This paper contains the analysis of the selected scenes of Michael Field’ play "Attila, my Attila!", examined through the prism of Nikolas Berdiaev’s work "The Destiny of Man". Specifically, the perception of human tragedy in both works was touched upon: The authors declare its entanglement with human freedom. According to Field and Berdiaev, to respond to tragedy, one must act and fight against the imposed artificial norms, dictated by secular and religious institutions. By acting, one reveals their vital creative potential that provides them with inner strength that is impossible to be ruined by any calamities.
A similar concept of tragedy can also be traced in the works of Nikolas Berdiaev, Russian Orthodox philosopher of the 20th century. Although there is no evidence that he could ever read Field’s play (which is overall highly unlikely), Berdiaev writes about tragedy, freedom, creativeness, and personality in a way that chimes with that of Field’s. In Berdiaev’s ethical system, a human is inherently endowed with freedom by God; However, freedom makes life tragic because it brings responsibility for one’s choice. The only way to overcome tragedy is to embrace creativeness — a quality that differs an individual, which is a biological category, from a wholesome personality.
These ideas are represented in the most prominent Berdiaev’s works. In this paper, analysis of tragedy, as it was understood by the philosopher, will be carried out on the material of "The Destiny of Man" (Berdiaev: 1931, quoted as D.M.). Berdiaev’s core ideas, reflected in this book, will be applied to "Attila, my Attila!" in order to discover similarities and differences in the way the three authors in question viewed the tragedy of human life. It is important to stress that Field’s work is mostly focused on tragedy from a female angle, while Berdiaev explores this notion in a more general, human sense.
Table of Contents
1. Introduction
2. In Search of Freedom. Michael Field and Nicholas Berdiaev
2.1. Michael Field
2.2. Nicholas Berdiaev
3. The Destiny of Woman
3.1. Preface: Tragedy of Tragedies
3.2. ‘The Tragedy of Freedom’ in Berdiaev’s Theory
3.3. Honoria as Embodiment of the New Ethics
3.3.1. ‘But am I not to Love?’ Act 1
3.3.2. Creation and Destruction. Act 3
4. Conclusion
Research Objectives and Themes
This paper explores the tragic conflict depicted in the play "Attila, my Attila!" by Michael Field, juxtaposing it with the philosophical framework of Nikolai Berdyaev to redefine concepts of human freedom, tragedy, and the liberation of the female subject.
- The intersection of literary tragic conflict and philosophical theories of freedom.
- The development of the female protagonist, Honoria, as a manifestation of the "New Woman."
- The ethical implications of liberation, individual choice, and responsibility.
- The role of creativeness as a mechanism for overcoming existential suffering.
- The contrast between traditional passive tragedy and the active, modernist tragic struggle.
Excerpt from the Book
3.1. Preface: Tragedy of Tragedies
Attila, my Attila! is preceded by a laconic author’s preface, in which Michael Field manifests the main point of their interest behind the plot: they seek to portray and glorify ‘the triumph of life’ (A.A.: Preface). This triumph is a fascinating human ability to defy external forces that go against the main character’s will, even if — and this is exactly the case of tragedy, as it is viewed by Field — these great forces exceed human power.
Being the first word of the preface, tragedy therefore becomes the key one. The authors define tragedy as a ‘conflict of man with the indifference of nature’ (ibid.), in which the former’s creative potential is revealed. It is also stated here that Honoria will be a central figure of the play; In her path and destiny hence the core of the tragic conflict should be sought.
The primary source of Honoria’s story is The History of the Decline and Fall of the Roman Empire by the 18-century historian Edward Gibbon. In his 6-volume work, Gibbon was noticeably concerned with the problem of moral degeneracy as one of the causes of the collapse of the Roman Empire. The fact that Field chooses to establish an intertextual dialogue with such a text sets a very important angle from which Attila, my Attila! can be approached. Among its central problems is that of morals, especially in regard to a woman and her spiritual and factual freedom.
Summary of Chapters
1. Introduction: Presents the research aim of exploring tragic conflict in Michael Field’s play through the philosophical perspective of Nikolai Berdyaev.
2. In Search of Freedom. Michael Field and Nicholas Berdiaev: Provides biographical and contextual background on the authors and the philosopher, establishing the thematic focus on freedom and tragedy.
2.1. Michael Field: Details the artistic collaboration and pre-feminist literary motivations of Katherine Harris Bradley and Edith Emma Cooper.
2.2. Nicholas Berdiaev: Analyzes the core philosophy of Berdyaev, emphasizing creativeness, liberation, and the rejection of repressive societal norms.
3. The Destiny of Woman: Synthesizes the play and philosophy by applying Berdyaev’s theory of personality to the character development of Honoria.
3.1. Preface: Tragedy of Tragedies: Examines the play’s preface and its intertextual connection to Edward Gibbon and William Shakespeare regarding the definition of irony and tragedy.
3.2. ‘The Tragedy of Freedom’ in Berdiaev’s Theory: Discusses the inherent tension in Berdyaev’s ethics between free choice, responsibility, and the resultant existential suffering.
3.3. Honoria as Embodiment of the New Ethics: Explores Honoria’s transition from a victim of circumstances to an active, creative personality rebelling against constraints.
3.3.1. ‘But am I not to Love?’ Act 1: Analyzes the hierarchical constraints and the initial expression of Honoria’s desires and search for liberation.
3.3.2. Creation and Destruction. Act 3: Focuses on the climax of the play, characterizing Honoria’s rebellion as a destructive but necessary act of asserting her personality.
4. Conclusion: Summarizes the findings, highlighting the move from predestined tragic defeat to the positive assertion of vital energy and authentic self.
Keywords
Michael Field, Nikolai Berdyaev, Attila my Attila, Tragedy, Freedom, Female Liberation, New Woman, Creativeness, Existentialism, Personality theory, Honoria, Patriarchal society, Erotic love, Philosophical literature, Modernist drama.
Frequently Asked Questions
What is the primary subject of this academic paper?
The paper explores the concept of tragedy, freedom, and female liberation in the play "Attila, my Attila!" by Michael Field, analyzed through the philosophical lens of the Russian thinker Nikolai Berdyaev.
What are the central thematic fields?
The work focuses on the intersection of early 20th-century feminist literature and Christian existentialist philosophy, particularly examining how women defy societal constraints.
What is the primary research goal?
The goal is to demonstrate that the tragedy in the play is not a result of predestination but a manifestation of the character's internal freedom and the responsibility that follows her choices.
Which scientific method is utilized?
The paper utilizes a comparative analysis, juxtaposing literary textual evidence with philosophical concepts found in Berdyaev’s primary works, such as "The Destiny of Man."
What subjects are covered in the main body?
The main body covers the biographical backgrounds of the authors, the ethical theories of Berdyaev, and a detailed analysis of Acts 1 and 3 of the play.
Which keywords characterize the work?
Key terms include Michael Field, Nikolai Berdyaev, tragedy, freedom, female liberation, New Woman, creativeness, and existence.
How does the author interpret the name selection "Attila, my Attila!"?
The author argues that "Attila" is treated as a symbolic construct or a "spell" utilized by the protagonist Honoria to facilitate her rebellion against a restrictive order, rather than a romantic interest.
Why is Honoria considered an embodiment of the "New Woman"?
She is defined as a New Woman because she actively rejects the passive role assigned to her by patriarchal society, striving instead for self-realization and the right to live according to her own nature.
What is the role of the "destruction" motif in this analysis?
The paper argues that while Berdyaev generally praises creation, Honoria's destructive actions are portrayed as a logically justified, albeit tragic, response to the systemic oppression she faces as a woman.
- Arbeit zitieren
- Aleksandra Dediukina (Autor:in), 2024, The Concepts of Tragedy, Freedom, and Woman’s Liberation in the Play "Attila, my Attila!" by Michael Field, München, GRIN Verlag, https://www.grin.com/document/1477200
