|dc.description.abstract||The purpose of this scrutiny is to investigate different facets
of hope in a few dramas.
The presence of hope in a drama, albeit implicitly, can be regarded
as much a matter of course as the presence of a particular
philosophy inherent among people in everyday life,
Hope , or the lack thereof in man or in drama, inables one to
diagnose the philosophy, whereas an assessment of the quality of
hope enables one to determine in which he believes. In this thesis
I discuss four aspects of hope and faith, illuminated by examples
of various plays.
(1) Relativism: wherein hope is placed on anything as the
ultimate truth, illustrated by Six characters in search of an
author, as well as two dramas by Shaffer: Equus and The royal
hunt of the sun.
(2) Existentialism: man placing hope in himself and living each
moment to the full . There is no hope in the future or outside
man, in God or his Commandments; only an existential experience
is possible. As examples the following three dramas by Sartre
have been analysed: The condemned of Altona, No exit and~
devil and the good Lord.
(3) Nihilism: deal of hope with a belief only in the absurdity
of life; illustrated by three dramas by Beckett : Waiting for
Godot; Happy days and Not I.
(4) Biblical hope : Christian hope which reaches out to fulfilment
in Christ, illustrated by three dramas by Eliot: Murder in
the cathedral, The family reunion and The cocktail party .
I also investigate hope in various South African dramas , with
particular reference to modern Afrikaans dramas.
It is most interesting to make a study of the theme of hope in
drama, because in this way the dramatist's view of reality and
his philosophy is revealed, A correct view or reality is important
in finding out whether a true, acceptable and balanced picture is
present in drama. The inherent hope or expectation in a drama
exposes its faith and view of reality. The first three philosophies
analysed in this thesis, prove to contain a false hope and
faith, whereas the Christian outlook alone can present a balanced
and true interpretation of reality .
It is a great responsibility for the Christian dramatist and critic,
to be true to the call for obedience and ultimate dedication in
In these exciting times of rapid changes and radical non-Christian
ideas, it is the responsibility of the true Christian to act as
salt and yeast in drama as well as everywhere else .
As Christians we must admit that everything comes from God and
moves towards God. Thereupon we can have a meaningful hope in the
future, a hope which is true - and it should be apparent in our
dramas and criticism too .
Hope is a most important element of the philosophy of a drama . If
it is a Christian hope , then it is clear that it has been written
from a Christian point of view.
By means of this thesis, an appeal is made to Christian dramatists
and critics to place themselves under the guidance of God and the
illumination of his Word; and to seek all light from God, who is
the Light of this world.||en_US