A Search for Tragedy in American Drama

Abstract

Eric Bentley says: "Observers from every point of view would agree that the theater at the moment is in a more than usually uncertain and disordered state." [3] Mr. Bentley is not one known for compromise. He does not console himself with productions that approach the mark. He is aware that "Masterpieces come seldom; the theater opens its doors nightly." [4] Mr. Bentley' s criterion is high. In fact it is so high that he admits: "It would be nice to like O'Neill. He is the leading American playwright . . . " [5] He cannot, however, justify the faults he finds in Eugene Neill in spite of his reputation. Such diverse values must leave the spectator in a serious quandary. What is "good" and "bad" in terms of the American theater? Someone must have the answer. If we can't be sure of our critics, to whom can we turn? This is a familiar cry. The New York newspaper critics are condemned for their absolute power and poor writing; Eric Bentley is chastised for his ambiguity and dissatisfaction with anything less than perfection. The sad commentary is that in our age of specialization we have become dependent upon the experts to guide and even form our opinion. Each expert, however, has his own set of values. Critical opinion is worn like a new suit and changes appropriately with the weather. What we need is a reassessment and some uniform definitions. This paper is an attempt to discover the meaning of tragedy in American drama. [From Preface]