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Yusuf Sura: The Working Out of Drama* | ||
| Journal of University of Babylon | ||
| Article 1, Volume 18, Issue 3, 2011, Pages 670-695 | ||
| Author | ||
| Salih Mahdi Hameed | ||
| Abstract | ||
| *This research is expected to be followed in the light of the suggested architectural design of the Sura as drama appended at the end of the paper. * * College of Education/ University of Babylon T. S. Eliot compellingly proposes that drama cannot depart from religious liturgy because it has principally arisen out of it. The drama in the Western World was initially “reborn on the high altar of the Cathedral at the most sacred moment of the liturgy.” By the beginning of the twentieth century, church-leaders began to recognize that the “new intellectual challenges to faith” could not be countered by hymn-singing angels; they, therefore, thought of establishing what was called the Religious Drama Society. The establishment of such society coincides with what Eliot regards as the relationship between literature (in its general sense) and religion. Eliot affirms that literature and religion are inseparable. Although literature may be read for pleasure or entertainment (or what he terms as “aesthetic enjoyment”), “it affects our moral and religious existence.” For Eliot, the whole modern literature is “corrupted by . . . Secularism” because the modern man is unaware of the primacy of the supernatural (i.e., religion) over the natural life. Accordingly, religion and drama must be inseparable: drama should therefore occupy the primary concern of man for its function in the religious realms. | ||
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