 00 OP H U HAND) ILL: K la ra , la a l l o f you a p ro s th e s is ? ! CLAIM Z*: A lao a t. l*ron a plana c ra sh In A fg h an istan . Tha only ona Who craw lad o u t o f th a w rackaga. Evan th a craw was daad. I ' a ln d a a tr u e tib ia . THE WO BLIND EUNUCHS: I n d a s tr u e tib ia , In d a a tru c t- lb l# .l° ® (Saa P lg u ra 1 8 .) fo r onca, D U rretm att a d n lts to having gona to o f a r : Hara I o v erd id th a co n ic by ■ la ta k * . In th a fo ra a t scene . . . i t tu rn s o u t th a t a la o h a r hand la wade o f Iv o ry . Thla was e x p la in e d by a SHE: A Mau-Hau c h ie f ta in wounded aa w ith h la a p a a r. l0 8lbl<l. , pp. 28-29. 4 3 1 F lg u ra 18 The o m - cIm lo v a ra , C la ir* and 111, ra a in ia c * in th a K on rad av ailar F o ra a t. Top l a f t ona o f th a G U llanara p lay in g a traa * On th a r i g h t , in th a background, g u tla r Boby w ith th a two aunucha, Koby and Loby. r r* 0 3 HE: (HOUIPtID) Did he want Co abduct you? SHE: I wantad to abduct h la , T hla la bad. Than th a p ro s th e s is r a a lly becomes a gag. So X changad I t In th a Munich v a ra lo n . For a long tim e 1 pondered w hether 1 ahould h o ld I t down to ona p ro a th a a la , b u t Icam ab ack to two. Only now th a e x p la n a tio n la d i f f e r e n t . In a d d i tio n to th a c a r a c c id e n t, th a ra haa baan an a l r - plana a c c ld a n t. " , . . !*■ ln d a a tru e tib ia .* ' Mara e n te r s , In a d d itio n to th a ( o r ig in a l) hum il i a t i o n , a aacond w o tIf- -th a ona t h a t aha l a inda- • tru e t i b i a . Ona p ro a th a a la la bad lu c k , two a ra a lra a d y f a ta . T hara la a la o th a w all-know n a to ry from A Thouaand and Ona Might a o f th a e v i l o ld woman who waa a la o ln d e a tr u c tlb le ; even whan thrown In th a r i v e r , h a r a tte n d e d corpee cauaed a plague th a t k i lle d th oueande. V ale n cy 'a p ic tu r e , aa Loram p o in ta o u t, la much a o f ta r . Tha C la lra o f th a American v a ra lo n haa had b oth lag a broken and a hand c ru sh e d , but e v e ry th in g haa baan a k l l l f u l l y re p a ire d . Tha le g -a la p p ln g In c id e n t la o m itte d , and S c h lll o nly makea g a lla n tly In a ln c e re rem erke about th a te x tu r e o f th e cm ehed and re p a ire d hand. Thla to n in g down o r e lim in a tin g o f th a g ro teeq u e provea t h a t V alency worked p rim a rily w ith Lynn Fontanna In m ind, ona o f our a e v e ra l " f l r a t la d le a o f th a t h e a t e r ,1,110 and ona who, fo r raaaona o f paraona1 v a n ity o r b o x o ffic e , o r b o th , probably * ^Unpublished lecture manuscript, loc. clt. S h e ch o ice aa to which ona la f l r a t among th a " f i r s t " eeema to depend on whoever does th a ch o o sin g . 434 cannot do w ithout a c a r ta in a ln la u a o f |la o o u r . l h t Valen cy a d a p ta tio n a i k i i o f C la lra a f a r waakar and laaa in p ra a - alv a peraone1I t y , alth o u g h aha bacoawa ao ra a y n p a th e tlc in th a procaaa. In th a fo llo w in g acana, th a banquat In th a "Golden A p o s tle ," C la lra dlsp an aaa aowa ao ra o f h a r g ro taaq u a and a a r c lla a a huao r. Tha " a n llc lo u a c h a ra " o f which D ttrran aatt w rlta s aaaaa to ba ao ra a a llc lo u s th a n c h a ra , a ona what on th a o rd a r o f th a faaoua qulpa o f Nr a. P a tric k C aap b all tdio a y s te n e tle a lly ln a u lto d a l l Im portant paopla in Hollywood. Sha examinee th a apouaa o f th a aay o r th ro u g h h a r lorg n o n , w ith o u t a word o f g r a a tln g , and raco g n laaa h a r aa "A nnett- chan Du— rn u th , our to p -ra n k in g c la e a m a ta ."* * 1 Than th a nayor ln tro d u caa a n o th e r woaan, "Ju a t aa ecrowny and a n b itta r e d aa h la ow n"--Frau 111. Saya C la lr a : L l t t l a M athilda Bliariiard. 1 a t 111 roaaoft>ar how you wara lu rk in g fo r A lfre d behind th a door o f th a ahop. You*ve bocone a k lm y and p a la , ay good w oaan."H * Tha d o c to r la to ld to put down "co ro n ary a t t a c k ," whan In d o u b t, on h la d eath c e r t l f l c a t a a . The a u a c u la r gyanaat la *l l The name, D uanernuth, aaana " a i l l y nood" o r " a tu p ld ao o d ." l l 2P tr i f uch . . ., op._cit., pp. 26-29. 435 aakad w h«th«r ha haa av a r uaad h la a tre n g th to a tra n g le ao n ao n e--ln a h o r t, C la lra d lapanaaa c h a a r everyw here. Tha re n e rk a to th a p a a to r about th a d aath p e n a lty , to th a doc t o r , to th a a t h l a ta a r a , aa we a l l know, a l n l a t a r " p la n ta " o f th ln g a to cone. Tha o ld la d y 'a re p ly to th a m ayor'a apaach f u l l o f unctuoua n la In fo rm a tio n and d la to r tlo n la an a b a o lu te ly b r u ta l and a b a o lu te ly honaat capaula biography o f h a r youth In O ttllan (a g a in th a c o lla o a a d a o la a n ltv l , a t th a and o f which aha aakea h a r f a n ta a tlc o f f a r o f "one b i l l i o n . " Tha c u rra n c y , aa b a fo ra In th a acana w ith th a co n d u c to r, la u n a p a c lfla d , no doubt on purpoaa. I t la a tra n g a th a t i V alancy nakaa I t " a a rk a ," J u a t aa a tra n g a aa changing th a "■ cola daa Beaux A rta " (which could p o in t to S w lta a rla n d ) to "D readen E x h ib itio n o f Contem porary A r t." Could I t ba j i th a t V alancy gava v a n t to aome conacloua o r aubconacloua ' Oarmanophobia by making t h l a h o r r lb la l l t t l a town d a fln - i I t a l y Carman? j C la lra Z ach an aaalan 'a p ro p o aal la ao f a n ta a tlc ■ th a t avaryona r a ja c ta I t , and th a audience aharaa th a f a a l- i lng o f th a paopla o f O flllen th a t I t la lu d lc ro u a and o u t o f th a q u e a tlo n . Only D ttrranm att and C la lra Z achanaaalan , naan I t . " I ' l l w a it," aha eaya. 436 Tha f l r a t scan t o f Act I I ta k a s p la c a in I l l ' s s to r e . Tha o r ig in a l s ta g s d l r t c t l o n s re a d : F roa th a l a f t , to b y and Toby, gum-chewing, c a rry w reaths and flo w e rs, as to a fu n a ra l, a c ro s s th a s ta g s and u p stag a in to th a h o ta l . I l l w atches th a a through th a window. Mis d a u g h te r, on h a r k n ees. awaaps th a f lo o r . Hla son lig h ts a c l g a r a tta . V alancy has changed i t to : S c h lll la sweeping th a shop. Tha son has a pan and brush and a ls o awaaps. Tha d au g h tar Is , d u s tin g . They a ra s in g in g 'T h a Happy W anderer."11* Tha changs Is c a r ta ln ly not fo r th a b a t t a r . For ona th in g , th a b l t t a r Irony o f 111 w atching fu n a ra l w raath s and flo w ars b ein g c a r r ie d In to th a h o ta l to ba placed on h is own c o f f in Is gone. As t o "Tha Happy W anderer" and th a r e s t . L ores ra a a rk s : How th a vapid s e n tim e n ta lity o f t h i s song f i t s In to th a schema o f th in g s I s beyond e x p la n a tio n . Could I t ba p o s sib le th a t V alancy, knowing th a song was a p o p u lar h i t In t h i s co u n try a t th a tim e and th a t I t was tak en from th a Carman, thought th a t I t would add atm osphere? In a d d itio n , th a f a c t th a t even I l l ' s son Is smoking a c ig a r e tte a t th a b eg in n in g o f th e a c t In which I t becomes q u ite c le a r th a t people a ra buying more and b e tt e r c ig a r e tte s In a n tic ip a tio n o f th a rew ard to be re a p e d , Is a b l t t a r tw is t which Is an In te g r a l m n>u. . p. 39. u *n» Vt.lt. OP. clt.. p . 49 07 p a rt o f th a play* To o n lt i t , avan In a w atered - down v a ra lo n , la a a a rlo u a e r r o r , U S There aey ba ona o th a r e x p la n a tio n . Tha European a tc ltu d a l a , o r a t laaac vaa t r a d i t i o n a l l y , th a t nan do n o t do ■ a n la l houaa work, and th a t th a ra la n o th in g wrong w ith two walaa ra ta x in g w h lla a fe a a le worka a t houaahold ta a k a . In A a a rlc a , wan a ra expected to do t h a l r ah a ra. Howavar, L o res la r i g h t : I t a l l aso u n ta to a a o fta n ln g , to a w ate r- Ing-dovn o f th a h arah o r ig in a l. Thara la a n o th a r p u ts lin g d a t a l l t h a t , oddly anough, no c o a s s n ta to r appaara to hava n o tle a d up to now: 111 la about a lx ty - f lv e . Hla a f f a i r w ith C la lra Z achanaaalan d a ta a back f o r ty - f iv e y a a ra . Ha M arried is n e d la te ly a f t e r I t , o r a t about tw en ty . Why haa ha a aon and a d au g h ter who a re r e f e r r e d to aa " c h ild re n " and a r a , ac co rd in g to a l l In d lc a tlo n a ( liv in g w ith t h a l r p e re n ta , ta k in g co u raea, Ju v e n ile p rid e In th a f l r a t c a r , a t e . ) In t h a l r la t a *teena o r e a rly tw a n tla a ? Any n o rs a l aan who B arr la d a t tw enty and had n o m a l c h ild re n would ba a a u l t l p l e grand* fa th e r a t 111'a a g e , n o t a f a th e r . I f ha la n o t a grand* f a th e r , what d id ha do fo r tw enty-odd y aara a f t e r h la Mar r ia g e - - p lay c a n a a ta , perhapa? Vara ha and M athilda l^Loras, op. clt.. p. 19. O S llu riia rd c h ild l« >• fo r tw e n ty -fiv e y u n , o r d id th ay h iv t o th e r c h ild re n who d ied o r w a d avay? Xn any r e a l i s t i c o r n a t u r a l i s t i c play « a , th a au d ien c e, would worry about t h l a - - i t would have to be s a t i s f a c t o r i l y e x p la in e d somehow. I t i s I n te r e s tin g and re v e a lin g th a t In P er ie su c h th e Idea la so stro n g th a t we slsq tly do not n o tic e such d e t a i l s , o r do n o t ca re I f we do. I t la c le a r t h a t , fro a th e drama t i s t ' s p o in t o f view , e c lo s e ly k n it f a a lly u n it was Im p o r ta n t. H id le-ag ed and Independent c h ild re n w ith t h e i r own fa m ilie s could n o t p o ssib ly have done fo r th e Idea o f th e p la y What th e b a s ic f a a lly u n it d oes. The o n ly o th e r ch o ice D U rrenaatt had would have been to sh o rte n th e t l a e o f C l a i r e 's absence to tw enty o r tw e n ty -fiv e y e a rs In ste a d o f f o r t y - f i v e , which would have aade C la ire and 111 young a ld d le -a g e d people and In tro d u ced th e elem ent o f r e a l p h y sic a l a ttr a c tio n - - s o a s th ln g which had to be avoided a t a l l c o s t. The second a c t I s th e most norm al, ungrotasque p a rt o f th e p lay because C la ire Z achanassian does e x a c tly what she announces a t th e end o f Act X: n o th in g . She w a its . She s i t s on h e r h o te l balcony and smokes, re ad s h e r m a ll, c h a ts about h e r ex -h u sb an d s, and conducts soas ro u tin e b u s in e s s . 43» The only a c tio n I t th e cro p p in g c o rru p tio n , th e ■low Moral d la in te g r a tio n o f a coom unlty. 't a n a d raaa w ait?'* aaka B ro ck -S u lser. I t la a good qua a t io n . How can a alow , g ra d u a l, a p lc developm ent ba amde d ra m a tic a lly v l a l b l a , auch aa th a m otion p ic tu r e , through th a te le a c o p - lng o f tim e , can make th a grow th o f a p la n t v la lb la ? "A community th a t alow ly g lv aa In to te m p ta tio n ," Dtfrrenam tt c a ll a th la w a itin g p e rio d . People who e l l t h e r In to te n p ta - t l o n , who f a l l pray to I t becauae th ey do n o t want to d ecid e ona way o r th a o th e r , who mu a t become d ram atic thrw M h t h . l r r . f m . l to b . d r— t i c . T h. f o n l . . . 1 . fo rced In to form through th a re a le ta n c e o f th e p e tr if i e d a b a o lu te --C la ire la c h a n a a a ia n . T h erefo re th ln g a , o b je c ta , a re given th e w eight o f d e c la lo n i th e b e t t e r c ig a r e tte a th a t a re bought, th e b e t t e r Schnapa, th e b e t t e r m ilk , th a new ahoea. The yellow ahoea th a t everyone in C Q llen weara a ra th a town*a n ark o f C ain , a ev en in g ly h arm leee, amualng ln a ta n c a o f g ro tesq u e m u ltip lic a tio n th a t can a ffo rd to draw laugh■ from th e audience* The fa c t th a t 111 read e h la d eath aen ten ce in th e a e yellow a h o e e --th le la one o f th e unique fln d a o f th a p la y . Tha t r a l t a o f th e b llllo n a lr e a a a re a l l a h a a a le a a ly e x a g g e ra te d . Those o f 111 and th e town a re drawn d e c e p tiv e ly to s c a le , norm al, a v e rag e; th e y 440 look Ilk * n o th in g a t a l l , b u t t h a l r o f f a c t la c u a u la tlv a and haa a o r t w alght th an a l l th a a c c a n tr lc ltlo a o f C la lra Z achanaaalan. Tha g ig a n tic ro c k , Z achanaaalan, allow * th a a c tio n o f th a l l t t l a paopla to davalop u n d la tu rb a d , an no t lead In I t a shadow. lh a a t a t Iona o f th la dav alo p aan t a ra a a a ta r f u lly choaan: 111*a c u a to a a ra , th a p o llc a a a rg o a n t, th a Mayor, th a p a a to r, and what thay hava bough t--fro ai th a Crada A ■ Ilk to th a gold to o th to th a naw ty p a w rlta r to th a naw b a l l . Thara la only ona opan a d a la a lo n o f th a b a tra y a l to co aa, tdian th a a l n l a t a r auddanly "throw * h la a a lf a t 111 and c lu tc h a a hla'*: F lo a t tfa a r a waak, C h rla tla n a and h aath an * . P lan ! Tha b a l l booaa In C ttllan , th a b a ll o f tra a a o n ! F la a , d o n 't la a d ua In to tam p ta tlo n by a ta y ln g . P la n t P la a ’ H b D ttrro n aatt aaya th a t th la la a a to ry " w rltta n by ona Who doaa n o t th in k o f h i* a a lf an f a r roaovad fro a th aaa paopla and who la not ao aura th a t ha would a c t d l f - f a r a n t l y ." 117 A l l t t l a l a t a r In h la p o a ta c rlp t ha w r lta a : . . . th a C U llanara (a ra ) paopla Ilk a a l l o f u a. Thay au n t n o t ba p a ln ta d ao a v l l , by no ■aana; a t f l r a t th ay a r a d a ta ra ln a d to ra fu a a u t Por M.uch .... op. clt.. pp. J6-S7. u 7l b l d . . p. 101. 441 th e o f f e r . Though thajr aaka d i b t i , I t I t n o t w ith th e in te n tio n to k i l l l i t , but out o f lrre a p o n e l- b l l i t y , out o f a fo o lin g th a t I t can a l l be a tra lg h te n e d o u t eoaehow. I b i t la th e way th a aocond a c t ehould bo a ta g e d . The t e r r i f y i n g th in g about th e ecene a t th e a ta - tlo n In which 111 t r l e a to leav e la th a t e x a c tly n o th in g o v e rt heppena. **The f e a r ," aaya D ttrrenw att, " la w ith 111 alo n e who underetande h la a ltu a tlo n . Aa y e t , no h arah word la apoken . . The e e r ie e f f e c t la c re a te d by th e O d llen era tu rn in g up euddenly froai nowhere to aceoa^ pony 111 and "aee h ln o f f ," and by th e c h o ra l r e p e t iti o n o f lln e e ; fo r ln a ta n c e : POLICEMAN: H era you a re a a fe a t. ALL: S a fe a t, a a fe a t M A Y O R : Nobody went a to k i l l you. ALL: Nobody, nobody. M A Y O R : W ell, i l l , t w lah you a good t r i p . ALL: A good t r i p , a good t r i p ! 120 There a re a few a ln o r d lffe re n c e a h ere between th e o r ig in a l and th e A aerlcan a d a p ta tio n . D ttrre n a a tt'a 111 la e ra u e n e rfflllt ( f i l l e d w ith h o rro r) and e tttra t alch nach h in ta n (wakea a b re ak fo r u p a te g e ), f le e in g to th e p o lic e U ,lbU.. p. 103. l*°lbU.. pp. 3S-60. 442 s t a t i o n fo r p ro te c tio n . In lh t V i s i t . S c h lll walks o f f *Sflth an a i r o f d e te rm in a tio n " to c o n fro n t th e c h ie f o f p o lic e . Once th e r e , he fo rc e s th e c h i e f 's so u th open to see th e new g o ld to o th , so n sth in g which no l i t t l e Buropean b o u rg e o is, w ith h is d eep ly ro o te d re s p e c t fo r th e p o lic e and a l l p u b lic o f f i c i a l s , would av e r do. The v o n ltln g o f S c h lll a f t e r th e d e p a rtu re o f th e tow nspeople a t th e s t a t io n n u s t be a touch added by L unt; I t Is n o t In th e o r ig in a l. I t was so r e a l i s t i c , how ever, th a t t h i s h o r r if ie d I n v e s tig a to r , In genuine concern fo r th e aailnent a c t o r 's s t a t e o f h e a lth , could not r e s i s t r a is in g h is opera g la s s to look a t th e spot a f t e r Hr. Lunt had v ac ated I n d e f i n i t e l y an unintended and u n d e sira b le au d lso ce r e a c tio n in a s e n t - s t y l ts e d , s e n l-s y a b o llc p lay ! In th e san s s p o t, th e A nerlcan v e rsio n f u r th e r d e p a rts fro n th e o r ig i n a l : a f t e r th e t r a i n has l e f t , S c h l l l, "w ith stra n g e now d lg - 121 n ity " re fu s e s th e o f f e r o f a l i f t fro n a p assin g tru c k d r iv e r . T his tru c k d r iv e r does n o t appear In th e o r i g in a l , where th e v ery cru n p led and u n d ig n ifie d I l l ' s c lo s in g lin e Is "Ic h b ln v e r lo r e n !" ("1 an l o s t ! ) . T his change was node by D ttrren n att h l n s e l f . In a q u ick t r i p to New Y ork, a t th e **Whe Visit, on. clt.. p. SO. 443 s p e c ia l b e h e st o f A lfre d Lunt Mho f e l t he could n o t play th e ecene ee o r ig in a lly w r i t t e n .122 t h i s change le de sig n ed to im press us w ith th e n o b ility o f S c h lll and w ith th a n e c e s s ity o f h is d e a th . W e must see t h a t I t ta k e s sen se and I s th e re fo re tr a g i c a ll y s a tis f y in g . However, th e re nay be a p u re ly e x te r n a l, p r a c tic a l reaso n fo r V ale n cy 's tru c k d r iv e r and S c h l l l 'a " s tra n g e new d ig n ity ." In A n arlca, i t la h a rd to b e lie v e and a c c e p t th a t a nan whose l i f e Is th re a te n e d in h i s h o ts town, would not sim ply hop In to h is c a r (o r beg, borrow , o r s t e a l a c a r I f he d id not have one) and ' b i t th e ro a d ." Next to th e g y p sie s, Americans a re th e most n o b lie people on E a rth . The love o f , o r lo y a lty t o , o n e 's honetown Is n o t n e a rly as s tro n g h e r e ; b e s id e s , th e co u n try Is so v a s t, and p o lic e c o n tro l Is so la x , th a t I t Is co m p arativ ely easy fo r anyone who has n o t two heads o r Is not e ig h t f e e t t a l i , to d isa p p e a r and subm erge--as Judge C ra te r and o th e rs have shown. In o rd e r n o t to make S c h lll appear a s a h e lp le s s , s p in e le s s I d i o t , th e a d a p te r c re a te d th e Im pression th a t S c h ill no lo n a e r w ants to le a v e , a change o f h e a r t th a t ***Curt g la s s , 'T h e Shocking World o f f r ie d r ic h D ttrrenm att," E s o u lre . XV, No. 5 (Nay, 1961), 119. 444 D tfrr tn a fttt'i h ero has only in th e t h ir d a c t. In Act t i l , th a d e s c r ip tio n o f C la lra Z achan assian In " Q a ta r 's Bam*' i s only flv a lin e s lo n g , b u t f u l l o f v iv id g ro te a q u e rie : To th a l e f t s i t s C la lra Z achanassian in h e r c h a is e , M o tio n le ss, in a veddlng d r e s s , w h ite , v a i l , e t c . On th a extrem e l e f t a la d d e r, f u r th e r more e hay wagon, an o ld coach, stra w , In th e c e n te r a l i t t l e b a r r e l. Above a re hanging r a g s , moldy sa c k s, enormous sp iderw ebs, spread o u t. • * • Xf th e "enormous spiderw ebs" were n o t co n scio u s ayaboilsm fo r C la lr a Z ach an assian , th e e v i l s p id e r o f f a te who has caught a Whole town in h e r golden web, th ey must have been su b co n scio u sly so. I f D ttrrensm tt d en ie s h av in g reached fo r any co n scio u s s y n b o lls n , i t may have been a b r i l l i a n t Id ea o f Teo O tto , th e sc e n ic d e sig n e r o f th e S ch au sp lelh au s Z tirlch , an idea th a t was th en In c o rp o rated in th e s c r i p t . The v ery f i r s t scene i s one o f w eird g ro te s q u e , where two norm ally d re sse d p eo p le, th e te a c h e r and th e d o c to r, s i t on a d i r t y b a r r e l , as i f th ey were in a draw ing room, and d isc u ss th e f a te o f O ttllen and 111 w ith a s ix ty - th re e - y e a r- o ld b rld a s i t t i n g In a c h a is e (se e F ig u re 1 9 ). In t h i s sc e n e , Loram p o in ts o u t a n o th e r u n n ecessary 121 P*r — »uch . . op. d t - p. 65 443 Figure 19 In F i t t r 'a b a rn , ona o f C la ira * a and I l l ' s o ld tr y s tI n g p la c e s , th a d o c to r and th a ta a c h a r ssk a a l a s t a tte a p t to d lssu ad a C la lra fro a h a r g ra ss oas purpose. 447 d iscre p an cy between P er lesu ch end The V i s i t . When th e te e e h e r end th e d o c to r e re p le e d ln g w ith C le lre to r e f l - nence th e town by i o « le s s d r e s t l c n e th o d , th e fo rn e r sa y s, In th e o r ig in a l: H as. Z achanassian! You e re e wonen who loved end wes h u r t. You densnd e b s o lu te J u s t ic e . You s e e s to m lik e e h e ro in e o f a n tiq u ity , lik e e Msdee. but J u s t beceuse we understood you to th e v ery d e p th s , you g iv e us th e courage to a sk so re o f you: l e t go th e b a le f u l thought o f revenge! Try to s tru g g le through to e pure h u n a n lty ! D on't d riv e us to th e u l t l n s t e . . .*** The a d a p ta tio n , fo r sows unknown re a s o n , p u ts t h i s In th e p e st te n s e : " I had thought o f you a s an avenging fu ry , a He d ee, a C ly te sx ie stra --b u t X wes wrong . . . You have pushed us to th e e x tre n e ."* * * T his a s Res a b s o lu te ly no se n se , beceuse a Msdee or C ly tew n estre if , a lre a d y th e ex- tr e n e , end sin c e she I s , why th e "X wes wrong"? And th e l i n e , "You have pushed us to th e e x tr e n e ," acknow ledging th e f e l t a c c o n o ll. wakes C l a i r e 's pow erful l e s t re p ly q u ite u n n ecessary : H unanlty, g e n tle n tn , Is sow sthing fo r th e pocketbook o f M illio n a ir e s . With m y f in a n c ia l power one can a ffo rd a w orld o rd e r. The w orld sttde no In to a Whore, and now X tu r n I t In to a 1MaW., p. 68. Vl.lt. op. clt.. pp. 90*91. 446 b r o th e l. He who h a s n 't got th e dough, Must sake up fo r i t I f he wante t o J o in . You want to J o in . Decent la o nly he who p ay s--an d 1 pay. O ttllen fo r a n u rd e r, p ro s p e rity fo r a c o r p s e .1*6 T his La th e p e r ip e te ia , th e tu rn in g p o in t. How everyone knows th a t I l l ' s d ea th Is a n e c e s s ity . Conse q u e n tly , th e G U lleners s t a r t to r a ti o n a li s e t h e i r b e tra y a l by sudden In d ig n a tio n about h i s f o r ty - f iv e - y e a r - o ld p ecca d i l l o . Only I l l ' s f a a lly d elu d es I t s e l f to th e v ery l a s t th a t e v e ry th in g w il l tu rn o u t a l l r i g h t . Ih e c e n tr a l q u e stio n o f th e scene In I l l ' s s to r e I s : w i ll he t a l k to th e p re ss people who a re In town, w i l l he t r y to save h la u ie lff 111 h i * s e l f Is a b se n t a t f i r s t ; H rs. I l l and th e o th e rs h e a r h is s te p s in th e roon above; he Is w alking up and down, lik e John G a b rie l iorkm an, I b s e n 's shipw recked fin an ce ty co o n , who Is a ls o n e a r th e end o f h la l i f e . Dttrrenaatt, In the previously quoted lecture M anu sc r ip t, blsnss him self for having made a Mistake with these reporters: W h y newspaper M en In the third a c t, when there la a cast o f more than th irty already without then? lesson : Ottllen Must Murder a M an I f It wants to earn a b illio n . This would be easy to carry ^Per lesuch . . ., op. clt.. p. 69. 449 o u t i f th a l i t t l e town were c u t o f f from th e w o rld 127 . . . but th e M i n t th e newspaper wen a r r i v e , th e town wuet keep l t e I n te n tio n e e e c r e t. On th e o th e r hand, th e preaence o f th e re p o rte r# la m o tiv ated by th e so jo u rn o f th e w orld-fam ous o ld lady and by h e r wedding in O ttllen. Here 1 p u lle d two b o n e rs: o n e, 1 b u rlesq u e d th e r e p o r te r s , which Is p o in tle s s because th e s it u a t io n I t s e l f Is g ro tesq u e enough; th e fam ily o f th e wan to be w ur- d ered has to e n a c t a happy fa w lly l i f e so th a t no one w i l l n o tic e a n y th in g a t a l l . A lso, r e p o r te r s and J o u r n a lis ts a r e . In th e w se lv e s, cow lc enough. So I t was to o wuch. The second m istake o f th e r e p o r te r scen e: The p re ss In I t wakes sen se o n ly I f I t r a is e s th e f e a r In C ttllen th a t I t w ight fin d out about th e o f f e r o f th e o ld lad y to pay fo r a m urder w ith a b i l l i o n . T his would n a tu r a lly be th e c a se I f one o f th e G ttllen ere t a t t l e d . V lth whom la th e danger g r e a te s t t h a t he w ight b e tra y th e se c re tT Obvi- o u sly w ith th e one who Is about to be m urdered. So th e O ttllen ers w il l do e v e ry th in g to wake su re th a t 111 does not t a l k , does n o t g e t to g e th e r w ith th e newspapermen. T h e ir f e a r th a t 111 w il l su c ceed J u s t th e sane t o g e t In touch w ith th e p re ss In o rd e r t o p rev en t h la b ein g n u rd e re d , must b e , as I t w ere, a counter-m ovem ent to I l l ' s f e a r o f b ein g m urdered. A ll t h i s X sim ply fo rg o t In th e Z ttrlch v e rs io n ; o n ly In r e h e a rs a ls I n o tic e d I t , but th e n I t was a lre a d y to o l a t e to Improve I t s u f f i c i e n tl y . T his f o r g e ttin g o r o v e rs ig h t Is an lmnanant flaw o f th e P lf(« com parable to f a u lty moves In a ch ess gam e.129 ^ I s o l a t i o n la th e s to c k - in - tr a d e o f so many m ystery and g h o st s to ry w r i t e r s , from Jane I v r e to W uthsr- ; ln a H o lah ts to T h. Hound o f t h . l « . k . r v t l l . « , to such plays a s The P e tr if i e d f o r e s t . Outward Bound, o r . Cod fo rb id , D racula o r Ten L i t t l e In d ia n s . ^Unpublished lecture manuscript, loc. clt. 450 D llrrtnM C t b t l lt v a a th a t th a nora a w r ite r wenta to work w ith th a aaana o f th a a ta g a , th a laaa can ha do w ith o u t w orking on th a p lay d u rin g ra h a a ra a la . Na w rlta a an vloualy o f G iraudoux, whoaa g ra a t good fo rtu n a aa a p lay w rig h t waa h la frla n d and p ro d u c a r-d lra c to r, Loula Jo u v e t, who had whola acanaa ra h aara ad and playad fo r h l a . In o rd a r to ra - w r lta th a n a fta rw a rd a . D uring th a acan t th ra a waaka of ra h a a ra a l th a t wara a v a lla b ia fo r th a w orld p ra a la ra o f P ar laau ch In Z ttrlch , th la waa, o f c o u ra a , la p o a a lb la and waa a g ra a t drawback. Ona can aaa th a t D U rrennett would probably lova th a Broadway e y e ta a o f axtandad o u t-o f-to w n tr y o u ta . Coning back to th a r a p o r ta r acan a, th a o v a ra lg h t our a u th o r n a n tlo n a haa baan p a r tly ra n ad lad by th a F lr a t C Itle a n * a d a c la lo n to atand guard a t th a only accaaa to 1 1 1 'a a p a rtn a n t. B ut, c o n a ld a rln g t h a t , by th a n , th a r a p o r ta r a hava a lra a d y baan In town fo r q u lta a w h lla , co v er in g C la lra Z ach an aaalan 'a l a t a a t w adding, th la aaana r a th a r l a t a In th a day. By th a n , 111 could hava to ld th a praaa an y th in g ha w antad. A lao, In Act I I I , In th a n ld d la o f th a a l t a r c a t l o n batw aan th a ta a c h a r and th a c l t l a a n a , 111 451 " e n te rs fro * th e r ig h t in o ld , th re a d b a re c lo t h i n g ." 129 Whan l a a t haard frow , ha was w alking around u p s t a i r s , and th a o n ly s ta lr c a s a lo ad in g down from h is a p a rt want was g uardad; now, fo u r pagaa la t a r , ha a n ta r s unhlndarad and u n n o tlcad Iro n th a r i g h t . I t is t h i s ln v a s tlg a to r* s s a por lan e a , a c q u ire d through wany y aara In th a th a a to r , th a t n o t o n ly d l r a c t o r s , but a ls o q u lta u n s o p h is tic a te d a u d l- an cas n o tle a sueh d is c re p a n c ie s lin e d la te ly ; c e r ta in ly In any r e a l i s t l e crlaw p la y , such a s D ia l H fo r H ard er. Kind Lady. L adles In K e tlre w e n t. e t c . , th e y would. I t Is prob ab ly a g ra a t cow pllsw nt to D ttrrenw att a s a d ra w a tls t o f pow erful Id eas th a t no one ap p ears to hava w o rried v ary wuch about t h i s lap au a» -o r a ls o I t would n o t hava bean p e rp e tu a te d In th a fo u rth e d itio n o f th a p la y . The Im portant change th a t h as tak en p laco and cau ses us to lo s e a l l I n te r e s t In th a e x te r n a ls o f HCan 111 g o t away and t a l k to th a p re ss ? " Is th a t 111 no longer r e s i s t s h i s d e a th . When th e te a c h e r, th e wost c le a rs ig h te d an d , a l s o , th e l a s t s t i l l h o n e s t, d ecen t p erso n In C tllle n , u rg e s h la d e s p e ra te ly to f ig h t fo r h is l i f e and n o tif y th e p r e s s . 111 sa y s: 229Psr besuch . . ., op. clt.» P* 75. 452 I do not f ig h t any n o r* . . . . I b iv th a t 1 no io n g ar hava th a r i g h t . . . . I t la ny g u i l t . . . I nada K lara t h a t aha l a . and m m what I a a , a sn sa ry shopkeeper f u l l o f h o t a i r . Uhat s h a ll X do, ta a c h a r o f CttllenT Play th a In n o cen tf I t la a l l ay d o in g , th a aunucha. th a b u t l a r . th a c o f f in , th a b i l l i o n . X cannot h e lp n y a e lf any n o r a . and you n a lth a r.1 3 0 Through th a h a l l o f f a a r , and l a s t b u t not la a o t through th a r a a l i s a t l o n t h a t , v a ra ha not In v o lv ad , ha would a c t no d l f f a r a n t l y fro u th a G ttlla n a ra , ha galna th a a tra n g th to ba J u a t. D ttrre n aatt sk atch aa I l l ’s davalopnant aa fo llo w s: I f C la lra Z ach an assian la ia a o b lle , a h a ro ln a fro n th a b ag ln n ln g , h a r o ld p araao u r o n ly becomes a h a ro . Snsary ahopkaapar t h a t ha l a , ha f a l l s v ic tim to h a r unknowingly a t th a a t a r t , a th o u g h t- la a s hunk o f n an , a sim ple nan upon whoa som ething slow ly dawns, through f a a r , through h o r r o r , some* th in g h ig h ly p a ra o n a l, tdio ex p e rien ces J u s tle a on h l n s a l f bacausa ha raco g n lcaa h is a u l l t , and who baconaa g ra a t through h i s On th a to u ch sto n e o f t h i s n an . 111, who p re p a re s h ln s a lf f o r th a b ig r e s ig n a tio n and fo r th a q u ie t way o f s u f f e r in g and d e a th , bacons m an ife st In h la f e llo w men, In a l l o f u s , th a fo rc e o f greed as th a sig n o f our t i n e s , and th a s n r a l chasn o f our w e a lth . I t Is shown how b lo a te d wa a re w ith hollow p h ra se s o f J u s t ic e , how r o tte d through w ith th e r o u tin e o f " a a a r t b u sin e s s p ra c tic e ,* ' and how s tu c k . p. 77. m lb ld . . p. 102. 453 h o p a lta ily s tu c k , In our alw ays r# c u rrin g co n v an tlo n s o f m o ra lity , r e li g i o n , and b u sin e ss a s u s u a l, a s we wove toward doomsday, th a t doomsday which l i a s a t th a and o f th a b ro a d , we11-paved, g la r in g ly l i t , and p le a s a n t s t r e e t o f p ro s p e r ity . Like H am let, 111 h as conquered h is f e a r and r is e n to a s t a t e o f r e s ig n a tio n about death* T his co a ss ex tra s * ly c lo se to tra g e d y , and so th e a u th o r co u n te rb a la n c e s i t w ith g ro te sq u e ly c o a lc to u c h e s; O ttllen, th e snug l i t t l e town, r a t e r 's Barn and K onradsw eller F o r e s t, th e s e co sy , o l d - f a a l l i a r p la c e s , bacons th e scene o f a s i n i s t e r , s e c re t lyn ching t ln c o n e ru ltv l : th e r e p o r te r s e ra so determ ined to g e t o n ly b e a u tif u l s u rfa c e c lic h e s th a t th ey p r a c t i c a lly w r ite a ready-m ade True B o u n c e s s to r y fo r Frau 111, th areb y c h e s tin g them selves out o f what could have been th e g r e a te s t scoop o f t h e i r c a re e r fm ental r l a l d l t v l : th e te a c h e r, lone f i g h t e r f o r hum anity and fo r t r u t h , owes h is courage only to th e g teln h ttn e r f l n c o n r r u ltv l . D uring th e f i r s t and l a s t autom obile t r i p w ith h is fam ily and In th e l a s t m eeting w ith C la ire In th e Konrad sw e lle r f o r e s t , 111 shows how he h a s grown and how he h as ach iev ed com plete s im p lic ity ; fo r th e f i r s t tim e he sees th e w orld in a l l I t s b e a u ty , w h ile h is d o lle d -u p fa m ily , 454 p ro to ty p e* o f e l l parvenus and n o u v eau x -rich e* . hava ih ru n k to even a a a lla r e ls e th a n th ey v a ra b e fo re . Kemerkable In th a l a s t scene betw een 111 and C la ire in th e K onradew eller F o re st a r e th e com plete Im p e rso n a lity and detachm ent o f both o f them , even a f t e r he has s a id t h a t he e x p e cts to be k i l le d t h i s v ery n ig h t. "1 only know th a t 1 s h a ll end a m eaningless l i f e , " says h e . Iro n i c a l l y and Incongruously to th e g u ita r accompaniment o f th e n u rd e re r, Roby, p la y in g "0 Helmet sttss und h o ld " (" 0 home town eweet and d e a r* ). She d e s c rib e s th e mauso leum she has p rep ared fo r h is c o f f in in th e park o f h e r p a la tx o on C ap ri and th e b e a u tif u l view from th e re o f th e d eep -b lu e M ed iterran ean . T h e ir fa re w e ll i s as sim ple as can b e: "A dieu, A lfre d ," "A dieu, K la r a ."132 A nother d iscre p an cy betw een th e o r ig in a l and th e Broadway v e rs io n must be n o ted h e re , and t h i s tim e a v ery annoying one. S c h lll and C la ir e p a rt w ith a long k is s ! In C hapter 1X1 I t was e x p la in e d how im p o rtan t th e absence o f love i s In D ttrrenm att'* w ork, and t h a t I t Is an e s t h e ti c r u le o f h ie by which he m a in ta in s d is ta n c e and a v o id s th e em o tio n al Involvem ent o f th e a u d ie n c e . In h is p o s ts c r ip t l3*lbld.. p. 89. 435 t ° D tr Saauch ha avan a p a lla I t o u t. Ha haa th a four O ttllan ara play tr a a a in b o th K onradaw allar F o ra a t aeanaa ( I and 111) 11) o rd a r to raao v a th a aoaawhat aa b i r t a i i l n i lova a to ry . . . an old n a n 'a a tta a p ta d approach o f an o ld w a n , to ba p ra c la a , In to a p o a tlc t h a a t r l c a l ap h ara, and th u a to ra n d a r i t b a a r a b la ." 133 Tha k la a c a r ta I n ly doaa n o t h a lp th a d a c la ra d In ta n tlo n o f th a a u th o r and vaa a grava a la ta k a . P o aalb ly , i t waa a concaaalon o f th a L u n ta, who hava baan a ta g a lovara f o r ao lo n g , to t h a l r davotad fo llo w ara who ax p act a t la a a t aoaa lova-w aking fro a th a a and would ba unhappy w ith o u t I t . How wrong I t waa a r t l a - t l c a l l y bacoaaa c la a r w ith t h l a vary p a rc a p tlv a a ta ta a a n t f r o a lro c k -S u lx a r: A r a a lly huaan C la lra would aaka th a p lay In to an u n b aarab la a o n a tr o a lty . Whan aha aaka 111 to aay th a o ld ta n d a r lova naaaa ha uaad to g lv a h a r , aha doaa I t , aa I t w ara, to chack up; aha chacka th a a a g a ln a t h a r a a a o rla a to aaa I f th ay wara cor* r a c t . 114 L oraa ta k a a laau a w ith Hanry Hawaa, who aaaa th a r a la tlo n - a h lp o f C la lra to S c h lll aa a “ p a rv a rta d lova fo r h a r v l c t l * " : 135 133Ib id . ■ p. 101. H roek-StilM r, o p . c l t . , p . 52. l,S h « iP i, op. c l t . . p. 31. 456 There la nothInc perverted about Klara*a r e la tio n s h ip to 11 l™ o .-grotesque I t c e rta in ly l i , but not p erv erted . There la even something m alicious about I t , but I t la not lo v e . Klara too haa h er lewa. They are In p art our lava, which presume to dlapenae th e ju a tlc e which ahe d e a lre a . The aene so ciety %Ailch haa helped make h e r what ahe la , aervea h er enda by providing the J u a tlc e ahe demands. But 11 we accept the fa r te n d e re r re la tio n a h ip of the a d a p ta tio n , aays Loram, . . . I t then becomes a perverted v e rsio n of th e stra n g e , rom antic theme of Undine, who must, fo r reasons which she h e r s e lf doea not wholly com* prebend, but which a re th e law of her p a r tic u la r w orld, k i l l h er lover because he has h u rt h e r. idea and r e a l i t y la the c lim a c tic scene in which C la ire Z achanassian'a bequest to the town la announced In the presence of ra d io , p re ss , and motion p ic tu re new areela. The words of th e mayor In tdilch he c a lls fo r the f in a l vote are com pletely ambiguous. 'I lls r h e to r ic ," says Brock*Sulzer, "la q u ite c le a r to any in s id e r and fo o ls any A m asterpiece o f grotesque incongruity between o u t s i d e r " :* ^ ^^Whenever Lorain speaks of "K lara" and "111," he meana the German o r ig in a l. Loram, o p. c l t . , p. 18 Brock-Sulser, o p. clt.. p. 56 457 Not Cor th e take of money, but o f J u s tle a (J u s tic e as understood by tfae. Z achanassian], and out o f a aorely a f f l ic t e d conscience, fo r we can not liv e (in the most M t e r l a l l s t l c sense!) I f ve to le r a te a crime amongst us th a t must be exterm ln- ated (must--by order of the old lad y ), so th a t our souls M y not be ln lu red and our most sacred possessions . . This Is the moment tdien 111 screams, ”Ny God!" (see F ig ure 2 0 ) .l i l I t c e r ta in ly Is not “Jo y ," as th e obtuse new sreel cameraman assumes. I t could be th e d e sp a irin g cry of one tdio Is about to be c r u c if ie d , akin to the cry of Jesu s: "Ny God, my God, why h a st Thou forsaken me7"1^2 More lik e ly , I t is a cry of monstrous d e ris io n a t th is m asterpiece of hypocrisy. DUrrenmatt who confesses an Im p licit fa ith In the a c to r and the power of th e sta g e , gives no d lre c tlo n --h e leaves i t to the a c to r and to us to I n te r p re t i t . The v o tin g of the community on C lalre* s proposal p o in ts --In both v e rsIo n s--a g a in to S v ltc e rla n d : only the men v o te , the women are sent away and do not v o te . I f Germany had been meant, th e women would have had to v o te. The Incident of the f a ilu r e o f th e e l e c t r i c cu rren t 14(w Besuch . . ., op. c l t .. p. 93. U 1l b l d . U 2M att. 27:46. t t 458 Figure 20 Tha once-ahabby c l tl ie n * o f Gillian, now Ln ta ilc o a t* and w hite v a st* , v o ta to accapt C la ire Zachanaaalan'a bequeat, and tharaby ■antanca 111 ( l e f t , foraground) to d aath . On th a extreme l e f t th e p o lice aergeant ln hi* reaplendent new uniform . Right c e n te r th a ra d io re p o rte r. 460 has been attacked aa gro ssly exaggerated s a t I r a f according to B rock-Suiter and, as always, sha r ls a s an g rily to Dtlr- ren m ett's defense: "Saidoo has Dtlrrennatt exaggerated as l i t t l e as h e r e ." * ^ I t Is tru e , however, th a t th e re is deep meaning In th is seemingly s i l l y mechanical fa ilu re : 1. The Gtllleners have to make the d ecisio n once more to coesslt th e ir crim e. This Is comic r e p e titio n . 2. The audience w ill hold Its breath, because now the Gtllleners have a second chance to rescind I l l ' s death sentence and avoid crime and g u ilt. U lll they do it? 3. I l l Is put once more on the rack o f tension I AA by th i s momentary stay of execution. 4. Something highly dram atic involving a d ecisio n over l i f e or death Is made rid ic u lo u s by a l i t t l e fluke and the order of an in s ig n ific a n t cameraman--"the t r i f l e of a th in g belonging to a lower o rd e r, which, h ereto fo re hidden, gets underfoot o f th a t sublime thing and emkes I t l ^3gr0ck -S u l* e r, o p. clt.. p. 56. l^Dlller, o p. clt.. pp. 179-80. 461 c o ll a p s e " : 1** c o lla p s e d a o le w n lty . 5. The G tlllen ers can ra p a a t t h e i r word* w ith o u t any d i f f i c u l t y , b u t I l l ' a s c ra a a la a o n e - tin s o u tb u rs t. Hla ro ad has lad In to an u n re p e a t- a b l l l t y , a genuineness th a t doas n o t sta n d fo r g l ib p la g ia r is e .* * 6 I t la f i t t i n g th a t t h l a scans should ba th a c lin e s o f th a p lay . Thara Is th a o r a to r lc a l ly p ro p a rly " b u ild in g " spasch o f th a ts a c h a r , lo an in g up In an e n o tlo n a l ap p aal Ilk a th a paroxysa o f a r a v lv a l sp a a k a r. Thara la th a n a n a g e rla l fa n fa ra o f th a sa y o r b u ild in g up to th a p red e term ined v o ta ; th a ra Is th a unctuous h a lp la s s n a s s o f th a ■ in la ta r who o f f a r s to pray f o r 111 and is to ld to pray r a th a r fo r O U llan. Thara Is th a g ru f f po 11cswan whosa o f f i c i a l a c tio n s becoaa nora b r u ta l th a nore ha Is puffad up In h i s naw, p ro s p a rIty -fin a n c e d u n lfo rw ; th a ra a r a th a a g lla clow ns, g li b g a g a ta rs , and co ld sh ark s o f " p r e s s , r a d io , te le v is io n , and n o tio n p ic tu r e s " ; th a ra la th a a t h l e t e , now In e le g a n t w h ite p an ts and b e a u tif u l rad e s c a rp s , who c lo s e s o f f th a dead-end s t r e e t o f huaen b o d ies, ***Cf. supra, p. pp. 24*26. ***Brock-Sulser, o p . clt.. p. 56. 462 In to Which 111 i s M d i to w alk and a t th a and o f tdilch ha la daad; and, l a s t l y , th a ra la th a ac a d a a lc coldbloodad- naaa o f th a d o c to r c e r tif y in g th a *1iaart attack * ' th a t th a o ld lady to ld h l a to c a r t l f y In th a f l r a t a c t . A ll th o aa a a If-Im p o rta n t p re te n d e rs and o f f i c i a l buaybodlaa a rc u n lta d h ara aa ln a huge Grand Q ulanol and danca to th a tu n a o f Haa. Zachanassian* s b i l l i o n . T hla b rin g s ua to th a f in a l g ro te sq u e , th a c la a a l- c a lly In a p lra d chorua which haa baan o a ltte d a n t I r a ly In th a A aarlcan a d a p ta tio n . L oraa e x p la in s t h la o a la a lo n aa fo llo w s : In lln a w ith h la [D U rren aatt1 a ] Idaa th a t o u r w orld la ona ln which pura trag e d y la h a rd ly pos s i b l e , I l l ' s d aath h as baan downgradad fro a th a r a a l a o f h ig h tra g a d y to th a t o f a tra x la c h e K oahdla. and In th a p ro c ass b e c o a a s a p a r o d y . Thara la ln D ttrran aatt a kind o f Wadeklnd g ro ta a - quanaas and achoaa o f e x p re s s lo n la a which a ra fo r th a a o a t p a r t la c k in g ln Tha V i s i t . Tha Craak- llk a chorus which e lo a a a P ar la su c h d a r a l t t n Paaa la o a ltta d a n t l r a l y in t h la a d a p ta tio n , and ona a u a p a e tt th a t th a raaao n fo r th a o a la a lo n la t o avoid e x a c tly th la a la a a n t o f p a ro d y .*** T hla aay w a ll ba tr u a . Out and o u t parody and a a tl r a hava n avar baan to o p o pular ln th a U nltad S ta ta a , a youngar, la s a s o p h is tic a te d , and a o ra o p tim is tic co u n try th an 147 Loraa, op. clt.. p. IB. 463 Europe. I t Is no a c c id e n t th a t th e p o l i t i c o - s a t i r i c a l c a b a r e t, a stan d ard e n te rta in m e n t in Europe, has made only sp o ra d ic appearances h e re , and th a t " p o l i t i c a l co m ics," Ilk a W ill t o f e r s and N ort S a h l, a re " ra re b ird s " indeed. Mad tu e a s in e . t h i s c o u n try 's only m ajor s a t i r i c a l humor m agatlne, is a r a th e r re c e n t a r r i v a l , but th e re la a ls o a v ery sim p le, p r a c tic a l re a so n : ln th e U nited S ta te s a c l a s s i c a l e d u c a tio n has n ever been p a rt o f th e common c u l t u r a l h e r ita g e o r th e norm fo r an educated p erso n . Today, w ith th e alm ost t o t a l d isap p earan ce o f L a tin and Greek from th e p u b lic school c u r r ic u la , th a g e n e ra l Ignorance o f c la s s ic l i t e r a t u r e and mythology i s g r e a te r th an e v e r, lh e r e f o r e , any b u rlesq u e o f a n tiq u ity * * * i s u seless--A m er ic a n au d ien ces sim ply mould not knov th a t I t mas a burlesque o r what mas being b u rlesq u e d . M om th a t so much h as been s a id about t h i s c h o ru s, th e re i s probably n o th in g e ls e to do but to t r a n s l a t e i t : CH O K U S I : M onstrous la much-- rom erful e a rth q u a k e s, Plem e-spem lng m ountains, Vara a ls o , tan k s clan k in g through corn f l e l d a . The su n * lik e mushroom o f th e atom boafc-- V xam plea a re th e d e lig h tf u l o p e r e tta s . P rattle aua E nfers and La b e lle H llbne by O ffenbach, sta n d a rd morka in th e r e p e r to ir e o f most European th e a te r a and, In c id e n t a l l y , loved and adm ired by D ttrrenm att. 464 C H O RU S l i t Rut n o th in g a o r t w onatroua th an p o v e rty , For I t knows no a d v e n tu re ; D aso lata i t anvalopa Mankind, S trin g in g d ra a ry day to d ra a ry day. INK UOMN: M alplaaa th a a u th o rs See loved onaa w ith e r. THE MSI: But th a a n th in k a r e v o lt. Brooda o f tra a a o n . FIRST HAR: In w orn-out ahoaa ha a h u ffla a a lo n g , THIRD HAR: Tha a tin k in g weed between h la ll p a - - C H O RU S I : For th a work p la c a a , onca b re a d -g iv in g , Are owpty. CHO RU S I I : And th a w h ittin g tr a ln a paea th a town by. ALL: H a ll ua FRAU ILL: For Whoa a frla n d ly f a ta ALL: Changad a l l th la ! THE W O M E H : Ba cowing d raaa now ancloaaa Tha d a in ty body. ILL'S SOU: Young fallo w a now p i l o t th a a p o rta c a r, THE M R: In th a lia o u tln e a l t a th a w archant. ILL'S DAUGHTER: Tha young g i r l chaaaa th a b a l l On ra d a u rfa c e -- THE DOCTOR: In th a naw, g r a a n - tlla d aurgary room O p arataa, J o y fu l, th a d o c to r. ALL: D lnnar a ta a a a a t howa. C ontantad, w e ll-sh o d , Evaryona awoke • th a b a t t a r w eed-- THE TEACHER: Eagar fo r la a rn ln g la a rn aagar le a r n e r s - - SECOND HAN: T raaauraa on tra a a u ra a p i l o t th a buay ln d u a tr ia l la a d a r, ALL: R enbrandt on Rubens-- THE FAINTER: A rt f u lly a u a ta ln a th a a r t l a t . THE MINISTER: At C h rlatw aa, E a a ta r, Aacanalon t h a n b u ra ta Tha c a th a d ra l w ith th a th ro n g o f th a C h ris tla n a -- ALL: And th a t r a l n a , Tha a p a rk lin g , a u b lla a onos, H aatoning on iro n r a l l a Frow c i ty to n eig h b o rin g c i t y , lin k in g n a tio n s , Thay ato p onca a g a in . 465 ( prom th c l e f t c a w s tu b conductor) CONDUCTOR: O dU tn! STATION MASTER: l i p r t u t r a i n 001 lan -Ro m , a l l ab o ard , p la a a a ! Club c a r In fro n t! (PROM IRC B A C K G R O U N D CLAIRS ZACHANASSIAN IN N CR OIAISR, MOTIONLESS, AN OLD IDOL OP STONE, ENTERS BETVEEN TNI T W O CHORUSES, VIIK KIR SUITE) M A Y O R: F rocaading hanca la aha ALL: Vho ao r ic h ly endowed u a, ILL'S DAUGHTER: Tha b a n a fa c tra a a ALL: With h a r nobla tr a i n ! (CLAIRE ZACHANASSIAN DISAPPEARS D O V N RIGHT: AS THE LAST ONES IN THE PROCESSION THE DIEHSTHKnMIR C A RR Y THE COFFIN OUT THE L O N G K A Y ACROSS THE STAGE) M A Y O R : P araw all than* ALL: A tra a a u ra d load aha c a r r la a w ith h a r , a n tru a ta d to h a r. STATION MASTER: D ap artu re! But M y praaarva A God In th aaa pounding, r o l li n g t l a t a Our waa1th P raaarva our aacrad p o aaaaalona, p raaarv a paaca, P raaarva fre e d o w - N lg h t, a ta y away. Navar darken our c i t y , Tha nawly a r la a n , M g n lfle a n t ona. So wa g la d ly M y aavor glad fo r tu n e !1** Thla chorua rew inds u a , o f c o u ra a , o f th a wore openly p a r o d la tlc c la a a lc chorua In H orculoa and th a S ta b le o f A ualaa. D ttrrenM tt dafanda h lM a lf agalnat tha charge o f ALL: MINISTER: ALL: M A Y O R: ALL: 149 Par Boauch . . op. clt.. pp. 98-100. 466 h av in g b urlaaquad Sophocles by a ty in g th a t th a pstudo- c la a a ic chorua la no a x k a r y o f th a g ro a t d r a n a tle t but a b laaphaay o f thoaa who apeak, bacauaa th e y , in c o n tra a t to th a a n tiq u a c h o ru a, a ra n o t w orthy to ba i chorua. In h la p o a ta c rlp t to P a r iaau c h ha w r lte a : To ba a u ra , th a paopla t a l k h a ra a o ra ao len n ly th a n would ba n a tu r a l in r e a l i t y , aonoWhat ao ra In th a d lr a c tlo n o f what co u ld ba te n te d p o a try o r b a a u tlf u l languaga, b u t o n ly b acauaa, a f t a r a l l , th a O ttllenere hava now becone r i c h , and, having " a r r iv e d ," apaak w ith wore d is c r im in a tio n .1*0 T hla a tI d argum ent la advancad a t r l c t l y to n g u e -in -c h e e k . A c tu a lly , anyona ra a d ln g th la f i n a l chorua a u a t r a a lla a t h a t I t la an a b a o lu ta ly w ild , abandonad g ro ta a q u a . Ih a aaaa a a a n , cruda l l t t l a paopla «6o hava Ju a t c o a n ltte d a r e v o ltin g c r ln e , a ra now d la g u la e d aa a la g a n t p atro n a o f fa a h lo n , frla n d a o f a r t and le a rn in g , cotm oleaeura o f good li v in g , tycoons o f In d u e try and con n erce--an d a l l a ra apeaklng In p re u d o -c la e e lc a l v a ra a ! To p ra la a h e r whow th a te a c h e r , o nly a few houra e a r l i e r , had c a lle d " th a curaad o ld la d y , t h l a arch-w hore who changea h e r non b e fo re our a y a a , th a n e lo s e ly , and g a th a ra In our a o u la , a bonefac- t r a a a , " la r i c h , b u t to c a l l an In co u p eten t ax-Judge tu rn ed l 5 0 I b l « l . ■ p . 1 0 1 . 467 b u t l e r , th e broken-down husband Mo. 10, "fo b y ,"* * 5 and th a ts o 8 I n f Sing n u rd e re re a "noble t r a i n , " and to speak o f th a c a rc a ss o f th a nurd ered I I I as a " tra a s u ra d load a n tru a ta d to b a r ," la th a a o s t savaga Irony ftaaglnabla. T h is is th a h a lg h t o f g ro tesq u e In c o n a ru lty . f o r a f i n a l e v a lu a tio n o f th a Broadway v e r s io n , in which t h i s whole chorus was c a r e f u lly c u t o u t, Loraa w r ite s : . . . V alency has g iv en us a d if f e r e n t p la y . D ra a a tic a lly and t h e a t r i c a l l y , i t l a , wa suppose, l a g i t i a a t a , b u t i t i s a ls o d is a p p o in tin g . . . . Tha V is it ra n a In s a good p la y , b u t i t Is c o n sid e ra b ly weaker th a n P ar B esuch. which is an e x c e l le n t o n e .152 As proof ha q uotas fro n D U rrenantt*s T h e a te ro ro b le e n : "The co n ic c o n s is ts In shaping th a s h a p e le s s , in fo ra ln g th e c h a o ti c ." 155 The w orld o f OUllen i s such a p la c e . Where c o n tra d ic tio n s and g ro tesq u e n ess a r e p o rtra y e d and h l£ illg h te d by D ttrre n a a tt's ad ep t iro n y . I t is p r e c is e ly th e e l i a l n a t i o n o f th e g ro tesq u e huaor o f th e o r ig in a l th a t g iv e s to th e a d a p ta tio n what D ttrren aatt e x p re s sly s t a t e s I t should not h av e : t l e r l s c h e r I r a s t ( b e s t i a l e a r- n e s tn e s s ). Xn T h eatero ro b len e tie sa y s: "The l 5 4 h e l a s t , as Z in th e a lp h a b e t. l 5 t L o r« . op. c i t . l ” n>.«t.rprobl«p». op. clt. 468 comic co u n ts t i th e I n f e r io r , d u b io u s, unbecoming; th e y only a c c e p t I t d \ n I t a sk ss th e n 'f s s l good IIk s flv o hundrsd s w in e .* ™ But th s moment th a t th s conic Is rsc o g n lssd as d angerous, r e v e a lin g , demanding, m o r a lis tic , th ay drop I t lik e a h o t Iro n , fo r a r t Is p erm itted to be a n y th in g I t w ants to b e , as long a s I t s ta y s e e d k l l c h ." Mr. V alen cy , I t would s e e s h as dropped th e h o t i r o n .13' Vow fo r an o v e r a ll e v a lu a tio n . One q u e stio n p re dom inates: Is th e play perhaps a tra g e d y , a f t e r a l l , a g a in s t a l l o f D H rre n n s tt's In te n tio n s ? Henry Hawes th in k s so* In an a r t i c l e e n t i t l e d , "Tragedy w ith o u t T e a rs ,*' he says th a t D ttrrenm att way have a rriv e d a t a new d ram atic form fo r modern tra g e d y . Of m ourse, t h i s form does n o t meet th e c la s s i c a l d e f in itio n s , b u t I t accom plishes so many o f th e th in g s we ex p ect o f tra g e d y , w ith o u t g iv in g In to any o f th e presum ptions th a t make c l a s s i c a l tra g e d y u n s a t is f a c to r y to m odem s.*** I t s h e ro , lik e H ickey In 0 'V e lll* a The I c e w i Cometh. conquers h is f e a r , fa c e s h is g u i l t , an d , a s D ttrrenm att s a y s , "becomes g re a t through h i s d e a th - - ( h is d e a th should n o t la c k a c e r ta in m n n u sm n tallty )."*** What ****1lns l s t g an i k a m lb a lls c h w ohl, A ls w le fttnfhundert S iu e n !" Is a famous q u o ta tio n from th e scene In A uerbach's K e lle r o f Goethe l o t a , op. c tt. , p. 21. IMKn m . 0£ju-£il-1 PP» 30-31. 1> 7P « r — i u c h . . . . op. d t . . P . 1 0 2 . 469 ■ o rt can on* aak o f a tr a g ic hero? T his o p in io n itc a d a by no M in i a lo n e . A nothor ravlow er w rote th a t th a poat had p a in ttd " lo v in g ly , w ith moving nuancaa o f th a h e a r t , th a so u l t r a n s f o n set Io n o f th a p e rju re d aad u car, th a in n ar changa o f th a s i n n e r ."*3® A fo r la ion c r i t i c w ro te : '*1hara l a , bayond th a a ra a n a l o f a x p rass Io n ian . . . th a th r a a t o f th a goda, th a cru ah in g fo rc a o f th a tr a g ic u n iv e rs e .1 '*** Under th a t i t l e , **U ne tra g a d ia contasy o r a i n a ,1 ' a n o th e r French rovlow er c o n clu d ed : One can give th a "Old Lady" a nam e--one can c a l l h e r H i t l e r , S ta lin o r . . • c a p lta lla n . A c tu a lly , i t la b a t t e r to a t lc k to th a s u b je c t i t - a a lf : th a a a a a a a ln a tlo n o f th a conscien ce by an economic phenomenon and I t e w orkings, and th a d i a l e c t i c o f a d ic ta to r s h ip . . . , A tra c e d * . Irre m e d ia b le . S a t In m otion by a fo rc a th a t l i . . . s u p e rio r to man. And one t h a t concerns us a l l . 00 And y e t th a Volksbtftina say s: ***010 Konmnd a n . X, Ho. 11, fra lb u rg /S r a ls g a u , June 10, 1966, p . 11. ***•. da Garamba, K lv a ro l. f a r I s , March 2 1 , 1957: * 'll y a , au d a lk da l'a r s d n a l a x p r e s s lo n le te , . . . la menace das d le u x , la re p re s s io n 6 c re s e n ta da l*'unlvors tr a g lq u o .” l60,*U n e trogddla contamporalna,*' loc. c lt. 470 And to f a ta co n p letea l t a a l f fo r th a G ttllanara w ith a lo g ic a l co n alaten ce and In e x o ra b ility th a t would ba unbearable In th a form o f tra a a d v . and avan in fa rc e o r burlaaqua goaa to th a lim it o f th a b e a ra b le ." 161 Tha tr u th la th a t P ar laauch la a o a rfa c t paradox, a " tr a g ic comedy" o r a g ro taaq u aly conic tra g e d y , dapand- lng on th a baholdar and h la p o in t o f vlaw . Tha au th o r h lm aelf adm itted h la quandary. W ithout w anting I t , h . a a ld , ha had a p p ro a c h ^ a n tln u a tra a a d y . Tha c r u a lty In P ar laauch la n e c e a e ltv . A fta r a l l , Oadlpua could n o t r a t l r a to a m onaatery a l t h a r , but had to com plete h la own b lin d in g bacauaa o f th a abaolutanaaa o f h la own ac ala o f v alu aa . DUrrenm att, however, c la ln a d t h a t . In c o n tra a t to Oadlpua, " th a ra la no m ataphyalcal connection batwaan th a flg u ra a o f P ar laauch d a r a lta n Dana. Money la th a connecting fu n c tio n h a re , th a a tlc k y , fa a t-a d h e rin g ■ a t t a r ." 162 Thla la where th a In v a a tlg a to r muat emphat ic a ll y d leag ree w ith D ttrrenm att. Money haa long bacoma an a b a tra c tlo n fo r food, a h a lta r , c lo th in g , a o c la l ap p ro v al, a ta tu a , v alu e Judgnanta, power, and th ereb y a cauaa o f 26H lubacher, lo c . c l t . 162tt£infQhningaaband aur P ttrren m att-P rem iere," Die T a t. XXI, Mo. 29, January 1, 1956, p. 5. 471 Ilf* or dsath, paaca or war. Dtirrenmatt In thla vary play provaa tha awesome, aeml-dlvlne power of money, that tranacanda law, relig io n , m orality, tra d itio n , lova, honor, ahaaa, and co a a n daeancy. M o w auch more d ra stica lly can ona prova it? At any rata, Dtirrenmatt adalta having aanauvarad h la a a lf into a naat l l t t l a paradox o f h is own aaklng. Ha who loudly proclalaad that tragady waa laposalbla in our tla a , has writ tan what aany lnforaad paopla ballava to ba a wodam tragady; ha avan adalts that ha has "approached antlqua tragady." Tha raason for th is amusing prlvata paradox is explained by DtirTenaatt: Theater is for as not a weans to t a l l sto r ie s, but tha purpose for which 1 t a ll storiea and p lo ts. X w rite plays in order to create worlds, "autono- wous worlds," as I c a ll thaw. , . . H y wathod Is inductive, atartlng not frow tha plot but frow tha situ ation ; but i t is clear that th is wathod is sore dangerous than the deductive ona, and there fore tha aajority of the honorable aaatere of play- w riting sta rt with tha p lo t, tha plan. For na, atartlng with tha plan would ba siwply too d u ll.163 Tha difference between Par be such and antique tragady can bast be explained by a series o f paradoxes: Tha flr a t paradox la that tha sa c r ific e wade by tha 16^Unpublished lecture manuscript, loo- c tt. 472 h e ro does not re d e e a th e c o a a u n lty h o rs , as th e s a c r i f i c e o f Oedipus r t d i m d Thebes, o r a s O re s te s ' deed and d e p a rtu re fre e d th e p o lls o f Argos (e ls o In S e rtre * s The P l i e s ! . th e paradox Is th e t out o f th e f u l f l l l a e n t o f j u s t i c e co ses p r e c is e ly in j u s ti c e h e r e , end n o t o n ly in j u s t i c e , but e ls o a o r e l d is in te g r a tio n end d ecay , fo r any group o f people upon d io s such enom ous unearned w ealth i s suddenly show ered. Is bound to sin k in to s lo th end de b auchery. As K arl Kraus once s a id , th e s o lu tio n i s weds in to e r id d le by th e p o e t. lh e second paradox l i e s in th e fe e t th e t In th e se tow nspeople D U rrenaett has th e a o s t c o r r u p tib le o f e l l fo rc e s , th e s o c ia l huaen b e in g . There i s no need fo r p lag u es o r th u n d e rb o lts tdien whole towns can be had through th e power o f aoney. T his i s e lo q u e n tly ex p ressed by th e te a c h e r in h is l e s t p r iv a te , h o n est speech a f t e r th e scene in I l l ' s shop: They w i ll k i l l you. X knew i t , f r a a th e b e g in n in g , end you, to o , knew i t fo r e long t l a e , even though no one e ls e In G ttllen w il l e d a lt t h a t i t Is so . The tc a p ta tio n la to o g re e t end our p o v erty to o b i t t e r . But X know even a o re : X, to o , w i ll ta k e p e r t. X fe e l how X slow ly tu r n in to e a u r- d e r e r . Hy b e l i e f in h u a s n lty i s p o w erless. And, because X know t h i s , I have becoae e d ru n k ard . X e a a f r a i d , 111, a s you were a f r a i d . And y e t X 473 know th a t to m . to o , tn o ld lad y w i ll coae > o » d ay , and th en w il l be done to u s what Is now done to you--b u t to o n . In a fow h o u rs p tilw p i, I s h a ll no lo n g er know i t . 16* th e lin e about th a o ld lady th a t w il l c o a t soas day la p ro o f, su p p lie d by th e a u th o r h l a s e l f t t h a t C la ir e Zach- an a aalan la r e a l l y a a w b o l fo r n e c e s s ity and f a t a l x u l l t - - th a t " c o lle c tiv e g u i l t " o f which D U rrenaatt speaks In T h e a ta rp ro b la a a . E v ery th in g has I t s p r ic e . K it th e p ric e h l |h enough* and s o c ie ty can fin d a way to sak e even a u rd e r m oral. " V illa g e d eao eracy " f i n a ll y deaands th e d e a th o f Anton S c h lll o r A lfre d 111, because v illa g e deaoeracy la concerned w ith th e good o f th e g r e a te s t nusfcer. The p a ra dox Is th a t s o c i e t y ^ I n s t i t u ti o n s and laws have debased, r a th e r th a n en n o b led , th e In d iv id u a l. The t h i r d paradox Is th a t th e o n ly one who over* coaes th e In n a te cow ardice o f can Is s a c r if ic e d to th le co w ard ice, sla u g h te re d lik e s a c r i f i c i a l a n la a ls In o lden t l a e a . P ity and f e a r a re n o t so auch th e a l a and h a rv e s t h e re ; I t la r a th e r s e lf - r e c o g n ltlo n . When even th e poet h im se lf says th a t he Is n o t su re w hether he would a c t d i f f e r e n tly , Who would d are t o ex clude h im se lf fro a th e *6*Per >esuch . . ., op. clt., p. p. 78. 474 fa lse ly Bolean chorus o f tho G U I letters, who In tho ond ting °* tho tr ia ls of poverty and tha Joys of rlchas? W ho would dara to declare h la a elf Incapable of such v ila n es■ and hypocrisy? The speech of the teacher is so frightening because of the * 'yawning abyss** It tears open before our eyes: Jekyll knowingly turning into Hyde, without the excuse of secret potions--Just as gentle Goman s c ie n tis ts , through the " d ialectic of dictatorship," becaae v iv ise c tio n la ts on huaen beings and concentration caap exterminators o f B il lion s; as p a c ifists on both sides becaae bloodthirsty k i l l ers through war fever and p a trio tic pressure; as peaceful c ltlea n s In the South becaae lynch aobs, though aost of thea not aware when It happened, why It happened, and how it happened. That is why DUrrenaatt clo ses h is reworks in the postscript with: The old lady Is an e v il play, but Just because o f th is It aust not be played e v illy , but as humanely as p ossib le, with sadness, not with wrath, but also with huaor, for nothing w ill hurt th is coaady that ends tra g ic a lly wore than bes t i a l seriou sn ess.165 Per losuch is one o f the rarest of a r t is t ic events; 16>P.g W u c h .... op. clt.. p. 10). 475 * poet h ia found a r a a lly now, stro n g to p ic . Evan I f h la tr a a tn a n t o f i t had baan In a d eq u ate, th a g lo ry o f having found I t would a t 111 ba D ttrra n n ftt'a . That ha n a s ta ra d th a s u b je c t, wakes I t a c o n p le te tr lu n f h . DU nir.lfc.r--.ln. H —Bdi. In — 1 Akt— fWi. H i.t lc t .f *»A Co— dy in iwo Act.) Dla Ih v a lh a r la D U rre n n a tt's a o a t advancad p la y , ta c h n lc a lly and c o n te n t-v ls a a n a s ta rp la c a th a t w i l l ba playad on a o i t o f th a im portant atag aa o f th a w orld and bacons a nod a m c l a s s i c . 1*® I t was f i r s t parfonaad on P abruary 21, 1962, w ith la n a d la ta succaaa and thundarous s e e la in . As In D ttrra n n a tt' a o th a r g ra a t " h i t , " T harasa G lahsa playad th a fa a ln ln a lo a d . D U rrennatt s a id ones t h a t a nodarn d r a n a t l s t . In h i s own b a s t I n t a r a s t , could n o t g a t around w r itin g h la b lg g a s t p a r ts fo r o ld o r a ld a r ly a c tr a s s a s ; th a youngsr g a n a ra tlo n s w ara n o t on th a ta n a la v a l o f e ftc e lla n e e , in h i s o p in io n . As m s p o in t ad o u t In C h ap tar I I , nona o f th a Inganua and J u v e n ile p a rts In h is p la y s anount to a n y th in g . D ttrran n att* s ra a so n , a v ary s u r p r is in g on a, coning fro n a ***Dle Ihvalhar (Zttrlch: Varlag dar Archa, 1962), 72 pp. 476 ■ t i l l youngish playw right who h as J u s t tu m a d f o r ty . Is n o t q u its co n v in cin g . Many g ro a t p lay w rig h ts In th a long h is to r y o f th a th a a ta r , as th a y th e a s s lv s s becaae o ld a r , hava f a i t , no d o u b t, th a t " th a youngar g a n a ra tlo n J u s t d o a s n 't hava I t any a o r a ," E s p e c ia lly th a c u r ra n t crop o f su c c e s s fu l n ld d le -a g e d Anar le a n p lay w rig h ts would hava f a i r l y good reaso n fo r such o p in io n s; w ith th o e x tin c tio n o f th a sto c k coapany, tha d e c lin e o f " th e r o a d ," and th o ever-w orsening sh rin k ag e o f th a Kroadway t h e a t e r , p ro fe s s io n a l tr a in in g o p p o rtu n itie s fo r young A asrlcan a c to r s and a c tr e s s e s a re dw indling a o ra and a o ra , a sk in g a d e c lin e In a c tin g s k i l l and tech n iq u e I n e v ita b le . Yet t h i s has n o t stopped A aerlcan p lay w rig h ts f r o a w ritin g lead p a r ts fo r J u v e n ile s and Ingenues. D U rre n a a tt'■ reaso n fo r t r e a tin g young love a s a quant I t s n e V llx e a b le . and throw ing a i l th e w eight o f h is p lay s In to th e o ld e r r o le s , l i e s auch d eep er th an th e sh allo w , o p p o rtu n is tic one he gave: I t I s , l e t I t be re p e a te d , h is s tr iv in g f o r " d is ta n c e " betw een p lay and a u d ie n c e , fo r a sk in g th e s p e c ta to r s te p b ack , ta k e a h ard look, and th in k , th in k , th ln k --w lth o u t having such u n tid y e a o tlo n s a s v ic a rio u s love and sex becloud h i s th in k in g . T his p e c u lia r ity o f D U rren aatt'■ aay c o s t h l a fo re v e r th e fav o r and aoney o f Hollywood and w ill p rev en t h i s playa *77 fro * tv « r b t c o t l n i m i h bos o f f ic e h i t s lik e A S tr e e tc a r H M ELBttlCL* Able*e I r l i h l o i e . o r Tobacco to e d , b u t I t le d o u b tfu l th e t th l a w il l make th e hartfheaded Sw iss change h la ways. PLAT SUMMIT: The lo c a le la an lnaane asylum w ith th a w onderful nama, Lea C e rla le r a (The C herry T re a t, o r , p o a a lb ly , Tha C herry O r c h a r d ) v a g u e l y placed n ear one o f th e Swlaa lake a. The only Inm atea o f th a asylum t h a t we n e a t a re th re e o n c e - b r i l ll e n t , now auppoaedly ln aan e , p h y sicL ate. The moat Im portant one aaong th a n la Mtfblua, a genlua who p re te n d s to re c e iv e r e v e la tio n s fro n King Solomon. MUblus has v o lu n ta r ily r e t i r e d to th a a sy lu n b ecau se, a s he aay a, t h i s la th e only p la c e where freed o n o f re se a rc h la s t i l l p o s s ib le . He has solved th e l a s t th e o r e tic a l problem s o f n u c le a r phyalca and h as a rriv e d a t a b so lu te knowledge, b u t h la fin d in g s endanger mankind. T h erefo re he b e lie v e a I t la h la d u ty to keep h la knowledge a s e c r e t. He th in k s l^T h o u g h no rev iew er ha a sp e c u la te d about t h l a , I t la n o t Im possible th a t th e a u th o r waa th in k in g o f Chek h o v 's C herry O rchard. H ere, a s In C hekhov's p la y , th e re a r e th e rem nant a o f ro m a n tic a lly g e n te e l, b u t now shabby, u s e le s s p e a t, r u th le s s ly plowed under by e h ard new o rd e r. 478 ha la a a fe , bacauaa n o th in g th a t ona " In a p lra d by Solowon" n o ta s down, i s lik e ly to p a n a tra ta th a w alla o f th a Insana aayluw . lh a two o th a r p h y tic l a t a a ra a a e ra t ag an ta o f two r i v a l powar b lo c* --o n a obvloualy In th a a a rv lc a o f th a Anglo-Am rle a n a ld a (ha pratan d a a d a lu a lo n o f b aln g S ir Xaaac Nawton), th a o th a r an aw laaary o f th a co ao u n lat b lo c (ha fa lg n a ln a a n lty by p la y in g "D r. A lb a rt E In * ta in " ). A ll th ra a p h y a lc la ta a r a an x lo u aly concam ad w ith guard in g t h a l r a a e r a t; whoovar ta a a through t h a l r | u a , la In daadly d anger. Thraa nuraaa who had f a lla n In lova w ith th aaa awn, a r a w urdarad by thaw b acau aa, through th a Inalgjht o f lo v a , th a th ra a young n oawn had uncovarad th a tr u th . To th a th ra a p h y a lc la ta , th aaa w urdara a ra p a in fu l a a c r lf lc a a wada fo r th a aaka o f t h a l r a c l a n t l f l c and p o l i t i c a l alw a. In th a ayaa o f th a w o rld , th aaa wurdara confirm th a dangaroua lunacy o f th a th ra a p h y a lc la ta . Now, th a p laca o f th a nuraaa la tak an by h a rc u la a n guarda, and th a wlndowa a ra b ar ra d . A a u rp rla ln g ly o p u lan t w aal la aarvad th a t looka v ary wuch Ilk a th a la a t waal o f th a condemned. "Newton" and " E ln a ta ln " a r a th in k in g o f f l i g h t . Tha th ra a wan ra v a a l t h a l r a a c ra ta to aach 479 o th a r. W ill th iy a tte a p t to t a c i p i to g e th e r? A fta r a momentous d e b a te , Htfblus, th a lo n ely g ra a t ona who follow s h is coursa unw averingly, succaads In swaying th a o th a r s : a l l th ra a wan ra so lv a to rem ain In th a I n s t i t u t i o n , In o rd a r to p ro ta c t mankind from th a d e s tr u c tiv e fin d in g s o f t h a l r sc la n c a . Tha moment Whan th a th ra a p h y s ic is ts r l s a to honor th a s t w r y o f t h a l r daad n u rsa s In a t o a s t , f u l l o f good w ill and ra so lv a d to e x p ia te t h a l r daads by s a c r i f ic in g t h e i r own freedom , Is a high p o in t in th a p la y . g u t, a l l a t o n ca, th a p s y c h ia tr is t In c h a rg a , F r Hu la In D r. Hath 1 Ida von Zahnd, o rd a r s th a th ra a s c l a n t l s t a out o f t h a l r c a l l s . Froai th a o u ts ld a , f lo o d lig h ts shlno In to th a roosi, and In t h i s a a r la lig h t th a a l l a n l s t re v e a ls h e r s a c r a t: a ls o to h a r King Solowon has ap p aarad ; h is ra v a la tio n s a ra no lo n g ar rtHblus* e x c lu s iv e s a c r a t. She had p h otocoplas wade o f a l l o f HHblus* n o te s and s a t up a g ig a n tic t r u s t fo r th a e x p lo ita tio n o f th a a a g ra a t d is c o v e r ie s . She Is r e a l l y s a d , b u t lo g ic a lly c o n s is te n t In h a r Madness. '*lha w orld has f a ll e n in to th a hands o f an Insane a l l a n l s t , " says ona o f th a p h y s ic is ts , a s th a th ra a re s ig n them selves to t h a l r d re a d fu l f a t a . 480 The l i t d e s c r ip tio n end opening d ir e c tio n s in t h i s p lay a r e by f a r th e lo n g e st t h a t D U rrenaatt h as e v e r w r it te n ! and a ls o th e most Shavian in t h e i r Irony* PLACE: The draw ing ro o a o f a c o m fo rta b le , though a b i t nan-down, v i l l a o f th e p riv a te eana- t o r l u a , l a s C e r ls le r s . C lo se r su rro u n d in g s: f i r s t n a tu r a l, th e n b u ilt- u p lake f r o n t, f u r th e r back a a e d lu a -e ls a d , a la o s t e a a l l , town. Die once t r l a and p r e tty l l t t l s p la c e w ith i t s c a s tle and i t s o ld q u a rte r I* * la now d e c o ra te d w ith a tro c io u s b u ild in g s o f th e In su ran ce c o a p e n le s, and su p p o rts I t s e l f a s I n ly through a a o d e st u n iv e r s ity w ith e n la rg e d th e o lo g ic a l fa c u lty and language c o u rse s in th e sunaer s e s s io n s , fu rth erm o re through a school o f conaerce and a tr a i n i n g school fo r d e n ta l te c h n ic ia n s , th e n through b o ard in g sch o o ls fo r g i r l s , and soas li g h t In d u stry s c a rc e ly w orth m entioning. So i t l i e s , in I t s e l f , away fro a th e h u s tle and b u s tle . On to p o f t h i s , s u p e rflu o u s ly , even th e landscape h as a c a la ln g e f f e c t on th e n e rv e s; a t any r a t e , th e r e a re b lu e a o u n ta ln ra n g e s, c o s ily wooded h i l l s , and a c o n sid e ra b le la k e , a s w e ll a s a wide p la in , smoking in th e ev en in g s--o n ce a gloomy moor, now c ro sse d by c a n a ls and made f e r t i l e , w ith a p ris o n farm somewhere and a tta c h e d a g r ic u lt u r a l e n te r p r i s e , so th a t everyw here t a c i tu r n and shadowy groups and g ro u p le ts o f hoeing and d ig g in g c rim in a ls a re in ev id en ce. A c tu a lly , th e l o c a l i t y i s o f no im portance and i s only m entioned fo r a c c u ra c y ’s sa k e , sin c e we n ev e r leav e th e ’'v i l l a 1 1 o f th e Insane asylum (now th e word h as been d ro p p e d !)--o r, to be even more p r e c is e : we s h a ll not leav e th e draw ing room e i t h e r , sin c e we have re so lv e d to observe s t r i c t l y th e u n i t ie s o f p la c e , tim e , and a c tio n ; to a p lo t ta k in g p lace in an in san e asylum only th e c la s s ic Iftftftie Sw iss w ord, A l t s t a d t . which D ttrrenm stt u ses h e re and used b e fo re in H ercu les and in one o f th e sh o rt s t o r i e s , lo c a lis e s th e p la c e a s S w iss. 481 Com coo do J u i t l c * . ^ i u t l o t 's g o t t o coooo. As f o r os th o 'V i l l a " i s co ncerned, o r ig in a lly o i l p o tlo o ts o f th e founder o f th e e n t e r p r i s e . H iss D r. h . c . D r. s e d , H sth lld e von Zahnd, were q u ar te r e d h e re --d e g e n o ro te o r l s t o c r o t s , a rte ry -h a rd e n e d p o litic I o n s (u n le s s s t i l l In pow er), d e b i l ita te d m illio n a ir e s , sch lo o p h ren ic w r it e r s , m an ic-d ep res s iv e b ig l n d u s t r l o l l s t e , e t c . . In s h o r t, th e whole m en tally confused e l i t e o f h a l f th e w este rn w o rld , fo r “Miss D octor" Is fe s c u e --n o t only because th e hunchbacked o ld mold In h e r e te r n a l d o c to r 's omock Is descended from a m ighty r u lin g a r i s t o c r a t i c fa m ily , whose lo s t s c io n w orth m entioning she l a , b u t a ls o os a h u m an itarian and p sy ch ia t r i s t o f n o te --o n e may s a fe ly sa y , o f w orld fame (h e r correspondence w ith C. G. Jung h as J u s t a p p e a re d ), i u t now th e prom inent (and n o t alw ays p le a s a n t) p a tie n ts have moved In to th e e le g a n t, w e l l - l i t new b u ild in g ; a t th e horrendous p ric e s charged h e re even th e most e v i l p a st becomes a p le a s u ra b le p re s e n t. The new s tr u c tu r e ex ten d s through th e so u th e rn p a rt o f th e sp acio u s park In s e v e ra l p a v llllo n s (w ith E m l 's s ta in e d g la s s windows In th e c h a p e l) tow ard th e p la in , td tlle th e lawn In fro n t o f th e " v i l l a , " In te rsp a c e d by g ia n t t r e e s , descends tow ard th e la k e . Along th e sh o re o f th e lak e ru n s a sto n e w a ll. In th a draw ing room o f th e now th in ly p o p u lated 'V i l l a , " th r e e p a tie n ts u s u a lly spend t h e i r tim e , a c c id e n t a l l y p h y s ic is ts , o r y e t n o t q u ite a c c id e n ta lly , fo r humane p rin c ip le s a re a p p lie d , and th o se who belong to g e th e r a r e l e f t to g e th e r. They liv e by th em selv es, each one spun in h is own Im aginary w o rld , ta k e t h e i r m eals to g e th e r In th e drawing room, d is c u s s sometimes a q u e s tio n In t h e i r s c i e n c e , o r s ta r e q u ie tly ah ead , h a rm le ss, lo v ab le madmen, g o v ern ab le, easy to h a n d le , and w ith few * * lh ls m a lic io u s aperqu shows D U rrenm stt's o ld an im o sity a g a in s t th e c l a s s i c s , o r r a th e r a g a in s t th e s tu p id , p e t r i f i e d w orship o f th e c l a s s i c s , which we a lre a d y encountered in iom ulus th e G reat and In H»— f r p r o b l — » . 482 w an ts. In b r i e f , they would bo r a i l model p a tie n ts I f alarm in g , o r avan h o r r lb l a , th in g s had n o t hap- paaad l a te l y : ona o f thorn s tra n g le d a nuraa th ra a nontha ago, and now th a a ana kind o f ln c ld a n t ha a happened a g a in . So th a p o llc a a ra h a ra a g a in . Tha draw ing room la t h a ra fo ra mom populoua th an u a u a l. Ih a nuraa l la a on th a p a rq u a t, in tr a g ic and f i n l t a p o a ltio n , mora toward th a background, ao aa n o t to f r lg h ta n th a audianca u n n e c e s s a rily . However, i t cannot ba ovarlookad th a t a a tru g g la haa ta k e n p la c a . Ih a f u r n itu r a haa boon c o n sid - a ra b ly n ix ad up. Ona f lo o r la a p and two atm ch alrs l l o on th a f l o o r , and down l a f t a round ta b la haa boon upaat in auch a manoar th a t i t a lag a a ra p o in tin g tow ard th a au d ian c a. O tharw iaa th a r e - n o d alln g in to an inaana aaylum (th a v i l l a waa onca th a von Zahnd au m u r ra a id a n c a ) haa l a f t p a in fu l tr a c a a In th a draw ing room. Tha w a lla hava baan p a ln ta d up to a man*a h a lg h t w ith a a a n lta ry la c - q u a r; only h ig h e r up doaa tho o r ig in a l p la a ta r show, w ith p a r tly p raaarv ad atu cco work. Ih a th ra a doora in th a background lo ad in g from a l i t t l a h a l l In to th a th ra a alckrooma o f th a p h y a lc la ta , a ra u p h o la ta ra d w ith b lack la a th a r . P urtharm ora, th ay a ra numbered ona to th r a a . To th a l a f t o f th a h allw ay , an u g ly c a n tr a l h a a tin g r a d i a t o r , to th a r i g h t a w ashstand w ith tow ala on a ra c k . Prom room Hr* TVo (th a m iddla ona) founds v io l in p la y ing w ith piano accom panim ent: la a th o v a n . K rau taar S o n ata. To th a l a f t la th a fro n t fa c in g th a p ark , th a h ig h windows re a c h in g down to th a p arq u et th a t la covered w ith linoleum . To th a l a f t and r ig h t o f th a window fro n ta g e a r a heavy d ra p e s. Tha Prench doors load out t o a te r r a c e , th a sto n e b a lu s tra d e o f which sta n d s out a g a in s t th a park and th a co m p arativ ely sunny November w eath er. I t i s s h o rtly a f t e r h a lf - p a s t fo u r in th a aftern o o n * To th a r ig h t over a u s e le s s f ir e p la c e , in fro n t o f which h as baan placed a s c re e n , hangs th a p o r t r a it o f a goataad o ld man in a heavy gold fram e. Down r i g h t a heavy oaken d o o r. Prom th e brown paneled c a ll in g hangs a heavy c h a n d e lie r. Tha f u r n itu r e : i f th a draw ing room i s in pro p er o rd a r, th e re a re th r e e c h a ir s a t th a round t a b l a , p a ln ta d w h ite . 48) Ilk * th # t* b l# . Th# r a te o f th# f u r n itu r e , a lig h t* ly th re a d b a re , v a rio u s p e rio d s . Downstage r ig h t a ao fa w ith a l i t t l e ta b le , flan k ed by tv o c h a ir a . The f lo o r la a p a c tu a lly b elo n g s behind th e a o fa ; th e rooai l a , th e r e f o r e , n o t a t a l l o v e r-fu rn is h e d . To fu rn is h a sta g e on w hich, in c o n tr a s t to th e p U y a o f «nt lq u ltjr , t h . M t r r rim r b k i J i i t h . tra g e d y . 170 ta k a s very l i t t l e . W e can b e g in . Around th e c o rp se , p o lic e o f f i c i a l s a re busy, In c i v i l i a n c lo th e s , calai a s cucunbers and c h e e r f u l ; th ey have a lre a d y c o u t a e d t h e i r p o rtio n o f w h ite v in e and sw ell accordingly* They w eaeure, ta k e f in g e r p r in ts , a te . In th e c e n te r o f th e dro v ing roow sta n d s P o lic e In s p e c to r R ichard V oss, in h s t and c o a t, to th e l e f t Head Hurse M arta B o ll, uho lo o k s, and i s , as r e s o lu te a s h e r nawe. On th e e x tra s # downstage r i g h t c h a ir s i t s a p o lic e - wan and ta k e s shorthand n o te s . The p o lic e In sp e c to r ta k e s a c ig a r frow a brown c a se . Why t h i s lo n g , re w b lln g , e la b o ra te d e s c rip tio n ? Was i t only because i t anused Dtirenw att? M o d o u b t, he d id have fun w ith i t . To t e l l u s , a f t e r ve have p a tie n tly read one th ir d o f th s In tro d u c to ry rew orks, th a t ve s h a ll never leav e th e draw ing roow o f th e f i r s t scene and t h a t th e r e fo re h is d e s c rip tio n o f th s town and th o su rro u n d in g coun tr y s id e Is r e a l ly q u lta p o in tle s s , i s a t y p i c a l, iw pleh t r i c k o f th e a u th o r. The "c ra c k " about th e c l a s s i c fo ra b ein g th e only one a p p ro p ria te fo r a p lay d e a lin g w ith th e ^ I t a l i c s w ine. D ttrre n w att'a rew ork h as been In te r p re te d In tv o ways; (1 ) th e whole p lay Is a s a ty r play p reced in g th e trag e d y o f our tiw e , o r (2) th e lig h t f i r s t a c t is th e s a ty r play p reced in g th e trag e d y o f th e second. 404 ln ia n a , h a t a d u al a la . D ttrren em tt's f i r s t a l a la to g a t even w ith th o a a o f h i t c r l t l c a who hava alw ays raproachad h la fo r th a lo o se - n a t t o f h i t c o n s tru c tio n , h la w ild im ag in atio n , h i t la c k o f a r t i s t i c d i s c i p l in e , and h la a r b it r a r y s h if tin g o f t l a a and p la c a . A ll r i g h t , ha saa as to sa y . I ' l l show you th a t 1 can atay In ona draw ing ro o a and w ith in la s a th an tw alva h o u rs, and can s t i l l sc a ra th a d a y lig h ts o u t o f you! Ih a o th a r aim la th a t ha g a ts soma o f th a r e s e n t- ■ ant o f a young modern p lay w rig h t a g a in s t th a s t i f l i n g wor s h ip o f th a c la s s ic s o f f h is c h a s t. Let us not fo rg e t th a t th a young American o r E n g lish p la y w rig h t, due to th a "p ro v in c ia lis m " o f th a Anglo-American t h e a t e r , 171 has to con ten d only w ith Shakespeare and Shaw, a t w orst w ith an o c c a sio n a l In v asio n by V lld a o r S h erid an . Tha co am arclal th e a te r in th a E n g lish -sp eak in g c o u n trie s shuns th a c l a s s i c s , by and la r g e , and Is looking fo r new p la y s. Tha e d u c a tio n a l and com aunlty th e a te r la rg e ly apes Broadway and overw helm ingly fa v o rs re c a n t Broadway su c c e sse s. Not so In l **Cf. Theodora J . Shank, " P ro v in c ia lism In C ol lage and U n iv e rsity P lay S e le c tio n --A F ive-Y ear S tu d y ," E d u catio n al T h eatre J o u rn a l. Nay, 1961, pp. 112-117. 4B5 Europa. The c o n tin e n ta l a ta ta and M unicipal th a a ta r a ra v a l in th a claa alca* -A aach y lu a, S ophocles, E u rip id e s , A ria* to p h en ea, C ald ero n , Lopa da Vega, Coma 11 l a , E acln a, M o lla re , S hakespeare, Shaw, O 'N e ill, L e ssin g , G oatha, S c h i l le r , K la la t, H ebbel, G r lllp a r a e r , Btichner, H auptnann, E oatand, Ibaan, g jo ern ao n , and S trin d b e rg a ra th a M ainstay o f th a re p e rto ry th a a ta r a . In h la T h aa ta ro ro b laaa Dtlrren- M att a tta c k a th la problem : fo r th a study and th a p lay in g o f naw dramas th a r a la alm ply not anough tim e In th a ra p a rto ry a y a ta * --a t b a a t th a ra la an honaat a tte m p t, a f i r a t gro p in g . 172 Ih a ra p a rto ry th a a ta r o f Germany * can a ffo rd th la laaa and la a a . A play m iat ba brought o u t aa fa a t aa p o a a lb la . Tha museum predom inates. Tha th a a t a r , th a c u ltu r a avan, llv a a on th a I n ta r a a t froai th a w a ll-ln v a a ta d ganlua who la com pletely aa fa and to whoa ona doaa n o t avan hava to pay r o y a ltla a any lo n g a r. In th a conaclouanaaa o f having a G oatha, a S c h l l la r , a Sophocles In t h a l r c o m a r , th ay accap t naw p ia y a --p re fe ra b ly only fo r a p rem iere. H a ro le a lly th ay f u l f i l l t h a l r d u ty , ao aa to ba a b la to b ra a th a a a a lly ag a in w ith th a n axt Shakaapaara. Thara la n o th in g to ba a a ld a g a ln a t t h l a . A ll ona can do la to c la a r th a a ta g a . Maka room fo r th a c la a a lc a ! Tha w orld o f th a muaauma la grow ing, b u ra tln g w ith tra a a u ra a . . . . So I t doaa n o t m a tte r I f aom ethlng naw la * S ince th a th a a ta r a o f booming Uaat Germany a ra f in a n c ia lly b a t t a r o f f th a n th o aa o f any o th a r c o u n try w aat o f th a Iro n C u rta in , th a a a rem arks hold tr o a fo r a l l Europaan ra p a rto ry th a a ta r a . 406 added, I f i o M th ln | new la w ritte n * The deaande t h e t e a th e tlc e aakea on th e a r t l e t , e re Mounting fro n day t o d ay , everyone la o u t only fo r tho u l t l a a t e In f l n l d i . P e rfe c tio n la deaanded o f h l a , end t h l a p e rfe c tio n la In te r p re te d In to th e c le a a lc a * One euppoaed a te p down o r b eck , end th e e r t l a t la dropped. Thuo, e c l l a a t e la produced in w hich l i t e r a t u r e can o n ly b e a tu d lo d . b u t no lon g er b e c r e a te d *^73 The end o f th la q u o ta tio n , aa th e e a tu te re a d e r aay n o tic e , waa c ite d e a r l i e r In th e In tro d u c tio n to Dur* r e n a a t t 'a d e te c tiv e e t o r l e e , 1** However, th e re la a f a r a o ra ln p o rta n t reaao n fo r th e long acena d e a c rlp tlo n In Die Ih v a lk a rt a l l o f I t la d e lib e r a te ly w r itte n " a g a ln a t th e grain**' A c h e e r f u l, o rd in a ry , every-day lo c a le la p a in te d --* a li g h tly run* down b u t e t l l l a t t r a c t i v e v i l l a In a b e a u tif u l lo c a tio n in S v lt e a r lan d , v a ry aueh lik e D U rre n a a tt'a lo n g -tin e r e e l - d an ce, H euchfitel, where "even th e landecape c a la a th e n e n re a ," on a eusmy a fte rn o o n . I t aounda a l l v ery o rd in a ry , v ery u n e v e n tfu l. Thla la D U rre n a a tt'a p a ra d o x ic a l te c h nique o f c r e a tin g te n a lo n and h o rro r In th e a ld a t o f e v e ry day r o u tin e and o rd in a ry eu rro u n d ln g a. Anybody can con- ***lhoato T p ro b lo ao . o p . c l t . . p. 50 ( I t a l i c a a l n a ) . *7*S upra. p. 124. 467 Ju re up ( o n b o d ln i, d r u d , and doom In a glooay c a e tla In S c o tla n d , a d a a a rta d aana&on In L o u lalan a, o r a ru in In T ra n e y lv a n la , w ith c re a k in g doora and tw ir lin g fog a t w ld- n lg h t. g u t D ttrra n n a tt, euprewe aw ater o f g ro taaq u a h o rro r th a t ho Lav doaa th a o p p o a lta . Ihua O O llen, th a d rab l l t t l a to o n , becoaea th a acana o f g r in J u d ^ e n t a r la ln g o u t o f a daad p e a t. A a a n a to rlu n In ona o f th a n o at o rd e rly , b e a t-p o lic e d c l t l a a In th a w orld la ra v a a la d aa a to r tu r a and d a a th fa c to ry , and In Dla ffiv a lk a r th a u l t l n a t a In h o rro r a r la a a In th a n ld a t o f h a m la a a g e n t i l i t y . Ona nay a t l l l aek : why a p a ll a l l th la o u t fo r th a ra a d a r, whan t h la la a p lay a a a n t to ba p a rfo ra a d on th a ataga? Ih a raaao n la probably t h a t t h la la a d tr a c tiv e to fu tu ra p ro d u cara, d lr a c to r a , and d a a lg n e ra n o t to l a t t h a l r foraknow ladga o f th o p la y 'a f i a a t l y and ln flu a n c a opening nood, a a t d e s ig n , and lim itin g . To aaek hind* e ig h t aa fo re e ig h t la ao te n p tln g on th e a ta g a . I . e . , to p o in t a t fu tu ra davalo p n an ta w ith " p la n te " and "olgnpoeta,** to fin d hidden p ro p h e tic neanlnga In lln a a which w are n ev er Intended to convey any euch n ean ln g a--an d th o aa a ra th a dangera d ilc h a d e ta ile d a a t o f d ire c tIo n a can head o f f . Aa a d ran a t i c o r e p ic a e tt ln g , th a In to n e a e y lu a en jo y a, In t h la g lo rlo u e age o f o u ra , a p o p u la rity aa n ev er 4 8 8 b e fo re , h e t i lik e Kara Pound o r th e 8 » l i i R obert W elser found e welcome re fu g e behind* I t s w e lls ; d r a n e tls t* lik e K arl W ittlin g e r in h is g rip p in g , b i t t e r , s u r r e a l i s t tr a g i* comedy, R em an 8 i s d ie W ilch stresseT (Do Tou Know th e Hi Iky Way?); and n o v e lis ts lik e B rnat K reuder in h is w itty n o v e l, ■Wf>iw c h n . « a « u k lo g f.n (Cone in w ith o u t Knocking) chose i t a s th e lo c a le o f t h e i r s a t i r e s . **X t p o sse sse s an e n t ir e l y new a ttr a c tio n ,* 1 say s th e Sw iss l i t e r a r y h i s t o r i a n , W alter Muschg, " s in c e th e w orld has bacons a booby h a tc h o r a p r U o o ." 175 The opening scene i s , in d eed , a g ro te sq u e s a ty r p la y . We fin d o u t th a t t h i s i s a lre a d y th e second n u rd e r o f a n u rs e , t h i s t i n s c o w lt te d by " l l n a t e i n ." He p lay s th e v i o l in in h is ro o a " to c o la h fta e e lf," accompanied on th e piano by P rH uleln D r. von Zahnd, w h ile th e fu rio u s p o lic e In s p e c to r who w ants to q u e stio n th e c u l p r i t , h as to c o o l h i s h e e ls . The l a s t t i n s , idien *Hewton" s tra n g le d a n o th e r n u rs e , **Prl. D oktor" had to p lay ch ess w ith h la . N e ith e r o f th e two au rd ered n u rse s w ere weak, h e lp le s s c r e a tu r e s , e i t h e r , a s we le a rn s one was a aen b er o f th e l75W alter M iachg, "D ttrran n att uad d ie P h y a lk e r," n w r t f f r . H t t l r i i * i m i - 8 2 , p . s . km l a d l a i ' w re s tlin g c lu b , th e o th e r n e t lone 1 w oaen's Judo cheap Io n . "And you?" eelts th e ta p re ss e d ln e p e c to r o f th e b u rly heed n u rs e . "X*a e w eight l i f t e r . " An e tte a p t o f th e In s p e c to r to eaoka I s squashed by th e heed n u rs e , When o ffe re d t e e , he eu g g ests Sctaneps In s te a d , b u t I s re a ln d e d w ith r a is e d eyebrows th e t t h i s I s e s e n e to rlu a . The c o n s is te n t c la s h In th e te r a e used le v e ry eau eln g : XM SFECTOH: The a u rd e re r? HMD MJKSKi P le a s e , In s p e c to r! A fte r e l l , th e poor aen le e lc k . XHSPSCTOHi A ll r i g h t , th e n —th e offenderT MAD HUESEi K m st H e in ric h K rn e s tl. W e c e l l h la t l n e t e l n . XMSRCTOfti Why? HIAD WJAlEt Because he la e g ln e s b ein g E in s te in . UtSnCTOt (TO THE COtOHA)t S tra n g le d , D octor? COEOHlEt In d u b ita b ly . With th e cord o f th e f lo o r le a p . These lu n a tic s o fte n develop g ig a n tic s tr e n g th . T here Is e o a a th ln g a a g n lf- le a n t about I t . IHSPHCTOH: Ha. You th in k so? Then 1 fin d I t I rr e s p o n s ib le to have th e s e lu n a tic s tended by n u rs e s . T his Is a lre a d y th e second a u r d e r— HEAD HUMEi P le a s e , In s p e c to r! DtSFECTOHt - - t h e second a c c id e n t w ith in th r e e a o n th s .17* The in s p e c to r b eco ass a o re and a o ra co n fu sed . He w ipes h i s p e r s p ir in g brow. 'H o t h e r e ." "Hot a t a l l , " saya th e ” * P t. W 'Y .IK r. op. c l t . . p. 13. 490 h t t d n u ra a . A ll th la r a c u r i in th a aacond a c t, b u t in ra v a ra a . Mara la th a and o f th a f i r a t acacia: ntsrtC T O t: M ow lo o t la th la fid d lin g to go onT MAD NIASIt F lf ta a n n ln u ta a , an h o u r. I t a l l dapanda* n ts r a c r o t: ( c o m o u him self) a h r i g h t , i ' l l w a it. (KOAAS SUDODfLY) 1*11 w a it!! •LOCMDl (ONK Of INK POLICDCM): W a hava fln la h a d , In a p a c to r. . . . INSnCTOM: (GLOOMILY) And Vm h aln a f ln la h a d .17' A fta r th a corpaa haa baan ranovad, " S ir la a a c Mawton" a n ta ra froai Moon Mo. 3 In a a r ly 16th c a n tu ry coa- tu n a , c o lo r f u lly g lla ta n ln g allfc c o a t and w h lta w ig * -th a d a v lc a o f c o a ta a ln a and d la a u la a . Tha p a y c h la tr lc a lly ln fo rn a d a p a c ta to r nay o b ja c t t h a t a p a tla n t who a u ffa ra fro n th a d alu a lo n o f b aln g Mawton would n o t "d raaa th o p a r t . " S ch laophranlca do not naad a coatuna to axpraaa t h a l r flx a d Id a aa, bacauaa thay a r a ln ta r n a lly a t ona w ith th a n and a ra n o t awara o f th a c o n tra d ic tio n batw aan t h a l r in ag ln ad and t h a l r r a a l a x la t- an c a. Doaa D ttrrannatt n o t know th la T Ha probably knowa I t v a ry w a ll. T hla "Mawton" w ith h l a ax ag g aratad g a t-u p la auoooaad to ra v a a l to ua th a t h la ln a a n lty la o n ly fa lg n a d . l77Ib U . . pp. 14-15. 4 9 1 "Hewton" adds to thm I m m ' i con fu sio n And fru a trA tlo n by c o n fid in g thA t ha i s , in r a a l ic y , n o t Mewton At A ll, b u t A lb a rt Kins ta in ! They and up by shaking hands and c a llin g aach o th a r " A lb e rt" and "R ic h a rd ." " E in s te in " provas t o th a b aw lld arad in s p a c to r how n o n sa n slc a l i t i s to blane th a s c l a n t l s t fo r th a silsuaa o f h is d ls c o v a r la s : KUTTOIf-KlKSTElK: Do you want to a r r a s t s a bacausa 1 s tra n g le d th a n u ra a , o r bacausa I nade th a a to n b o a t posalblaT XM SPBCTOR: But A lbart** mmw-KDrSTKIN: I f you f l i p th a sw itch th a r a , n ex t to th a d o o r, what happens, R ichard? m snCCTOt; Ih a lig h t cowas on. KEVTOM-EIKSTEIR: You naka an a l a c t r i c c o n ta c t. Do you know an y th in g about a l a c t r l c l t y , R ichard? IKSPICTOR: 1 an no p h y s ic is t. HEtfTON-EINSTEIN: X know vary l i t t l e about i t ny- s a l f . X o n ly p o s it a th e o ry about i t on th a b a s is o f o b se rv a tio n s o f n a tu re . T his th e o ry X w rite down in nsth anat l e a l ta r n s and a r r iv e a t s e v e ra l f o n u l a s . Than cons th a te c h n i c ia n s . They c a re only about th a f o n u l a s . Thay d e a l w ith a l a c t r l c l t y a s th e plnp d e a ls w ith th a s tre e tw a lk e r-- th e y e x p lo it i t . Thay produce n a c h ln s s , and a n ach in a Is u sa b le only whan I t h a s bacons independent fro n th a id ea th a t lad to i t s In v e n tio n . So today any a s s can naka an in can d escen t lan p lig h t u p --o r an a to n ic boob explode . . . Why d o n 't you re fu s e to tu rn on th a l i g h t I f you d o n 't know any th in g ab o u t e l e c t r i c i t y ? ! Tha Idea th a t n o s t people have no u n d ersta n d in g o f , and no share i n , th a in v e n tio n s and d ls c o v a rla s th ay so noncha- 1 7 , I b t d . ■ p p . 1 8 - 1 * . 492 la n tly u i t tn d c o n sid e r t h e i r own, i s . o f c o u rse , n o t o r ig in a l w ith D ltrrii— t t , F ra n k lin F a a rin g , s o c ia l psy c h o lo g is t o f th e U n iv e rsity o f C a lifo rn ia a t Los A ngeles, s a id in 1930: W e a lre a d y have th e know-how to r e le a s e th e energy o f th e a to n ; b u t i f we d o n 't want to o f f e r th a aw ful s p a c ta c la o f th e id io t c h ild fu n b lin g w ith a lig h te d watch over a powder keg, we wust put t h i s knowledge to c o n s tru c tiv e a s e s .1^ Kenneth Hecgowan took a g rin n e r view : Suppose an a to n ic w orld war d estro y e d a l l our c I t l e e and f a c to r ie s and r a ilr o a d s and a u to n o b lle s . In a n o n th , n o st c lty d w e lia rs would be dead . . . Out o f every thousand nen th a t nake, s e l l , and consune, 999 would have no e a r th ly n o tio n o f how to g e t th in g s going a g a in . The few e n g in e e rs and in v e n to rs would s ta rv e to d e a th b e fo re th ey could g e t th in g s up to th e le v e l o f p re -d y n a s tlc Egypt. I f you escaped th e p lag u e—J u s t a few o f you-- you would be back on a l l fo u rs w ith th e cavenan, ru b b in g two s t ic k s to g e th e r fo r f i r e . I f you devoted 90,000 y e a rs to rubbing s tic k s to g e th e r, you n ig h t be ready to s t a r t to re b u ild c i v i l i s a t io n . In s h o r t, th e c i v i l i s a t i o n we enjoy today i s n o t so n eth in g we can ta k e fo r g ra n te d . As H avelock K ills s a id : "There le n o th in g so f r a g i le a s c i v i l i s a t i o n . E n te r F rH uleln D oktor M athllde von Zahnd, "hunch* backed, about f i f t y * f i v e , s h i t e d o c to r 's snock, s te th o - ^ H e c o rd e d s ta te n e n t fo r a docum entary ra d io Show w r itte n by th e p re se n t w r ite r . **°keuneth Nacgowan, " I f You Here a Cavenan . . . T his Week H s u s in s. A tla n ta J o u rn a l. Novenber 27, 1949. 493 sc o p e ." As In The V i s i t . Dttrrenm ett g iv es us e le a d in g c h a ra c te r sh o i s p h y s ic a lly deform ed, *'ln th e p a ra d o x ," as K ierkegaard would sa y , lik e tlc h a r d H i o r th e Hunchback o f N otre Dane, I . e . , a ro te se u e d i s t o r t i o n , d e fo rm ity , and d is p ro p o rtio n . The fo llo w in g scene I s a sh o rt sk irm ish betw een " F r l. D oktor" and th e In s p e c to r, who has J u s t to ld h e r th a t th e s e c u r ity m easures in h e r I n s t i t u t i o n a re in ad e q u ate and have to be improved. fKL. DOKTOR: Uhat kind o f s e c u rity m easures do you have in m ind. InspectorT I ru n a e a n i- to rlu m , not a p e n ite n tia r y . A fte r a l l , you c a n 't lo ck up m urderers e i t h e r b e fo re th ey m urder. INSPSCTOR: I t is n o t a q u e stio n of m u rd erers, b u t o f m aniacs, and they can murder a t any tim e, FKL. DOKTOR: Normal people murder a ls o , and con s id e ra b ly more o fte n . Dr. von la h n d 'e p o s itio n is th a t th e two m urders by "New to n " and "K ln a te ln " could not be sm d lcally fo re se e n o r e x p la in e d . " I f anyone f a ile d h e r e , i t was m ed icln e--n o t 1 ." In th e lig h t o f what we le a rn l a t e r about D r. von Zahnd, t h i s Is c e r ta in ly q u ite tr u e . F r l. D oktor has only one p o s s ib le e x p la n a tio n : both " o ffe n s e s " were com m itted by n u c le a r p h y s ic is ts , both o f whom worked w ith r a d io a c tiv e ***Dle Ihvslker. op. clt., p. 21. 494 M t t r i t U - p o i i l b l y th e r e Is b r s ln damage through rad io * a c t i v i t y . Whan th a In s p e c to r, alarm ed , In q u ire s about MPblus, th a t h i r d p h y s ic is t, ha Is ra a ss u ra d th a t t h i s san h as baan an inm eta o f th a I n s t i t u t i o n fo r f l f t a a n y e a rs , has n av ar vorked v l t h ra d io a c tiv e M a te ria ls and Is 'b a rs * l e s s , h is s t a t a unchanged." At any r a t a , P r l. D oktor prom is e s th a ln s p a c to r to accada to th a D i s t r i c t A tto rn e y 's re q u e s t: a s la a tte n d a n ts v l l i be h ir e d fo r th e v i l l a a t Las C e r la le r s . A b r i e f p r o te s t by Head Nurse M arta D o ll, vho does n o t v a n t to g iv e up 'b a r th re e p h y s ic is ts ," h e r most I n te r e s tin g c h a rg e s. Is squashed by P r l . D o k to r's f li n t- h a r d a u th o r ity . P rau MPblus, th a v l f a o f Mttblus, Is announced and a d m itte d ; o n ly nov, she Is no lo n g er P rau Mtfblua, b u t Prau R osa. Three masks ago she m arried M issionary O skar R osa, a v ld o v e r v l t h s ix boys. She b rin g s alo n g b a r nov husband and Mtfblus* th r e e s o n s - - s ix te e n , f i f t e e n , and fo u rte e n years o ld . The fam ily h as corns to say good-bye t o t h e i r ex-daddy b ecause th ey a r e going to th e M ariana Is la n d s In th e P a c if i c , v h ere M issio n ary Rose v l l l be s ta tio n e d . P rau Rose a ls o has to t e l l Dr. von Zahnd t h a t nov, v l t h n in e c h i l d re n to feed o u t o f a meager m is s io n a ry 's s a la r y , she can no lo n g e r pay f o r MHblus' confinem ent and tre a tm e n t a t Les 495 C t r l i l t n (as aha has baan d o in g , a t g ra a t s a c r l f l c a , fo r f l f t a a n y aars by w orking in th a T oblar c h o c o la ta fa c - 112 t o r y ) . But h a r t o a r f u l s s lf-ra p ro a c h a s a ra q u ic k ly s t I l i a d by P r l . D oktor, now q u its th a co a p a sslo n a ta h u aa n l- t a r l a n (sa a P lg u ra 2 1 ). Thsra a ra aany b anavolant founda tio n s fo r th a c a rs o f s ic k s c l a n t l s t a ; sha w ill o b ta in a g ra n t fo r Mbblus and p ro a ls s a to kaap h l a a t Las C s r ls la r a In any c a sa : "Our d aa r M&blus s ta y s h ara In th a v i l l a . Word o f honor. Ha h as s a t t l a d h a ra and found good, kind c o lla a g u a s . A fta r a l l , I* s no a o n s ta r ." In th a li g h t o f what h as happanad and i s about to happsn, t h i s Is su p raas Iro n y . Tha "good, kind c o lla a g u a s" a ra so good and kind t h a t th ay hava j u s t au rd arad t h a l r n u rs a s , and P r l . D oktor In th a and tu rn s out to ba th a a o n s ta r to and a l l a o n s ta r s . How MBblua h l a s a l f Is c a lla d in . B vsrythlng In h is d a s c rlp tlo n Is daslg nad to a s s u ra us th a t ha I s , ln d sa d , darangad. PKAI tO S t: Doss ha s t i l l c l a i a th a t King Soloaon appaars to h la ? P1L. DOKTOK: Y as, s t i l l . KISSXONAKY KOSCt A sad , d a p lo ra b la a b a rra tlo n . ***Tha w o rld -faao u s T o b lar c h o c o la ta works a r a In la y a I n , in th a S u lssa Koaands, a n o th a r glva-aw ay o f th a Sw iss lo c a ls . 496 P lg u ra 21 F r l. Dr. h .c . D r. w d . M athilda von Zahnd ra c a lv a a Mtfblua* v l f a , non r n a r r l i d to M laalonary ftoaa ( t x t r m r i g h t ) , and h la th ra a aona, who hava co m to pay Mtfblua a f a r a v a il v l a l t . c 498 m . DOCTOR: Tour sev ere Judgment l u r p r l i i a me * l i t d o . At * th e o lo g ia n you a n t , a f t i r a l l , •d a le th a p o s s i b i li t y o f a a l r a c U . 1*3 MISSIONARY ROSB: N a tu ra lly --b u t n o t w ith an Intacta p arso n . PRL. DOCTOR: W hether th a phanoaana th a t th a lnaana n o tle a a ra r a a l o r n o t, la n o t up to p sy c h ia try to d ec id e . . . O U T OP R O O M N U M B E R 1 COKES JO H ANN VILHELM H0BXUS, A PORTT-TEAR-OLD, SOIM AT AM M ARD H A M . HI LOOR8 A RO U T UHCKRTAIHLY, GAEBS AT PRAU ROSB, 1HEH THE MVS, LAST AT M1SS10HARY ROSB, DOBS HOT APPBAR TO U H D BRSTA H D ANYTHING, IS SILEVT. 184 A fta r MBblus f i n a ll y ra c o g n lsa a h la fa m ily , P r l. D oktor laav aa th e n a lo n a . A ll goes w a ll, ex cep t fo r th a momen t whan th a youngest boy t a l l a M b lu a th a t ha w ants to becoaa a p h y s ic is t: M0BIUS: You a u a t n o t do t h a t , J8 rg -L u k as. By no n aan s. P orgat about I t . I - - I fo rb id I t . (J0RG-UIRAS IS COM POSED) jdRG-UTKAS: But you bacana a p h y s ic is t, Pappy-- MDBIUS: I should never have dona I t , Jtlrg-L ukaa. H aver. Or X w o u ld n 't be In th a Insane a sy lu n PRAU ROSB: But Johann W ilhelm ,1® * you a ra wrong. You a r a In a e a n a to rlu n , n o t In an Insane a sy lu n . I t ' s lu s t th a t your n erv es a ra a f f e c te d , t h a t 1s a l l . *®*Future developm ents a r a " te le g ra p h e d ," b u t v ary d is c r e e tly . l ® *Dle f h y s lk a r . o p . ^ l t . . p . 29. *®*1he pom posity and awkwardness o f th a d u al names, Johann V ilhelm , A dolf F r ie d r ic h , W llfrle d R asp er, and J8 rg Lukas, I s d e lib e r a te g ro te s q u e rla --p ro b a b ly designed 499 (M0BIUS SNAKES MIS HKAD) MTOIUS: No, L in a, th iy c o n sid e r na e m y . A ll o f th e n . You, to o . And a l t o ny boy a . Bacauaa N ine Solonon ap p ears to m , (EMARRASSID SILENCE)™* Tha f i n a l c r i s i s o ccu rs a f t a r F rau to a a haa a a lead th a th ra a boya to p lay fo r t h a l r f a th e r a fa re w e ll p lace on t h a l r re c o rd e r f l u ta a . In th a B iddle o f i t MBblus Juapa up: itftlU S : F la a a a , not For th a sake o f Soloaon, d o n 't p lay any no re? MISSIONARY NOSB: Hr. MBblua--Klng Solonon e s p e c l- a l l y w ill en jo y th e f l u t e p lay in g o f th eae Innocent boya. Think o f i t : Solonon, th a poet o f th e p e a la a , Solonon, th e s in g e r o f th e e n a lte d aong! tf tlU S : Mr. N la a lo n a ry , I know Solonon fa ce to fa c e . Ne la no lo n g er th a g re a t golden King who aInga to S u la a lth and th a d e a r tw ins g ra c in g anong ro s e a --h e haa thrown o f f h ia p u rp le a e n tle - - (HDilUS RUSHES FAST NIS FRIGHTEN ID FAMILY, UPSTAGK TO NIS R O O M A M D FLINGS OPEN THE DOOR) naked and s tin k in g ha crouches in uy roon aa th a poor King o f T ru th , and h la p sa la a a ra h o r r ib le . L is te n w e ll, N la a lo n a ry , you who love th e words o f psalm s and know th e n a l l , le a rn a ls o th e s e by h e a r t: (NE ODES TO THE R O U N D TABLE, TURNS IT UPSIDE D O W N , STEFS INTO IT, CRO U CH ES IN IT) "A Psalm o f S o lo n o n --to aln g to th e a s tro n a u ts '* : W e b e a t I t In to apace, To th e d e s e r ts o f th e noon. Sank in to t h e i r d u s t. to a lie n a te us fro n t h i s fa re w e ll-fo re v e r scene between a f a th e r and h la th r e e v ery a p p e a lin g so n s, a scene t h a t , w ith J u s t a shade o f em otion, could becone v ery novlng. l^*Pla fhvslker. op. clt., p. 30. 500 S i le n tl y , aany Croaked th e re a lre a d y . But wost o f th e * were b o ile d t o b ite In th e lead g ases o f M ercury, were d leeo lv ed In th e o i l pools o f Venus, And even on Mars were e a te n up by th e sun. T h u n d erIn f, r a d io a c tiv e , and yellow . J u p ite r sta n k ; A n ethan e g r u e l, r o ta tin g a rro w -s w ift. I t hung above us so n ig h ty That we puked a l l over C anynede--" mo BOSK: But Johann W llh e ln --! H0BIUS: "S atu rn we q u itte d w ith c u rs e s . M ist cane th e r e a f t e r , n o t w orthy o f w entIon. U ranus, N eptune, G ra y -g ree n ish , f ro ie n to d e a th . About P lu to and T ra n s-P lu to Were uade th e l a s t d i r t y jo k e s. Long b e fo re had we confused th e sun w ith S i r i u s , S ir iu s w ith Canopus. D r if tin g o f f co u rse up In to th e d e p th s ,10* Toward sons w h ite s t a r s , Uhlch we never re ach ed , however. Long ago be cone w w l e s In our s h ip s . E ncrusted w ith a rc re n t n t . In th e nuany-aaek no wore r e c a l l Of th e b re a th in g E a rth ." (THE H EA D NUKSE H A S ENTINED THE BO O H WITH SISTEB MONIKA. MTOIUS SITS BIG ID, HIS PACE MASK-LIKE, IN THE TUMID-OV IB TABU) H EA D MUBSE: B u t--b u t H err Htfblus! M0BIUS: Now buss o f f to th e M arianas! *0*# lJp In to th a d ep th s" la a v e rb a l p arados th a t Is to convey th e t o t a l lo ss o f o r ie n ta tio n . 501 m u ROSE: Hy l i t t l e Johann V llh a la -- THE B0Y5: Pappy-- MdltOS: B ust o f f ! Boat 1c f a a t! To th a M arlanaa! (M B BISKS TM EEATEM IM BLY. TUB KOSB FAMILY 18 COKPtBTSLY TM BO U N ) H EA D MUBSBt Coaa now, Mr a . E osa, coaa on, boya, and you, N laalo n ary . M a a u a t calm down, t h a t 'a a l l . tf tlU S : Out w ith you! (Hit! H EA D MUBSBt A lig h t a tta c k . S la ta r Monika w i ll s ta y w ith h l a and w ill c a la h la . A a lig h t a tta c k . itiBIUS: Baat i t ! F o rav ar! To th a P a c ific Ocaan! j OrG*LUKAS: A dlau, Pappy, a d ia u . (THE M K A O NURSE LEADS INK CBUSHED A M D CBYIM G FAMILY OUT BIGHT. MflBlUS SCBBAIC APTBB THEM , UMDBIIBITED) I0BIUS: 1 n av ar want to aaa you a g a in . You hava In a u lta d King Soloam i! Hay you ba daanad! May you drown w ith a l l o f th a M arlanaa In th a M ariana d itc h ! E lavan thoutand a a ta r a daap. In th a b la c k a a t h o la o f t b | a t i way you r o t , fo rg o t ta n by God and wan!1" I h la g ig a n tic f i t o f ra g a w ith which MMblua fo ra v a r chaaaa away h i t w lfa and c h lld r a n , a f t a r aafag u ard in g (" d is ta n c in g ” ) h l a a a l f , and u a , fro a th a a a o tlo n o f th a f a r a v a ll s c a n t by h la daaoniac "P a a ta fo r th a A a tro n a u ta ," l a th a only daad In t h la p lay th a t la t r u l y a o r a l and a f f a c t l v a . Ma ro a ra a t th a a and fa lg n a th a aadaan In o rd a r t o aaka th a f i n a l ta p a r a tlo n a a a la r fo r th a a . th a fo llo w -u p to t h la acana ahowa th a d iffa ra n c a l a BI b t d . . p . J * . 502 b i t M tn O ttrren aatt and a more co n v e n tto n al p lay w rig h t. M a t o rd in a ry p layw right would hava r e s i s t ad th a te m p ta tio n o f h av in g Mttblua, a f t e r th a d e p a rtu re o f h ie fa m ily , c o l la p s e , a o b b lf* . In th e n e a re s t c h a ir - - a " s tro n g man c r y in g "! Not s o , O ttrre n a a tt. A ll th a t he h a s h is h aro say I s v ery so b er: Now ay fam ily can fo rg e t a s w ith a c le a r con s c ie n c e . . . . Being c ra s y Is ex p en siv e. For f i f te e n y e a rs ay good Lina p aid b e a s tly sum s--a f in a l lin e had to he drawn. The ao aen t was fa v o ra b le . Solomon h as re v e a le d t o a s what was to be r e v e a le d : th e System o f A ll P o ssib le In v e n tio n s Is co m p lete, th e l a s t pages have been d i c t a t e d ,a n d ay w lfa has found a new husband. . . . R elax , S i s t e r Monika. E very th in g Is In o rd e r. But S i s t e r Monika does not r e la x . She knows now, and h as known fo r q u ite a w h ile , t h a t Mttblus Is n o t c ra s y . She c o n fe sse s to h la th a t aha loves h l a , and h e , a f t e r tr y in g to send h e r away and much h ed g in g , a d a lts th a t he lo v es h e r a ls o . A s e rio u s n e a r-lo v e sce n e, th e only one In any p lay o f O ttrre n a a tt's , I s prom ptly I n te r r u p te d - - f o r th e sake o f d is ta n c e , no d o u b t, because p lo t-w is e , th e re I s no need fo r I t- - b y th e e n tra n c e o f E in s te in , who woke up and suddenly remembered h aving s tra n g le d S is t e r Ire n e . He w ears an old p u llo v e r, has wispy w h ite h a i r , and smokes a 1W lbtd.. p. 3J. 503 p ip e --a g a in th a d ev ice o f d litu lit In a costum e. Ha looks a t h la handa. E U fT E IH : H i ll I e v e r ba s b la to p lay th a v io lin a g a ln f H0BIUS: You alraad jr d id . HlHSTtlHt P assab ly w ell? hB bXUSi Tha K ra u tsa r S onata. U h lta th a p o llc a v a ra h a ra . EXKSTBXM t Tha K ra u tsa r S o n ata. Ihank God. (H U EBPBESSXOH HAS MIGHTtHB), BUT N O W DABK- BUS A G A X H ) KIRST11H: V lth a l l t h a t , 1 d o n 't Ilk a to play th a v i o l in , and 1 d o n 't Ilk a a p lp a a l t h a r . I t t a s ta s h o r r lb la . M0BIUS: Than laava i t ba. HHSTKU: But t c a n * t--e s A lb a rt B in t t a i n . (HB LO OKS SKABPLY AT IMS TW O OTHBB5) You lo v s aacb otharT s u m NDHlBAi He lova aach o th a r . (BUSTSIM GOBS 1H0U0RT7ULLY UPSTAGE TO THE SPOT W H EB E THE MUBDBBD HUBSE LA Y BEPOBB) BIRSTBIHt 8 I s t a r Ira n a and X lovad aach o th a r, to o . Sha wanted to do an y th in g f o r M - - S i s t a r Ira n a . X uam ad b a r . I shoutad a t h a r . X tr a a ta d h a r Ilk a a dog. X im plored h a r to f la a . Xn v a in . Sha sta y a d . Sha wanted to ■ova to th a co u n try w ith no. To Kohlwang. Sha wantad to w orry a s . Sha had a lre a d y g o t perm issio n from P r l . D oktor von Zahnd. T h a t's whan X s tra n g le d h a r . Poor S l s t a r Ire n e . There I s n o th in g c r a s l s r l a t h i s w orld th a n th a c r a s s o f woman to s a c r i f i c e th em selv es. . . . Ba s e n s ib le , S l s t a r Monika. Obey your lovad one and f la a ! O therw ise you a ra l o s t . (KB GO BS B A C K X H T O B O O M M O. 2 ) 190 But S l s t a r Monika does n o t f la a . Sha Is a l l fra n k , shame le s s su rre n d e r w ith th a p o w r ( u l, open d e s ir e o f a woman l90lbld.. pp. 38-39 304 who v i n t i to a a rry and have c h ild re n . She t o l l s MKblus th a t sh a , to o , has spoken to Dr. von Zahnd, who h as o f f i c i a l l y ra la a s a d MBblus as In c u ra b le , b u t h a r a le s s . Kvary- th ln ft h as baan a rra n g e d , aha sa y s ; sha haa savad up and h as a lre a d y lin e d up a Job th a t w i l l su p p o rt th a a b o th . The c r i t i c a l ao asnt coasa th a n MHbiua le a rn s th a t S ls t a r Honlka b a lla v a s In King Soloaon and h is r e v e la tio n s . Sha has ta lk e d to a faaous p h y s ic is t, a fo ta e r te a c h e r o f MVblus, and arran g ed fo r h la to re a d MNblus* a a n u s c rlp ts . M011US: Did you a ls o e x p la in th a t th ay coaa f r o a Soloaon? S I S m MONIKA: Of c o u rse . MDSIUS: And? S U T n MONIKA: Ha laughed. You alw ays ware a c ra sy J o k o s te r, ha s a id . Johann W llh ala! Vs a u s t n o t th in k o nly o f o u rs a lv a s . You have baan chosen. Soloaon h as appeared to you, re v e a le d h i a s e l f to you In h is sp le n d o r; th a v lsd o a o f Heaven bacaas y o u rs. Now you a u s t go th a way o rd ain ed by th e a l r a c l e , u n e rr in g ly , even I f t h i s way lead s through aockary and r i d i c u l e , through d i s b e l i e f and d o u b t. But I t lead s o u t o f t h i s I n s t i t u t e , Johann W llh ala, I t lead s In to p u b lic l i f e , n o t lo n e l in e s s , I t le a d s In to b a t t l e . I a a h e re to h e lp you , to f ig h t w ith you: Heaven who s e n t you S oloaon, se n t a ls o a e .W l t h i s Is th e a o a sn t when MKblus d e c id e s th a t he a u s t s a c r i f ic e Monika. H is id e a s a u s t n o t f a l l In to th e hands o f nen 1 ,l Ib td .. pp. 41-42. 305 who a r t not y i t ready fo r th a * . N ight h a s f a ll e n . Thay stan d a s two s ilh o u e tte s a g a in s t th e window. He te a r s down th e drape and throw s I t over h e r . There Is a sh o rt • tr u g f le - * th e n s ile n c e . Tha s ilh o u e tte s a re no lo n g er v i s i b l e . Tha door o f Room No. 3 opens. A ray o f l i g h t e n te r s th e room, Nawton aten d s In th e door In h is u su a l costum e. Htfblus r i s e s . N EW TO N : What happened? tVftlUS: 1 s tra n g le d S i s te r Monika S t a t t l e r . (THOM R O O M NO. 2 I INS I t IN IS HIARD PLAY INC TNI VIOLIN) N EW TO N : T h e re 'a C In s t s in fid d lin g a g a in . E r e ls la r . "SchOn R o s n a r ln ." ^ 2 (HI OOIS TO TNI FIREPLACE A N D GITS THE HIDDEN C O G N A C BOTTLE) (CURTAIN OP THK FIRST ACT)193 Tha g ro tesq u e e f f e c t o f r e p e t iti o n is d e lib e r a te , o f c o u rse . A ll th re e p h y s ic is ts a re b ein g loved by th re e young and avan p h y s ic a lly a t t r a c t i v e n u rs e s , and a l l th re e s tra n g le t h e i r v ic tim s . Why n o t vary th a method o f k i l l ing? Why could n o t one o f th e n u rses have been stabbed o r •h o t? As we l a t e r fin d o u t, both Newton and E in s te in have guns. Q uite o b v io u sly , th e a u th o r w ants th a alm ost Iden t i c a l r e p e titi o n . *«A se n tim e n ta l love song—c o n tra s te d w ith th e J u s t com m itted m urder. The d e v ic e : ln c o n a ru ltv . 1,3P W OP. cit.. p. 42. 506 So much fo r th e " s a ty r p la y ." Ilia In a q u a llty o f th a two a c ta la enormous. Host o f th a d r a a a tlc and Ideo lo g ic a l w eight Ile a In th e f in a l acenes o f th a aacond a c t , so such ao th a t th a e x p o s itio n o f th a f i r s t a c t baconsa r e a l ly u n d erstan d ab le only whan seen In re tr o s p e c t fro a th a and. Thla aay ba th e o nly p o s sib le weakness o f th a p la y : th a audience la n o t brought up to d a ta , as I t w are; unprepared as ha I s , th a s p e c ta to r any not u n d erstan d why th a Murder o f S l s t a r Honlka S t a t t l a r Is I n e v ita b le . Audi ences way e n te r th e in te rm iss io n In a s t a t e o f p e r p le x ity - - w ith O ttrre n aatt ch u ck lin g a t th a a fro a behind th e n e a re s t p i l l a r . te * U An hour l a t e r . The seas ro o a . Might o u ts id e . Again th e p o lic e . Again M easuring, draw ing, p hotographing. Only t h i s t l a e , th e co rp se o f Honlka S t a t t l a r , I n v is ib le to th e a u d ie n c e , la to be assuaed under th e window r i g h t . The draw ing ro o a Is l i t . The c h a n d e lie r and th e flo o r le a p e re b u rn in g . On th e aofa s l t a P r l. D oktor M athilda von Zahnd, g lo a a y , preoccupied. On th e a a a ll ta b le In fro n t o f h e r a box w ith c ig a r s , on th e c h a ir on th e e x tre a e r ig h t G dil (a p o llc e a a n ) w ith ste n o pad. In sp e c to r Vose, In h a t and c o a t, tu rn s away f r o a th a c o rp se , c o sm s dow nstage.IW The opening scene Is seem ingly auch th e saas a s th a t o f Act 1, b u t a c tu a lly a m irro r in v a ra Io n o f th e f i r s t l,*Ibid.. p. *5. 507 o m : t h i s t l M , th e in s p e c to r i s o f f c r td s Havana and Schnapa, but d e c lin e s . Hm b u sin e ss w ith "a u rd e r" and " a u rd e re r" v e rsu s " a c c id e n t" and " o ffe n d e r" is e x a c tly r e v e rs e d , and th e in s p e c to r i s n o t in te r e s te d in q u e stio n in g th e c u l p r i t . FRL. DOCTOR: Would you lik e to see th e a u r d e re r -- XMSFECTOR: P le a s e , F r l . D oktor! FRL. DOCTOR: X ae an , th e o ffe n d er? IHSPRCTOR: I w o u ld n 't d re a a o f i t . FRL. DOCTOR: g u t— IRSPECTOR: F r l. D oktor von Zahnd, 1 do ay d u ty , I aake a re c o rd , in sp e c t th e c o rp se , have i t photographed and examined by our c o ro n e r, b u t t s h a ll not ex aaln e MBblua. X leav e him to you. For good. T ogether w ith th e o th e r ra d io a c tiv e p h y s ic is ts . (SHE WIPES HER PERSPIRXHC B R O W ) FRL. DOCTOR: Hot h e re . XKSFECTOR: Hot a t a i l . FRL. DOCTOR: T his t h i r d a u rd e r-- IUSPEC TOR: P le a s e , F r l. D oktor! FRL. DOCTOR: T his th ir d a c c id e n t was a l l X needed in Las C e r le le r s . . One e x c e lle n t, t r u ly W lldian a p h o risa o f F r l. D oktor von Zahnd, quoted in one o f th e re v ie w s, a u s t have been in th e a c tin g s c r ip t and was unaccountably l e f t o u t o f th e p u b lish ed v e rs io n : "S e n sib le id e a s , ay d ea r In s p e c to r, a re voiced auch ao re o fte n by th o se in h ere th an by th o se *^*lbld., p. 46. soa 1M outftIda. Those o u tsid e s o s tl y d o n 't v o ice any id e a a ." In com pliance w ith th e in s p e c to r 's end th e d i s t r i c t a tto r n e y 's re q u e s t, th e n u rse s have been re p la c e d by th re e g ig a n tic male n u rse s a n d /o r g u a rd s: th e heed n u rse i s th e form er European heavyw eight boning cham pion, S ia v e rs , and " th e o th e r two m o n ste rs," a s th e in s p e c to r e n v io u sly c a l l s them , a re M u rillo , th e South American heavyw eight champion, and th e n eg ro , M cArthur, th e N orth American m iddlew eight champion (se e F ig u re 2 2 ). The scene in which th e th re e m onsters s e t th e ta b le fo r th e d in n e r o f th e "d e a r pa* t l e n t s " Is th e l a s t r e a l l y lig h t smment in th e p la y , alm ost lik e a c a b a re t sk e tc h o r a s h o rt lap se in to fa rc e . HEAD MJISE: Put up th e t a b l e , M u rillo . (WIILLO SHEADS A UNITE TABU CLOTH OVEI THE TABU) H EA D W ISE: The M elssener c h in a , McArthur. (McAITHUI DISTIIWTES THE CHINA) HEAD W ISE: The s i l v e r c u tl e r y , M u rillo . (MUIILLO PLACES THE CUTLEIY) HEAD W ISE: The soup tu r r e e n in th e m id d le, McArthur. (McAITWI PLACES THE SOUP TUUXHI O N THE TABU) IHSFBCTOI: What do o u r d e a r p a tie n ts g et? (NE LIFTS THE COVEI OF THE TUUEEN) INSPECTS!: L iv er dum pling soup. HEAD W ISE: F o u let h la b ro c h e , cordon b le u . INSPECTS!: F a n ta s tic . ^ E l i s a b e t h B ro c k -S u lse r, "D ttrrenm stt: Die I h v s lk e r ." Die T at (Z ttrlc h ), F ebruary 24, 1962, p. 3. 509 F ig u re 22 Upon o r d t r i fro a P r l . D oktor, th o th ro o guards ra p la c a th a p lc tu r a o f h a r a n c a a to r, C h an callo r von Zahnd, w ith th a t o f G anaral von Zahnd, a b r u ta l war h aro -* a ap a b o llc foraahadovlng o f th ln g a to coaa. 511 It C A D W ISE: Top g ra d e . IHSPECTOH: As a c i v i l sa rv a n t o f fo u rte e n th ( r i d t , I ' a a l l t t l a la s s c u lin a ry a t b o aa. H EA D HUESK: D inner la eerv ed , F r l . D oktor. FtL . DOCTOH: You m y go . . . The p a tie n ts w ill sa rv a th e a e e lv e s . HEAD HtTESE: In s p e c to r, i t m i a p le a s u re . (THE THUS O U A BD S B O W AM) EXEUHT EIGHT) 19 * J u s t a s th a ln s p a c to r t a i l s th a p o lieaeo n t l r e d l y , "Once a g a in , c a rry out th a b o d y ," M b lu s b u r s ts out o f Eooe Ho. 1: "Honlka! M y b elo v ed !" Tha p o llc e e sn w ith th a co rp se sto p . F r l. D oktor r i s e s e e j e s t l c a l l y . FEL. DOKTOH: MEblus! How could you do th is ? You have k i l le d ay b a s t n u rse , ey g e n tle s t n u rse , ny aw aataot n u rs e . rfllU S : Z a a so v ery s o rry , F rH uleln D oktor. 3 L. DOKTOH: S o rry . BIOS: King Soloaon o rd ered i t . FEL. DOKTOH: King S o lo a o n .198 Thla i s th a ao aan t where F r l . D oktor von Z ahnd'■ aadness f l i c k e r s up v i s i b ly fo r th e f i r s t t i a s . T herese G leh se, th e g r e a t a c tr e s s who o rig in a te d t h i s p a r t , u tte r e d "a a a a ll dry c ry " a t th e w ention o f S o lo a o n .199 The a u th o r 'a d ir e c tio n re a d s : "Sha a i t s a g a in . H eav ily . F a le ." A few a o a an ts l a t e r aha excuses h e r s e lf because o f " n e rv e s ," a s tra n g e ly e a o tlo n a l, i r r a t i o n a l a l i b i fo r an » Jpi. Hir.ltor. O P. e l t .. p. 6«. 1,9P r l t i S tO rl, "D U l b y .l k * r ," T M t i - t e w l M r S t .d t and Kenton I t tr lc h . XLVI, Mo. 697 (F eb ru ary 23, 1962) JTT. 312 old war h o rn of ic ltn c t, and leavaa, afcar having "bowed aoleanly bafora tha corpaa*' and glvan MBblua a long look. N ow tha corpaa la at laat carrlad out, followad by tha coronar and a l l othar pollca peraonnel, except tha Inapactor. H a raaalna aIona with HBblua. lha lnapactor takaa a big Havana out o f tha box and llghta i t , than aaka HNblua to bring out Nawton*a cognac iron bahlnd tha fir a - placa acraan, and aanplaa i t . MVblua aaka tha Inapactor to arraat hin, but tha Inapactor rafuaaa: "According to your own testlnony you actad upon ordara froai King Solonon. Aa long aa 1 can*t arraat hin, you reanln fraa." Aftar draining tha third cognac that ha haa had Mtfblua pour for h in , ha aaya: You aaa, avary yaar 1 arraat aavaral nurdarara in tha town and tha aurroundlng tarritory. Not nany, hardly h alf a doxan. Sona 1 arraat with plaaaura, othara 1 faal aorry for. But 1 hava to arraat than, Juat tha aan*. Juatlca la Juatlca. And now you c o n , and your two collaaguaa. At flr a t 1 waa aora that t couldn't a c t, but now? Suddenly X anJoy i t . I could revel with Joy. X hava found three nurdarara whan, with a clear con* aclence, X don't need to arraat. Juatlca takaa a vacation for tha flr a t tln a , an Innanaa feelin g . Por Juatlca, ay friend, la nighty atrenuoua; you ruin youraaIf in ita eervlce, haalth*wiaa and a o ra lly . X ainply need a break. Ih le d elig h t, ay dear fallow , X owe to you. Farewell. Give ay 513 k in d e st r « |i r d i to Mawton and E in s te in , and wy r e s p e c ts to Soloaon. (EXIT)200 A w onderful t i l t w ith b u i l t - i n , o b lig a to ry a p p liu tt! l h t n t i t acana b rin g s th a f i r s t ra v a la tlo n a . Dur ing th a e x c e lle n t d in n a r which Mawton consumes w ith g ra a t g u a to (w hila lElbiua cannot a a t a n y th in g ), ha rew nrks th a t t h a i r nuraaa hava baan ra p la c a d by g ig a n tic g u ard a, and th a t i t ia th a r a f o r a tiw a t o g a t o u t. Ha ra v a a la h ln a e lf aa Alac Ja sp e r E ilto n , notad p h y a lc la t and founder o f th a " th e o ry o f co rraap o n d a n ca," h ara on a u ls a lo n fo r th a Anglo- A narlean S a c ra t S a rv ic a . Tha S a c ra t S arv lca co n aid ara Mtfblus th a g r a a ta a t p h y a lc la t o f a l l t l a a , and Nevton- K llto n haa o rd a ra to "In d u ce" Mtfblua, I f n acaaaary by fo r c a , to cona w ith h la . E ln a ta ln , who haa baan f id d lin g a Each g a v o tta in h la ro o a , haa a n ta ra d u n n o ticad and now ln tro d u c a a h la a a lf aa Joaaph E la la r , th a d la c o v a ra r o f th a " E ia la r E ffe c t,* ' who a y a ta rlo u a ly d isap p ea rad In 1930 and now worka fo r "a r a th e r d if f e r e n t kind o f e e c re t s a r v lc a ." Suddenly Mawton and E ln a ta ln , o r E ilto n and E ia la r , a ra fa c in g aach o th a r w ith drawn re v o lv e ra . D eciding th a t th ay a ra about even ly 2 0 00 l o f h y s j k a r . o p , c l t . . p . 3 0 . ■ atch ad . th ty ag raa to put a a ld a t h a l r guns. Ih a way In which both Mawton and K in sta ln t a l l MSblus th a a to ry o f t h a l r a u rd a rs o f th a n u rs a s . la a la o s t l d a n t l c a l - - a c l a a r uaa o f g ro tasq u a a u l t I p l l c a t I o n and r a n a t l t l o n . M011US: And bacauaa poor S la ta r D orothaa found out th a t r u t h , you-- M EVTO N: 1 d id . 1 a a t a r r l b l y a o rry about th a ln c ld a n t. MDllUS: l u n d aratan d . N EW TO N: O rdara a ra o rd a ra . M01IUS: Of co u raa. M IVTOM : 1 could n o t a c t o th arw laa. itiBIUS: Of cou raa n o t. M IVTOM t M y a la a lo n waa In d an g ar. th a a o a t a a c ra t p ro ja c t o f o u r S a c ra t S a rv lc a , And h ara la th a aaaa ro u tln a w ith E ln a ta ln a l ia a E ia la r : EINSTEIN: S av aral th in g s want wrong. Ih a a a t t a r w ith S la ta r Xrana t h i s a fta m o o n , fo r In a ta n c a . Sha had grown a u s p ic io u s , and t h la was h a r d a a th a a n ta n ca. I a a t a r r l b l y s o rry about th a ln c ld a n t. M0BXUS: X u n d aratan d . EIMSTEXN: O rdara a ra o rd a ra . M0SXUS: Of co u raa. EXMSTEIM: I could n o t a c t o th a rw la a . ttfgXUS: Of couraa n o t. EIMSTtXM: M y n la a lo n a ls o waa In d an g ar. th a a o a t a a c ra t p ro ja c t o f m y S a c ra t S an rlca .* 0 1 Ih a purposa o f t h i s ro u tln a g o as. n a tu r a lly , f a r bayond ■ ara g ro ta a q u a rla fo r th a aaka o f a faw chaap lau g h s. What SIS D flm ta fttt M tnti to show boro lo tho f r o n t lo th C antury th a t tho doc ! • Ion lo no lo n g er o u ra , th o t wo a n " Ju a t von to to ohow up o i l th o oxcueoa |lv « n by thooo who a u rd o r ond choot fo r aaae kind o f w orld o rd o r, t o t o l l t o r l o n o r Hf r o o ." I t lo th o t o t o l a b d ic a tio n o f In d iv id u a l ra e p o n a l- b l l l t y , and, fo r thooo who a t l l l fa lo o ly profooo to bo C h rlo tla n o , a lo o tho d o n la l o f C h r lo tla n lty , ao K lorko- gaard p o in to d o u t undor tho C h rlo tia n Paradox,*®* Ao W o I t o r Muochg w rlto o , "D tirran aatt oxaalnoo horo th o a o a t cowaon f o r a o f our not y o t diagnosed aadnoao, th o hunt fo r n u c lo a r p h y a lc la ta .” *®* Now th a t I t haa a l l coaa o u t In to th o opon, now th a t a l l th ro o p h y a lc la to know th a t nemo o f th a n la In aan a, Mtfblua* a p p o tlto ro tu rn a . A ll th ro o a l t down to d ln n o r and a good burgundy. T holr a a a l la ln to rru p to d by th o o n tran co o f th o th ro o auraoa a n d /o r guarda waking a " ro u tln a a tto n d - * °* H alto r Muachg, H D ttrronaatt und d lo V hyalkor," i S chauanlolhauaoa Z u ric h . *Dlo Itiv a lk o r." 202 Paradox, tho fra n k a d a le a lo n th a t wo a ra h o lp lo aa to o la l l t t l o pooplo who hava to ta k a ordorai*^®^ In a h o r t, ho *®*S unra. pp. 15-16. 20* S u » a . pp. 10-12. 2M S ttpra. pp. 312-15 516 • ac* check" end ta k in g , "upon th * ad v ice o f th * a u th o rl - t l t i , c * r t* ln s e c u r ity w se s u re s." V lth t h i s , heavy Iro n g r i l l * « r« lowered in fro n t o f *11 th * wind owe. A* aoon as th * g u ard s h*v* l e f t , gewton checks th * window* In t h * l r thr** ro o w s--* !! hay* suddenly th * saw* b a r* , a l l g r i l l * ar* lockod w ith s p a c la l s e c u r ity lo c k s, and th a h*avy oaksn door to th a h allw ay , th a o nly o th e r p o aalb l* **cap*, 1* a l so loefcad. 1h*y a r* p riso n e r* ! Th* ensuing d eb ate b«tw**n th * th r* * p h y s ic is ts Is th* I n t e l l e c t u a l and s p i r i t u a l cllw ax o f th * p la y . A Men t a l b a t t l * awong th r* * **iln*nt p h y s ic is ts , w r itte n , o f n e c e s s ity , by a laywan, Is In grave danger o f descending to ew b arrassln g h ig h school s c i* n c « - fic tio n s t u f f , o r to becowe a th e o ry -l* d « n , papery t r e a t i s e f u l l o f b ig w ords. But D ttrrenw stt has M a ste rfu lly avoided both o f th e s e dan g e rs. In h is "21 P o in ts ap p ly in g to th e R i y s lc ls ts ," he w r ite s : 15. A draws about th a p h y s ic is ts . . . cannot * ln a t th e c o n te n t o f p h y sic s, b u t o n ly a t I t s e f f e c t* . 16. The c o n te n t o f p h y sics concerns th a p h y si c i s t * , I t s e f f e c ts concern a l l wen. 17. That which concerns a l l , can only be solved by a l l . 517 10. Any a tte n p t o f an In d iv id u a l Co aolva fo r h ln a e lf ch a t « h ic h cone am * a l l , s u i t f a l l . 206 P ttrrin — t r *■ p h y s ic is ts f a l l ln d e a d --th e y a r a in d iv id u a l* Who cry Co aolva th a w o rld 's to u g h est p ro b le n Ilk a " d o - it- y o u r s e lf e r s ." t u t thay pay fo r av ary b i t o f c h a ir f a l l u r a . Thay a r a " v a lia n t hunan b a in s * " - -Ilk a th a young MR In *%* T u n n al," Ilk a P o lic e Co m I* slow er S H rlach, Ilk a th a g ig a n tic Jaw O u lllv a r, Ilk a g o n u lu s, Ilk a Count (fbelohe, Ilk a Akkl th a B aggar, Ilk a 111, and o th a r v a lia n t* In th a work o f t h i s nan who la probably ona o f th a g r a a ta a t n o ra l- l* ta o f o u r tln s - - d e a p lte th a I d io tic a c c u s a tio n s o f n i h l l - la a , ijM o ra lity , and avan pornography, la v a lad a g a in s t h ln . E v id e n tly , I t would b* q u its f u t l l a to a tte n p t a s l n p l lf le d rdsund' o f a n e n ta l d u a l batwaan to p -ra n k in g l n t a l l a c t s , w r ltta n by an a u th o r who la c a r ta ln ly ona o f th a fo re n o s t winds o f our t i n s . So th s r a la n o th in g l a f t but to tr a n s l a t e th a s a li e n t p o rtio n s In f u l l : EINSTEIN: Now wa can g a t o u t o f th a a sy lu n o n ly I f wa a c t to g e th e r. ttiglU S: I d o n 't want to f le a a t a l l . KDISTE1N: ttffblus! tfg lU S : 1 fin d not th a s l i g h te s t re a so n to do so . On th a c o n tra ry . I an c o n te n t w ith ny f a ta . (SIUNCK) *°*Ple fhvalkar. op. clt.. pp. 70-72. 3 1 6 N EW TO N: But 1 m m n o t c o n te n t w ith l t - - a r a th e r de- c lfllv e f a c to r , d o n 't you th in k ? Your p erao n al fe e I In s > M 7 he w e ll and good, b u t you a re a genlua and, a i such, cobboo p ro p e rty . You advanced In to new f i e l d s o f p h y sic s . But you d o n 't own th e s c ie n c e . You have th e d uty to unlock th e door fo r u s , th e non* g en iu ses, a ls o . C obb along w ith m . In one y ea r we put you In a t a i l c o a t , tra n s p o r t you to S to ck h o la, and you re c e iv e th e Nobel P r is e .* 0* k h tU S : Your S e c re t S e rv ic e is v ery u n s e lf is h . N EW TO N : 1 a d u lt, Mtfblus, th a t they a r e In flu en ced by th e hunch th a t you n ig h t have solved th e p ro b len o f g ra v ity . M B bIUS: T h a t's c o r r e c t. (SILENCE) EINSTEIN: Now can you aay t h i s so c a ln ly ? MBbIUS: H o w e l s e can I say I t? EINSTEIN: Hy S e c re t S e rv ic e b e lie v e d you to be w orking on th e U n ified f i e l d T h eo ry -- M0BIUS: I can ea se your S e c re t S e r v ic e 's B in d s, to o : th e U n ifie d f i e l d Theory h as been found. (N EW TO N M OPS HIS B B O W VITO TOE NAPKIN) N EW TO N : The u n iv e rs a l fo m u la ! EINSTfXN: I t ' s r e a lly a laugh: h o rd e s o f h ig h - s a la r ie d p h y s ic is ts In enoruous s t a t e la b o ra t o r i e s have been tr y in g fo r y e a rs to g e t ahead In p h y sic s, and you s e t t l e t h i s In p s s tin g a t a desk In an Insane a s y lu a -- (HE, TOO, M OPS HIS MOV W ITH HIS MAPKIN) N EW TO N: And th e S y ste a o f A ll P o s sib le Inven t io n s , MSblus? MtflHJS: I t a ls o e x i s t s . I worked I t out fo r c u r i o s i t y 's sa k e , a s a p r a c tic a l coupendiua to m y t h e o r e tic a l w ork. W hy should 1 p re te n d *°*The Nobel P ris e se e a s to be a n o th e r o f D ttrren- n e t t 'e bB tes n o I r e s . in an in te rv ie w he was once asked to whoa he would have g iv en th e 1936 Nobel P ris e (p re su aab ly In l i t e r a t u r e ) , and he answ ered: "Uhoa s h a ll I in s u lt? " ("War v i a l f r a g t . . . , " P ie W eltwoche. XXIV, No. 1205 (January 17, 1957), 11. 519 Ignorance? V h it « t chink has i t s c o n ia q u m c ii. I t was w r y duty to atudy th a e f f e c ts th a t wy f l a i d th e o ry and ay g ra v ity ayataw would have. Tha r a a u l t la d e v a s ta tin g . New, unim aginable a n a rg la a would ba re le a s e d , and a tech n o cracy would ba made p o a a lb la th a t d e f ie s a l l Im agi n a tio n -- I f wy ra a a a rc h f a l l In to o th a r a t n 'a handa. EINSTEIN: T his can h a rd ly ba av o ld ad . N EW TO N : Tha q u aa tlo n la o n ly who g a ta a t I t f l r a t . (WOlIUS LAUCKS) N tliniS: N o doubt you wlah t h l a a tro k a o f lu ck fo r your S a c ra t S e rv ic e , K ilto n , and th a G anaral S ta f f bahlnd I t? NEW TON: Why not? I f l t 9a a q u a a tlo n o f lo ad in g th a g ra a ta a t p h y a lc la t o f a l l tlm aa back In to th a cawmunlty o f p h y s ic is ts , any C an aral S ta f f would ba aacro aan ct to wa. Tha fraadaw o f our aclan ca la a t atak a and n o th in g a la a . tfhoavar g u aran taaa t h la fraadow , wakaa no d lffa ra n c a to am. 1 aarva any ayataw I f th a ayataw laav aa wa In paaca. X know, th ay t a l k today o f th a r a a p o n a lb lllty o f th a p h y s ic is ts . A ll a t onca, wa g a t acarad and bacorna more U s e r s . That*a nonaanaa. W a n u at do p lo n aar ra a a a rc h , and n o th in g a la a . W hathar mankind knowa how to i up f o r I t , t h a t 'a E1NSTCIN: Agraad. W a wuat do p lo n a a r work. . . . But wa wuat not ex clu d e r a a p o n a lb lllty . W a fu rn la h mankind w ith anorwoua maana o f powar. T hla g lv aa ua th a r i g h t to maka c o n d ltlo n a . W a wuat bacoma powar p o lltlc la n a bacauaa wa a ra p h y a lc la t a . W a muat d acld a In whoaa fav o r wa apply o u r a c la n c a , and 1 hava d a c ld a d . You, K llto n , on th a o th a r hand, a ra a m laarab la a a th a ta . Why d o n 't you coma to ua I f you a ra ln ta r a a ta d only In th a fraadom o f a aclan ca? W a can no lo n g ar a ffo rd to p lay g u ard lan a ovar th a p h y a lc la ta , a l t h a r . Wa, to o , naad r e s u l t s . Our p o l i t i c a l ayatam a u a t a la o a a t out 2 0 | C f. atatam an t by F e a rin g , s u p ra , p. 492. o f s c ie n c e 's hand. H EW TO H : Both our p o l i t i c a l sy a te * s , E la le r , *u at now, f i r a t o f a l l , a a t out o f MSblua' hand. EXHSTEM: On th a c o n tra ry . Ha w i l l hava to obay u a . A fte r a l l , wa hold h i* in check. H EW TO H : R eally? W e probably h o ld aach o th a r ■ora In chack th a n h i* . U n fo rtu n a te ly , our S a c ra t S e rv ic e s h i t upon th a aa*a Id e a. L a t's n o t p lay g en t a . Let ua th in k about th a lnpoa* • l b l a s itu a tio n In which wo a r a . I f Mtfblus goes w ith you, X c a n 't do an y th in g about I t because you would p rev en t I t . And you would ba h e lp ie a a I f Mdblua d ecided In m y fa v o r. Ho can choose h a r e , n o t wa. (EIKSTE1K RISES SOLSMILY) EDI STEM: L e t's g a t th a guns. (mewioh r is e s also) H EW TO H: L a t's f l * t . (H EW TO H rETCHES THE T W O REVOLVERS FR O M BIMtHD THE FIRE SCREEM, GIVES E1KSTEM HIS VEAFOH) E1HSTEIH: X a* so rry I f th e n a t t e r co n st to a bloody and. But wa * u st sh o o t. Upon aach o th a r and on th a guarda In any c a s e . In an eaorgency avan on Mtfblua. Ha way ba th a a o s t l* p o rta n t ean In th a w o rld , but h ie aenu- s c r lp ta a ra n o ra l* p o rta n t. M0BIUS: M y a e n u s c rlp ts ? X burned th e * . (DEATHLY SILENCE) EIHSTEXH: Burned tha*T ! HDstUS: (EMBARRASSED) J u a t a l i t t l e W hile ago. B efore th a p o lic e could cos* back. So a s to ba on th a s a fe a id e . (EIRSTEM BREAKS X H T O A DESPERATE LAUGHTER) EXHSTEM: Burned.' H EW TOH: (ROARS FURIOUSLY) F ifte e n y e a rs o f work* EMSTEXH: Ona co u ld go and* H EW TO H : O f f ic ia l ly , wa a ra a lre a d y . (THEY POCKET THEIR GURS A M D SIT O H THE SOFA, CRUSHED) H EW TO H : And fo r t h i s X had to a u rd e r a n u rse and le a rn Garwan! EXHSTEM: While X had to le a rn to p lay th a v io lin - - a to r tu r e fo r a t o t a l l y u n e u slc a l nan! 3 2 1 itfftlUS: Ui a rc th re e p h y sic 1 s t• . . . Our g o al is th a co n tin u ed p ro g re ss o f p h y sic s. You want to p re se rv e I t s freedom , H I to n , h u t deny I t s r e s p o n s ib ility . You, E l s l e r , o b lig a te p h y sic s. In th a name o f r e s p o n s i b i li ty , to th e power p o l i t i c s o f a c e r ta in c o u n try . But how does r e a l i t y look? T h a t's t h a t X want to know I f I an to d e c id e . N EW TO N : 5owe o f th e wost famous p h y s ic is ts aw ait you. S a la ry and q u a r te rs a re Id e a l . . . MBSIUS: Are th e s e p h y s ic is ts fre e ? N EW TO N : Hy d ea r M B blus--these physic 1 st a a re ready to so lv e s c i e n t i f i c problem s th a t a re v i t a l fo r d e fe n se . You must u n d erstan d -* H0BIUS: So th ey a re n o t f r e e . (TUKNS TO EINSTEIN) Joseph E l s l e r , you engage In power p o l i t i c s . But fo r t h i s you need power. Do you have I t ? EINSTEIN: You m isunderstand me, H dblus. Hy power p o l i t i c s c o n s is ts J u s t In renouncing my power in fa v o r o f a p a rty . MfoXUS: Then can you lead t h i s p a rty acco rd in g to your sense o f r e s p o n s ib il ity , o r do you run th e r i s k o f b ein g led by th e p arty ? EINSTEIN: MNblus! T h a t's r id ic u lo u s . N a tu ra lly , I can only hope t h a t th e p a rty follow s my a d v ic e , t h a t 's a l l . W ithout hope, th e re Is no p o l i t i c a l p o s itio n . H0BIUS: Are your p h y s ic is ts a t le a s t fre e ? EINSTEIN: S in c e , a ls o fo r them , th e d e fe n se -- M0BIUS: S tra n g e . Everybody t r i e s to s e l l me a d i f f e r e n t th e o ry , b u t th e r e a l i t y th a t Is o ffe re d to ms I s th e same: a p ris o n . In t h i s c a s e , I p re fe r my Insane asylum . At le a s t i t g iv e s me th e a ssu ra n c e o f not b ein g e x p lo ite d by p o l i ti c i a n s . EINSTEIN: There a r e c e r ta in r i s k s , a f t e r a l l , th a t one must ta k e . tfB IU S: There a re r i s k s th a t one must never ta k e : th e e x tin c tio n o f mankind I s one o f them. What th e w orld p e r p e tra te s w ith th e weapons I t a lre a d y owns, we know; What I t would p e rp e tra te w ith th o se th a t I would make p o s s ib le , we can Im agine. To t h la r e a l is a ti o n I su b o rd in ated 522 m y a c tio n s . I was p o o r. 1 had a w ife and th r a a c h lld ra n . At th a u n iv e r s ity , fa a s was beckoning, In in d u s try , m o m m y . Both nay# w ere to o dangerous. I would hava had to p u b lish m y w o rk --th s ovarthrow o f our sc ia tic a and th a c o l- la p sa o f th a econoalc a tr u e tu r a would hava baan th a r a s u l t s . B e s p o n s lb lllty fo rcad m m to go a n o th e r way. 1 l a t go m y a c ad ealc c a r e e r , fo rg o t about In d u s try , and l e f t ay f a a lly to t h e i r f a ta . 1 chose a f o o l 's cap . X p retended King Soloaon appeared to a e --a n d , p r e s to , 1 was locked up In th a aadhouse. W e hava reached th a and o f o u r ro a d , but no ona a le e h as k ep t up w ith u s . W a hava pushed forw ard In to th a v o id . Our sciatica has bacons t e r r i b l e , our re se a rc h dangerous, o u r fin d in g s d e a d ly . . . * t e a l I t y . . . I s n o t up to us . . . I t p a ris h e s because o f u s . W e a u s t ta k a back our know ledge, and 1 hava tak en I t back. There is no o th a r s o lu tio n , n o t fo r you e i t h e r . EIHSTSIH: What do you want to say w ith th is ? Moguls: You au st sta y w ith aa in tha insane asy- lu a . H C W T O M : Wa? M0BIU8: Both o f you. (SIUEWCE) N EW TON : NSblus! You c a n 't ask o f us t h a t we f o r e v e r - - HBbIUS: Y ou have se c r e t tra n a a lttera ? EIKSTVIN: What I f we have? nObIUS: Y ou n o tif y your s u p e rio rs th a t you were w ro n g --th a t 1 was r e a l l y In san e . EINSTEIN: Then we s i t h e re fo r l i f e . IOBXUSi Hy only chance to re a a ln u n d isco v ered . Only In th e Insane a s y lu a a r e we f r e e . Only In th e a s y lu a can we s t i l l th in k . In fre e d o a our th o u £ its a re e x p lo s iv e s . HEW TOH: But we a r e n 't c r a s y , a f t e r a l l ! H0B1US: But a u rd e re rs . . . . He Who k i l l s , Is a ■ u rd a re r, and we k i l l e d . Bach ona o f us had a a ls s lo n t h a t le d him In to t h i s I n s t i t u t i o n . Bach one o f us k i l l e d h i s n u rse fo r a c e r ta in p u rp o se. You, in o rd e r n o t to endanger your 5 2 3 M c n t Billion, I , b o c a u n S l i t i r N oolki b i- 1 l i v i d in m m . Shi aiitook m m fo r i n u n n eo g * n l i i d g m lu a . Shi d id not u a d i n t i n d t h i t to d ay I t la t h i duty o f a g m lu i to n a a l n tm n c o g n ln d . K illin g l i lo a a th ln g t i r r l b l i . X k 11lid io a i to pn v m t a i t l l l n o n t i r - r l b i i k i l l i n g . . . . S h a ll o u r a u r d a r i b i c o i a i a n l n g l i i i ? l l t h i r « • a a c r l f l c i d o r « • n u r- d a n d . B l th i r w i t a y in t h i aa d h o u ia , o r t h i w orld w ill b ico aa ona. B lth ir wi w lp i o u r- i i 1 v i ■ fro a t h i m a o ry o f aa n k ln d , o r aanklnd l i w lpid o u t. (5XUIICB) KIKSTBIM: I I I a n lo ck id up l l k i w ild a n la a li ! MBilUS: Vi a n w ild a n l a a l i . Vi a u i t n o t b i lo t l o o n upon aan k ln d . (SlUBCB) NBtfTDM : Xi t h i n n a l l y no o t h ir wayl KDlIUS: M o m . (SILIMCK) BXMSTBIM: . . . X an a d i c i n t nan. I ' l l i t a y . (SILEMCB) N EV TOM : I ' l l i t a y , to o . P o r iv ir . (8XLBNCB) H O i XUS: X thank you. Bor t h i l l t t l i b i t o f a c h a n c i th a t th la g l v n t h i w orld to l u r v l v i . * ^ Thiy r l n and l i f t t h i l r g l a n n to a t o a i t h o noring t h i m a o ry o f t h i " a a c r lf lc id " n u r i n , f u l l o f a i l n c i n w ill to a to m f o r t h a l r d n d i . A ll a t o n c i, t h i o p p n n l v i a ta o ip h o n l i d l i p i I l i d - - w i t h i p l r l t u a l f m d o a ah In lng fro a t h i n t h r u n o b li brow i, wi f o r g it b a n a t t h i win* * °* P li f h v a lk ir . op. c l t . , pp. 53-62. i h i word d a v o n k o m n . fo r a u r v lv i, n a i nd i o m o f t h i O m a n t l t l i o f Thornton V l l d i r 'a T hi S kin o f Oar T n t h . Wlr ilnd_noch • I n a a l davonaalronain. a p lay which la v ary p o p l a r in B uropi, and Which P ttr r in a a tt a d a l n i . 524 dows, th e |u a r d i , and l a p r U o ia in t . H B blui' to a s t to h is dead lovs Is th s l a s t ona: Monika! 1 had to e a c r lf lc a you, May your lo v s b la s s th a frie n d s h ip t h a t we th r s a p h y s ic is ts hava formed in your M a s . Give us th a s tre n g th to guard f a i t h f u l l y , a s f o o ls , th a s e c r e t o f our a c la n c a . (THR DttNK, SET TO E H CLASSES O H THE TABLE) H EW TO H: L et us change back in to lu n a tic s . L e t's spook around a s Newton. EINSTEIN: L e t's fid d le E r e ls le r a g a in and B eethoven. M0BIUS: L e t's make Solomon a g a in a p p e ar. MIRON: C raay, b u t w ise. EptSTEIN: Im prisoned, b u t f r e e . MIBIUS: f h y s l c l s t s , b u t n o t g u ilty . (THE THEEE HAVE AT EACH OTHEE, TH EM 00 INTO THEIE EOON5)*10 A g re a t moment, a su p reae paradox, p o e tic is e d a ls o In to a s t y l i s t i c p arad o s. T his Is th e kind o f a o a sn t upon Which one could s a f e ly low er a "slow c u r ta in ," w ith a m is le a l th e a e crescen d o ln g to a g ra n d io se c lla a x th a t would send au d ien ces hoae aoved, th o u g h tfu l, and even w ith a few wet h a n d k e rc h ie fs --b u t I t would n o t be D ttrre n a a tt! He d e s tro y s th e mood a t once. M cArthur, M u rillo , and S la v e rs e n t e r , now In d i s t i n c t l y M a s l-fa s c ls t s a a r t b la c k uniform s (d lem u lse. costum el w ith p i s t o l s In h o l s t e r , follow ed by " th e b o s s ," P r l . D oktor (se e F ig u re 22, p . 509). l l olbld. . p. 6). 525 H it t h r t i s c i e n t i s t s a r e roughly s u m m td out o f t h e i r c e l l s . Newton end E in s te in e re addressed by t h e i r r e e l n aass o f K llto n end E ls le r end q u ick ly d le a n e d by th e 'W a s t e r s " b e fo re th ey have a chance to u se t h e i r guns. T h eir gaas Is u p ; t h e i r c o n v e rsa tio n a t th e ta b le was picked up by h idden a ic ro p h o n e s. A ll th re e a re to ld to fa c e th e w a ll, t h e i r hands behind t h e i r back lik e p ris o n e r s , w hile t h e i r rooas a re searched and t h e i r s e c re t tr a n s - ■ l t t e r s a re c o n fis c a te d . Upon a s ig n a l fro a " th e b o s s ," th e l ig h ts In th e room a re sw itched o f f , w h ile b lin d in g f lo o d lig h ts fro a o u ts id e throw an e e r ie lig h t upon th e p h y s ic is ts . "The v i l l a Is surrounded by g u a rd s," says F r l . D oktor, "any a tte n p t to escap e Is s e n s e le s s ." She sends th e th re e guards o u t. "Now," she a d d re sse s th e s c i e n t i s t s , "you s h a ll le a rn ay s e c r e t. You alone o f a l l aen . Because I t no longer n a t t e r s I f you know I t . " She has r e a l l y seen King Soloaon; he has appeared to h e r f o r y e a rs . He had Indeed re v e a le d h is w lsdoa to MBblus, so th a t MNblus should r u le on E arth In h is n a a s, b u t HUblus was a f r a i d , b etra y e d h l a and kept h is knowledge a s e c r e t. So King Soloaon com * a ls s lo n e d h e r in s te a d , a s h is lo y a l s u b je c t, to s e t up h i s klngdoa. 5 2 6 EINSTVIII: You a r t c r a ty ! L ia te n to a t : you ara craay ! ni, DOKTOti X obayad h la coaaand. I vaa a doc t o r , and MBblua vaa m y p a t ie n t . 1 could do w ith h la aa X p le a te d . For y aara X a n e ath e- tla a d h l a ag ain and ag ain and aada p h o to a ta ta o f th a n o taa o f th a Goldan K ing, u n t i l X had even th a la a t pagaa. KB/TOM: You hava flip p a d your l i d ! C o a p la ta ly ! Try to undaratand i t a t la a t • . • ! m , DOKTOK: (UKPHTVUO) Q u ia tly , I d id ay d u ty . X foundad b ig p la n ta , ac q u ired ona fa c to r y a f t a r a n o th e r, and b u i l t up a n ig h ty t r u a t . X » h a ll e x p lo it th a S y atea o f A ll . . . F o aalb le In v e n tIo n a , Johann V ilh a la H bblua. 11 (Saa F ig u re 2 3 .) A ll a tte a p ta o f Mtfblua to t a l l h a r th a t Soloaon la not r a a l , th a t ha n ever aav h l a , and th a a f f o r ta o f a l l th re a a c le n tle ta to convince h a r th a t aha la a a n ta lly i l l , a ra f r u i t l a a a . Whan Mtfblua th ra a ta n a to axpoaa h a r , aha provea to h l a v it h ic e - c o ld , p e r fe c t lo g ic t h a t , in th a ayea o f th a w o rld , ha and h la two c o lla a g u a a a ra n o th in g b u t dan- geroua n an lac a--b e cau ae o f th a n u rd era th ay c o n a iltta d : X only took advantage o f an o p p o rtu n ity . The wladon o f Soloaon had to be aafeg u ard ed , and your b e tra y a l had to ba punlahed. X a a t th a th re e nuraaa o nto you. I could count on your a c tlo n e . You war# p re d ic ta b le Ilk a a u to a a to n a , and you k i l le d Ilk a e x a c u tlo n e ra . . . . You fla d in to your own p rla o n . Soloaon thought through you, a c te d through you. and now ha a im lh lla te a you. Through a a . 2 *2 2 1 i I b l d . . p . 6 6 . 2 2 2 I b i d . . p p . 6 7 - 6 6 . 5 2 7 F l|u r « 23 U h llt th a th ra a physic la ta w atch in h a lp la a a h o rro r , F r l . Dr. von Zahnd ra v a a la h a r v la lo n o f Ring Soloaon. 32) Her l a a t apeach la th a f r l ^ it e n l n g , a h r l l l , a i |« l o a i n U c a l fa n fa ra o f a S uper-C aeaar, Super-N apoleon, o r S u p e r-H itla r: And I ta k a over S o lo ao n 'a powar. I a a n o t a f r a i d . Iff l n a t l t u t a la f u l l o f lnaana r e l a t i v e s , badlaanad w ith Jaw alry and d e c o ra tio n s . I a a th a la a t no raw 1 ona o f m y f a a l l y t h e an d . S t e r i l e , o nly a u lta d fo r a l t r u l a t l c love. Than Soloaon took p ity upon a a . Ha, who haa a thouaand w iv es, choaa a a . Now 1 aha 11 ba a l ^ t t l a r th an m y f o r a f a th a r a . Ify t r u a t w i l l r u l e , conquer th a c o u n tr ie s , th a c o n tin e n ts , e x p lo it th a a o la r ayataw , reach th a Androaada N abula. Tha c a lc u la tio n haa coaa o u t ev e n -- not In fa v o r o f th a w o rld , b u t In fav o r o f a hunchbacked o ld aw Id . , • Lat*a go, S la v a ra . Ih a board la w a itin g . Tha w orld e n te r p r is e a t a r t a , p ro d u c tio n beglna to r o l l . (Saa F ig u re 2 4 .) (INK THUS n tm C lS T S A K K ALONK. SILENCE. TUB PUT IS FLAYED OUT. UTTt* QUIET.) N EW TO N: I t la fln la h a d . (HI SITS O N THE SOFA) EINSTEIN: The w orld haa f a ll e n In to th a handa o f an lnaana a l i e n l a t . (HE SITS BBS IDE N EW TO N ) tfb lU S i What haa bean thought once, can no lo n g er ba ta k e n back. (tffolUS SITS O N THE CHAIN LEFT OF THE SOFA. SILENCE. THEY STABE D EA D A H EA D . • . ) 213 Than follow a th a a tra n g a a t and a v e r w r itte n fo r any p lay aln ce T haapla. Tha th ra a wan v ary q u ie tly In tro d u ce thaw - aalv aa to th a audience aa Newton, E ln a ta ln , and Solowon. Only a few key aentencea frow th a a a apaachaa wuat a u f f lc a : 2l3Ib ld .. p. 60 Figure 24 In th e e te r k g le re o f th e flo o d llg h te fro a w ith o u t, F r l . D r. von Zahnd announce■ h e r plane to ta k e over th e w orld. 532 EINSTEIN: . . . F roa m a tta a th a ( o n u l i E • ac , th a kay to th a tra n a fo ra a tlo n o f a a t t a r in to an arg y . 1 lova p a o p la , and I lova ay v i o l in , b u t upon m y ad v ica th a y b u i l t th a a to a boab. 1 a a E ln a ta ln . F ro faaao r A lb a rt E ln a ta in . Bom March 14, 1679, in tlla . (Ml RISES A M D OOES 1MT0 HIS BOOH. THDI VI HBAt HIM PLAY 1HB VIOLIN. ERE IS U R , "LIEUS* U I D . " ™ ) tfB IU S: I a a Solomon. I a a poor King Soloaon. Onea I v a i lm a n a a ly r i c h , w laa , and G od-faar- in g . B afora m y powar tra a b la d th a a l g h t l a a t . I waa a p rln c a o f paaca and J u a tlc a . But ay w ladoa d aatro y ad ay f a a r o f God. and uhan 1 no longar fa a ra d God. ay w ladoa d aatro y ad ay r lc h a a . M ow th a c l t l a a a ra daad ovar d iic h I r u la d . ay r a a l a aa p ty . . . a b lo a -a h lM a rln g d a a a r t. and aoaawha r a , around a l l t t l a y allo w . n aa alaaa a t a r . c lr c la a a a n a a la a a ly . fo ra v a r. th a ra d lo a c tlv a E a rth . 1 a a S oloaon, X a a S oloaon, 1 a a poor King Soloaon. (HE GOES UfTO HIS ROO M . THE D RA W IN G R O O M IS o trrr. o n ly e i n s t e u t s v io lin can be h e a rd ) (THE END)215 lh a and o f th a th ra a p h y a lc la ta who, bacauaa o f th a a u rd a ra th ay c o a a ltta d , hava no c h o lc a but to ra a a in " a n d ," to p lay th a ln a a n a , fo r th a r a a t o f t h a l r llv a a , avokaa th a flg u ra o f F lr a n d a llo 'a Hanrv IV. fo r whoa th a ra waa a la o no ao ra U f a o u ta ld a a f t a r ha had au rd arad h la ona* t l a a r i v a l . Tha v o lu n ta ry p lay in g o f In a a n lty bacoaaa a g r l a n a c a a a lty , a U fa -lo n g p rla o n . 214”Lova*o s u f f a r ln g " —p o aa lb ly atan d ln g fo r E ln- a t a l n 'a d la a p p o ln ta d lova fo r h u a a n lty . 2 l*Par Wwalkar. op. c l t .. p. 69. 533 Mtfblua* H i m , *1lhat haa b a m choughc onca, can no lo n g ar ba ta k e n back,*' occura In a la o a t I d e n tic a l w ording In g o au lu a. In Pro 1 a c t V aaa. and la a t th a v ary ro o t o f X ll'e b e tr a y a l by th a c ltla a n a o f O tlllen. Tha 'M ia t'a dona cannot ba undona" In Ha c b a th b eeo aaa, aa a la i t n o t I f o f D U rren aatt, *Uhat la th o u g h t, cannot ba u n th o u g h t, and la aa good aa d o n e"--a v ary d la q u la tln g Id a a , probably ln a p lra d by th a g rin C h rla tla n concept o f th a Cadanfcan- atfnda. th a a ln f u l thought th a t la auppoaad to ba a la o a t aa bad aa th a c a a a ltte d a In I t a a l f . Va nay aak o u ra a lv a a w hether th a th ra a p h y a lc la ta In t h e i r f i n a l epeechea a ra a la p ly a d rana t i c d e v ic e , Ilk a an e p ilo g u e , which could a la o ba apoken by a n a r r a to r o r c o a a e n ta to r, o r w hether th ay a r a at111 th a c h a ra c ta ra o f ♦ th a p la y . Ona o f th a re v le v e ra d acld aa fo r th a l a t t e r o p tio n : D U rrenaatt c a l l a h la tv o - a c t d ra a a a coaedy. gut t h a t , to o , la a l a l c r y . For th a work enda In a h a tta r ln g tra g e d y ; th a a e lf - d e n la l o f th a phyal* d a t a waa In v a in ; Aa In a n tiq u e d ra a a th ay a ra o u tw itte d by f a ta an d , faced w ith th a f u t i l i t y o f t h a l r e t h i c a l endeavor, th ay r e a l l y aInk In to In a a n lty 21* P r lta S ttir l, n*Dle R iy a lk a r* —G roaaar K rfo lg d a r D ttrre n e a tt--P re w le re l a S chauaplelhaua,*' T aaea-A naelner fUr S ta d t und Kanton Z U rlch. XLVI (F ebruary 23, 1962), 7. 534 b a l l e t l e a l l y , th la would ba hard to a c c a p t: th ra a b a e l- c a lly norm al paopla J u a t do n o t go lnaana a t th a a ana I n a ta n t. b u t, a f t e r a l l , t h la la D U rren aatt, and I t would ba r ld lc u lo u a c a rp in g to ap p ly to h l a th a narrow gauga o f Moacow A rt T h a a tra and Group T h aatra r a a lla a . That th la l a , r a a l ly and t r u l y , a aodarn tra g a d y , la r a th a r obvloua. D U rrenaatt g lv aa h ftaa alf away in h la "21 P o ln ta " : 1. " I do n o t procaad fro a a th a a la , b u t fro a a a to r y ." Thla r a l t a r a t a a what ha aald In h la p re v lo u a ly -q u o te d la c tu r a a a n u a c rlp t. Ha worfca In d u c tlv a ly , a ta r tin g w ith an In c id e n t, a b rig h t ld a a , a a to ry , and ta k a a I t fro a th e r e , n o t d e d u c tiv e ly fro a an o u tlin e , aa la ta u g h t in a l l p la y * w rltln g co u raaa. 2. " I f you procaad fro a a a to ry , you nuat th in k I t through to th a a n d ." 3. "A a to ry haa been thought through to th a and whan I t haa ta k e n I t a w o re t-p o a a lb le t u r n ." Thla la Indeed a a tra n g e co n feaalo n fro a a w r ite r o f c o a a d la a ; but D U rrenaatt tu rn e d to coaady a t a t l a e whan ha d e a p a lre d o f th a poa- a l b l l l t y o f trag a d y and whan ha denied th a 535 e x is te n c e o f a **horo" In t h i c o n v e n tio n a l Tha n ex t aim p o ln ta a ra vary r a v a a lln t a l i o : 4 . Tha w o rs t-p o s s ib le tu r n la not fo re s e e a b le . I t o ccu rs through a c c id e n t. 5 . Tha a r t o f th a d ra m a tis t c o n s is ts In ap p ly in g th s a c c id e n t In h is p lo t to s i i l a a a f f e c t . 6 . C a rr ie rs o f a d ra n a tic p lo t a ra p eo p le. 7 . Tha a c c id e n t In a d ram atic p lo t c o n s is ts o f whan and Where who a c c id e n ta lly ■ se ts who*. 8. Tha more lo g ic a lly people pro ceed , th e s o re a f f e c tiv e ly can th e y be s tru c k by th e a c c i d e n ta l. 9 . People who proceed lo g ic a lly want to ra a c h a c e r ta in g o a l. A ccident h i t s th e a h a rd e s t when th e y , th ro u g h I t , ach iev e th e o p p o site o f t h e i r Intended g o a l: th a t Which th ey fe a re d o r t r i e d to avoid ( e . g . , O edipus) In tr y in g to convey to us th a t h is p lay s a re n o t planned and w r itte n d e d u c tiv e ly fro a an o u tlin e , D U rrenaatt seems to s e l l h l a s e l f s h o r t. I f I t were r e a l ly tr u e th a t a l l dram atic developm ents In h i s p lay s ware th s r e s u l t o f ac c id e n ts , th ey would be n o th in g b u t malodramea. P o in t 6 sees* s e lf - e v id e n t, b u t I t la r e a l l y an In dictm ent o f p lay s th a t a r e w r itte n o n ly as v e h ic le s fo r a Message o r t h e s i s . P oint 8 b rin g s to wind th e l a s t d e te c tiv e s to r y . The P lodeo, whose p ro ta g o n is t, a m aster o f fla w le s s lo g ic a l 2 *7X llsa b e th B ro ek -S u lser, "D U rren aatt: Die fh y slk e r,* 1 Die T a t. XXVII, Mo. 53 (F ebruary 24, 1962), 5. 2 iaPlo fh y afh tr. op. c l t ., pp. 70-71. 536 d e d u c tio n , i t trip p e d up by e a tu p ld a c c ld e n t- - th e d eeth o f h ie q u arry In e t r a f f i c a c c id e n t, J u a t b e fo re th e k i l l . P o in t 9 la l l l u a t r a t e d , even b e t t e r th a n by O edlpua, by th e th re e u to p ie n 'H w rld -re fo ra e ra ” in M la a la a jp p l. «ho ach iev e th e e x a c t o p p o a lte o f what th ey hope and a tr lv e f o r , o r by ftoaulua. t h a t D U rrenaatt c l t e a Oedlpua aa an ex aap le In h la ”21 P o in ta c o n c e rn in f th e I h y a lc la ta ," haa led to th e i n te r p r e ta tio n o f th e n aa a, M oeblua. aa a ao d em d la g u la e fo r O edlpua. 2*9 I f we a u a t uae c la a a lc a l p a r a l le l* , th a t o f P roaatheua In re v e ra e would f i t Moeblua b e t t e r . th e re a a ln d e r o f th e *'21 P oint a*' d e a la w ith th e paradox and th a g ro tea q u e: 10. Such a a to ry (aa th a t d e a c rlb e d In P o in t 9 on th e p re ced in g page) la a ro te a e u e . but n o t abaurd (n o n -a e n * le a l). 11. I t la paradox. 12. J u a t aa l i t t l e aa th e lo g ic la n a , can th e d ra a a - t l a t a av o id th e paradox. 13. J u a t aa l i t t l e aa th e lo g ic la n a , can th e ph y al- c l a t a av o id th e paradox. 16. A d ra a a about th e p h y a lc la ta a u a t be parad o x . 19. Zn th e paradoxv becoaaa e v id e n t th e r e a l i t y . 20. Uhoever la raced w ith th e paradox, expoaea h la - a e l f t o r e a l i t y . 2l9S tttri, le e, c l t . 5 3 7 21. D ria i can t r i c k th * a u d ltn c i In to exposing i t s i l f to r e a l i t y , b u t cannot fo rc e i t to stan d up to i t o r to M i t e r I t .* * 0 The g roteaque e f f e c t ! covered in p o in t! 0 , 9 , end 10 e re th o ae o f th e c l e i h between grand lo s e huM n p lan (id e e ) and a c c id e n t ( r e a l i t y ) , and o f M n ta l r i g i d i t y . In th e s e p h y e ic ie ta , th e i n a b i l i t y to a d ju a t appeara in a M ta p h y s- i c a l aenae. T hla la a f a r c ry fro a th e c u sto o a ry d e f i n i tio n o f th e cowlc aa a ■ o c ta l phenoaanon.**1 The a c c id e n t la th e d iv in e anawer to th e h y b ria o f th e fasten w ind. Dttr- r e t w a t t 's p h y a lc la t wanted to r e tr ie v e h la th o u g h ts, b u t re co g n ised t h a t th la cannot be done. He d id n o t choke o f f h la th in k in g . Nor d id he h id e h is lig h t under a b u sh e l— he l e t i t b u m in what he thought waa a s a fe p la c e . In ao d o in g , he " f le d in to h la p r is o n ," th e revenge o f th e a c c i d e n ta l on th e h y b ria o f wan. P asca l haa s a id th a t a b re a th o f a i r , a drop o f w ater a r e s u f f ic ie n t to d e s tro y u s , but thaC s i n a t le a s t knows what k i l l s h l a —and t h i s nekea h la g r e a t . And y e t MBblua, to w erin g fig u re th a t he i s , la not aa g re a t aa th e g re a t ftoaulua, who aaya: " I d o n 't w ant to i n t e r f e r e w ith w orld h i s t o r y ." MHblua does want to hold * * 0 p e r g h v s l k e r . o p . c l t . . p p . 7 1 - 7 2 . * 2 1 S u o r a . p . 2 7 . 536 back w orld h is t o r y . But h is to r y revenges I t s e l f In th a •hapa o f th a hunchbsckad s p in s t e r . D r. von Zahnd. She Is *'not a f r a id " to ta k a o v er S olossm 's pow er--•ha does o p e r a te th e e l e c t r i c sw itch w ith o u t knowing an y th in g about e l e c t r i c i t y , she la indeed " th e id io t c h ild fu n b lln g w ith a lig h te d w atch ov er a powder k e g ." Through t h i s out cows, MNblus* s a c r i f i c e o f h i s own l i f e , h i s h a p p in e ss, th a t o f h is fa w lly , and o f S i s te r Monika have a l l beeowe w e a n ln g le ss, and D r. von Z ahnd's ta u n tin g o f MNbius Is a s c r u e l as th a t o f C la ir e Z achanat- • I a n 's d ls w ls s a l o f th e te a c h e r 's and th e d o c to r 's a p p e a ls In P er B esuch: "Your hope was a d e lu s io n , your s t e a d f a s t n ess s e n s e le s s , your s a c r i f ic e s s tu p id ity , your whole l i f e u s e le s s ly thrown away."*** The g re a tn e s s o f t h i s p lay l i e s , a s alw ays w ith D ttrrenw att, in h is avoidance o f preachw snt and d ir e c t advocacy. No cheap and easy g e n e ra l s o lu tio n s a re o ffe re d fo r s a le h e re , J u s t as Ib se n , d e s p ite a i l h la s n r a l e a r n e s t n e s s , n ev er c o n s is te n tly advocated a s p e c if ic s o lu tio n o r p r in c ip le a s th e only r i g h t one. I f th e re la any 'W s s a g e " h e r e , I t la th e one th a t 222Per Basuch. op. c l t .. p. 60. 539 th a lnhunen d N d , even th a n dona In th a m m o f hum anity, la alw ays w rong, bacausa no In d iv id u a l haa a broad enou^i vlaw ovar th a p re se n t and a f a r enou£t vlaw In to th a fu tu ra to e s tim a te th a conaaquancaa o f h la daad c o r r e c tly . Tha th an e o f th la p lay la th a noat b u rn in g q u a a tlo n o f o u t t l a a - v . can u y , t h . only r . a l l r la o o rto o t problem o f our t i n e . on th a a o lu tlo n o f which th a vary con tin u a n c e n o t only o f c i v i l i s a t i o n , b u t o f any U f a on th la p la n e t depends. How on e a r th la I t p o aalb le and ex cu sab le th a t none o f th a lo ad ln a p lay w rla h ta o f A m erica, th a v ary n a tio n th a t b e a rs th a r e s p o n s ib ility fo r th a a to n ic bomb, have d e a lt w ith th la problem? Ara thay p erh ap s a f r a id o f I t , p e rs o n a lly , p o l i t i c a l l y , o r a r t i s t i c a l l y ? Is I t p o s s ib le th a t th ay a r e c o n te n t w ith w ritin g about th e p a l t r y problem s o f f i f t h - r a t e human b e in g s , d e r e l i c t s , drug a d d ic ts , p e r v e rta , and a lc o h o lic s In M aw O rlean s o r Kansas a t a t in e when th e s u rv iv a l o f th e hunsn ra c e I s a t atak a? Of th e th re e contem porary p lay s t h a t cone t o g rip s w ith th a q u a a tlo n a t a l l , one. Pas k a lte L lcht (Ih e Cold t i g h t , 1955) la by C a rl Zuckmeyer, th a o th e r two. P ro te c t Vasa and * * \f lth th e p o s s ib le e x c e p tio n o f Arch O b o le r'a H laht o f th e Auk. 540 The f h v a lc la ta . a re by D U rren aa tt• Lika ao many o th a r f i r a t e , th a g lo ry o f th in k in g t h la frig h te n in g a u b ja c t "through to th a and" w i ll ba D ttrren m att'e fo ra v a r. Xn c lo a ln g , h a ra a r a a faw o f th a c r i t i c a l re a c - tlo n a to th a p la y : An a a to n la h ln g work . . . th a eo n d an aatlo n o f axiom atic p o a ltlo n a to t h a a t r l c a l acanaa o f l a i - d la ta pow arful s t a l e ex p reaelo n . . . • Tha demon ic and th a g ro te a q u e , c o o l arg u m en tatio n and a c u r r l- loua a f f a c t a , im m ediate an lm a lity and f r ltf ite n ln g a p e c u la tio n change In r lc h e a t g ra d a tio n and I n t e r lo ck . Uhat DUrrenmatt g aln a h a ra from th e d ie - g u le e e , how h a t fo r ln a ta n c e , employe th a v io lin p la y in g o f E ln a te ln , how ha c o n tln u o u a ly tw ltc h a a p o in t a o f view , th a t la n o t only v lrtu o a o tech n iq u e - - I t la u n iq u e .W 4 . . • Thla d ra m a tic a lly a la o a t u n p lay ab le th a a a galna fo ra fo r D U rren aatt, aa ha tra n a p la n ta th e v ia Io n o f u ltim a te h o rro r In to th a trag ico m ic vlaw o f th a lnaana aaylum . Thua th a arcanum o f p h y alca , d eg en erated in to c rim e , la unmeaked aa th a danae macabre o f a l l concepta and phraaea w ith Which wa contem porary man, p u rp o rte d ly liv in g In freedom and decency, e n g in e e r our own d a a tr u c tio n . Tha " a a ta n lc " m ixing o f th a comic and th a tr a g ic on which D ttrren m att'e dram aturgy ia b aaed , and th a double meaning o f th a a c tio n , th e m aak -llk e q u a li ty o f th a fig u r e e , and th a tre n d to th a a b a tr a c t a ra h a ra d i r e c tl y n a c a a a ita ta d by th a th a a a and a ra h eig h ten ed to new a f f e c ta . • • aa a aubllm e x ro - ta a a u a e v e ry th in g playa on th a h a i r l i n e b o rd e r betw een la u ih te r and d ead ly e a rn e e t th a t la 2**"Dle f h y a lk e r," Mena ZUrch T Ho. 697 (F ebruary 23, 1962), 5. 541 2 2 5 s tru n g llk « a tw anging tig h tr o p a a c ro ss th a v o id . Today f r l a d r l c h D ttrrenm ett la w ith o u t a doubt --b a s ld a Max F ris c h —th e g r a a ta s t liv in g dram atist o f Oernan tongua . . . a a a g n lf le a n t work, bold In i t s Id a o lo g ic a l co n c e p tio n , o f th a a o s t a trln g a n t c o n c a n tra tlo n In d ic tio n and d ra a a tu rg y . • . . Ganulna D ttrrenm ett In a l l th a powar o f h la v is io n , and I t has th a earm ark o f g ra a t tra g a d y . • • . A ll o u tcro p p in g s o f a s c u rr ilo u s im ag in atio n hava baan av o ld ad . What nay s a a a In th a bagInning Ilk a h la f a v o r lta p la y in g w ith c o a sd ic a f f a c t a , p ro v es, aa th a a c tio n p ro g re s se s, as a b u ild in g b lo ck n e c e ssa ry fo r th a w hole, s a t w ith s u p e rio r c r a fte a a n s h lp . . . A v ary unique work o f a r t , r i c h In su b stan ce and im pressiv e c a p a c ity , u n a s s a ila b le In stag e-w o rth y v is u a l i s a tio n o f a d eep ly moving contempo ra ry problem .226 Tha f i n a l review la one by I ll s a b e th B ro ck -S u lser, which a u to m a tic a lly means u n q u a lifie d , rh ap so d ic p r a is e , b u t a few o f h e r rem arks a re w orth q u o tin g : The ex p e rie n c e o f seam lessly [ J o ln tle s s ly ] b u i l t u n ity —th e w ish , In ram snberlng to evoke a whole p ro fu sio n o f d en sely massed am n an ta--la th e re a b e t t e r testim o n y fo r a p lay • • • ? And Is th e r e som ething r a r e r th an t h i s today? And, fu rth e rm o rai a s t r i c t l y c l a s s i c a l l y c o n stru c te d p la y —and a theme th a t a p p a llin g ly s t r a i g h t f o r w ardly a tta c k s th e most m a te ria l problem complex o f o u r tin e - - c a n th e re be an y th in g lik e th is ? There can —b ecause th e re a re "The I h y s lc l s t s " o f F rie d ric h D ttrrenm att. • . . 2**Huachg, op. c l t .. p. 10. 22*Stttrl, pp. c l t .. p. 7. 542 Hare I s our h o rrib ly c lo s e , cru sh in g p re se n t. . • . A r t is ti c in te llig e n c e i s som ething b e a u tifu l end c le e n , th e Joy o f sp in n in g a y arn and th e power o f in v e n tin g a fa b le a re sane th in g unique. But Joy end power end In te llig e n c e to g e th e r--o n ly th a t •■powers and endows (a poet] fo r th a t most depend- ln g o f a l l a r t form s, th e genuine c la s s ic is m .227 B rock-S ulser a ls o w rite s th a t " th e re cannot be any doubt th a t t h i s p lay w ill be done by a l l th e Im portant th e a te r s o f th e w o rld ." The p re se n t w r ite r does have some grave doubts In t h i s re s p e c t--n o t because o f any lack of e x c e lle n c e In th e p la y , q u ite th e c o n tra ry : th is play Is alm ost to o good and h l t a to o d e v a s ta tln g ly c lo s e to home. There le l i t t l e doubt th a t most o f th e Im portant s t a t e and m unicipal re p e rto ry th e a te r s o f Europe, as w a ll as some o f the p r iv a te ly o p erated th e a te r s , w ill play The f h y s l c l s t s . i f fo r no b e tte r reaso n th an p re s tig e and th e in s a tia b le demand o f th e i r s u b s c rib e rs fo r new p ro d u c tio n s. But w hether th e fre e -e n te rp ris e -fin a n c e d and p a in fu lly p r o f i t - o rie n te d , shaky Broadway th e a te r w ill have th e courage to produce t h i s play Is h ig h ly q u e stio n a b le . That Broadway audiences w ill ta k e to a p lay which r u th le s s ly explodes th e ir most ch e rish ed Illu s io n s and t e l l s them in so many ***Brock-Sul*er, "Dtlrrenmstt: Die fhyalker," op. clt.. p. 5. b lu n t words th a t t h a lr vauntad " f ra a w orld" la J u s t as ■uch o f a p riso n a s th a c o m tn is t o n a --th s t la v ary u n llk a - c h a t o v i SIMU&Y, CONCLUSIONS , AND RBOMmMTlONS ra t rutiHEt stu d y In t h i s f in a l c h a p te r, DUrrenm att*s most Im portant p h ilo so p h ic view s and a r t i s t i c man Ism a r t s u m a r i u d , I t a ls o attem p ts to r a c a p ltu la ta th a In sta n c e s o f paradox and g ro tesq u en ess and to draw w hatever c o n c lu s io n s , I f any, can be drawn (beyond th e obvious one th a t th e s e two concepts a re th e most d i s t in c ti v e fe a tu re s o f h is w ork). B r l ~ f - i r r r rf r i r r nr1 A r t i s t i c P rin c ip le s 1. A nything th a t h as once been th o u g h t, cannot be u n -th o u g h t, and Is as good as done. 2. Our re a so n Illu m in e s th e w orld o n ly dim ly; in th e tw ilig h t sone o f i t s b o rd e rs is th e home o f th e paradox. 3. J u s t as th e lo g ic ia n cannot avoid th e paradox, n e ith e r can th e d ra m a tis t. 344 545 4 . In th a paradox, r a a l l t y be coma a a v ld a n t. 5. Ha who fa c a s th a paradox, axpoaaa h l a a e lf to r a a l l t y . 6 . Ih a g roteaque la ona o f th a g r e a te a t aaana o f being a x a c t In p re a e n tln g U f a . 7. A g roteaque s to ry naad n o t ba abaurd ( l . a . , c o n tra ry to meaning o r a a n a a ). 0. Ua and our tin s a ra no lo n g ar w orthy o r ca p ab la o f tra g a d y , only o f comedy. 9. L aughter a a n lf a a ta th a fraadoai o f men, ta a r a ahow h la l l a l t a t l o n a . Our ta a k to d ay la to prova th a caaa fo r m an'a fre e d o a - -th e re f o re comedy la th a only fo ra o f d raaa a p p ro p ria te to ua, 10. A tr u ly t l a a l y p lay a u a t ba a coaady In th a A rlato p h an lc aanaa. 11. Ih a baa la o f A rlato p h an lc coaady la th a " b rig h t ld a a , r a is e d In to th a e ro te a o u e .*1 12. D latance between p lay and audience la e a a e n tla l fo r coaady. I h l e d la ta n c e la c re a te d by p a ra dox and g ro te a q u e rle (an d , by l a p llc a tlo n f r o a D ttrren aw tt'a w ork, th ro u ^ i th a avoidance o f love and aax, and by n o t p e rm ittin g th a a u d l- 546 ence to o such i d i l n t l o n o r love fo r a a t t | t c h a r« c to r). 13. H is to r ic , p o l i t i c a l , s o c ia l, o r s c i e n t i f i c f a c ts p ar sa can no longer ba used by th a a r t i s t ; th ey m ist f i r s t ba "reduced" ( I . e . , ren d ered o r p ro cessed ) by th e a r t i s t . The g ro tesq u e tre a tm e n t I s one im portant way o f doing t h i s . 14. Shock i s to d a y 's most p o te n t fozm o f em otion. CQ B PlU tlon o f th » Ho»t In p o r t.n t Paradoxes L iste d in th e o rd e r o f th e c r i t e r i a in C h ap ter 1, th e se paradoxes a r e r e c a p itu la te d . H i. C h r l.tU n Paradox o r t h . paradox o f f . l t h P i la t e , th e lo g ic a l, s e n s ib le , and b a s ic a lly decent Roman, J u s t cannot b e lie v e b lin d ly in Jesus* d i v i n i t y ; he w ants to be shown, he wants lo g ic a l, v i s i b l e , ta n g ib le p ro o f. Rut f a i t h , r e a l l y to be f a i t h , must be uncondltlon* a l and b lin d . When p ro o f la not forthcom ing, P i l a t e t r i e s to fo rc e th e god to re v e a l h is power*-and ends up by c ru c ify in g him. ••n». Han" In P a r D o p p .la lfn « r (Ifc. D oubt.) w an t. 547 to su rre n d e r t o th e 'h ig h C ourt" (C od). "There Is n o th in g ■ore b e a u tif u l th en to su rre n d e r t o I t . Only he who a c c e p ts h is I n ju s tic e w i l l fin d h is J u s t i c e , end only h e «dio succuebs w ill fin d h is g ra c e ." T his Is th e tc e e o f C h ris t i a n h u e l l l t y . In Es s te h t e e sc h rle b e n ( I t I s W r itte n ), Knlpper* d o llln c k , th e r ic h s e n , ta k e s l i t e r a l l y th e paradox o f th e New Testam ent th a t a c a e e l (ro p e ?) s h a ll sooner pass th ro u g h th e eye o f a n ee d le th an a r ic h aan s h a ll e n te r H eaven, and he l i t e r a l l y follow e th e o ld b is h o p 's a d v ic e : "Love th in e e n e a le s a s th e y s e lf ; s e l l What thou h a s t and g iv e I t to th e poor, and r e s i s t n o t e v i l . " One o f th e l a s t speechss o f P er B lin d s (The B lind One) I s : 'h e who b e lie v e s , o v sre a a ss d s a th . . . . He tdio h as n o t l i f e , a u s t p e r is h , and he Who does n o t pass through d s a th , w ill n o t hava l i f e . " The A nt1-K atIona1 Paradox In P e r T h e a te rd lre k to r. a new " l o g i c a l ," e s t e r t a i ls t i c o rd e r d e s tro y s a l l huean v a lu s s , a l l In d iv id u a l f r e e dom, and sends th e au d ien ce o u t o f th e th e a te r a s a b r a in w ashed, how ling, b lo o d th ir s ty nob read y to do th e d ir e c t o r 's ( d i c t a t o r 's ) b id d in g . 548 In th e s h o rt s to r y , "Dl* M il# " ( lb s T r ip ) , th e a c q u is itio n o f fa m ily , p o s itio n , and w ealth lo ad s to genu- In s , com plete n i h i l I s a and s u lc ld s . B lr le c h 's s ta ta a a n t In P ar H lc h te r und s s ln Hanker (Ih a Judge and H is E xm eutlonsr) t h s t 'S«a can never p re d ic t w ith c a r ta ln ty th a mode o f a c tio n o f o th s r s , th a t we can n ev er b u ild ch an ce, which p la y s a p a rt In e v e ry th in g . In to our th in k in g . . . because I t is im possible to o p e r a te w ith human b ein g s a s w ith ch e ss figu res* ' Is a stra n g e parad o s fo r a c rim in o lo g is t to u t t e r . In Das V arsorachen (The P ledge) th e a u th o r h im se lf s t a t e s th e paradox: . . only i f ve humbly In c o rp o ra te [th a absu rd ] in to our th in k in g , w il l va n o t founder on i t . Our re a so n b a re ly l i g h ts up th a w o rld . In th e tw ilig h t sons o f i t s b o rd e r i s th e home o f th a p arad o x ." Ih a t r a x lc paradox W hether th e re i s such a paradox in D ttrren m att's work depends on w hether we c o n sid e r 111 in P ar le su c h d a r a l t e n Pams (Ih a V is i t ) and rtfblue in Die fh v a lk a r tru e tr a g ic h e ro e s o r n o t. D esp ite D U rrenm stt's d e n ia l o f th a p o s s i b i li t y o f tra g e d y in our tim e , t h i s re s e a rc h e r b e lie v e s t h a t th ey a r e tr a g ic h e ro e s , and th a t i t i s q u ite 549 i j M t * r U l N h c th tr t h e i r p e rso n a l s a c r i f ic e ( in I l l ' s c a se t h a t o f h is l i f e . In ttffblus1 th a t o f h is fam ily l i f e , p ro f e s s io n a l c a r e e r , h a p p in e ss, and freedom ) succeeds o r n o t. The s a ta n lc parados T hera a r e two c h a ra c te r s who, lik e F a u s t, t r y to Ig n o re th e b a s ic Inadequacy and shortcom ings o f man and t r y to p lay God: 1. D r. feanenberger In P e r V erdacht (The S u sp ic io n , o r The Q u arry ), and 2. N ebukadnesar In Eln E nrol ko— t nach gaby Ion (An Angel Comes to la b y lo n ). Both f a i l , n a tu r a lly , J u s t as F aust f a l l s . The T w entieth C entury paradox S ir H orace Wood, th e e n lig h te n e d , p h ilo so p h ic f o r e ig n m in is te r and le a d e r o f Pas Untomohmen dor Weaa (P ro je c t V ega), d e s p ite h ie b e t t e r Judgment and h is f r ie n d s h ip w ith B o n ste tte n , th e le a d e r o f th e V enuslans, must o rd e r th e c o b a lt boobs to be dropped on th e p e a c e fu l, d e fe n s e le s s In h a b ita n ts o f Venus. The f a t a l i s t i c c r im in a lity o f Frank V and h is co h o r ts ("what we murder, dupe, and c h e a t—u s u re , s t e a l , and fe n c e , and lie --w e a l l do because we m ust") b e a rs out th e 350 M |i t i v < p a r t o f K ie rk e g a a rd 's paradox o f f a i t h : " I f C o d 's w i l l i s o n ly th a n e c e s s a ry , nan Is s s s a n t l a l l y a s speech- la s s as th a b r u te s ." Tha ta a c h a r and th a d o c to r In P ar ia su c h d a r a lta n both c le a r-h e a d e d nan o f good w i l l , neks a l a s t at* te n p t to n e g o tia te a way o u t o f th a d lle s n a fo r t h a l r can - n u n lty . Whan I t f a l l s In th a fa c a o f th a overw helning n ig h t o f nonay and th a stony d a ta r n ln a tlo n o f th a o ld lad y , and whan a ls o th a a tta n p t to w arn 111 Is f r u i t l e s s , th ay g lv a up and Jo in th a nob. Newton and B ln s ta ln In P la fh v s lk s r axcusa t h a l r n u rd a rs In I d e n tic a l words as J u s t i f i e d by " o rd e rs " and p o l i t i c a l n e c e s s ity , and t h a l r vaunted "fra a d o n o f sc iatica" tu rn s o u t to ba s la v e ry both In th a " f r e e w orld" and behind th a Iro n C u rta in . o f th » v . l U n t h i m T his Is P ttrre n n a tt* a v ary own way out o f th a d ie - n a l l t y o f th a T w entieth C entury paradox. A lthough ha t r i e s v a ry h ard to sta y n o n c o n s ltta l In n o st o f h is o r a l and w r itte n u tte r a n c e s , and though ha Jokes about th o se idio " se a rc h d a s p a ra ta ly In th a ch ick en coop o f wy drones fo r th a egg o f e x p la n a tio n , td ilch I s te a d f a s tly re fu s e to 551 la y ," * va can a a fa ly a a s u m th a t t h l a paradox la c lo a a to h la h a a r t. And, v o ra th an b a in s D ttrra ta a tt * a own p a t ba- l l a f , I t M y a la o ba a p a c u lla r ly S vlaa paradox: th a S vlaa hava v a a th a ra d two v o rld v a ra u n a c a th a d ; d u rin g th a aacond ona, aa ca p tu rad docuM ntad avldanca haa ahovn, t h a l r co u n try v a t th ra a t l a t a achadulad fo r Invaalon by th a M asla, Ih a Svlaa knav vary v a i l th a t th a lr a vaa a h opalaaa cauaa and th a t th a y v a ra tr u ly " I lk a O u lllv a r a a o n i th a g la n ta ," but th ay d id n o t d a a p a lr. Thay arvad to th a tb a th , kap t 600,000 v a l l - t r a ln a d awn undar a ra a a t a l l tlM a (a c o lo a a a l a rv y fo r a n a tio n o f not vuch a o ra th a n flv a a l l l i o n p a o p la !), p raparad to av acu ata th a v h o la lo v - ly ln g " H ltta lla n d " and to v lth d ra v a l l t h a l r fo rc a a and ■oat o f t h a l r p o p u la tio n to th a " ln n a r f o r t r a i t , " th a haav- l l y f o r t I f l a d and v a ll-a u p p lla d G o tth a rd -M a a a lf--th a ra to dafand th a a ta lv a a ln d a f in I ta ly and. I f n a c a a sa ry , to th a d a a th . Thla v a s , Indaad, th a a t t l t u d a o f " I n v lc tu a ," th a paradox o f th a v a lia n t huatn b aln g . Ih a f a t young van In th a a h o rt a to ry , *1)ar Tunnal" (D U rranM tt h l v a a lf ? ) , la th a o n ly ona vho, calaily and ^T h aa ta ro ro b laM (5 th ad .;Z < lrlch : 1955), pV rT 352 l a r t M l y , fa c e s d eath on th a t runaway t r a i n which ra c e s tow ard th e c e n te r o f th e e a r th . The a c tr a s s in *Der I h e a te r d lr e k to r " d e f ie s th e a la lg h ty d ir e c to r to th e l a s t , though she has no hope o f w inning. Old P o lic e C on n ieslo n er B frla c h , a o r ta lly 111 w ith sto a sc h c a n c e r and, because o f h is r e t l r e a e n t , w ith o u t th e re so u rc e s and p ro te c tio n o f th e p o lic e fo rc e , tra c k s down and fa ces a f a r s u p e rio r eneay In P t r V .rd .c h t (1h« Sus p ic io n , o r The <hiarry). In lU lc h tllc h .. C « p r» e h nit « l n f v . r . c h t . t . n Henschen (N octurnal D ialogue w ith a D espised N an), th e w r it e r fa c e s th e e x e c u tio n e r and trlu a p h s through h is "hua- b le way o f d y in g ." Count tfbelohe In Die th e des H arm M is s is s ip p i ends up d e fe a te d , ru in e d , and r id ic u lo u s , b u t c o n tin u e s to f ig h t h i s lo s in g , h o p eless b a t t l e fo r a b e t t e r w orld. age to r e a a ln a fre e b eg g a r, alth o u g h th e s t a t e t r i e s to b rib e h la w ith w e a lth , p o s itio n , and s e c u r ity and th re a te n s h l a w ith to r tu r e and d e a th . At th e end o f a aovlng fa re w e ll sce n e, to a u lu s say s to h is d a u g h te r, t e a : . . le a r n to conquer f e a r . T his 553 i t t h t only t r t tit t u t c m aatar in t i n t a Ilk a t h t t t . f a a r - l a t a l y to look t t th ln g a , f t t r l t a a l y to do r ig h t* * ! h tv t worked a t I t a llf a tlm a ." H it b ah av lo r w ith th a a a t a tt l n a an d r l a t e r , w ith t h t T auton conquerora c a r ta I n ly p ro v tt h i t v a lo r. Mian t h t t h r t a p h y tic le ta , a f t e r t h a l r h aa ta d d e b a te , hava agreed on t h a l r c o u ra e , th ay pladga them aelvee In a t o a t t th a t anda In four ln tp lr a d paradoxea: **Glva ua th a itr a n g th to guard f a i t h f u l l y , a t fo o la , th a a a c ra t o f our acia n ca* * crasy , b u t w lee--lJB prleoned, but fra a --p h y - a l c l t t a , b u t n o t g u ilty .* ' Tha paradox In a a n a ra l K ara, f i n a l l y , a r t groupad to g a th a r a l l th o aa p a ra dox a t which rem ained u n c la ta I f la d and, ac co rd in g to th a c r l t a r l a In C haptar 1 , u n c la a a I f la b ia : K vll a t an unavoldabla concom itant to th a tr u t h occura In th a ab o rt a to ry "Dar Hund" (Ih a Dog). Tha b la c k b a a a t a tta c h a a h l a t a I f to whoavar p ro c la la a o r ra p ra a a n ta th a t r u t h . Thla a lra a d y forauhadowa D d rra n a a tt'a l a t a r caaa a g a ln a t "w orld re fo rm era " In H la a la a lp p l-* th o aa who a r a convlncad th a t th a y hava a monopoly on th a t r u t h and b rin g only m lafo rtu n a on tham aalvaa and th a w orld. 554 I n 'P le S ta d t" (Ih a C ity ) , th e guard la as u n fra a as th a p ris o n e r s ; In f a c t , In th a and, « • e ra l a f t In u t t e r co n fu sio n a s to Mho is a guard and tdio a p ris o n e r . Ih a paradox o f u n c o n d itio n a l f a i t h i s re v e rse d ( I lk a a n e g a tiv e o f a photograph) In P ar V ard ach t. Only th a e v i l o n es, Dr. Bnnsnberger and th a n u rse B llfrl C lau b er (th a naae naans " c le a r b e lie v e r " ) hava a b s o lu te f a i t h and c o n v ic tio n ; B K rlach, th a h e ro , Is no lo n g er su ra o f h is f a it h and to o h o n est to p ro fe ss a f a i t h ha no lo n g er h a s . In Ola Panne (Ih a Breakdown), a te c h n ic a lly and le g a lly Innocent nan I n s i s t s th a t he Is g u ilty and e x p ia te s t h i s g u i l t by hanging h ls w e lf. A rc h llo c h o . In C r ltc h . »ucht C r t.c h ln ( C r .tk Han Seeks Greek H elden), as long as he Is a s e lf - r ig h te o u s , o rd e r ly , s to u tly r e lig io u s p i l l a r o f s o c ie ty , Is n o th in g b u t a p o o r, b lin d , deluded fo o l. But a f t e r h is whole a r t i f i c i a l w orld h as crash ed to p ie c e s around h ln and he sta n d s v ls -fr-v ls de r l e n . he I s , a s th e w ise o ld p re s id e n t t e l l s h la , " In a s t a t e o f g r a c e ," and g ra c e , In th e shape o f h i s lo v e ly C hloe, does fin d h la in th e end. In Pas U nternehnen d e r Wexa (P ro je c t V ega), Venus Is "a h e l l th a t Is p a r a d is e ," th e B arth "a p a ra d ise th a t la h a l l . " The l a t t e r paradox approaches S a r t r e 's W o B ait 555 where " h e ll i s o th e r p eo p le" In a f a ir ly p le a sa n t draw ing ro o a . Prank V La a liv in g paradox: " I a a no bank d ir e c t o r , I a a , u n f o r tu n a te ly , a th o ro u g h ly good a a n !" Ih a v lck ad C h ief o f P erso n n el, E g ll, In Prank V u p b ra id s h la a a n : *'!■ t h a t an axcuaa to a c t Ilk a a co a- p la ta ly dacan t person?.' , . . a ta y g an g atara! I ap p aal to your c o n a c la n c a !" Ih a t i t l a , Koaulua th a C ro a t, fo r a p lay about l i t t l a Koaulua A ugustulua and th a a u b tl tla "an u n h la to rlc h i s t o r i c coaady" a ra obvloua paradoxaa. In P ar Kaauch d a r a lta n P a a s . th a c ltla a n a o f GUIlan a ra fo read to bacoaa d r a a a tic through th a l r v a ry r e f u s a l to ba d r a a a tic ; bacauaa th ay do n o t want to d ecid e and a c t ona way o r th a o th e r , th ay a l i t h a r In to te a p ta tlo n and hava to a c t . Tha e a c r lf lc e aada by 111 doe a n o t ra d aaa th a coa- ■ in lty o f GUI la n ; o ut o f th a f u l f l l l a a n t o f J u s tic e r a a u lta In J u s t le a , o u t o f th e h orn o f p le n ty flow c o rru p tio n and decay. P er la such d a r a lte n Paae shows t h a t s o c ie ty 's I n s t i t u ti o n s and laws d eb ase, r a th e r th an enn o b le, th e In d iv id u a l. 556 The a o i t I n t e l l i g e n t aan o f C tllle n , th a te a c h e r, fo ra aaa a what la about to happan and knows t h a t to th a G ttlle n e rs, to o , "an o ld lady w ill cone sows day" to daaand a re c k o n in g , b u t soon, in a few hour a , ha w il l no lo n g er know I t . I l l , th a only ona who ovarcoaaa th a In n a te coward- le a o f aa n , la a a c rlflc a d to th la cow ardlca Ilk a a e a c r l- f l c l a l |o a t . "Up In to th a d ap th a" In MUblua* gruesowe “ realm o f Solow on--to aln g to th a a s tr o n a u ts ," la a v e rb a l paradox. C o a p lU tlo n o f t h . Ho»t l a o o r t .n t In atan caa o f th a C rotaaqua T h. f . n t o t l c . b l l « r r « . w t r d . a u o a m a tu ra i o r aubhuman Aa can ba e x p e c te d , th la ap a claa o f th a g ro tesq u e o ccu ra wore o fta n in D U rrenw att*■ e a r l i e r , e x p re a e lo n le tlc w ork, th e n re c e d e s , and haa d laap p aarad e n t i r e l y In th a n a tu re work o f th a la a t a lx y a a ra . Sowa o f th a a a a r a : 1, Tha b la c k dog aa th a ayxbol o f e v i l In th a a h o rt s to r y , **Der Hund." 2. Tha th re e h o r r ib le o ld wowan in th a ah o rt a to ry , "D ie S ta d t." p o a a lb ly sta n d in g fo r th a F a ta a . 337 3. lh« unexpected tu n n e l le a d in g o u t o f a p le a e a n t s m e r landscape In S u ita e rla n d down to th e c e n te r o f th e e a r th . 4 . Negro da fon te ( M th e black one from th e b r ld g O and h la h o r r ib le tr a in o f fo llo w ers In B it llln d a . c le a r ly rep resen tin g Satan and the h e llis h h o st. 5. Th. angal la I In Ina.1 h o t nm ch U brlon. 6 . The Jew , O u l l l v e r 's , superhuman s tre n g th and cunning In P er V erd ach t. and th e d w a rf'e sub human s k i l l a t fa q ad e-clim b in g and m urder. T h. a r o t . i q u . o f d lip r o p o r tto n . d l . t o r t l o n . and d . f o r a l t r 1. The g ia n t-a n d -d w a rf m o tif In P er V erd ach t: both G u lliv e r and th e o ld dw arf a re a ls o mon s te r s o f u g lin e s s . 2. A g ro te sq u e ly s h r iv e lle d , p in t- a le a d J o u r n a lis t In P er V erd ach t. 3. The g ig a n tic b ru te s in th e b u r ia l scene o f P er K lc h te r und s e ln H enkor. 4 . The fo u r g ro tesq u e o ld men In P ie Panne. 3. The *Tiedgehog giant** In P a . V a w n i h n (Tha r i o d , . ) . 5 5 0 6 . K orbci, th e faaoua w r ita r and m u n u rd a ra r In Abandatunda tm SnK tharbat (C loaalng In L ata A utuan). 7. Ilia n o n atro u a d ln n ara In P ar K lc h ta r. Ei a ta h t a a a c h rla b a n . and Dla Panna. 0. S u lphurldaa and fhoaphorldoa In K oaulua--a g a in th a g ia n t-a n d -d w a rf a u t i f . 9 . C la ira Z achanaaalan w ith h a r p ro a th a a a a . 10. F r l. D oktor von Zahnd, th a hunchbackad o ld a a id who tak aa ovar th a w o rld , in Dla H iv a lk a r. Tha aro taaq u a o f ln c o n a ru ltv 1. B krlach (Don Q u lx o ta), th a n o r ta lly i l l , phya- I c a lly h a lp la a a old nan tr y in g to conquar an i n f l n l t a l y a u p a rlo r a d v a ra a ry , i n P a r V ard ach t. 2. G u lllv a r, who haa ju a t k llla d D r. E aaan b arg ar, a n ta ra a ln g ln g "HKnachan k la ln . . a n u r- aary rtiyan. 3. Tha d a a th fa c to ry o f D r. E v a n b a rg a r in th a • l d a t o f o rd a r and paaca in S w ltcarland*a la rg a a t c i t y . 4 . Dr. M atthH l, th a ganlua o f c r ia n d a ta c tlo n , In Daa V aranrachan (Tha P la d g a ): "n o th in g la n o ra 559 c r u e lly gro tesq u e th en th e genius who stuefcles av er som ething id io tic . . . " 5. 'foer T unnel"--apocalypse on e cheery n w r dey In S w ltte rla n d ; only two people on th e whole t r e l n know I t - - t h e o th e rs su sp ect no th in g e t e l l . 6 . The rid ic u lo u s "n o ra l w orld renk o rd er" o f A rchllochos In C rleche sucht C rlech In (C reek Hen Seeks Creek M tlden). 7. The c y n ic sI l e t t e r o f T hykldldes, g en eral wanager o f th e Thykldldes Weapons C o rp o ratio n , to both w arring p a r tie s In Per P rosess \m das E ssie S ch atten (The Lawsuit over th e Ass*e Shadow). 6. The lu d icro u s hero-w orship o f a c la y -fo o te d n a tio n a l Id o l whose every b elch wakes head lin e s , c o n tra s te d w ith th e c a llo u s n e g le c t of th e r e a l war heroes In S tra n lta k v . 9 . The p a th e tic a lly n aiv e hopes o f S tra n lta k y and h is buddy, A nton, fo r t h e i r grandiose p lan s o f re fo rv which no one b u t they thews e lv es and t h e i r frie n d s tak e s e rio u s ly . 10. Count Bodo von tfbslohs In M is s is s ip p i. on A lb ert S c h w sitssr In r t v t m f who f a l l s In e v e ry th in g hs a t t t a p t i , y e t tn d i up w ith t r u s co n sc lo u sn sss o f Cod " In whoss m m hs alw ays r i s e s a g a in ." 11. Ths s a t In H 1 » s 1 s » 1 p p 1 . s conglom eration o f •11 s ty lo s snd p s r l o d i : through ons window ons sees s n o rth s rn lsn d scsp s w ith • g o th ic c a th e d r a l, through th s o th s r sn I t s l l s n sco n s. 12. S t. C louds In M is s is s ip p i. In 1 1 1 - f lttln g t a i l c o st w ith rod so ck s, gunnsd down to th s r i n g in g o f church b o l l s . 13. Ths lsngusgs In M is s is s ip p i t h s t bscomss s v s r ■ore grsnd lo s s snd pompous th s more v io le n t snd e a rth y th s e v e n ts s r s o n sta g e . 14. Ths b an k er, th s d o n k ey m llk d e a le r , th s w ins m erchant, and th s policem an a l l sin g in g lo v s songs to th s lu t s in Bln B n tsl k o s t nsch Is b v lo n . 13. Ths v is io n o f th s w orld as th s angel see s I t (" g ra c e --n o th in g b u t grace*') snd a s K urrubl snd mankind s s s i t ( " I n j u s t i c s , d ls s s s s , d e s p a ir • . . men a re unhappy"). 561 16. Ih a d e lib e r a te an ach ro n laae In Elw E n aa l. auch aa "old*B abyIonian e t r e e t c a r e ," b lc y c le e , au to t l r e a , gae le a p a , and p o a ta r coluaaia. 17. Tha In c ra d lb la in c o n g ru ity In fra n k V o f fla g r a n t g a n g a ta rla a in th a a ld a t o f th a flaw* laaa o rd a r o f S u ita a rla n d . 16. Tha in c o n g ru ity o f naaaa in K om ilua: Fyraaua and A c h llla a fo r two doddarlng o ld a a n ; S u l phur ld aa and Itioaphorldoa fo r two d ig n if la d c h a a b a rla ln a ; and a a p a c la lly CJfaar k u p f, th a c o a b ln a tlo n o f th a grand loaa ,*C6aar*' w ith th a ugly and p ro a a lc " k u p f," Which aaana to " p lu c lf o r to " c h a a t." 19* Tha 't> lan atn lln n art " o r u n lfo ra a d n o v era, who go u n p artu rb ad and ia p a rtu rb a b ly about t h a l r bualnaaa In k o i l u a . Ig n o rin g th a c o lla p a a o f th a koaen E ap lre and th a approach o f th a T eutonic hordae. 20. Tha hollow p h rasea o f T u lllu a kotundue w ith which h a t th a c i v i l i a n , t r l a a to " b o la ta r th a a o ra le " o f A e a llla n , th e b i t t e r re tu rn e d a o ld le r . Tha In c o n g ru ity l l a a betw een h la ahallow o p t l a law and th a g r l a r e a l i t y . 21. I h t a n d - p a th o s o f th a and o f Act 11 o f t o w * l u s : a f t a r R oaulus has J u s t shown th a grandaur and s ta a ly d a ta r n ln a t Ion w orthy o f a R osin aw paror, ha Iw w adlataly r a v a r ts to h is lu d i c ro u s r o la o f ch lck an b ra a d a r, idtlch aakaa th a a x a sp a ra ta d A aal 1 la n axe la i s : '*TMs a a p a ro r h as got to g o !" 22. Ih a and o f fto w lu s , t h i s " i a p a r l a l chlck an b ra a d a r, t h i s cosw lc Judga d lsg u lsa d as a f o o l, whosa trag a d y l i a s a x a c tly In th a cowady o f h i s an d . In h is r a tl r a a a n t " In sta a d o f th a h a ro lc d a a th a t th a hands o f th a T tu to n s th a t ha had plannad fo r h l a s a l f . T his Is th a d lr a c t c la s h o f huwan p la n w ith ra a llty --* 'l* h o a w a pro p o sa, D lau d ls p o s a .” 23. Rowulus, an u n am ad , d a fa n s a la s s , a ld a r ly a a n , f a r frow b aln g a f r a i d , a tta c k in g and ac cu sin g h is w ould-ba a s s a s s in s . 24. Ih a g ro tasq u a d lsc ra p a n c y batw aan th a a s s a s sin s* Id sa o f llb a r a tln g th a asp I r a o f an un w orthy aw paror, and r a a l l t y . In which th a aw paror Is a s u p a rlo r b a ln g , and th ay a ra un w orthy pygwlaa. 25. Tha g ro tasq u a anachronic** and d la c ra p a n c la a w ith h is to r y aa wa know I t , In th a l a s t con- v a r a a tlo n of Fyrawus and A c h illa s on th a aorn* in g o f th a l a s t day o f th a Rowan I s p i r a . 26. Rowulus, lik a D ttrranw att who c ro a ta d h i* , posas as a friv o lo u s n i h i l i s t and i s , in r a a l l t y , an a a rn a s t w o ra lls t and p a c i f i s t . 27. Ih a scana in P a t a r 's b arn in th a b ag in n in g o f Act I I I o f P . r — ucli d « r a l t m D m . «A i.r. two fo rw a lly d ra ssa d wan, th a ta a c h a r and th a R o c to r, s i t on a d i r t y b a r r a l in a d u sty barn undar la rg a apldarw abs, fa c in g a w alrd o ld wowan in a b r id a l gown, s i t t i n g in a c h a ls o . 20. G U llan, th a snug l l t t l a o ld tow n, as th a acana o f a a i n 1 sta r , a a c ra t ly n ch in g . 29. Tha cow plata lw p a rso n a llty and datachw ant o f 111 and C la lr a , d is c u s s in g I l l ' s iwpandlng d aath a t th a hands o f h la fa llo w e i t l i a n a , to th a s t r a i n s o f th a fo lk song, hows town swaot and d a a r ." 30. Tha c liw a c tlc In c o n g ru ity o f th a scana in which C la lra S a c h a n a sa ia n 'a b aq u ast ia p u b lic ly announcad in words th a t " a ra co w p lataly c la a r 564 to *ny ln sld tr And fo o l Any o u tsid er." 31. The " b elievin g scene" in R o t l m . wherein l o w l u i , E a p m i J u lia , And Caper or Z#no Alt And " b eliev e," without rAAlly hovlng Anything to b eliev e In. 32. ThA Idaal i t t l e plAna o f th# thro# p h y tic1 st• In th a and o f Dla H iv alk o r. ovarthrow n by a h o rrify in g r a a l l t y . 33. Tha pseudo-antique c h o ru ta t o f P ar la tu c h d ar a lta n Pa— and H orkulos und d ar S t a l l daa A u a la t. w ith th a wlda gap batwaan th a a la v a ta d ■olaw nlty o f t h a l r fo n t and th a grubby r a a l l t y o f t h a l r c o n te n t. 34. Ih a aeenlngly c h e e rfu l, Innocuous s o ttin g o f Dla Fhvslkor w hich, lik e C U llen, bee owes a l l th a wore h o r r ib le because o f th a c o n tra s t batwaan I t and th a ev e n ts ta k in g p lace th e re . 35. A lady w restler and a n ation al Judo chaaplon ara Murdered by two e ld e r ly s c ie n t is t s , ona o f whosi Is a " fr a il" v io lin player. 36. D uring and a f t e r th e s tra n g lin g o f S is te r Mon ik a wo hear E in s te in p lay in g th a love song, "Schtfn R o sa a rln ." 565 37. A fte r th e h o r r ib le denouenent o f Die fh y s lk e r, f i n i t e In p lay s "L le b e e le ld " (S u ffe rin g Love*') by K re ls le r. The s tic k y sw eetness o f th e two K re ls le r M elodies le In n l — c o n tr a s t to th e g r i s l y ev en ts o n sta g e . Coll«p.»d .ol^nltr 1. The fu n e ra l scene In P er K lc h te r. 2. The p re n stu re a r r i v a l o f C la ir e Z ach an asslan , which ru in s th e c a r e f u lly planned re c e p tio n w ith th e speech o f th e s iy o r . 3. Tha te a c h e r 's c h o ir Is b ein g drowned out by th e ro a r o f a p assin g t r a i n . 4 . In K qmuIu s. th e planned r e c i t a t i o n o f th e fo u r thousand v e rs e s o f "For su cco r I beg you • • •" which tha B yaantine c o u rt c e re n o n la l p re s c rib e s fo r asy lu n * seek in g e n p e ro rs, Is ru d e ly c u t sh o rt by K oaulua who has th e two c h a h b e rla ln s thrown out and locked In th e ch ick en coop. 5. At t h . b a n q o a t In D r ■ . i n c h a . , . i f n .— t h . o l d l a d y ' , r.ply t o t h . u.yor'• . p M e h f u l l o f u n c t u o u s M i s i n f o r m a t i o n I s a n a b s o l u t e l y b r u t a l and h o n e s t c a p s u l e b i o g r a p h y o f h e r 566 youth In O tllU n , Which a tk c a th e f a l i a io l# » - n lt y c o lla p s* a t ones. 6 . D uring th a solemn " o a th ," o r v o te , o f th a s a l# c ltla a n a o f O tlllan on th a accapcanca o r r e je c - tio n o f th a o ld la d y 's b e q u e s t, th a a l a c t r l c c u rra n t fa ad ln g th a ta la v ls lo n and movie cem- a ra a f a l l s ; som ething h ig h ly d ram atic in v o lv in g a d a c ls lo n o v ar U f a o r d a a th Is made r i d i c u lous by a te c h n ic a l f lu k e - - " th e t r i f l a o f a th in g b elo n g in g to a low er o rd e r, Which, h e re to fo re h id d e n , g a ts u n d erfo o t o f th a t sublim e th in g and makes I t c o lla p s e ." P . f U t . 4 i . l f - l a p o r t . n c . o r p u n ctu red d le n ity 1. At th a b eg in n in g o f th a a s s a s s in a tio n sc a n s, th a a s s a s s in s In tom ulua a r e convinced o f t h e i r m issio n and Im portance as la tte r - d a y B rutu ses and s a v io rs o f th e toman Em pire, b u t one c ry o f "The Teutons a re com ing!" makes them s c a t t e r to th e winds and shows thsm up a s th a cowards and s e lf - s e e k e r s th ey r e a l ly a r e . 2. S p u rlu s T itu s Mamma, s e lf - s t y le d s a v io r o f th e f a th e rla n d , Is b ein g shown how u s e le s s and p o in tle s s h is cardboard p a t r i o t I n l a . In a f la s h , th a nob la h aro b a c o n s an angry l i t t l s boy, throw s h is parchment to th a f l o o r , Jumps on I t and scream s, *1oaa has an abom inable em peror!" The m ono-m aniacal s e lf-im p o rta n c e o f F lo re s ta n M is s is s ip p i (shown a ls o In th a lu d ic ro u s grandeur o f h is assumed nans) a s th e as>dern g u ard ian o f th a Mosaic law. In th a and o f th a n o tio n p ic tu re v e r s io n , ha Is e x h ib ite d , Ilk a an an im al, to a crowd o f s tu d e n ts In th a In san e a sy lu n . M aras, th a new ly-appointad "M arshal o f th a Roein E m pire," fan cy in g h im se lf a g re a t m i li ta r y s t r a t e g i s t , Is given only th a f i f t y se n o f th a Im p eria l bodyguard and to ld th a t a r e a l ly g re a t commander does n o t need any more tro o p s . The te a c h e r and th a d o c to r In P ar loeuch d a r a lte n Pams, se e in g thesm elves as g re a t lo c a l p a t r i o t s who s a c r if ic e d t h e i r c a re e r s to t h e i r love fo r t h e i r hometown, a re b r u ta lly to ld by th a o ld lad y : "Your hope was a d e lu s io n , your 5 6 1 i tM d f a i t M H u n u l i B i , your i i c r l f l c t a s t u p i d i ty , your M holt I l f * u M l i a i l y thrown owsy*H 6 . ItabukatfM M T , In l l n t n w l h t m c h te b r lo n . c o n a ld a ra th a In a la to n c a o f K urrubl on lo v in g him o nly in h i s b a g g a r'a d la g u la a i a an a f f r o n t to h la ro y a l p arso n and th a ld aa o f k in g sh ip In g a n s ra l. fh v a lc a l M echanisation 1. Tha court o f Nahukadnasar hiding bahlnd a wall upataga and aaarging with bowa Ilka Jack-ln- tha-boxaa tdianavar tha naai o f H is M ajesty la Mentioned. 2. lh a p o ata In E ln Enaal ko— t nach Babylon 4 'popping out'* o f t h a l r c o f f in s whanavar food la ■ an tlo n ad , and sc u rry in g back In to th a n Ilk a cockroachaa whanavar a n y th in g frig h te n in g o c c u rs. 3. C la Ira Z a c h a n a ssla n 'a body th a t c o n a la ta p a r tly o f p ro sth a a a a . 4 . Tha f a r c i c a l ta b l a - s a t t l n g r o u tln a In Dla H iv a lk e r. w haraln th a guards s a t th a ta b la Ilk a w a ll- o lla d n ach in aa upon coanands fro * th a haad 569 guard. 5. Iha a n t - h ill- I lk a organ isation o f tha f a t I t - Fayaan factory wbare Archllochoa (Or loch a aucht C rlechlnl w o r k a --fifty bookkeepera In ona larga rooa, a l l in gray e«ocko, a l l a t a ta a l and glaaa ta b le a , a l l w ith panel la bahlnd th a lr ear a , a te . Thla exaaple overlap a, o f courae, another category o f tha grotaaque, th at o f M u ltip lic a tio n . 6 . The ’V e te r c lo a a ta " ( t o i l e t a ) in th a la rg a b lo ck o f dingy a p a rtn a n ta who re A rchllochoa llv a a a re o p e ra te d w ith M ach in e-lik e r e g u la r i t y , in c lu d in g llg h ta , n o la e a , and odora. H.nt.1 r U U ltr 1. The Mouroera in th a fu n e ra l acene in P ar K lch- t a r und a a ln H anker, alth o u g h a l l a b le -b o d ie d p o llcen en who could a a a lly ato p any d la tu rb a n c a o f th a peace, a re ao fro te n in t h a l r ahock a t th a rude in te r r u p tio n o f t h a l r ao lean ceresony by th a two drunken g ia n ta th a t th ey a re unable to r e a c t. 2. D r. fta a n b a rg a r, th a "sad a c l e n t l a t , ” in P ar V n U c h t. I h i c h ric w o rld -ra fo rn a rs , M is s is s ip p i, s c . C lau d st and tfbaloha, aach ona r i g i d l y s a t In h i t own id a o lo g y .a ra a l l d a fa a ta d by D lago, cha Mini s t a r ( " S ir lh o a ia " In th a n o tio n p lc - tu r a v a r s lo n ) , who haa no Idaology and no p rln c lp la a W hatavar. Pyranus and A c h illa s , th a two c h a a b a rla ln a o f E onulus, a r a c a r lc a tu r a a o f c a lc lf l a d b u raau - c r a ta . Tha a s s a s s in s in Konulus In t h a l r i n a b i l i t y to absorb any naw id a a s. Pyranus and A c h illa s in t h a l r d la lo g o s on th a m orning o f th a liq u id a tio n o f th a a n p lra show th a t th ay a ra q u lta in cap a b la o f saaln g bayond t h a l r own t i n s , Tha and o f th a gonan E n p lra , t o th a n , i s sim ply th a and o f th a w o rld , th a apocalypsa a t la rg a . Tha o ld la d y , C la lra Z ach an asslan , who la v a r i o u sly d a sc rlb a d a s "u n c h an g aab la," ''r i g i d , " " p a t r l f l a d ," and "a ro b o t in s p i r i t . " lh a r a i s not th a s l l g h ta s t changa o r d av alo p n sn t in h a r o r h a r p lan s d u rin g th a p la y —only pao p la and c lrc u n a ta n c a a around h a r ch an t* . Tha conductor who p ro te a ta th a usa o f th a awergency b raka undar any c lrc u M ta n c e a bacauaa I t would u p aet th a t r a i n ach ad u la. Tha ra p o rta ra a r a ao determ ined to g a t only b a a u tlf u l a u rfa c a c ilc tU e t h a t th ay hava a t r l t a l l t t l a lo v e-a n d -m arriag e a to ry a l l raady f o r Mr a. t l l * a en d o reem an t--th ereb y c h a a tln g them eelvea out o f th a g r a a ta a t acoop o f t h a l r c i r t i n a Tha c o u rt poat C nadanbrot Suppa In P a r l l l n d a . w ith h la d ra a d fu l tra g e d y , H aa to r. la a ru n n ln a ggg. Tha d rin k in g o f polaonad c o ffa a and th a fa a r o f I t become a ru n n ln a a a a In H le e le a lp p l. Tha aa aaaaln a In K o ilu a a r a d laco v arad ona a f t a r a n o th a r In v a rlo u a u n com fortable h id in g p la c a a . Tha acana batw aan Romulua and O doacar: th ra a tim es th aaa a n ta g o n la ta t r y to a c t , r l a a , con v in c e aach o th a r o f th a f u t i l i t y o f t h a l r 572 a c tio n s , and s i t down a g a in . 5. S p u rlu s T ltu a Maawa w ith th a v i t a l was saga t h a t ha cannot d a llv a r and th a ravanga ha cannot ta k a a l l through th a p la y , i s th a ru n n ln a m i o f l o a u l m . 6 . Tha G ttlla n ara, bacausa o f a powar f a l l u r a , w i t ra p a a t th a hollow pathoa o f t h a l r sp u rio u s o a th , th arab y ra n d a rln g I t avan hoiIow ar and p h o n lar. 7. Tha alw ost id a n tlc a l c o n fa sslo n s o f Mawton and E ln s ta ln o f t h a l r raaso n s fo r th a a u rd a ra th ay c o w s ltta d --p ra v lo u s iy c lta d as an ax aap ia o f th a TW antlath C anturv paradox. M u ltip lic a tio n 1. Tha B ouroars In th a b u r ia l scana o f Dar R lc h ta r und s a in H ankar—a i l p o llc a a a n , a l l In c i v i l i a n c lo th a s , a l l w ith th a saaa r a in c o a ts , w ith th a •ana s t i f f b la c k h a ts , u n b ra lla s In hand ilk a a a b ra s. 2. Tha two p a r tla a o f " th a Shadows" and " th a A saas" which f o r a around th a v ary a la p la Issu a o f Tha Law suit ovar th a A ss1 a Shadow. The t h r u c o H u n ta t h itc h a t * tn who shoot S t. Claud* In M is s is s ip p i, a l l In tra n c h c o a ta , a l l w ith ra d erhbands. ♦ Tha th r a a r a i l * lout la a d a rs who com In a d a ta m ation to th an k A n a sta sia (M is s is s ip p i! fo r h a r s a l f l a s s work In th a p ris o n s . T h is i s a ls o an am isin f ax aap ia o f In c o n g ru ity batw aan th a Idas th o se w orthy non h av e, and th a r a a l Anas t a s i a who Is so v ary d l f f a r a n t . Tha th r a a A n a b a p tists In th a opanlng scan s o f Es s ta h t a a tc h rla b a n . Tha th ra a b a f f a r s In E ln E nrol ko— t nach E abvlon. a l l In r a g s , a l l w ith long rad b o a rd s. Tha fo u r u n llk a ly tro u b a d o u rs, th a b a n k e r, th e d o n k a y -a llk d a a la r , th a wlna M rc h a n t, and th a p o llc a M n , a l l accompanying th o M S lv a t on " o ld - B abylonlan g u ita rs * 1 and s in g in g lova songs to K u rru b l-p re v io u sly l i s t e d as an a y sa p la o f In c o n g ru ity . Tha p o e ts In th a ssm p la y , p re v io u sly c ite d under — c h a n lx a tIo n . Tha c o l l a r scone In Frank V; one by one th a c h ie f aaployaaa e n te r , a l l c a rry in g haavy b la c k s u itc a s e s w ith t h e i r i l l - g o t t e n sa v in g s, sandw iches, th s ra o s f l a s k s , mod two subns chine guns ea ch , which th ey k s ip p o in ted a t ssch o th e r , lu rk in g and w atching aach o th a r as th ey chasip away a t t h a l r v i c tu a ls . 10. Tha two chaafcarlaln s o f l o w l u s and o f Zeno-- th a d av lca o f th a p a l ra d coned Ian s. 11. Tha a s s a s s in s in R ouulus. a l l w earing b lack c a p a s , a l l c a rry in g d a g g e rs, a l l in u n c o a fo rt- a b la h id in g p la c e s . 12. Tha b rib e ry scans In P ar ls s u c h . tb s n C la Ira b rib e s th a p ro te s tin g co n d u cto r w ith a few "th o u san d t " and th a sp ell-b o u n d crowd re p e a ts th a fig u re s In a n u rn u r. 13. The two c a s t r a t e s , Roby and Loby, a ls o an ex aap le o f th a g ro tesq u e s u i t l p l l c a t I o n o f nanes In which th e o ld lady In d u lg e s: Boby, Roby, Toby, Roby, Uoby, Hoby, and Zoby. 14. Tha yellow shoes th a t everyone in G tlllen buys and w ears a s " th e n ark o f C a in ," th a v is ib le sig n o f th e n o ra l c a v in g -in o f th e town. T his Is one o f th e r a r e ex an p les o f s u i t l p l l c a t i o n c r e a tin g a w e ird , frig h te n in g e f f e c t . A nother frig h te n in g e f f e c t o f m iltI p llc a tI o n I s tb s sc sn s a t th e s t a t i o n , when tb s crowd o f " f r ie n d s end neighbors** who hevs cows, p u r p o rte d ly , to see 111 o f f , re p e e ts c e r ts I n key words lik e a a g lc In c e n te tIo n s : *H sre you e r e s e f e s t " - - " s e f e s t , s e f s s t , " e tc . costcm lna lo c k s Is o n , who Is f i r s t In tro d u ced es e regged t e l l o r 's e p p re n tic e , l e t s r ap p ears es "King lo c k sIso n " In n e g n lfle s n t r e g a l ia , end K nlpper- d o llln c k , th e fo n eer r ic h nan, re a p p e a rs In a to m s h i r t . Mebukadneaar w ears th e costim e o f a b eg g ar, but n o t v ery s u c c e s s fu lly . S t. Claude In M is s is s ip p i w ears a "borrow ed," 1 1 1 - f ittin g t a l l co a t and re d socks In h is f i r s t ap p earan ce. The a s s a s s in s In lo a u lu s wear th a t r a d i t i o n a l g arb o f c o n s p ira to rs and w u rd e re rs--b la c k capes and d ag g ers. Newton and E in s te in a re In co stu n e d u rin g th e e n t i r e p la y . 576 6 . Tha guards In Die f t w i k t r «ho had f i r s t playad " n u r s e s ," suddenly re a p p e a r as ty p ic a l t o t a l i t a r i a n i t r o n i a r a a in In b lack uniform s w ith sh o u ld ar h o ls ta r s and s ld a aim s. 7. tfbelo h e, fo r h is f in a l monologue in t i ls s i s - s l p p l . is a t t l r a d in a d an tad p o t-m a ta l h elm et, w ith a b an t lan ea in h is r i g h t , th a r a c u rrs n t c i r c l i n g shadow o f a w indm ill tw eeplng ovar h im --a c la a r ra fa ra n c a to Don Q uixote. C o n c lu .lo n . In try in g to d atarm lna v h lch paradox and which form o f th a g ro ta sq u a a ra th a most im portant in DUrren- m i t t 's w ork, th a a a s la s t way is to sq u a ts im portanca w ith fraq u an cy , th an sim ply to count th a In s ta n c e s , and th u s to a r r iv e a t a "ran k o r d e r ." I t i s e a s y , Indeed, b u t n o t v ary f r u i t f u l . T his re s e a rc h e r la a stau n ch foe o f th a q u a n ti t a t i v e o r s t a t i s t i c a l method in th a h u sm n ltlas and, in h is o p p o s itio n , lean s on th a fo llo w in g Judgment o f D r. Jung: The s t a t i s t i c a l method shows th a f a c ts In th a li g h t o f th a id e a l a v e ra g e , b u t does n o t g iv e us a p ic tu r e o f t h a l r e m p iric a l r e a l i t y . M ills r e f le c ti n g an in d is p u ta b le a sp e c t o f r e a l i t y , I t can f a l s i f y th a a c tu a l t r u t h in a most m isle ad in g way. T his i s p a r tic u la r ly tr u e o f th e o r ie s which a re based on s t a t i s t i c s . The d i s t in c ti v e th in g about 577 m l f i c t i , h o m t r , Is t h e i r in d iv id u a lity . . . one could say th a t th a r a a l p ic tu r e c o n s is ts o f n o th in g b u t e x c e p tio n s to th a r u l e , and t h a t , In consequence, a b s o lu te r e a l i t y has predom inantly th e c h a ra c te r o f I r r e g u l a r i t y .* In o u r p a r ti c u l a r c a s e . I t would be q u ite p o in tle s s to compere th e frequency o f , e . g . , g ro tesq u e r e p e t it io n In th e f u ll- le n g th p lay s w ith th a t In th e ra d io p la y s , o r to compare fre q u e n c ie s In th a th re e fu lly -a n a ly s e d p lay s w ith th o se In th e o th e r works d tlc h were o n ly c u r s o r ily d i s c u sse d . With th e s e r e s e r v a tio n s , and in o rd e r to throw a t le a s t a bone to th e In v e te ra te h ea d -c o u n te rs and s t a t i s t i c i a n s , th e fo llo w in g frequency ta b le s , T ables 1 th rough A, a r e p re se n te d . I f th e s e ta b le s have an y th in g to convey, th e y speak fo r th em selv es. One c o n c lu sio n m ight be drawn from T ables 1 and A (and even I t I s only e h y p o th e sis u n t i l proven by a com plete a n a ly s is o f D ttrren m att's e n ti r e work and an e x a c t ta b u la tio n o f a l l in s ta n c e s o f th e p a ra dox and th e g ro te sq u e by p e rio d s ): a s he m atu res, th e a u th o r seems to to n e down more and more h i s y o u th fu l penchant fo r e x p r e s s lo n ls tlc and g ro te sq u e e f f e c ts and to C a rl 0 . Jung, The U ndiscovered S e l f , tr a n s . F, F. C. H u ll (io s to n : L i t t l e Brown A Company, 19$7, 1958), p. 9 . 378 TAILS 1 INK THUS HAJ08 PLAYS OP D0BBDMATT i m o t D K s or rsaquncY or: Paradoxee M ajor PU y l a b o r o f Inatoncoa 1. Dor Beeuch tf. a . Dane ) n 2. Dio Itiy elk o r ) 1 3. Boaulua 3 ln ita n c * ! o f th e G rotoaque 1. K o w lu f 28 2. Dor Bosuch 20 3 . DU P hyalkar 12 TABU 2 M AIN CATEGORIES OP PA BA D O K CS IB THE EHT1BE W O R K OP DdRUINATT, III OBDDt OP PRBQUBCY C ategory o f Paradox Bunber o f In e ta n c e e 1. Paradox In g e n e ra l (u n c la a a lflo d and u n c la e a lf U b le by th e c r i t e r i a o f t h la atu d y ) 13 2. Paradox o f th e V a lia n t Hunan Being 8 3. C h r le tla n , Ant 1-Bat Iona 1, 20th C entury Paradoxee A each A. T rag ic and S a ta n ic Paradoxee 2 each 5 7 9 TABLE 5 CATEGORIES OF THE GROTESQUE IN THE HIT IBS W O R E o r D0BRIIIMATT, 1 1 1 OBDDt OF rRBQUEHCY C itig o ry o f th a O ro tti^ u i Nuabar o f In s ts n c s s 1. In c o n g ru ity 39 2. M u ltlp lle n tIo n 15 3. D isp ro p o rtio n , d i s t o r t i o n , and d s f o r n ity 13 4. H ants1 r i g i d i t y 9 5. D ls g u ls s , co a tu aln g 7 B s p s tltio n 7 6 . Tha f s n t s s t l c , b l s s r r s , u s lr d , s u p s m s tu r s i, suM w bm h 6 C o llsp ssd s o la s n ity D s fls ts d a a lf - la p o r ta n c s o r punc- 6 tu ro d d ig n ity 6 V hyslcal a a c h a n ls a tlo n 6 TABU 4 COM PARISON Of INK rRBQUENCIES Of PA R A D O X A N D GROTESQUE IN THE BUST A N D SK0ND HA LVES O B DtfKRENKATT*S WRITING CAREER Y ssrs raradox C rotasqua 1943-53 18 73 1954-62 25 50 580 ten d w orm tow ard th a p h ilo so p h ic and a th lc a l paradox. I h l i la a ls o borna out by th a f a c t th a t th a two n o s t g ro tesq u e actn aa In a l l o f D ttrre n n a tt'e work (eabodylng a ln o a t a l l o p aclaa o f th a g ro tesq u e and by f a r th a la r g e s t m a te r o f ln a ta n e e a ), th a fu n a ra l acana In P a t t l e h t . r und » tln Hepfcer and th a a tte n p te d a a a a a a ln a tlo n acana In d a r C roaaa. wara b o th w r ltta n d u rin g th a f l r a t h a l f o f our a u th o r 's c r a a tlv a c a r a a r . Tha a a a a a a ln a tlo n acana waa w r ltta n fo r th a f l r a t v a ra lo n o f to n u lu a In 1948 and tak an o v ar In to to In to th a aacond v a ra lo n in 1956. la c oaaandat Iona fo r F u rth e r Study Tha b lu r r in g and avan o b ll ta r a t lo n o f th a c la a a lc c a ta g o rla a o f draws la ona o f th a n ark s o f our p re se n t t h e a t r i c a l s i t u a t io n , w hether wa uaa th a t a r n "a n ti-d ran a* ' o r th in k o f lo n e e c o 'e 1a b a la o f " n a t u r a l i s t i c cow ady," "p seudo-drana" o r " tr a g ic f a r c a ." Play fo r p la y 's aaka, th e a te r f o r t h e a t e r 1a sake a ra f a v o r ite slo g an s o f DUrren- n a t t and Ionesco. Tha pant ow ls lc and th a n ix in g o f th a b u rle s q u e , c o n ic , and tr a g ic d o n ln a te th a s ta g e : in g a c k a tt'a pantonlnea and claw nage t h i s te n d s tow ard th a t r a g i c a ll y c o lo re d a n t l r a a l l t y . In th a w r itin g o f Audl- b a r t l , D ttrre n n e tt, and A nouilh, th a c a b a r e t- I lk a scenea SSI p r t d o a l n i t t , c a r ic a tu r e s o f s o c ia l o rd e rs and human pat* te r n s o f b eh av io r sak e o f th e th e a te r a g a in an Instrum ent o f s o c ia l c r it ic i s m and p ro p ag atio n o f am ssagea. No wonder* then* th a t modern T h e a te rw iss e n sc h a ft. o r th e a te r s c ie n c e , has to move f a s t to keep up w ith t h i s ra p id change o f c u r re n ts and tra n d a . A lread y , d o c to ra l s tu d ie s o f th e language o f B recht and DUrrenmatt a re under way a t c e n tr a l European u n i v e r s i ti e s . H ere, th e n , a re a few su g g e stio n s fo r c o n trib u tio n s by American s c h o la rs : 1. Is th e re such a th in g a s tr u e trag e d y in modem drama? Has DUrrenmatt perhaps a c c id e n ta lly found a new modem form o f trag ed y ? To what e x te n t does D ttrre n sm tt's u n tra g lc , u n h e ro lc , p a ssiv e h ero meet th e c r i t e r i a fo r a c la s s ic hero? 2. Can D U rrenm att'a work be c le a r ly grouped w ith any c u rre n t "-Ism " In dram a, o r doea he stan d alone? 3 . K ierkegaard In "E ith er* *Or" w rote th a t o f one hundred young men who go a s tr a y In th e w orld, n in e ty -n in e a re redeemed by a woman, th e one- hundredth by d iv in e g ra c e . BUnalger b e lie v e s 582 t h a t D ttrrtflM Ct 1r t h a t oim. 3 To ex aaln e and • i t h a r prova o r d isp ro v e ch i* a c it M in t would ba a ch a11a n tin g study o f a o ra p h ilo so p h ic o r r a llg lo u s hua. 4. T abla 2 on paga 578 showad flfc a a n g a n a ra l paradoxee which wara u n c la ss I f lab la by th a c r l t a r i a o f t h i s stu d y . I t Is hopad th a t a n o th a r ra s a a rc h a r w ith a wore thorough ground ing In philosophy w i ll a n a ly se and c l a s s i f y th a so paradoxas. The c lo s in g q u o ta tio n , a e ta te n a n t wade by D U rrennett In 1951, b a r# ft o f a l l w isecrack in g le v ity , shows him a s a s a r lo u s , d eep ly concerned r e lig io u s th in k e r and nay p ro v id e a p o in t o f d e p a rtu re fo r a v ary d if f e r e n t atudy o f t h i s e n lg a a tlc g e n iu s: The p io u s f a i t h th a t c re a te d th a ta p e s tr y o f A ngers, knowing o f th a tr a n s lto r ln e s s o f th e w orld and at111 n o t d e a p a lrln g , sin c e f o r i t th e re w as-- a o re r e a l th an d e a th - -th a r e s u r r e c tio n and th a b l i s s f u l awakening o f th a C h ris tia n s on a new e a r th and in a new Heaven a f t e r th a ta r r o r a o f th a a p o c aly p se, h as g iv en way to th a f e a r t h a t Judg- n en t Day naans n o th in g b u t th a and, a f r i g h t f u l tw ilig h t o f th a gods o f c l v l l l e a t l o n w hich, th an k s *Hans M fnslger, F risc h und DUrrenmatt (2nd a d ., r e v .; Barn und MUnchen: Francka V a rla g , 1962), p. 205* 303 to th e a to n ic boob, i t follow ed by th e v o id , cho se n s e le s s c i r c l i n g o f a b u rn t-o u t p la n e t around a tu n tu m a d l n d l f f a r a n t . Tha c o n s o la tio n t h a t avan th a c o lla p a a o f a l l th in g s la g ra c a , o r t h a t avan th a angola them selves k i l l , haa given way to th a c a r ta ln ty th a t n an , o f h la own v o l i ti o n , can un- la a a h an ln fa m o o f th a e le n e n ts such as ha ones o n ly darad to a s c rlb a to th a w rath o f God; and th a t c r u a l tl a s a r a cow w ittad which su rp a ss th o aa o f th a Dav 11 s a v a ra l ti n s a . Thus, what usad to ba a r a v a la tlo n became an a v a n t, but I t la no lo n g er a f ig h t fo r good and a v l l , nuch a s aach p a rty would I lk a to hava I t so . Mankind aa a u h o la haa bacons g u i l ty . Everyone w ants to aava, a lo n g w ith th e ld a a la , a ls o th a ra v o rs a : fraad o n and b u aln aa a, J u a tlc o and c o e rc io n .* In th a a u to b io g ra p h ic a l akatch o f th a young DUrran- n a t t In '*Der T u n n el," th a r a la th la o v ar-n o d aat s a l f - a p p r a is a l: "Perhaps h la only g i f t was th a t o f sa a ln g th a h o rro r behind th a sc e n e s."* W hathar wa b a lia v a D U rrannatt to ba a ganlua and ona o f th a g ra a t w rita r a o f our t i n s , o r w hether wa th in k o f h ln as a fra a k and a f la s h In th a pan--no ona can d e tr a c t fro n h la unique Im portance aa th a g a d fly o r C assandra o f a w orld fu n b lln g . Ilk a an I d io t c h ild , w ith a lig h te d n a tc h ov er a powder keg. 4 B V nslger, o p . c l t . , p. 207. The c onnant ap peared In a pro g ran fo ld e r fo r an e x h ib it o f w edlevel t a p e s t r i e s and g o b e lin s a t B aala In 1931. *Pla S ta d t- Proaa I-IV (Maw a d .; ZU rlch: V arlag d a r A r c h e , 1939), p . 131. B I B L I O G R A P H Y BIBLIOGRAFHY B V nslger, Hans. F risc h und D ttrre n a a tt. 2nd ed. re v is e d . B ern: Prancke V e rla g , 1962. B a r r e tt, W illle a . I r r a t i o n a l Han--A Study In E x is te n tia l P hilosophy. G a r d e n C ity : Doubleday 4 C o ., I n c . , Beckson, K a rl, and C ans, A rth u r. A Reader*a Guide to L ite ra r y T e rs e . New Y ork: Noonday P re s s , 1960* B en et, W illie s Bose. The Header * s E ncvclopedla. He* York: Ih o aas Y. C row ell C o ., 1956. B en tley , E ric . P ros th e Hodern E s p a r to ir e - - S e r ie s One. D enver: U n iv e rsity o f Denver P re s s , 1949. B ergson, H en ri. L euahtor-»an E ssay on th e H eanlna o f th e S a l s . T ra n sla te d by C lo u d sslay B rereto n . 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Pas V arsprachan. E ttrlch : V arlag d ar A rcha, 195fc . P ar Basuch d a r a l t a n P a sa . 4 th ad. Z ttrlch : V arlag d a r A rcha, 19& . . P ar B lind a , Z ttrlch: V arlag d a r A rcha, I960. . P ar PoppalaM naar. Z ttrlch : V arlag d ar A rcha, 1960. . Par P ro sass uai das E sa ls S c h a tta n . Z ttrlch : V arlag d a r A rcha, 1950. . Par K lc h ta r und s a in H ankar. 2nd ad. Eln* s la d s In : B ensigar V arlag , 1957. . Par V ard ach t. 4 th a d . E ln s la d a ln : B anslgar V arlag , 1961. . P la Eha d as H a rrn -M is s is s ip p i. Z ttrlch: Europa V arlag AO, 1952. _________ - P f Eha das H arm M is s is s ip p i. E ln Prahbuch a l t B lld a rn . S anssoucl V arlag . Z ttrlch : P sto r S c h l f f a r l l V arlaga A G "P la A rch a," 1961. . P la Panno. Haw a d . Z ttrlch: V arlag d a r A rcha, I960. . Pla fhvalkar. Zttrlch: Varlag dar Archa, 1962. 587 D U rran aa tt, F rla d ric h . P la S ta d t. F rosa 1-1V. M aw ad. 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Creator Dyrenforth, Harald Oskar (author)

Core Title The Paradox And The Grotesque In The Work Of Friedrich Duerrenmatt

Degree Doctor of Philosophy

Degree Program Communication (Drama)

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Literature, Germanic,OAI-PMH Harvest,Theater

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Stahl, Herbert M. (committee chair), Butler, James H. (committee member), Hadley, Paul E. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-294034

Unique identifier UC11358847

Identifier 6308161.pdf (filename),usctheses-c18-294034 (legacy record id)

Legacy Identifier 6308161.pdf

Dmrecord 294034

Document Type Dissertation

Rights Dyrenforth, Harald Oskar

Type texts

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Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

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