John Osborne (1929-1994) – UGC NET English Literature Notes

John Osborne was a highly influential English playwright, screenwriter, and actor. His groundbreaking play Look Back in Anger (1956) is considered a pivotal moment in post-war British theatre, ushering in an era of social realism and giving voice to the "Angry Young Men" movement. Understanding his life, works, themes, and style is crucial for the UGC NET English Literature exam.

1. Biography and Context

Early Life: Born in London to a working-class mother and a middle-class father, Osborne experienced social and economic disparities firsthand. His difficult relationship with his parents, particularly his mother, significantly influenced his writing.
"Angry Young Men": A central figure of this 1950s literary and cultural movement, Osborne expressed disillusionment with the British class system, political conservatism, and lack of social mobility. These writers had working-class or lower-middle-class backgrounds and a critical tone toward the establishment.
Royal Court Theatre: This theatre became a platform for experimental drama, and many of Osborne’s major plays premiered here.
Personal Life: Osborne had a tumultuous personal life, including five marriages and outspoken views, reflecting the themes of conflict and disillusionment in his plays.
Later Career: Beyond Look Back in Anger, Osborne continued writing for stage, film, and TV, and also published two volumes of autobiography.

2. Major Works

Look Back in Anger (1956): Centers on Jimmy Porter, a working-class intellectual frustrated by post-war Britain. Themes include class conflict, disillusionment, and communication breakdown.
The Entertainer (1957): Set against the Suez Crisis and Britain's fading music hall tradition, it critiques national identity and tradition. Archie Rice symbolizes national decline.
Epitaph for George Dillon (1958): Co-written with Anthony Creighton, explores artistic compromise, youth disillusionment, and moral ambiguity.
Luther (1961): A historical drama about Martin Luther and the Protestant Reformation. Themes include religious conviction, rebellion, and individual conscience.
Inadmissible Evidence (1964): Follows Bill Maitland, a morally bankrupt solicitor facing collapse. Explores alienation, guilt, and identity crisis.
A Patriot for Me (1965): Based on Alfred Redl’s story, it explores sexuality, espionage, and national identity. Known for its controversial subject matter.
Déjàvu (1992): A sequel to Look Back in Anger, revisiting Jimmy and Alison Porter decades later and reflecting on societal change.

3. Key Themes

Anger and Disillusionment: Central to his works, especially as a generational and existential response to post-war realities.
Class Conflict: A recurring theme, showing tensions within the British class hierarchy.
Decline of the British Empire: Especially evident in The Entertainer.
Generational Divide: Frequent conflicts between the complacent older generation and critical younger generation.
Personal Relationships: Marked by emotional cruelty, misunderstandings, and conflict.
Loss of Innocence and Idealism: Characters often lose faith in their youthful dreams.
The Search for Authenticity: Characters struggle to find genuine meaning in a materialistic world.

4. Dramatic Style

Social Realism: Rejects earlier well-made plays and focuses on raw, realistic portrayals of working-class life.
Angry Monologues: Notable for passionate soliloquies that convey emotional depth and social criticism.
Direct and Provocative Language: His dialogue is often emotionally charged and confrontational.
Breaking Theatrical Conventions: Tackled taboo subjects and brought working-class voices to the mainstream stage.
Mixture of Genres: Blended realism with other styles, such as music hall in The Entertainer.

5. Relevance for UGC NET

Post-War British Theatre: Osborne’s role in reshaping modern British drama is key.
"Angry Young Men": A literary movement that must be understood with Osborne as its cornerstone.
Major Plays: Deep understanding of Look Back in Anger and others is crucial.
Themes and Style: Essential for literary analysis and critical interpretation.
Socio-Political Context: Osborne’s plays mirror the political and cultural landscape of post-war Britain.

Key Quotes from John Osborne's Plays

Look Back in Anger (1956)

Jimmy Porter's Anger and Frustration:

"Don't try to be clever, for God's sake, I beg you! It's the one thing I can't stand. It's cheap and it's facile." (Act I)
"Oh, my God, my God! I'm one of the few people of intellect I know who actually want to get things done!" (Act I)
"There aren't any good, brave causes left." (Act I)
"You're hurt because everything's changed. And I'm hurt because everything's the same." (Act I)
"I suppose people of our generation aren't able to die for good causes any longer. We had all that done for us, in the thirties and forties, when we were still kids." (Act I)
"It's no good trying to appeal to me about working-class solidarity either. That's just a lot of tripe." (Act I)
"I hate the middle classes. Oh yes, I do." (Act I)
"She's a beautiful, great big, sloppy, sentimental slob!" (Act I)
"You see, I learnt at an early age what it was to be angry - angry and helpless. And I can never forget it." (Act II, Scene 2)
"The injustice of it! The injustice..." (Act II, Scene 2)
"Poor darling. She's going to have a baby. I wish I could feel something about it..." (Act II, Scene 1)
"Let's pretend that we're human beings, and that we're actually alive." (Act III, Scene 1)
"It's what they call the 'Age of Plush'. Easy, comfortable, and dead. You've got to be rough, tough, if you want to survive." (Act III, Scene 1)
"He said he'd never known anyone who could get so worked up about things that didn't apparently affect him personally." (Act III, Scene 2 - Alison about Jimmy)

Alison Porter's Suffering and Insight:

"You're like a child. You want to be loved, and if you can't get it, you'll make people pay for it." (Act I)
"I don't think I want anything more to do with love. Not proper love, anyway." (Act II, Scene 2)
"It's no use trying to fight him. You can't. He just goes on and on." (Act I)
"I was wrong. I didn't know what I was doing. There's nothing more to say, really." (Act III, Scene 1)
"I do love him. I do. God help me, I do." (Act III, Scene 2)

Helena Charles's Perspective:

"You're a savage, Jimmy. A true savage." (Act II, Scene 1)
"I've never seen anything like it. You seem to want to go on suffering." (Act II, Scene 1)
"One day, when you're no longer young, you'll see what it's really like to be hurt." (Act II, Scene 1)
"Oh, I'm so tired of it all. So tired." (Act III, Scene 1)

The Entertainer (1957)

Archie Rice's Cynicism and the Decline of Britain:

"Don't clap too hard. It's one of my bad nights." (Act I)
"Let me die in my own way." (Act II)
"The music hall isn't what it was. Neither is England, for that matter." (Act I)
"We're dead, the lot of us. Just a few decaying corpses, waiting to be buried." (Act II)
"Please clap! Don't let me die." (Final line)

Luther (1961)

Martin Luther's Struggle and Conviction:

"Here I stand; I can do no other, so help me God." (Act III)
"Man is justified by faith alone." (Throughout the play)
"I tell you, the Pope is the Vicar of the Devil!" (Act II)
"Fear God, and fear nothing else." (Throughout the play)

Conclusion: John Osborne's impact on British theatre is undeniable. His portrayal of social issues and emotionally complex characters changed modern drama. For UGC NET aspirants, a solid grasp of his biography, works, themes, and dramatic style is indispensable.

Read in Detail About the Play: LOOK BACK IN ANGER