Ronald Hayman
Ronald Hayman
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Full Name and Common Aliases
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Ronald Hayman was a British critic, playwright, and biographer. He is also known by his pen name, Ronald Hingley.
Birth and Death Dates
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Hayman was born on January 31, 1923, and passed away on June 20, 1997.
Nationality and Profession(s)
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Nationality: British
Profession(s): Critic, playwright, biographer
Early Life and Background
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Ronald Hayman was born in London, England. He studied at University College School before serving in the Royal Navy during World War II. After the war, he attended Pembroke College, Cambridge, where he developed an interest in drama and theatre.
Hayman began his career as a journalist, writing reviews for _The Observer_ and later becoming the paper's drama critic. His early work was heavily influenced by modernist and absurdist movements in theatre, which would later inform his own writing style.
Major Accomplishments
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Throughout his career, Hayman made significant contributions to the world of theatre and literary criticism. Some of his notable accomplishments include:
Writing several plays that were produced at prominent London theatres, such as the Royal Court Theatre.
Authoring influential books on theatre history and criticism, including _A History of Modern Theatre_ and _Twentieth-Century Playwrights: A Critical Survey_.
Serving as a drama critic for various publications, providing insightful reviews that helped shape public opinion on contemporary theatre.Notable Works or Actions
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Hayman's most notable works include:
A History of Modern Theatre, which offered a comprehensive and engaging overview of 20th-century theatre.
Twentieth-Century Playwrights: A Critical Survey, which provided in-depth analysis of the lives and works of prominent playwrights.
Ibsen: The Man, His Art and His Times, a critical biography that reexamined Henrik Ibsen's life and legacy.
Impact and Legacy
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Hayman's contributions to theatre criticism and his insightful biographies have had a lasting impact on the field. He is widely regarded as one of the leading authorities on modern theatre and has influenced generations of critics, playwrights, and scholars.
His work continues to be studied in universities and theatres around the world, with many considering him an essential voice in understanding the evolution of 20th-century theatre.
Why They Are Widely Quoted or Remembered
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Hayman's influence can be seen in his ability to balance theoretical analysis with practical criticism. His work provides valuable insights into the development of modern theatre and its key figures, making him a widely quoted and remembered figure among scholars and theatre enthusiasts alike.
As a biographer, Hayman demonstrated an unwavering commitment to accuracy and fairness, often challenging prevailing opinions about famous playwrights. This dedication to uncovering truth has earned him a reputation as one of the most respected voices in theatre history.
His legacy serves as a testament to his enduring passion for drama and his unrelenting pursuit of understanding its complexities.
Quotes by Ronald Hayman
120 journées is a diabolically ingenious machine which simultaneously inverts the reality of Sade's situation and subverts the morality that justified it.
But Sade behaved exactly as if he could not tolerate the possibility that his troubles might be over. He launched immediately into a new bout of provocative debauchery.
![His [de Sade's] achievement is that before the Romantic movement had been launched, he succeeded in making solipsism look like omniscience.](/_vercel/image?url=https:%2F%2Flakl0ama8n6qbptj.public.blob.vercel-storage.com%2Fquotes%2Fquote-682575.png&w=1536&q=100)
His [de Sade's] achievement is that before the Romantic movement had been launched, he succeeded in making solipsism look like omniscience.
![Just as a sense of wrongdoing had been integral to his [de Sade's] sexual pleasure—he preferred the anal position for moral as much as sensual reasons—the pleasure he took in immoralism was almost physical.](/_vercel/image?url=https:%2F%2Flakl0ama8n6qbptj.public.blob.vercel-storage.com%2Fquotes%2Fquote-590537.png&w=1536&q=100)
Just as a sense of wrongdoing had been integral to his [de Sade's] sexual pleasure—he preferred the anal position for moral as much as sensual reasons—the pleasure he took in immoralism was almost physical.
It cannot be evil to strip away superstitions, prejudices and inhibitions when they stand in the way of harmless physical pleasures, but Sade compulsively develops his narrative to culminate in evil-doing that cannot fail to alienate his readers.
One of the stock arguments against describing the sexual act is that it is always the same. Sade's structure is based on the conviction that it is not: an enormously extended set of variations moves progressively away from the original theme. This was not merely a stratagem for avoiding repetition: it was a logical development from the assumption that to the connoisseur of sexual pleasure, diversification is essential.
But why did Sade need so much brutality? Why not simply write hymns of praise to the orgasm, indulging his preference for anal intercourse by implanting similar tastes in his heroes? He was still using literature as a means of unpicking the past, inverting reality.
![Between a man and his mother-in-law, as between a woman and her father-in-law, unacknowledged sexual desire can easily open a wound which will go on festering with jealousy, resentment and hatred, but no woman has ever waged war against her son-in-law more relentlessly than she {Madame de Montreuil] did.](/_vercel/image?url=https:%2F%2Flakl0ama8n6qbptj.public.blob.vercel-storage.com%2Fquotes%2Fquote-154455.png&w=1536&q=100)
Between a man and his mother-in-law, as between a woman and her father-in-law, unacknowledged sexual desire can easily open a wound which will go on festering with jealousy, resentment and hatred, but no woman has ever waged war against her son-in-law more relentlessly than she {Madame de Montreuil] did.
Sade never got into the habit of concerning himself with what other people were thinking and feeling. As with Genet, the soil in which perversion grew was habitual solitude and constant frustration of the need to feel loved.
