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• W85961414 abstract "In a letter dated August 19,1949, T. S. Eliot described his latest to fellow author and sometime playwright, Djuna Barnes: THE COCKTAIL PARTY is name of it, but that's only what I call it in order to public--the name is UPADHAMMAM SAMUPPADA, but nobody would promote a with a name like that. Well, we'll see. (1) In their continuing correspondence, Barnes never questioned meaning of Eliot's esoteric title and he offered no further explanation. To date, no mention of this title appears in criticism of play, although various accounts cite One-Eyed Riley (a bawdy song included in play) as an earlier title. (2) Given that relationship between Eliot and Barnes was colored by his role as her editor and mentor, it is tempting to think that Eliot is simply playing Old Possum to a younger writer. Yet, this seemingly simple statement contains two elements central to understanding Eliot's intentions as a playwright, namely his deliberate efforts to create a popular, though poetic, and his appropriation of Buddhist philosophy as a framework for his work in that theatre. By acknowledging his desire to promote and revealing its original title, Eliot contradicts much of received criticism of both his persona as a writer and meaning of itself. Though often overlooked, Eliot's desire successfully to entice is consistent with many of his writings on theatre, which consistently favor popular or low-brow, such as musical hall, as well as Greek tragedy and Shakespeare, whom he saw both as an artistic genius and popular writer. As he wrote in Possibility of a Poetic Drama (1922), Elizabethan drama was aimed at a public which wanted entertainment of a crude sort, but would stand a good deal of poetry; our should be to take a form of entertainment, and subject it to process which would leave it a form of art (original emphasis, 70). In Use of and Use of Criticism (1933), Eliot further argued that ideal medium for poetry, to my mind, and most direct means of social 'usefulness' for poetry, is theatre (146). If we consider only his titles, it is clear that Eliot who renamed He Do Police in Different Voices, Wanna Go Home Baby? and All Aboard for Natchez, Cairo, and St. Louis as The Waste Land, Sweeney Agonistes, and Ash-Wednesday, had clearly reversed himself when he turned Upadhammam Samutpada into The Cocktail Party. As he told professor Alan Downer in 1949, he intended to write plays, Until I can convince people that I know how to write a popular play (Qtd. Smidt, 161). By any objective standard, it must be recognized that The Cocktail Party accomplished just that, at least at time of its first production. Though a significant proportion of play's criticism reacted negatively to Eliot's work in (and much more since that time), successfully ran on both Broadway and in London's West End, won Tony award for Best Play in 1950, and appeared on New York Times bestseller list. Perhaps more importantly, Eliot himself believed that he had solved problem of poetic drama. In his lecture, Poetry and Drama delivered at Harvard University in 1950 (published 1951), Eliot wrote that whereas Murder in Cathedral (1934) was work of a beginner and The Family Reunion (1939) was defective, The Cocktail Party followed the aestic rule to avoid poetry which could not stand test of strict dramatic utility (39). Yet, itself seemingly contradicts Eliot's claim. The characters in do very little, and almost nothing happens on stage. The three acts of take place in two locations: living room of Edward and Lavinia who are hosting a cocktail party; and office of Sir Henry Harcourt-Reilly, a kind of psychotherapist. Such locales invite talk, endless conversations that do little either to develop characters (though they do reveal backstory), or to create dramatic action. …" @default.
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• W85961414 date "2005-12-22" @default.
• W85961414 modified "2023-09-27" @default.
• W85961414 title "Reality and Its Double in T. S. Eliot's the Cocktail Party" @default.
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