Word: guilt
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Dates: during 1960-1969
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...Five days after the "probable cause" hearing, the three Weathermen will stand trial in Cambridge's Third District Court on charges growing out of the September 25 CFIA disruption. The Court can decide on their guilt or innocence and, if necessary, sentence them...
Bruckner was a romantic in the sense that he self-consciously implicated his faith and questionings in a musical tissue, but his romanticism is not the sturm and drang neurasthenic exacerbation of doubt and guilt which the term unfortunately suggests. Romanticism began as a vindication of the joy of a liberating mystical communion with nature rather than as a debilitating confusion of introspection with self-pity, or a lamentation on the evanescence of all things cherishable. It was, hopefully, a deeper recognition of mutability and then transcendence over corruptibility. The excellent program notes' suggestion that "Bruckner exalts the same romanticism...
...Guilt is running nudity a close second at theater box offices. Flesh peddling is relatively honest, since it makes no particular pretense of moral grandeur. But when the clink of commerce purports to be the thunder of conscience, all sorts of hypocrisies begin masquerading as virtues...
...recent seasons, the guilt peddlers have brought the following wares to the dramatic market: The Deputy, The Investigation, Incident at Vichy, Soldiers, The Man in the Glass Booth, The Great White Hope, In the Matter of J. Robert Oppenheimer and now Indians. These plays have much in common. While an occasional effort is made to specify some individual responsibility for crimes, oppressions, injustices, and atrocities, the dominating j'accuse is hurled at the audience. The audience is presumed to be collectively guilty of every misdeed in recorded history. This is patently absurd. By embracing the abstraction of collective guilt...
...evils. Far from it. These playwrights simply trade on the headlines of the day and gamble that the people they attract will come to the theater precisely because their consciences are on the alert. There is nothing easier than to preach to the already converted. For any but a guilt-collecting audience, most of these plays rate a big B for Boredom. There is no moral suasion in crude hack work that substitutes lapel-grabbing diatribes for scrupulous dramatic craftsmanship. A poor play does not become a good play simply because the playwright's heart is in the right...