Abstract
JAMES JOYCE'S CRITICAL INTEREST in the theatre of Henrik Ibsen, George Bernard Shaw, John Synge, George Moore, Edward Martyn, and other Edwardian problem-playwrights predates his major works of fiction. The unconventional problem-play, especially the symbolic drama of Ibsen's When We Dead Awaken, appealed to Joyce as the most innovative artistic form in which an aspiring artist could capture his vision of that elusive truth of the human condition. In his early definition of drama, he makes the distinction between literary fiction which is dependent on the conventional and circumstantial aspects of daily life, and the problem-play which presents the underlying laws of life "in all their nakedness and divine severity":
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
