By Shou-ren Wang
This publication advances an exploration of the shape of unacted drama within the nineteenth century and the variation among unacted drama and enacted drama. It consists of out a severe research of why that shape exists in its apparently introspective, lyrical form, and why it exists in any respect. by means of without delay confronting the unacted dramas of Byron, Shelley, Browning, Clough, Arnold, Swinburne and Hardy, the writer advances a theoretical argument referring to unacted drama as a literary style whereas while illuminating the texts that have both been missed, or thought of in different phrases.
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51 Three years later, in his letter to John Murray, Byron repeated the same story: 'Matthew Monk Lewis, in 1816, at Coligny, translated most of it [Faust] to me viva voce, and I was naturally much struck with it'. 52 The autumn of 1816 was the time when Byron was composing Manfred. 53 Yet the influence of Goethe's Faust on Byron's conception is undeniable. If Faust did not inspire Byron to write Manfred, it did help him conceive the work. In spite of the major thematic discrepancies. noted by E.
Ii. 67-74) Marino Faliero's failure in this rebellion on the other hand suggests his inability to act. In the play the Doge is placed in a situation which frustrates his attempt to act: the political structure Lord Byron: Closet Drama 25 in Venice deprives him of any real power; his aristocratic status prevents him from leading a successful plebeian rebellion. Marino Faliero is unable to overpower the situation; what he can achieve is to rise above it by asserting the superiority of his will: his triumph lies in his ability to make up his mind.
Action is transitory', as Oswald in Wordsworth's tragedy The Borderers says, 'Suffering is permanent, obscure and dark, / And shares the nature of infinity' (III. 1543-4). Manfred scarcely acts in the play but passively endures suffering, which is his destiny. Goethe in Faust expresses his positive attitude toward action: Faust in the end is redeemed through his deed. Byron's Manfred reverses Goethe's Faust in the sense that it renounces action; the work presents a passive affirmation of the Byronic Will through endurance of suffering.