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Bernard Shaw subtitled his Heartbreak House "A Fantasia in the Russian Manner on English Themes." The Russian Manner is Chekhovian: The English Themes are Shakespearean manner upon Shavian themes and images. Shakespeare's King Lear reverberates through Shaw's Heartbreak House. Shaw had hinted at the King Lear connection as soon as he had completed the play. Shaw had long continued "love-hate" relationship with Shakespeare because he felt that the Bard's shadow had darkened English theatrical landscape. Besides, Shaw was an iconoclast and destroyer of conventions.
This paper is a comparative study over Shakespeare and Bernard Shaw through some literary resemblances and differences, parallels and reverses between Shakespeare's King Lear and Bernard Shaw's Heartbreak House. To do this Geoffrey Hartman's theory of relationship of the genius(present poet) with Genius(past masters) and genius loci(spirit of a particular age) are employed.
According to Hartman, to create a truly iconoclastic art, a structure-breaking literature, to change the function of form from reconciliation and conservation to rebellion, and to participate in the enormity of present experience-these are the writer's Promethean endeavors. A great artist has the ambition to identify the Genius(past masters) of art with his own genius or that of a particular age(genius loci). If he admires the ancients, he trembles to rival them, but if he does not admire, he trembles before a void he must fill. Thus the artist's struggle with past masters and the pastness of art in modem society seems to be a version of a universal human struggle: of genius with Genius, and genius with genius loci.
Here I have investigated the relationship of genius Shaw with Genius Shakespeare and genius loci through parallels and reversions as well as equivalents of some images, leit-motifs and themes in the two plays. The conclusion is that Shaw's Heartbreak House is a modem version of Shakespeare's King Lear, the latter reverberating through the former. For a total understanding of the two plays it will give the reader and audience a model of a better and more comprehensive understanding of dramatic literature as a whole enhancing their literary sentiments.
This paper is a comparative study over Shakespeare and Bernard Shaw through some literary resemblances and differences, parallels and reverses between Shakespeare's King Lear and Bernard Shaw's Heartbreak House. To do this Geoffrey Hartman's theory of relationship of the genius(present poet) with Genius(past masters) and genius loci(spirit of a particular age) are employed.
According to Hartman, to create a truly iconoclastic art, a structure-breaking literature, to change the function of form from reconciliation and conservation to rebellion, and to participate in the enormity of present experience-these are the writer's Promethean endeavors. A great artist has the ambition to identify the Genius(past masters) of art with his own genius or that of a particular age(genius loci). If he admires the ancients, he trembles to rival them, but if he does not admire, he trembles before a void he must fill. Thus the artist's struggle with past masters and the pastness of art in modem society seems to be a version of a universal human struggle: of genius with Genius, and genius with genius loci.
Here I have investigated the relationship of genius Shaw with Genius Shakespeare and genius loci through parallels and reversions as well as equivalents of some images, leit-motifs and themes in the two plays. The conclusion is that Shaw's Heartbreak House is a modem version of Shakespeare's King Lear, the latter reverberating through the former. For a total understanding of the two plays it will give the reader and audience a model of a better and more comprehensive understanding of dramatic literature as a whole enhancing their literary sentiments.
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