%0 Journal Article
	%A Majeed Mohammed Midhin and  Clare Finburgh
	%D 2015
	%J International Journal of Humanities and Social Sciences
	%B World Academy of Science, Engineering and Technology
	%I Open Science Index 103, 2015
	%T Tom Stoppard: The Amorality of the Artist
	%U https://publications.waset.org/pdf/10003010
	%V 103
	%X To maintain a healthy balanced loyalty, whether to art
or society, posits a debatable issue. The artist is always on the look
out for the potential tension between those two realms. Therefore,
one of the most painful dilemmas the artist finds is how to function in
a society without sacrificing the aesthetic values of his/her work. In
other words, the life-long awareness of failure which derives from the
concept of the artist as caught between unflattering social realities
and the need to invent genuine art forms becomes a fertilizing soil for
the artists to be tackled. Thus, within the framework of this dilemma,
the question of the responsibility of the artist and the relationship of
the art to politics will be illuminating. To a larger extent, however, in
drama, this dilemma is represented by the fictional characters of the
play. The present paper tackles the idea of the amorality of the artist in
selected plays by Tom Stoppard. However, Stoppard’s awareness of
his situation as a refugee has led him to keep at a distance from
politics. He tried hard to avoid any intervention into the realms of
political debate, especially in his earliest work. On the one hand, it is
not meant that he did not interest in politics as such, but rather he
preferred to question it than to create a fixed ideological position. On
the other hand, Stoppard’s refusal to intervene in politics is ascribed
to his feeling of gratitude to Britain where he settled. As a result,
Stoppard has frequently been criticized for a lack of political
engagement and also for not leaning too much for the left when he
does engage. His reaction to these public criticisms finds expression
in his self-conscious statements which defensively stressed the
artifice of his work. He, like Oscar Wilde thinks that the
responsibility of the artist is devoted to the realm of his/her art.
Consequently, his consciousness for the role of the artist is truly
reflected in his two plays, Artist Descending a Staircase (1972) and
Travesties (1974).

	%P 2578 - 2590