i

 

THE AMERICAN SOCIAL COMEDY

"1103i: for the Degree of M. A.
MICHIGAN STATE COLLEGE

Katherine j Zierleyn

I942

 

"'TI'iifiiflli‘lHl‘IiH‘MIIfilIlfiiflfiiflifil'mifiifl'hfll'l'l”

1293 316

 

 

 

 

 

 

 

THE AMERICAN $433151: CC—HSDY

by
mmxm J. am 2:13

A 533313
Submitted to tho Gm“ School of manual:
sun College of Agriculture and Applied

301m in partial fulfilmt of tho
”quiz-mt- tor tho dam of

fiAS’FEJZ 0F £33313

ramparts-at of English
1932

rm” (:3 05333::—

I
II
III

VII

VIII

The 111.011 0! Comedy ............................
Th: Anaricen tradition ..........................
Social Comndy and thc Sacial Connoiunco .........
Tho Revolutionary War ad the Post fiat Period u.
Tho Period ot‘Gonaolldatlon.and Eatlonal Growth .
Tho Fabulaun Patti's and the Gildsd Ag. .........

The Liam Decal. and tho Pariod of that

Wham .................................u
Pra—‘é‘c'orld Via:- ”ngraauivmas" .................
mo W116 Twenties ...............................
Tho Socielagical Thirties .......................

Comlmion .‘GOOOCOO.C0.0.00IOCOOOOOOIOIOOOIOQOOI

U
0

339815

mmm I
m:- mom CF CQLEL‘Y

In any etva of e given literary form it ie tell to inquire firet—
if only in e cursory fashion—into the ethice and the tenets of oriticim
that supply etandartie by ehich the form in measured. the reheat: for
euch an inquiry is obvious: every author has eone purpose hack of hie
work. The eigxificance of hie men and the ekiil with which he eo-
ccmpliehoe it are the determining (actors of hie literary rank. The more
eiguificant hie purpoee and the more proficient hie skill. the greater
hie rank. Probably there are few mdie in which an mthor'e purpose ie
no vividly ”(proceed no in the arm. With all the Varying toole of the
literary craft at hie nomad. the dramatiet ban the added advantage of
actual easement to etrencthen the impreeeion he doeiree to make. For
thie roaeon, the ethioe of the firm are eignificaht and it «we viee
for the porous" of thie etudy to go briefly into the body of ethical

consent“? ehich hm developed around the eocial cow.

Since that immortal day in antiquity when Lrietotle announced with
each obviate logic that firm not have 1: beginning, e middle, end en
end. it has hecoue emoet traditional to go back to the eage himself for
the beginning of nearly all critical study. And eo. here. tracing the
analog of American literature back through ite Englieh meetry. re
necessarily an to the venerable Greek he the fountain head of eriticin.

Arietotle held the petition that the ethical haeie of comedy the i
the fact that in ordinary life mankind fell far short of perfection.

Candy exaggereted theee leperfeetione 1v picturing hen ee eoree than in
actual life. He we tee poeeihle mu for laughter: (a) in the m
m1 be chewed. that comedy 'ooneiete in eon defect or uglinese which
ie not painful or deetruotive': (h) in hie W2 he eet forth the
theory that laughter elee arose from deceived expectations. A direct
goplicetion of these emeee to their nee in drone indicatee that the firet
would provoke holler arising out of e character. while the eecond would
provoke honor erieing out of e eithetion. Becwee Arietotle ear only
than of high rank he heron of tragedy. he eupgwrted the poeitioo thht
nee of ice rank were conic figure" 'Coaedy ie ... an imitation of
charactere of e loner type ...'3 I t ie imortant to call attention to
Profeeeor S. H. Butcher“ eigoificont comment that “In ntioue placee
Aristotle indicatoe the dietimtion teteeen ooaedy proper, which playfully
touchee the fmlte and foiblee of humanity. and pereonal entire or in-
vectirefih The (int be approved of: the eecond he ironed upon ehee it
wee node the man of the piece.

Plato. before Arietotle, eoene to here eeen eone demo of moral
ieeue in comedy: in the Philehne he rewrite of e comedy “that there e
fixture of pain and pleasure to found.’5 flare definite here. hoemr.
ie the idee that the eeeence of comic mirth ie the malicioue pleeeure
afforded by the aieconfiture of another. It ie notmrt‘hy. mreover.

 

1W trme. by s. n. Butcher (London. 1902). p. 21..

2mm am. 1w J. 2. c. Walloon (London. 188 ). p. 163.
3W m- m... p. 21.
”Wmnmmmm (London. 1902). 129.3784.

m 5 mum trans. by more» Bares- (London. 1895). mm.
e P0 o

that while Plato gave to poetry only the poeitioo of a wbeidim to
moral and political edumtion. the definite moral hwotoction which Arie-
totle hold thot tragedy gave to the audience was apparently not expected
of comedy by either of the ancient thinkers.

the 01:! Comedy of the Greeks grew out or a religious foetivol of n
revel nature. the chief comendablo quality of thie early tore em ite
critical commentary upon oonteoqpomty life. the satirical element of which
Afietotle did not entirely approve gained pmioonoe airing the period
undo:- the masterful touch of Aristophanes. A lee passed in hlb B. 0. check-
ed thie open comet. and Old Comedy merged mdnally into the Middle Comedy.
Conepimoue (hiring thie middle period me the development of the convention”.
types.

The period of Middle Comedy an eo unmntmlly into that called hoe
Comedy that some authorities on no distinction between the too. The most
fame Greek author of the How Comedy eae thunder. ehoee playe were devoted

largely to more generalised «Moots. The eatire of individnole. which

had loot popularity during the middle period. was abandoned in the Hoe Comedy.
“From the ethical standpoint. the olemntal position that comedy oroeo out or
iooorfoction and that its portrayal was for tho sake of pure comedy alone
continua to he the docdnamt one.

The Latin motore of comely. Flautue and fox-once. on the whole. ex-
mlifiod the thoory of oomdy for lwghtor only. Plontuo. more parti-

cularly. with his iiomnizod adaptat ions of Greok originals followed in

the great way. Indeed. in each of his Remaking. his boisterous 3mm:

mm tho conventional restrictions that time had developed mom; the

 

\‘ I III I'l! "I-’ I:'|.L"¢‘IBYV"LII.I ,.9

lg...

.fiifiruiv‘at .a

in .15‘? .

.ird-It 0:. jhpa .k I51. . Eloir ilfif‘fi. .53

o irk-

DI‘P. OI.

4"-

mm 0! Brock comedy. In Tom. humor, with bio low of “fluo-
uonto of phrasing and sword olovouon of taste. tho ow no laid for
tho dmlogmonto of othor tom of comedy. although, generally. tho tra-
ditional canoe: continued in popularity.

m pin-o1)? othloal inurprotouon of too conic no aloo oupportod
by lho lator thlnboro. Hobboo and Kano. Babb". in one W 93
m Emu. nakoo tho ofi—oltod otatanonh "Tho passion of laughtor
lo nothing oloo but ouddon glory along {no on motion oonoopuon of acne
«loony la onroolm. by marina with tho infinity of othoro. or

6 Kant. otlll later. also rooognlsod tho porooml

with our own formly.‘
ole-oat in tho conic. although ho m o 4mm oomo. not «spot-loa-
1”. mo disappointment on his omo for lmtor. In tho m 51,
{m1 ho onto. “Lona“: lo an auction moms from tho on“.
transfer-action of o «rained mutton into nothing}?
flow. nth tho dovolopmt of oomdloo «luring tho omeonoh.
mtmth. and olgxloomh ontufloo. additional thoorloo of othloo Ioro
oddod to tho thoory of tho condo oo 1‘ should to portrayal in tho drama.
like old olmnt of moral touching. hinted a w tho arena. but mot 1w
thou nods o doflnflo "alumni for comedy. own no! to the (W.
Lu mam ho mooted. tho guano Manor hold mat comedy was poo": mob
minglod non]. profit with dollght. In the beautiful prooo of mm
9,; 2m“. ho mu. '... that all the ondo of tho £031ch pm. boo ml

wagon who ooommll nation no otlrro lmur onolio. on also with

‘5mequ (London. 1845). IV. 9. '46.

7mm "£118. by J. H. Bernard (London and Row York.
1892), p. 223. . x

it. that dolighthl touching ohioho lo tho omio of m8 Jonoon'o
m M 133.13. m fut-tho: otrongthonod tho demand for the moral
quality in mm. mm tho "tumour!“ um too oingl: developed and
”I. only typoo which brought about tho oonfliot hotwooo ohotaotoro. but
our within o oinglo ohoraotor. they did ooonro o otrooo upon charootor
that no "looting Drydoo. in hio doflnition of comedy. given in tho
Profooo to a W m includoo hio qualification or moral Judg-
ment: “Coma present- uo with tho mutations of m natnro. ...
{it} own laughter in thou rho can amigo m and mu. tv tho
linl: roptooontation of their toll: and corruption.'10 DrVdoo’ o oon-
Worm. tho motor of tho may of ammo. Killian Congrm. oloo
oar moral purpooo in tho trilliont and frothy typo of tho Arm ohioh ho
hood oo his ”dim. In tho proton to mmm ho ototoo. 'l
dodged tho floral tint. and to that Iota]. I invontod tho tablo "J.“
- that-oi: apt-oozing hio support of tho tooohing oloaont in M. It
ohould to noted in passing. humor, that in Conan-m. oo in soot of tho
fzootorotion drmtioto. tho purpooo of tho piooo no mbordinotod to tho
trillion» of ito form.

In ”mo. in tho oomtoonth mm. an} Hopi: door holiovod

in tho moral worth of“ com. 'Goaody. which io on ineso of eon-on coo-

‘mwmnmmm (London. 1923). m. p. to.

90: mm play mum smth yawn. “Goon-rally, u olovotod tho
oodo from tho lowly position of on antithesis to tragedy. to ho: propor
plaoo u on ethical art-tom. sharing with he: otornor oiotor. tho fixation

of moral oarthaoioJ (mmflm [Bantam 19303. p. 1140.)
”mmnmm w w. P. Ker (01mm. 1900). I. p. 136.

”m. wamm ea. or Joseph mm man: (an-
York! 1927). Po 919

motion. cox-recto the public viooo. tar letting no no how ridiculouo

1‘2 A century later. the goat isolioro in explain-

thoy an in particular.”
ing the purpooo ho can in com vote, "Tho out: of comedy being to com-
root men ohilo min; than. i no of the opinion that in w pooition i
oonld do no hottor than to attwk by mom of ridiculous portrayal the
viooo of :37 ago)”
It to intorooting to noto that with the dovolopnont of the plays
that followed these thoorieo o new genre of tho ooaio developed. Tho
more rigidly oloooic of the writers hold to the oomio so being tho ophero
of the loo in otation. In tho relegation of comedy to the lower ronh.
Dryden was in pox-foot mt vith Aristotle: 'For tho poroono in
Cooody m of o looor quality ... ,lh Ho ogrood also that the imitation
of which Ariototlo opoko ohould ho exaggerated in tho can of comedy:
for ho wrote. 'In Gamay than in oomohot mro of tho ooroo likooooo to
be taken. hocmoo it io often to produce 1mm. which it coco-loud.
by tho night of oooo aotormityflls Row-rotor. the cluoioiot Comillo
did holim that poroomo of rank could to introoncod into ronwtio
oomdieo. Ho omhaoiood that it who the natal-o of the action. not tho
rank of tho poroonogoo that dotoroiood the quality of the gonro.16 Tho
Rootorotion in England oao tho flowering of tho oozed: of mm which

had had ito oeoding in tho tooliotio candies of morn of mm: and

 

120"“ w Emu Box-ohm. mmumnm (Cambridge.
1925). Pt 8-

13‘ o v o I a
£011.?! ‘Prcrmer \‘(Ltet $9 rm sur liComeétc do» lgdqgo
1% I . (v.94)...
! 39.- MI Po 11:31:

15917605. W 211-. Ito Po 126-

1661tod by Ernst Bot-ohm. m. m. p. 60.

Shit-lo}. with tho dovolozaont of tho Restoration oritm. thoro om
tho with of tho M which opooii’ioolly mt doal with thooo of high
pooition. Ao Bonn Ton Eyt Pom oritoo that tho Rootorotion dranotioto
'oooood to to intorootod in tho conic oo it portainod to hum lito in
coma). and toudod to my thouolvoo with tho comic on it oppoorod
upon tho ourfooo o! o highly poliohod and Wotan: inooonro civil-
iootiom'r’

imorahlo opinion of candmation hm hm oxpmood againot
tho noknooou of Bootorotion om: ito mortioiolity, ito hrillionoo
o! languago and ito paucity of idou. ito mono" of ocopo. and. by
lotor otonmeo. ito vulgarity. Eithout going into o dioouooioo of tho”
cements. it io otill poooi'olo to acknowledgo that Eootorotion owed:
roprooonto tho boot of pan comedy in Englioh. Tho wry criticism thot
m not verify tho truth of tho otatomont that in all oaoo in Rootoro—
tion woody. tho othioal roqnirooont of o moral quality in omody woo
hold only on o critical otondard ohd did not function on o omor of dia-
loguo or notion. Tho anoioot opirit of tho oooio for laughtoi- otill pro-
voilod. To quoto onoo ooro tron Profoooor Pom: ”Tho Candy of Mauro
io. prior to tho moon Comedy of Idooo. tho loot and moot trilliont of-
fort of tho lmghing mo to rooiot tho intmoiono of tho ooro ooriooo
oonoomo of cum-Jig

Dr. Porry'o oomoot indiootoo tho foto of the comedy for longhtor.
In Homh of 1638. ono Johny Collior DOW tho doath knoll for poi-o

«and: 1n th- publication of 111- immumwmm

 

"mmmnmmm (How Haven. 191-35). p. 9.

“mu 1:. 132.

W 21 m M m Boing of conoorvotiwo ochoolo of thooloy
and litorary criticism. Collior ottaohod tho mortioiolity of tho Rooc

torotion otago and doclorod that tho chic! purpooo of oooody woo to ox.
pooo new»: and Idaho wickodnooo ridiculono. Collier found on anti”
otrpportor in Richard Stoolo who ohargod Rootorotion may with having
“notified o loooo ago with o ocondolouo roprooontation of what io reput-
ohlo mung non. not to on: what to soot-“319 Littlo ohango woo notod in
actual conic pmtioo until 1709. during which yoar Anthony .53th Cooper.
Earl of Shafloom. publiohod 21}; W with thio omxooiotioo of
tho philooOphy of continontolion and tho oddod onyport it so" to Stoolo'o
gamut thooty (which Uh. not cooplotoly oppliod in prootioo). tho noral
olmt of mood: rapidly boom “that which ondod happily and had o. mrol.‘
with tho growth of tho idoal of oontinont in both tho naval and pootry,
tho com! of oontinont rminod o firmly oota'bliohod ”motto (on. It
us chollongod ooriouoly firot to 011m Goldsmith oho holimd that «may
ohonld conoiot of oit and honor for tho oolo purpooo of taking pooplo longh.
In m m 11W thio purpooo io skillfully adoridont. In
opito of tho fact that ho wroto in tho voin of pnto comedy in on ago of
omtinootolion. Goldmith om tho Justification of hio thoorioo of tho
comic in tho onthnoiootio moption of mmmm It ohoold
ho noted that Goldmith difforod from tho Bootomtion writoro in that ho
mod no oatiro. hut created lwghtor for tho who of laughter olono.
Richard Showman opitooiooo tho ovorprooont tondoncy to compromise.
Liko Goldonith ho holinod in tho anatomy of tho cocoa: of wit uni
honor. but liko Stoolo ho also ondorood tho continental” of tho lotor

 

1933 W of homont and Flotahor’! W M1.

type. In both mwmw ohm-c- w“ u. 91mm-
on”. in application at loaot. for tho cow of oontinont. Dr. Emot
Bomhom in m 91 W portiocntl: rooarko of Ehorldan
that ho ‘kopt within tho boundo to Ihich oonoihility had confined the
Comic Elmo. it opii'itod oatiriot c! mono“, ho is. so a ootiriot of
aorolo. hooitont and onporfioiolflm

In the work of Goldmith owl Sheridan. tho oubooquoot pcoitioo of
tho oooiol moody to troll dofiood. Iron thoir tioo to tho proooht. tho
oldor moody of oit and tho oonody o! oonoihility walk oido by oido sci-coo
tho otago. On tho oholo. tho comedy of oontioont has boon soon tho ooro
Iroquootly, but tho (mood: of wit hoo shown tho noro brilliantly. In
movies. oociol coma: toodod to follow tho oxmploo of Goldsmith and
Sheridan. and tho dual aopooto of cocoa: find their oxymoioo in tho

2!.
3:th do! “no and oocial moody.

20
Roman. a- oil» 9. 8‘51.

anew new. WW 1650-1720. (Leann. 192m.
Into: a triplicato classification of comedy into (a) Critical Candy,
or that which ooto out to corroct momma by laughter: (h) me Cooocy.
or that which in to ho oooogtod without Judgment or rule: and (c) Groot
Gamay, or that which deals with a genuine problem alcohod in laughter.
Iollowing thio classification the bulk of all moody folio into tho tint
division. o fairly oiooohlo amt into tho oocood. and. only 5 tor: for

quality for tho third group.

comm-La 11
T33 IQEERI CA3 T3363! T1031

In mica. social oooody tendod, largely. to follow tho Wm"
position taprooontod by abandon. That io. it oooayod to to o cocoa: of
wit and hmr: but. with tho pamiotomo of Puritan comer-ration which
has oo pomatod gooorol motion Wt. o strong note of moralising,
or prosohmont. io to to hoard throughout our woody. iodood. oo otmng
io thio ooto that. veto it nocoooory arbitrarily to divido our comedy
into oithor tho homers or tho oonoihilit: gm. to ohonld to found
to classify it almost ontiroly no drama of ooooihility.

Tho factors contributing to tho poguiarity of tho drum of oonoi-
hility in motion am am. Foroooot. of emu. to tho obvious coo or
time. Ooorgo Ferquhar.. generally thooght of at tho loot of tho Restora-
tion dramatists. although Bombm calls attention to hio Joining tho
Vanguard at tho Wot or oontinoot.22 mto during tho years. 1695-4707.
ihoooo Godmy'o my; W which hon tho distinction o! being tho
um nativoly writton marina pm. on not appoar until 1765. mm
it had boon written oooo oi: ycoro oarlior. 331;! m 91W on o.
tragody: tho first ofl‘orto‘ that «on mmwhod tho social comedy “1".
Iain. mercy womo‘o satirical. pro-Whig tax-coo. m W and tho
bottor known 3,; m both of which ooro writton at tho tino of tho
Pmlutionary tor. ‘mo firot mrioao play that had any tool aim to

ho called oocial conody woo Tho Contract. oritton by Royall Tylor in 1165.

 

3: that you in Wood. tho arm of omihility had m to o dotinito

 

223.1115“. m» £15..- Po 95o

petition of tam. Indeed. Goldsmith“ tint pity. mm W

Han (1168) had not been mum largely because it attached the anti--
mental comedy, while mum mama's mm m m (1752)

can W. 32:11.. it in true. mg mg W was instantly
acclaim! in spite of its lack of untimtality. the pig was the u-
oeption rather then the rule. 11mm Sheridan‘s m m (1775) and
mmmm(17fl)m a close to the comm or sentinent

u the: were in point of tine to Tyler“ magma The 61030
W“. or American letters upon English leadership which prevailed
em a late an 1825. further explain- the meter papuisrity or the
comedy of anthem hm. its papulerity in England done minced to
(iterate. its mogtmc by American “diam“. Likewise, the dunno
of the more com in England flaunt-1: «9131::- tho We of native
map-om of the genre in mica.

The fact that our tint cm an ant appear until after the Emin-
tionary flex- point: out amuse: nation for out not “relaying an indemni-
ent may. no all-imartant qua-titan- of mentally establishing a
new nation with peace end seam-it: at home and credit and tmgnition
shaved necessarily mien the attention of American, mind: until well
into the nineteenth century. Indeed. the tint eased: worth: at mt-
erter 33;, W did not appear until tire. smatt'e W in 183:5.
One intervening plea mean only musing cement here. Joseph Button“
WW prom in 1503. had mob o: the social comedy

23m H. fiethemt point: out thet on men 21. 1785. three week:
before tiniahing his play. Boys-.11 Tyler witnessed a. permanence of m
302x001 for Scandal. (“The Dramatic Background of 1191311 Tyler“ 31
W" antigen Literature. January, 1310..)

 

 

 

 

III! . \‘l . II » l. IEI...PI.‘ .II Fli f - I- -- , ‘ ‘ . ‘ I i I r -i...!li. uli i... . Ifibrn 3:? I5 75.51.- I. Left {clllll u I. . .1 kit??? , XI“. ,.r a . ..elu\.r|r41.».rlew.ti. fifth. EH.“ Rhea)... n.5,... nfelvyu frlfl. .thVseDi.

elm. it ehould not he am that there was no dramatic activity
in mice m m W and W there to: activity. with e
vengeance: but ee no natural. the bietcriccl Mama. the panel-moment
eyootcicle. the tragedy. end e seminal] inexhaustible number of “Yankee"
91m dominated the eeene. fith the mt present closeout of the theater
to outdone of popular intmet in hind, it in clear that either Miter»
cteiy or uncommon: the early piamigzte of America were tanning the
rim of patriotism anti fictional enthusiasts. more no little or no time
for eocial comedy.

that the comedy of eentiaent would hm penieted in e. «3th where
earl: trite” axe eo um. am; e eccial comedy of w one ie he an-
doubt-cur to the dominance of the vogue ci’ eeneibility which along ten-
animal: to :11 pupae: writing and thinking. In America the netigee
of Puritaniu penieted long after the movement itself had "limiehed
ite leadership of Mt out eventually paced wt of cadet-me. Pop-
I15! American WW toner-wear: the Just rewarding of virtue.
the wishing of the villaio. and e hoop: going for all concerned in
ite fictional enli «mi diet. Truly. the Puritan dominance of flee Eng-
ind we never so email: a ore theee pmietent outgrowth that color
:11 of American life. Been-nee of their persistence it gcee almost eith-
out saying that mricen drone, especially in it: early dare. could
econ-eel: have prom plan einilcr to than of the fleetorction which
left the totalizing—if there one anymtc be done by the individual
waiter.

One other factor we active in etmgthening the arm of eentimt
he!" the lateness with which our two leading theatrical oitiee became
seam}: cosmopolitan. while Boston very early assumed leadership u e

13

annual center. it use in Fhlladelphie end He: York that theatrical
promotion tint flouriehed. flue tiret definitely organised comm of
notor- am e performance of Addison'e gm, in lT49 in Philadelphie. lte
reception. hoe-ever, me e cold one: the actor: em aerated and urged.
to wanton their activity. The mm then moved to flee York where it
we acre cordially received. In 1752. the anus: Company arrived from
London end. after playing in the Stuntman meant! in Kev York and Emile-
aelphie in the «mm of 1153-4. it the eloee of the Philadelphia en-
gagement. the 60an use dissolved. ite leader, Luis Belles. and hie
family retiring to Janice.

m. Beam Douala" e few years later built e theater in Eel York at
Cmger’e mt. Ee exgerienoed eone difficulty in opening it. hut he eae
W6 end in June, 1159. he by“ e theater at Vermn m Smith
Streete in Philetelphie. £3 eat panel by the Pennsylvania. ueenhly
eleeed thie theater en Jamar: 1. 1760. an yem later. with e pox-
eieteme this is admirable... Douglass mm the (and Seaman: Theatre
in Philadelphia, the first permanent theater in the colonies. The fol-
loving year. 1757. he opened the John strut mean-e in See York. m.
at the me a: the Revolution there were two pen-emu eetehlieheo.
theaters in operation. With the end of: the ear and the reopening of
theater: generally. the Southem and the John Street playheueee eentimd
to lead the theatrical bone».

The eminence of pemnent theater: did not. however. guarantee the
actore ' or the plmhte a highly sophisticated endieme. Boston.

 

21$“ met he mentored. aleo. that ehile neither tillimeburg not
Charlene: established yermnent theaters. they both received theatrical
«mania: with oordielity throughout the entire colonial period. The
Cavalier influence dominant in the South eomwhat liberalized the recrea-
tional outlook of ite eitieene.

1‘}

probably the lost matured of our early oitiu. did not look with m-
thuiutio favor upon the theater. E’hiladelphia, while it can ths con-
to: of new important and {at "aching wtivitiu and curtain: was cul-
turally «aka. yet was not sophisticated in that direction which would
«man. or 101.com, the comedy of amen. Rev York, with its grow-
in; «apart activity and its “91:11: devolcging financial index-amp coon
boom than Marat approach to a mompolitm counter that the Suited
State: boasted of in th- at): domain of its antenna.

But "on than. a kind of pmvinoial-aophiutication-uto m contra-
diatory tam-«ass «Mont. Han tor-km boa-tad. of thuir city‘s indw-
ship on this aantinont. hut they miogised for its pmvinoiaiim ahead.
A lupaficial glance at writing m 8! lat. as 1530 will In!!!“ to
inflicato how hunted this attituds was among our thoughtful load”: and.
by tho frequency at tho protest, will indicato how ptomlcnt tho attitude
mot hm bun. emanny. can our most «mental: 31$ :23 not
commuter: enough to ntimlato a. growth of a comedy of morn. The
lei-urn. the poi". the mmhat bias} View of 11:. that poi-nits a society
to sit bank and laugh at itsolf «1*. long absent iron the yaw mmbiic.
Convex-air. tin ”nth. tin am". the idoai of nudity. the opportunity
which lad. it ponihlo for a young printer to bosom a nation“ ambassador-b-
thou managed tho ideal of continent. 3"pr. urn youthm and enthu-
siastic in mm outlook: they took «an the problem in a play tith dead
sax-mutant and the: rants-d than to 'turn amt right.‘

snoring. than. did not promo comedy of the pm more: can" bu-
ama (1) in point of tine. she cm into antenna too late to contri-
bntu to tho typo in it: half W (2) ha cal: yum were occupied with
national problems that directed what dramatic activity than was into

15

patriotic and historical channels: (3) the peniutant strain at Puritan
restraint “initiated. in nun-.1911; in the selection of 'Initahlo"

materiall and treatment: and (h) t in): Compolitan audience denials-rd
01011:.

czwrzm In
SOCIAL COEE‘DY fli‘fi T533 SCOIAL CC'EJSCIEEICE

Boron going on to o dotailod diocuooion of the social comedy in
America. ono further com-ant nood- to to woo of mid moody in general.
The olooo oomootion totooon tho typo of occial comedy recognitod by
both tho dramatist and tho critic and tho gonoral locinl oonditiono of
o aim poi-10d io significant. In ancient Groooo with its democracy
room in o olm oyoton and its I'notm'ol” aristocracy of birth and col-
turn. tho lowly ooro obJooto of woody—with no moral oignificanoo.
Likovioo in Bozo. which loot its roguhlioan virtuoo u it gained in
vorld ominoooo. tho lowly. who had omll piano in tho Homo social pio-
turo. "to tho tuditional longing otock. During tho Dork Moo—thick
man ho calloti tho automation of draw-tho lowly boom mo noro
lowly and it io omll voodoo that in tho only roligiooo arm of o to-
“Mira mm. it val again tho oimplo ma mu. mo oomd to in-
troduoo tho "color o1ononto.25

with tho growth of citioo and tho dovolopnont of o merchant oluo.
tho problem of rank homo noro complex. Eton the otrong oloooioioto
boson to ooo tho poo-minty of o noblo poroooago figuring in o oonody.
albeit it not noodo to tomtio.26 ma oomody of manner: nouriohod in
lo period of gayoty and oxubomnoo following an oxilo which had taught

 

asFaootionoly. ono night room that. considering tho physical
dimtion in which I. usually rotor to Satan. oven tho demons uhich won-o
oo popularly and {or hoiotomo honor mo “lowly‘ creator“.

aecomillo. «0 p. (9 show.

11

the ruling group-om everyone alto-othnt it 'hfl fallible to a high do-
me. By coin: itself no the victia of its own wit. it could boot con-
vince the world of its ocphiotication aid tang-from. The French Revolu-
tion. following upon the heelo of tho otart of tho industrial moment
Wt about the attempted application of theorioo ot oleoo leveling
and o hunonitnrion interoot unprecedented in European history. It on:

no more accident that Voltaire out the comedy of sentiment so an vehicle
for social radicalion.~o foot he applied with oom chill in m where-
in ho tried consciously to depreciate the value of clone diotinctiono.
Indeed. the rapid growth of tho oholo oohool of oontimntolity may he
explained in port in term of the humanitarian movements and the excita-
tion. socially and politically. of the cannon can.”

in America. with our tam: declaration of belief in the principle
of the equality of non. it io hut natural that our comedy should tend to
Who‘ll. the otorliog virtue: of simplicity and honesty and to rail
egninot pretenoo and the tales “emotion of privilege.

So corked, indeed, io this connection between eocial condition and
social comedy that it might well he yoeeible to trace the history of tho
enlightening of mid. conditions in the social conedy of oooh ago. So-
canoe of thio owe connection omi the cloooneoo of treatment to the don-
inmt thought in our developing nation. it has seemed boot to trout the
American social comedy first in term of its relation to specific pox-lode.
and oocondly. in term of frequently recurring thought pat tome.

Th. natural period groupings into ohich the thoct matter oeesol to

 

2711mm F. fiooyor hoe com diocnsoion of these factoro in

BM 91 mm m mm 3.9. m (Philadelphia. 1931) . chaps.
I and n.

18

toll on no follow“ Tho amlotionory to: and. tho pout var poriod, tho
poriod of consolidation and notional growth. the Famous I’ortioo om tho-
oudoo lac. tho 31m Decode om! tho period of tho unbroken. the “no
of pro-Karla Ear 'progroooivonooo.‘ tho 1liilci Twentiu. and tho Sociolo-
gical Thirtioo. It in in tom of thooo groupings that our cooiol oonody
will first be treated.

Ci-it‘xP‘I’Efil I?
THE: REVBLU‘I‘IOEAEY m: 1:353 THE POST 3&3 $221101)

Tho first moi-icon play of tho Revolutionary gar poriod that io of
intoroot in n otudy of tho social comedy no o. too-not tam. m m.
oritton by uro. more: Wart-on in 1775. Madly pro-mug in oontinmt.
m m nttnoko tho Tory londorohip of on innor cirolo in tho worn-
nont of Hooocnhnoctto. ifi‘oro political than dramatic. tho p12: worth.-
lcoo hoo ono of tho omarkooi‘ the mid comedy. The ohoioo of noun-
too broadly omutic {or good ontirw—ronindo one of Restoration comedy
charactorot Lord Chic! Juotioo Hoocbrod. Jody homo. Win Bato-
oll. Run 81mm. Sir 59m W1. Crusty Crowbor. and Soriblorim
kibble: oro but o for of then. firo. Wanna whitiouoly phrased hot play
in "no. one! whilo ito oorico of dioouooiono botvoon choraotoro soon
dull today. :31 gm undoubtodlr carved ito prioary pm» of political
attack. Ao coo noun. ito oolo relation to mid cow io in tho ohoico
of charoctoro' nan».

Roch noro important too Royall Tyler'o m w written and
prooontod in 1785. no tho tint Moo-icon coma: tho ploy hoo noturolly
arm oomont. and ito mthor'o inoxporionoo in writing has drawn o. con-
opicnono ohm of that comment. It ohould ho o'boomd. no Arthur B.
Eothoroot pointo out, that Tyler Inn not only well road in English lit-
cram. but ho to: thoroughly familiar with tho principloo of play con-
oto'mtion.as A play of fin onto. having o conventional plot oith enro-
fhl toroohedooing and oboorvanoo of tho dramatic onitioo. m M

 

28"?!» 13th Background of Royal Tyler's mm“ W
W (January. 19%). 9- b3‘!»

20

on tho work of o novice who was. none the lens, no amateur. Al to true
of all cell constructed and coil orittec playo, The Contract has o nun-
be! of olmonto which mot necessarily enter into consideration.

In tho facility of its language. in tho “honours“ nature of the
nonoo Manly, Dimple. and Van Bough. in the character of Dimple, whoa

29

Botheroot doocriboo oo "o polo imitation of the Restoration Rake.“ * in

tho brittle. flippant oharootor of Charlotte, in tho charming ocono bo-

tooon Jenny and Jonathon over Dmlo'o “gamt boom";O

th- Plev stomach»
tho om of We. In ito tandem: to noralioo through the opcoohoo of
may? in tho oloo naturo oi’ Horio'o nit—particularly in ooenoo with
Dimple-a. and in the {rank oontinontnlity in the character of fiario. the
p15} to moon nut-or to tho comedy of continent.

homer. Eanly’o loot cpooch dooo mob mro than point the moral for
tho omiionooz it otrikoo for the lost the the otrong note of notionelioo
which to hoard ropootodly thrmighout tho ontiro play and which to tho
olomoént tying the play most closely to ito period. The moon): boon
quoting hi”.

ind I have learned that probity. virtmo. honor, though
they ohould not have received the polieh of Europe. will ooooro
to on honoot American tho good grocoo of hio fair countryman.
ma. I hove. tho mplouoo of The Public.

Apponring no it did. on soon otter tho eetnhliohnont of tho noo govern-
ment and while people ooro otill very oonociouo of the leadership which

29m“ mm“. Background of Royal “Met-'- 111.1 mam.” W
W (Jam. 19h1)o P0 “310

3030le l‘ylor. mm ed. ”by J. B. fiilhur (Boston and 3:"
York. 1930) not 7. ocono l.

31:15:11!“ diooouroo on tho ovilo of luxury no he otrollo on the $52.11,
mo :11. ocono 2. io illustrative.

omit? and. practise go" to European mtoa. in; W in ito vol-y
titio ma plot in an typo-J. for the loyalty and open support of American
gout-moat and (bumping muons. Ono noodo only to consider tho foi-
looing epooohoo of Rani: to determine the truth of thio otatomont: in
talking with Dimlo of tho WI of Europe. Han]: roplioo.

Thoroforo I do not oioh to see them for I can moi-
«tool that knowledgo Valuable which tends to give no o
diotnt for w nativo count-1.32

Lator in tho em oomrution. ho renal-kn.
I an pram! to my Merino-o1 noon the United Statu—

hoo diopioyod oirtueo onti enhimoonto which oofiorn notiono

w admire. but of which they have "1m oot no tho mic.

wordy. of canoe. io tho proponent of tho Anon-icon View in the plot
and on ouch should be expect“ to utter pro-merioan oontiuento. Dimlo.
homer. eulogiooo the charm of the 01d world; hio vim oro can set
forth in his fax-mill

Slight? soon: Vol-5' rim. Mood! Ludioo end gentleman. I

take u have; and you will plea.» to oboem in tho oooo o!

w deport-sent the contrast between a gunman who has read

Chooserfiold and received the link of Europe and on on-

poliohed. untrmied. American.
Hooovor. loot Dimplo'o exit speech be construed to imdioato tho omen—
iority of tho antagonist tho argument of tho Prologuo ohmxlci ho mulled.

Thou tho anther appealod to the nationalism of his audience: in ouch

limo no then.

Emlt. oaoh yotflot hearth-thin night 1! ohm
A piooo. which to my tail-1y call our own.

33m. m. m 1?, ooono 1.

331311.. Act V. oeono 2.

But nod-m youths, with mum" Iona.
11m taste to drum tho proof of mononuc-

.COOGOIQOIC.

“all“ all. which all: at 09101150: and ponds.
that come from Europe. and be road)? made.

The “tire of the loot two line. in not so subtle no to lose its point.
It would ho further noted that throughout the entire play various chol-
actors atoll lowing poroonogu in tho American loom. (Milan. atom
for Ldmtto and Hamiltonian Federalism to apparent. In tho first Icon-
of Act 1!. final: he: a long speech of patriotism referring to tho problem
of national audit and probing fiahlngton. In not 111. new 2. «on
{implo is forced to ocknowlodwalthough honour—tho tome. of tho

W.

And indeed. vhon wo reflect how mch no on to thou
bran non who have suffered so much in the sonic. of their

country. and WEMMWWM

um 12.191. 9.9.: mm MWG- 1re a they demand ma

attention which grotitudo can 2383....
The addod italics com to point out tho phonology no reminiscent of
tho 1% of tho Declaration of Independenoo. evidently than. as not,
otmng in its hold upon tho public hind.

It 1: gunman: agreed that Tylor no deliberato in his proachmont
0! national“: and consciously oomtmotod his play to that end. Halon
Mu- Brown om. “Tho play to: an illustrated louon 1n putt-Lotion nomad,
homo. mingling with otauncb patriots, were than who aged fomlgn and”
and tolt. or feigned to fool, disdain for tho Eu Rogm‘bllo and distrust
of it: autumnal. Allan Gate: Balllno also regards nationalism u a

vital olomt of tho play. In tho tntrofluotton to 233W ho dates.

 

3filial»: Mar Brown. tho profs-o. to the “£11m: edition of mg 993-
m P0 mo

23

“u. then is mason to beliovo that tho oignifioant aspect of tho play
in tho motion of nationalism arising hon the situation this}: gives

tho play ito title)” Definite it it that in his stressing of the na-
tionalistic not... Tyler otnngthonod tho original and pertinent element
in tho play and. and. the on. outstanding contribution to 0061821 concdy

in his poriod.

35Allan cat“ Balm. WM (30w York. 1935). p. 1&0.

81%me V
THE PERIOD OF GUESS-1.13.3165 LED ESJIIOZ'ZJQL (31‘ ‘17T31

it io nndorotondohlo that tho no: period ohould havo producod littlo
in tho no“ of oooial drama! tho notion woo too intent upon ito political
toll-bolus to ho" tho tioo or tho intoroot to analyst! ito social foibles.
For tho om roooono lunch of thio political pro-occupation and drmotio
dearth omiod out into tho subsequent on of national dovoloymt.

During tho period of national consolidation. mum: from about 1800
to 1830. tho oocial comedy was oxoaplifiod by only am ploy worthy of

note. W m nitton by Joooph E‘utton and prooontod in 1309.
Whilo tho ploy io nodiooro in drmtio construction and linoo, it to o!

intonot horo boom» it illustratoo again tho olooo oonnootion batman.
locial comedy and main]. trondo. Just oo tho period was o transitional
ono botmn oar years and ooonooio proopority, oo tho oonod: of tho pon-
iod to transitional. Tho patriotic tom: of tho oarlior period oontimuoo:
tho hoginning of an attack moo tho oping of fronch “noon, ohich woo

to ho handlod oo skillfully in tire. aboatt'o W on also ovidont.

Ao tho titlo indicatoo, W m io chiefly on indictmnt ,
of tho ottitudo that oxouooo tho breakdoon of oooial virtnoo oith o bland,
"It io foobionobio.’ in tho character of Dolony. tho omg. oolf-ootio-
not! top. io on who of tho fashionohlo orbitoro of nonnoro in the Boo-
tontion oooodioo. Pox-ham ho oao not meant to ho more: at on rate. ho
to tho ooio claim: of relationship to tho comedy of moi-o that {63.13123-
m m hao, and ho io o 1911 poor relation indood. sioo chm-lotto

Pooitivo io nainiooont of tho ridiculed moon of tho iaootorotion plays.

25

but the humor of her situation in note]: hinted; it lo not dooeloped for
open magnition.

he in m 2283:5993.- tho voguo of oentioentslion io reflected. Poro-
crino Punitive and Foam? ore the epitome of goodness. In the oeparotion
and reunion o! the Dorrivillo family the mom oontiooot of good triumph-
ing io roll eot forth. Plough!!! and bio home are the huloorko of antic
oiwlioity. Even Delay in hie roiomtion in the loot scene io well
clothed in the gamnto of oontiaont. Indeed, oentioontolion plays a
his role in Wim-

The pley'o reflection oi’ the oooiol trendo of the period are not to
he overlooked. hoomr. A: eoo mentioned earlier, tho ploy hridgoo the
notionalioo of the preceding period and the nation of the succeeding one.
B‘hot who: of the audience could fail in patriotic response. ehon hor-
fiville returns from hie undefined exile end exoleioe.

hail! my country: onoo euro 1 prone to hotel soil and
bathe purer air. America. thou oolo obodo of liberty.

and peace. 6
Plooahby, in exhorting hie Done to hospitality. also voiooo national
virtuee when he om.

eoo end i trust. home that our country which on the only
3.3 33 m.‘::::§’$i£:t;.gmo*i‘m':z,' $323337
. .
again Dorrivillo emroooeo hie oeneo of obligation for exomolm con-
duct ohilo officially mounting hio country no he opeoko ooornmlly

to ImelomP rho hoe charged hill with being in livery.

”Joseph mm. W moss. in Win hm h:
W 1815-1858. ed. by hontrooo J. hoooo (new York. 1925).
Act 11. ooooe l.

371333,. Act 11, ooone 2.

26

l n. w foobionablo gentleman. but it io tho livory
of w count”. and whilo I you it. it ohall never ho oulliod
in nu outfitting tho to]. Violonoo of o wonndrol Martin
an mmtwhd ”mmo

Even tho prison bailiff voiooo patriotic feeling ao he gooo to tho on-
ploeoant duty of muting Captain Dorrivillo,
Boom" it’o dioogrooablo. om to o bailiff. to toll

o. no ho not so to prison. when ho boo rotumod froo fight-

ing tho battloo of hio 130111317}9
Tho bailiff'o mam ooroo to mphuioo tho mlior. casual referonoo.
am by tho Captain. to tho naming of piratoo on tho Barbary? Coaotyo
Tho opirit of nationalist: no otill remnant in Anon-icon coma}.

Looo oooopimo, but nono tho looo promo io‘ tho early oatiro of
French imitation. In WW it io loft to tho vino-loving
servant. Solomon, to ottompt tho uco of French toms. Tho following dia-
loguo introducoo tho error ohich Solomon not“ oonoiotontlyt

Gmuillol “u. you no oloayo (lo hon esprit. ...‘
8010mm “You. homo». m m io our boot friend ”3'“
Tho poooi'bilitioo for humor orioing out of Solomon’o diotortod pronun-
ciation are obviono. It wood 3 olmror writer than Button to weap-
lioh it with. no). mono. but to Joseph Hutton met so credit for tho
initiation.

Boforo loaning tho period under diocuooion. ottontion not be called
to o third play which. olthongh it chronologically fallo in tho third

period. belong! by all other standards in the second. Janos Eirko Poulti-

”out“. n- as... Lot 111. ooono b.
39%. Lot 17. um 1.
“an... m x. 1mm 2..
film” Act II. ooono 3.

27

int- WLB .21: W crpomd in printed for: in
13347. but in 1:. Ipli'lt ma sumac: nattor, tho p15: is of on sax-11a:

tino. It to poos-ihlo to oxplaio tho play'o opirit portion: in torus of
tho mthor‘ o vigomo anti-Britioh fooling which probably datoo from tho
lentionm war exporioooo of hio family. holding. horn in 1778,

could act ho" had any pox-sons]. tocolloctiono of tho war. but ho did no
ito tragic offoot in tho insanity of hio modfuthor ohooo motel condi.
tioo had boon ongondorod {hiring o Britioh attack. that cirmtanoo
addod to that out have boon o nationalism of tho firot rank undoubtodly
accounto for tho opirit of bio hoot plow. It io moor: noroly to call
ottontion to two other prodmto of bio poo to point out that tho national-

m «mm»- m widow. MWWM
mmmwwnm in 1612. “diatom-113W no

m 8:: MW in 1825. m m mm in point.
Tho otmngoot orproooion of tho asthnolhtic fooling of m m

m 1o in tho plot itoolf. which contoro around tho arrival of too
young American at tho hem of tho oaimnt authority on antiquity, Choo-
loto. and tho confuood idoao of tho 'ahorigimlo' which Obooloto anti hio
friendo hon. Aftor o oorioo of colodrooatio oxporioncoo in o wood: in
which o ring of beggars opzzom as o kind offimgm tho play.
oftor nioo oooooo in tho fifth act. ood- oith ouch American sowing tho
girl of hio m w tho ontiro company giving four hoy'o for tho Koo
rot-1d. tho loot ono being. ”And 2197 for tho flow fiorlm-o'tio 'tho land
of tho froo and tho homo of tho brm’i'

Invoroo loyalty to tho homlond io oxgrooood in i‘rank'o oatirioal
uplmotioo of tho mood oilonco with which Obooloto'o friondo afoot

tho two Americana who actually appear to to civilised-

28

Pooh. pooh. brothor-o'tio hogging, but the English hospi-
tality wo'vo hoard. o0 ouch about.

In tho oooo oomo tho othor youth. Henry. oxpoundo tho Aoorioan theory
of oqnolity. Booming of social diotinotiono. ho om.
Tho loo nokoo nono. and that'o outfioiont. to m taught

to conoidor a king. and tho son of a king. so much tho mhjoot

of our thoughto and Judgment, no tho beggar that goon in Pogo.

hon can't tom" ono stop from nan—hio naturo tixoo hio.
Tho American-born Juno Earfiolci, liko Frank. imlloo praioo of her satin
land on oho oritioiooo tho Englioh court.

You. my lord—when kingo and quoono. to on: 33mm of
kn»... tako prooodonoo. ond oharo in tho honoro.

Frank ovon ploooo lovo of com”: abovo lovo of woman ohm £15.17 in onooor
to his propoool oooopto his on condition that ho Mail: in England.
Long beforo ! no you. w oonntry m w aux-ling.“
It would to also to eivo tho lam-ion that mm io poro-
ly nationalistic. Sontiuontalitv Mo. oopociollr in tho longtlnP
loot out and in tho romantic ooonoo. Sonothing of tho mod: of honouro
io mount in tho wing of oharaotoro by mo and in tho oomiotonoy
with which tho aha-onto" hold to thoir typos. Obooloto. Admiral Gmulo.
hose: Ionghoo. Throadnoodlo. tho tanker. and 5‘4" Obooloto hon mos
that opook thoir choraotoriotioo for thou. In tho involvod ooh-plot
ohioh hringo obout tho kidnapping of Jun and tho mbooquont oild racing
of tho ontiro mt throw tho ooodo in o oonmood offort to room hot.

tho ploy anticipates tho nole in its noot virulent torn. In it:

 

”23am mm Folding. mimosa. in mm «1. by
A. O. Bollino (Hot York, 1935). Act II. noun 3.

”3311.. Act III. ooono 2.
“m. m: v. ooono 1.

39

satin ugon narrows of vision and community the play approaches
the me}: later 'problea' mial 601mm.“5 Z’oui‘oiy it it this hybrid
nature tint prevents it than fitting «oi-17d: into its mm chronolngiml

periofl.

1631-. Ballino't criticism of tho pro-mtionaiiutic intorprutation
of tht 913:! should to given. In his introduction to 333. Mg, ha
writes, “The striking; aspect of 2mm however. in that its
“tire reach» beyond nationalism to types of character found in my
utilised country; though thou characters new"; to be Englishmen in
the play: tho: m satiriud for their persona). qualities. not for their
national idioaymraioa.‘ 92. _c__i_§.. p. 79.. manning as this criticiu
is. it in nonrthaluc tmo that mw has much of the am. na-
tionalistic am: that is found in WWII. and WW

CHEER 71
THE FARJIGUS FUR’IIES [SID T533 GILES!) am

By 1830. the eastern moon-d etetee had arrived at the degree of.
eeonrity and prestige which made it possible for than to lock noon the
frontier ee eonething quite removed. Consequently. while Fasteners
were were of the notion'e emanation end. indeed. participated in it.
the more eophieticated among then found time and the cccuion to look
critically upon 41 eooiety that not had the leisure to develop foihlee.
The popularity of French hook- on etiquette and the etndied nttenpte of
Rev York. particularly. to tank with European citiee u e center of col-
tore and moment illustrate the social trend in the i'F:alnfl.one Fortieo'
of union Meade lainnigerode has written so elitePtoiningly.“5

Strangely enough the decade of the Thirtiee went unrepresented in
eooial comedy. Indeed. it we not until late in the Fortiee. 18167.
that e cow of any dietinction amen-ed. This dearth of drwatic ecciol
counter: no: he explained in port by the tremendoce popularity of the
hietorioel firm which eo euited the tolente of ouch notore u Edwin
torrent and Killian “screw and in port by Himegerode'e penetrating
cement. '... the aromatic none one not e led: in the Portion. but e

painted hneey “Jr"? Unfortunate es the lull in the creation of comedy

“Meade Budgeted» m M WI. (1‘1" York and London. 1921*).

h7311.1... p. 150. The unpooularity of the drama on word We it
eleo bought out in fire. iéoeatt'e apology in the Prologue to :
flHare! take." he floats, “the unclean thing on:
'Tie tainted with e notice of e pig!

The What ie it though beneath m ban
But a z'tgnermtype 0? life end non? '
Arraign poor hmmn nature. if you will

But let the firm have her mission etiil!‘

Anne. Corwin iiovntt. Peehion, 2:. 3. Moon, 21. m.

 

31

m, the silence paid rich dividends when it one broken w the witty
estire. mm and in the subsequent plays of the Fifties, Sixties.
and Seventies with their indictment of imitated cancers and m
ostentation.

In the brilliant 535131.93: the ridiculousness of s slavish imitation
of European custom is laid bare sith skill and finesse. While the play
itself centers mood lire. i'iffnny's inordinsts desire to be French in
ell things. the Prologue ponies e subtle thrust with those who live by
English custom,

'M‘m kWJ 1'11 808 but stew-

Ron I read farther. 'tis s m ploy!

Bah! Hone-nods calicoes are sell enough

”But hone-made dramas must be stupid stuff.

had it the m stony. 'tswould din-abut then.

For plays. re la: the manners and the non!
Chief worshipper at the shrine of Parisian node. and chief victim of tire.
Izéosstt'e satire. is fire. Tiffany. who prsttles exqatily about fashion and
her social leadership, oblivious to her husband's impending financial
ruin—s min for ehich she is greatly responsible since her extrnsgsnce
has caused his to falsify accounts in an effort to nest her denands for
money. host characteristic of fire. Tiffany is her use of French phrases-
correctly need, hut horribly distorted in prommcistion. A few lines
rill serve to illustrste:

You have the met gym ids 8 Mr. Tmmem—qulte
“1191a. 8nd daplonbly mriom eee

OOQOCOOOOCOO

There is something about our Amricsn words decidedly
vulgar. mm (flan 110' refined- losiml! om-
;W whet e difference.

.OIOOIOOOOOO

 

hams Cox-sin Mutt, mm, 33. J. Moses. on. cit.. Act IV, scene i.

hem. not 1. scene 1.

Been to the opera. Hr. log? 11%:- that the m m
make their m there every evening.

OOOOOQODCOOOC

I I , m ”m I! , mm mammal
Homer. she is not alone so the proponent of the E'rench fashion.

 

Her damtsr. Serwhine. is an insignificant echo of her mother's pretti-
ing. but the maid. Hillinette. and the false Count both cleverly emphasise
the play”! satire in their capitalism; upon Ere. Tiffany‘s penchant. Of
course. it is but ehresd business for tiillinette to praise her mistress,
but she none-the-less laugh at her errore.

Mane have one chomente pronunciation. l‘ostool:
(mucking aside.) Chestnuts. Mmgse

In spite of her laughter Hillinette enjoys her position of influence
through firs. Tiffany. She proudly explains her duties to Zeke.

... I on 123de - ~ ~: 511W lady's asid.
fioneieur Zeke. I teach Sedans nmmnm ma Modems
set do fashion for all How York. You see. Lionsienr Zeke. dot
it is no.1 W dat do lead do fashion for all do Ansricen

m M
The Count is equally effective in his lines. than assured that Americans

 

follow foreign fashions. Jolinaitro replies with fitting ineslence.

Excuse no. Landon. our fashions have men anteciluviam
before you Americans discover their existence. You lsaent—
ably are behind the egeulnnentablyi 'Pon a: honour. e for-
eigner of refinement finds goat difficult: in existing in
this provincial etmsphere.

Even his suit to Serqahine is tinged with his European preferences,

 

50m Cos-win Hewett. mg. n. J. Races. 92.. m... m I . scene 1.
5131“... Act III. scene 1.
52m. Act 1. scene 1.
Sum. Act 1. scene 1.

Ah! I find but om roaming ohm in America-other
superlative loveliness of the feminine portion of omation...55

It was not enough. honour. for Hrs. Hon“ to attack the European
pmpmitiu of Society: in the person of an. firing on ruthlessly
pilloriod tho trends that turned tho opt manure. fabulous. for tho
mm. Chm-god by her husband with tho necessity of paying bills. giro.
Tiffani «Simian: the obligation. tith an airy.

I hear tho gym never oondeooond to do nothing of

tho kind. ’i‘ho honor of their invaluaElo patronage in Int--

ticioni for the person: they employi5
Spoaking of hot daughtor'a olopomnt. oh. blandly oluoifiu the Prui-
donfi u ranking with o, Bax-mm ambit-

too it at this meat on her way on...» Washington:

Shore. after visiting on the fashionable Winnie. of the

dash-including tho President-q, he will ram to am Mr

native (21:73.5
To her mishand'o frenzied question, does 8h. denim to drive him to mi-
cido. Fro. Tiffarw replies. with moving horror.

Good gracious! Br. Tiffany. how you talk! I beg you

mn't mention awthing of tho kind. I oonoidor black tho

mat unbecoming color ".58
Lost on. think that her most «effective coma of language is th- french
phrase. aha weeks of his: name to Zeke in term aqvpaningly pedantic:

... I consider it too niobian an appellation $0 ho
uttered in my prooonco ".59

ans-mm» throat at contemporary society by Lira. flows.“ should be

 

55m Col-tin Watt. W H. J. Lion”. 932,. “1.. Act 1. Sam 1.
561313.. Act V, mm 1.

573111.. m6 Y. noon. 1.

553113.. Act m. was 1.

59min Act I. ooono 1.

3h

cited here. It explains itoolf: owl Poet T. Tamweon Twinklo.
... And you not tats into consideration. ladies.

tho rngaidity with which they wore rrittsn. iour minutes

and o halt 1v tho stop watch! The true to of o post

is tho velocity with which he oompooss....

MM is true to the school of continent in tho persons of Truman.
Gertrcco. and Mr. Tiffm. Gsrtruclo's ropnloiug of tho Count'o advance.
ends on grounds of her orphaned stats. is two to typo,

And thoroforo mro ontitlod to tho retpoct and pro-

toction oi" ovary 1mg ensign: Had you boon one, you

would not hm insulted no!

Ono oposoh undo “by Trusmn will outfico to illuatrato tho positions both
Tursnan and ur. Tiffany uphold in the play.
Fashion! loud pray ohnt is fashion. Baden? An agno-

nent between certain persons to livo without using thoir

souls! to substitute otiquetto for virM.mm for

purity-onenners for morals! to affect a chemo for the

oorko of their Creator: and 01330116. all thsigeragturo upon

tho works of their tailors and circumcise”!

Sentiment is present. but in W it io uood rith sufficient finoooo
to point the entire of the comedy oithout weighing it clown with preach-
nont.

Tho same quality of discrimination is notable in fire. Moran's choico
of two-name and in vestiges of nationalism which persist in the play.
“from. Jolineitro. ‘1‘. “Penman Trinldo. Snobson subtly rmal their
pcoeoeoors' dietingiishing characteristics. In her pride in the play'o
being s notivo product. in the bluntneos with which Truman oxprooooo his
prido that Marion didn’t produoo tho Count and in his railing at tho

livery worn by Zeke,‘ hrs. iiomtt has used. the nationnlistic factor spor-

 

60m Garvin have“. W M. J. 150369. 32. £15... wt 1. scent! I.
61m. Act II. scono 2.
62M. Act IV. ooono l.

35

ingly cum to oaks it effective, hut not bur-consone. All things con-
oidorod-othc smooth {losing lines. the sharpness of the satire. the real--
isn of tho characters. and tho all-pervading lightness of touch-wit in
oacily undontendeblo why W kn” ouch pcpnlarity and longevity.

Elmo years later. 1855. m. Sidney Batman also attacked olmry
to fashion in 331;. The smtineos of tho attituds that having been to
Forio nods one oll-oiss as s social arbiter is sell usmglifioc in tho
character. Cypher Cynosure,-hio nano is W to explain him. "The finan-
cial aspect of tho problem was clout-1y brought out by firs. nova“, but
firs. Mtonnn brings tho cost homo with o vsngonnco: bankruptcy. social
failure. paternal dimming. and throatonsd imprisonment for forgery are.
all soon as following in the who of antacid oxtraraganco.

Before going to s discussion of thoes specifically period character-
istics of the play, it night he sell to nets cm or two mre general
qualities. In tho persistencs of typo-nemcacyphor Cycosurs, hr. Prompt-
cash, Er. Zillsids. hrs. Corderoy Cozuircr. Elias Sallio Simsr, hiss Ida
Indolonco, hiss Dorothea M1153. his: fanny Fortunomtho play harks
back to montoonth century comedy. It should he ronzzrkod in passing,
however. that in M tho more obvious nuns typing is linitoa. with the
exception of Cymsurs. to minor characters. In tho awactsro of Mary
Apes: and John Unit-othoir names. as sell as thooo of hpsx. firs. A902.
and. hrs. Radius. What meet their function in tho plow-sentimental-
133 has strong exponents: hars- in her seintly tor‘osaranco and Unit in
his indorsonsnt of tho sinplo lifs. The reformation of tire. £539! and her
son no in truo form of tho comedy of continent. In its rotorsuco to
m the Empress mgnic. and the slavery problem. mg is ocpocially
timely.

36

By for tho bulk of the Mongols. homover. is placed won tho social
holloonsos which tho ploy attacks. Elloids'o opening speech mails tho
slavish odhsronoo to tho mono: stander: which roamod ridiculous heights.

It's growing vulgar to roar ouch man-priced goods,

oinoo tho sporting gantry hogan Waring than for their

rival ".63
til-s. sport's motion concerning seven hundred dollar material is equally

You hero nothing noro oxoonsivot

Both Biro. Apex and Cyphor Cymsnro are the changiono of Paris tapro-

ucy. In tho ooono amt cited. lira. Apex marks.

... Sine. our European tour, I think Mariano goods
sro so vulgar.

Dynamo. when asked his opinion of material under question tootii‘ioa to
his qualifications with tho oomont.
or owns. having Just loft Paris. I on quits solo to
(looms that is. or what is not so of admiration. and
this giroo w Opinion ooiglt ...
Later. Gynasuro upmoso his protsroooo for Paris as o plooo of rosi-
dmo.

Paris is tho plmgéshoro a gentleman con liro. 1m-
orioons only oxist....

Bo oontinuos. in «Implantation for his look of trilliont convorsetional
whimnonto.

... our board witty peoplo talk mtil I wont to
Perth...

_.___‘

63H”. Sidney Baum. m. M. J. idoooo, 521. 31.1.. at I. mono l.
“on.

653”

55mg... m n. scone 2. 67m,

37

Just hos oinco'ro airs. Batman was in hsr condomtion of this Paris
vogno is open to question in Cynosnrs's lost speech of this category.
In scoopting sons of tho sinplo oxprsooions of sentiment by Unit and
others. Cynosuro calls to his old tho fact that.
... It is quite fashionabloat Paris to laugh at podi-
groo. and talk s t Iorit. snti not sooner, and all that
sort of thing...”
Io Mrs. Batman horsslf pro-From}: in her social standards, or is she
not-sly using s too-odes osorti in hor attack? Ono is unlined to holim
she is following this lino of reasoning: to to 1: slots to Fol-is fashion
is ridiculous: if you foil to on tho rosoonablonooo of that. at least
rocognioo that Paris itsoli’ is condoning tho feohionablo world.
iho accuser o! Hrs. “1‘me of W is tors. Codiivor. but obs
is cmdor. noro obvious. much olossr to tho Solemn or W £91.
1m. Tin-so of her ogsochoo will curries to mice clou- nor charactofi-
ution.
... for Mr. Godlivor has boon dead oimtson moths,
one. 1': ours it' high tins I laid osido my sonbroro on-

contrononto....

0.0.0.0...

... dinner is ours to bo put onfiho tablo with tho
punctuation of s railroad conductor.

00.0.00...

... and ho is notorious for his pottyo of {our gunman?1
To Er. Fromm is givon tho moot satirical comsnt upon tho in-

sincority of room in tho social sorld. than firs. Radius and 211's. Apex,

63M". Sidnoy Estonian, M a. J. Hoses, 93,311.. men, soon. 2.
693111., Act 1. mos l.

70M. Act 1!. scono 2.

71mg... Act :11, scone 3.

38

bitter rinlc. kiss in greeting. ho mica.

I know Ibo mold kiss hot: “hot hypocrites thou
roman mi

His spoooh is om of may that point tho charaotor of Mrs. ops: u no-
tmrahly as pouihls. Mm her husband refuses her s paltry fiftoon
thousand dollars to com her pomnol indebtsdnooo. thoit moms” to
bankntptoy is not marl: so moi-oasis. to her a ho: probably loos of
two socially. of her son's sooful sxtravogonos. she blithely son.

... and than. ho is no wry handsome. so young,
and so foohionahloio-l on so mend of him.

The dofioiomics of hot character on cost "vealed when. upon hot oon'o
objections to forging his stop-sister's name on a check. the scoffs.
... The“ over-aim scnzplos on ridiculousim

Lilac 2.535.123- tho ploy coals with the merchant-primo-nthough bani:-
mt—ond thoroin. too. it tmo to its on. Tho significant. of tho titlo
is ”Not chasm-ad by the plot and in command only in Unit's last
«pooch, which atoms. as it son. to drag in the moral that. “otter all,
our labours or! prompted by that great motive power of human Mme-

The following Moods 3a! the production of fimuotin may: W
the Gaslight in 1867. A rambling. five-mt melodrama, the play loch!

 

oowaotooes and iota-oat. Its solo claim to attention as a oooiol coma:
in its attomgxtod mall“ in tho locale of the ooom at Bolmnioo'o and

the court room come. As down” on prevailing social custom, thoao

 

7231's. Sidney Batman. £911, 2. J. Hosea. 55;, m. hot 1, some I.

731219
7km. AC‘ 1:. ”m 10

39

some have value.

Satire is not the dominant note. by any means. but my marrow.
bitter connect concerning the shabby treatment society in giving Laura.

is biting!

... Laura has mocked it {Society} with e pretence, and
society. shi is made up of pretencee. sill bitterly resent
the misery.
Indirect satire on Society‘s stamina! of honesty in present in the lines
concerning the letters:

Sm Early: Here's one for Laura. It's unsealed and
not delivered.

Lars. Van Dam! A {git prise! Let's see it--( they Open
it)

Only one other factor of my ingot-tacos to thin stuéy is touched on
in the play. Feminism, shich was to develop into a dominant locus in
the Hinetieo end the early port of the twentieth century. is the gist of
the curtain line of not 1?. Ac Laura, in e heir-breadth rescue, coves
Smokey tron death under s. train. Snot-h cries out-

Victory: Saved! Boot-51! And these are the some who
ain't to have s vote:

iiors important was Bronson Howard's m M W which as
first produced in 1673 as M M m. A fair play, although
lacking the finesse of the author's lots! plays. 333 MW
satirises e grouting seamless ot the American of the Gilded Age who ec-
quirsd soot wealth and little else. The plot iteelf is melodramatic:
s amm- narriee A man, who: she mpecte. but does not 1m. to save

her father fro: financial min: after years of devoted sitshood, though

”We. Daly. Wham (2:... gm. 1695). m 1.
76mm.-

to

toxic}: oho norertholooo ha cherished the cream of her regected lover,
she leorno that etc really lovoo her husband map-tho preochnenk-firot
1m in not clam o looting one. It io in o relatively minor character
and in the secondary ootiro that the ploy gaino mt. G. ”footingtcn
Phipps in the prototype of tho future. mh-tc—bo-oatirioed. Baofloker-
clutching. American tom-lot in Europe. The high pronoun nature of bio
whirlwind touring io illustrated. in the question the critic Hontvilloio
put: to hint
Your pardon. Hr. Phippo. 1 euro you on apology for

having interrupted your remarks. Pardon. but you have

been to the Grand Cysts: and to the I-‘oloie Royal. and to

tho Cocodio Rondo. and the Opera Coniq'co. and you or-

rivo? in the city of Sarto ot halt-poet cent: this oven-

ingr 7
Later in the om oat Phippo condone hinoelf no he unwittingly. and
toutingly, rmolo hio onporticiolity-o

l liko picturoo. l coont nearly treaty nicoteo in
tho gallery at Brendon.

In the person of G. tannington Phipps. Broom Borax-d sketched. tho conic .
aspect of that Louie More! called “Tho Pillage of the Post)"
MWW in probably cost oignificont for ite timelinooo
in reflecting social decline in the wealth grabbing, culturally «not:
years of the then tarnishing Gilded £39 and for its foreshadowing of the
inquiry and spirit of reform which characterized tho turn of the century.
It is oignificsnt oloo that its author contimed. with increasing okill.
to record ecciel trends in the social comedy.
Minamoto: ommooowm m
751mm rmoro. m m m (lieu York, 19.26). cm. 1: “For tho

dominant generation of the counties. ... art and mature meant the put:
it mt Europe: it meant o'er tho owe and for may}. 9. 201+.

 

czzxrma n I
no: mm 2.33.3173 Am 35:: rm: on or m: worse“:

m1. Howard did not particularly otroeo the growing big-Maine”.
high-procure attitude toward culture. he did connect extensively in hie
plan on the for reaching evilo of money end the American tendmy to
glorify meinoeo. Root of bio plan fall chronologically. as well so
in epirit. in the late nineteenth end early twentieth century. They oorro
well ee euphoric for the poeition that eccinl comedy keepo pace with occi-
ol trecde end ie on effective «watery. with hie aqurenticeohip. oo
to epoch. oorved during the Gilded Age. Boeard’e mturer plan written
«hiring the Ninetiee moi the echoth ore of mistaking. oubtl: point
the wile toward which Amricon oocial trends were leading. Three of
bio cocecioe will eerve to illustrate the moth of bio condemnation of
the evile of wealth: 191M Elli-W Raw and Wasa-
ing them chronologically.

mm. W1 is least inmortant or the three. It doee. hoe-
mr. plainly attack the euperi'icial. erupt: kind of living pursued by
those of none. The threatened necking of the formerly idyllic marri-
age of Douglae and Constance Winthrop. the infreqnoncy with ehich Ere.
Ghotm end her huebandc. eucceoeire. ooe one another. the inoietence
with which Scott pcinto out the consent of tho oocial butterfly existence.
and hie reminiocenco in the loot act of the oinglicity of childhood. all
heighten the pointing cf the argument.

Ehile the play ehcwe definite technical improvement in mro inte-

grated epeechee and in plot development. the thrust of the play ie oom-

152

what obecured by the eentioenteliea attendent upon the blind Edith end
her romance with Herbert ad on the death of Roeie. Only rarely do the
lime themelwee point the thought. In the reply of Scott to Lira. Chet‘
m'e commemot of her divorce. the indictaent against too each wealth
and leieure ie eatiricclly node!

Ah! Then you and Dick will 3:; eonething of each other.
I congratulate you both ...79

lire. Chetm. in her part. is e. later wereion of tire. Apex in m; and of
an. Tiffany in W. Eith twicel frivolity ehe reconnte the divorce
proceeding"
tire. Ruth: It met hm been very sad.
shire. Ghetwynt Yee. it wee: I had on e brocade lmnder
and old gold-lace to match the lavender-
and eleewee puffed ebowe the elbow-e. The
evidence wee eo conical. 0
It ie imrtont to recall. however. that both Ere. dpex and tire. Titian:
knew eome chagrin over their folliee end were eeddened at the thought of
the eoneequencee. Eat eo ie lire. Chetm! In her flippencr. Howard en-
pheeieee the changed eociel ettitude: her eine of enperficiality do not
eypall her. In her coneietemy of characterization. the ind ictmt of
the age ie node ethane.
flowerd'e eeoond play of the period carried e more powerful charge.
3:; 1857. the year which eew mm W produced. Howerd had attained
a eherp technical skill and had developed e plot that in every way reflect-
ed the age of expander-end in can: negecte foreshadowed the future

melt-me. to 31W Reward ie mercileee in hie entire; no pheee

 

79Fromm Howard. mmmm. mm (1‘38" York. 1399). Act III.
803:}:

I‘3

ot’tocictr Oleapoat busineli, politics, the churchp-all are shown as
intact-d by the Ian. virus.

The play in 3 I011 bladed potpourri of the play of ”mutant and
uh. comedy of tanner: with a. dab of pmtrutim natiro chat room: ii
tron tha limbo of other hybrid mid comedian. Howard has skillfully
avoided the pitfall which can can” with the typing of charachfl.
Berti. Vanalstm is charming in his anemia to meat the top and the
gay dog; he in admiral. in hi! quiet occupiers:- of his brother“ falu
accusations: he in not! Wand no» painted mutually-«a: iho Wall
Stmi “genius.“ his father. fiicholm. 11km" 1! a compoun- of many
moods. A ruthless mipulator of th- Itook market. he II remarkably patio
with the mild. amt Agnes: condemning Barth's curly sworficiulity. ho
is later inordinately proud of his young awoken; anal in tho ruin of
a um. ho takes pains in pros-at thc mall imotor. mm... Junior.
than 1030 chant” of character. but hi. "aim-am m smaousivuly ro-
unded and he remains a vital factor in the plot. Dr. Vainrighi in tho
no“ am. of tho moor characters. It in h. m ”pro-ants the count--
niiu mm; his tpuohu invariably an or the prominent category: ha
it the Mg. tithin Sh. play. Her an tho othar characters. imorimt
a! fihqy art .0 tha comedy as a.wholo.‘oonlpicuaus for their‘dhangos of
mod.

1.: nighi it expected. Vahdstyne. Sr... but illustratoa the «quive-
cal position of the financial- who 006th one code of ethics for his
print. 111'. and moths: for hi. buaihou. 11: hi: saris. to hi: can. ha
in I far or: from ih. oft-quoted 230103111»-

... Rover gamble. my son: a isn't right. fugue"-
tho Iberia, that“ manna“...

81Bronson Howard, The Henrietta, A. G. Halline,_2, cit., Act I.

 

find later-

... I only lio between times. 'Tmth crushed to
north '11]. riso ogdgé' i know exactly when to lot he:
r130} mt“ all ooo

Tho magnitude of bruinooa an it no cmiod on in its heyday is
illustrated in tho younger Richolao'o answer to hio oocrotary'o inquiry
ooncoming ninety-fin thousand dollars. '1 don't onto to be tori-ind
about trifloo liko that this morning ...."‘S3 The scale and the offrontry
of big buainooo are boot ootirizod in tho following conversation between
- the older and the younger Hicholao ‘Iamnlmrno. Mtor the father has
ordered the purchase of a railroad and other incidontal proportios. the
son says tentatively:

J12: Tho Legislaturo or Honda-o
Sn: 31V that. too.
Jr.: The new Constitution of the State-

Sn: Tell our agonto to hm it anondod at once-
own no Eiooonri.

Inhoront in tho oano conversation is Howard'o indictment of the political
laxity that pemittod big business no to corrupt it.

Probably tho mot omol oatiro in that directed against the church.
Eton tho listing of tho character of tho pastor Hilton 11: pointed: I”Tho
Rov. Dr. Hurray Hilton. 8 Shepherd.“ Following tho listing in the apro-
poo quotation from Vanity Fair, “It was to combat and upon ouch no

thou, no doubt. that laughter who made.“ The Kev. Dr. Hilton in chur-

Rhona: Howard. mm A. G. Eiallino. 22.. 21.5... A“ I.
”ma.
“him.

ks

acterizod no It pious. iinger-tipo-odjneting sort of clorgnnan who in none
the lee: not averse to taking a. flyer on the market-«or a tip at the
race track. lie in distressed when his wealth? priohionero are upoet
over financeo: he is totally incompetent when faced with a moral inane.
fie in mode to tag-peer ovaricioue and ridiculous in his interact in the
widow. lire. Cornelia 1:631:11. Eie imonpetency is hurled in his teeth

by the dying Ez’icholee. Jr..

Ton tea-oh a man how to die! Rama you ever 9331mm me
how to Lin? You have robbed no of our hope “.39

Re cello to mind the blind oelf-righteounneoe eo vividly diocuoeed by

lhonae Beer in m gm MFG

Minor eatirioel notes should be motioned. The elder Vonaletyno
intermpte hie prepoeal to the lovely Cornelia to duh hastily to otudy
the ticker tape. Bertie. in hie innocence. believee that “playing the
market“ io o some. The insipid English lord whoa nary venalotyne lorries
faile to understand his tether-Who“ attitude:

my American father-1mg?! hasn't got over being surprised
every time he mete no. set.

The confusing existence or three flenriettae-oe nine. 3. race horse. and

s rcpnhr danceru-oonglicote everyone“ activity. in peeeing it should
be observed that the play on these Henrietta» grow more tiresome and
dooe not new to be as vital to the plot on the author evidently felt in
hie choice of title.

The mom irony of the play in Bertie’o revealing to hie {other

 

552mm. Home new A. a. mum. 9:.- m. m 1:1.

8511101“ Beer. mm m (flee York. 1926). Section III:
”Deprovity.‘

37313011903 Harm. ”hr .9. mm Act III.

146

that hie buying or oolling on the market in dependent upon the indication
of o flipped coin. By thie mthod. he has become the Young napoleon of
Wall Street! 0! it. he enye.

That in the intellectual proceeeSEmther. It takes
brains to deal at the Stock: Exchange.

that price the nervous proetretione of other financiers:

It teem ingoesiblo that anyone could mien the thrust of 21m W
Loot mono ohould. however. the norsli-zing Sir. fininwright closes the play
by wring!

The bueineee interests of the country. these money

traneectione. these opecnlntione in life and death. there

are more sacred intoreete than those. and they lie dewer

in our hearte.39

In Em. o four-Act play which appeared in 1905. Howard approachoe
the evile of "no: in l moh more involved manner. not. complicated in
plot and with leee chill in character develolment. 5533 ie the inferior
of flow in every ear. The attack upon the eocinl evil ie e two-
directional one: in the arranged marriage between Kate and Earl Cathoret.
and in the rectorehip of the Lord John Vernor.

In the first inotunce. Hoeerd'e ottitnde almost hoe to be read into
the play. Indirectly he in pointing out the folly of the marriage of
wealthy American girle to European titleo; and directly. through the per-
eon of Rector Lord John Vornor. he onghneixee the ideal of honeoty in
matrimony. Indeed. eo pmninont is the enohaeie noon the matrimonial
mention that one ie forced to the conclusion that it was flowerd'o major

problen here. A converoetion between Kate and Archibeld not he cited.

 

g8Brannon Howard. m m Act IV. .

591m.

1‘1

rate: These business nottere m eometinee very irria
toting: and thie wring. of cure ie-obueinoee—
of course.

Archibald: Business?

Kate: Box we'll call it art. 66.221“: 3 comedy. Boos it
etill intereet you?

Archibald: I: it beginning to bore you. Kate? I'm
afraid I'm not playing my mm part in the coated:
"11.99
The etriking scene between John and archi‘onld during which John pleads
vith whiten to have the courage of honesty and ehich ends with John's
ponrful prayer on sax-rim is also an illustration in point:
... Let not our marriage service be node n fantastic

mockery: nor let the minister: at thy altar pander to thoee

who insult mo and man. mfil

In the second instance. the dieentiafnotion in the taking of e peei-
tion for financial reaeone only is made clear. The Lord John Yer-nor
wanted to be on em nan: he accepted the mtorehip in hie diocese to-
am. the living was good and ”it ea: expound of his.“ Here. the attack
on tee-1th ie an intern one: money and position note on attractive that
taking the rectorehip was easier than being mum. In reading the play.
one feels that The Rev. Lord Vex-nor and Kate Hordenbeok both grow in
spirit as they depart fro- their misty-imposed positions.

indirectly. also. are other eocial memes" attacked. The church.
again. in e victim-here. in the person: of the Rev. Edward Lyell and The
Hon. Dorothea Catheret. Both are Way“ as calf-righteous. duty-bound
individual: ehoee eincerity rings e bit hollow then really etruok e. teet-

inc blow. The description of Lyell given at the outset of the play is

 

goaneon Howard. Em (lien York, 1905). Act II.

a:
I ‘w.. ”it 111.

1&8

mietekehlh-"He belongs to that clone of truly religions non whose in-
tellectual pour. firnneee of purine. and absolute honeety have encour-
aged other non to mtyrdon in all ease: they rennin on earth thencelvee
end in good health to look after the interacts o! the Church.‘ Lady 3t.
John'e cement in the Ron. Dorothea. ie equally enlightening-

... in my own opinion. Dorothea hoe long intended to

marry the Rector of PWathei-et: eho he heppene to he

so e nan ie o more incident and it doeen't interest wrung;Z

American reverence for Europe ie pointed out chiefly in the proposed
carriage, of course: but a ely dig ie taken. even at the heroine'e vent-
neee. in Archibald“ deecription of Kate.

... mun-ever we go ehe ie a devotee of the higheet ertie-
nag-mm fiféfi12‘§$;§§.§°m‘“§é‘a§:£f§w
e 0 e e .

Renard enrol: tonchee the divorce problem which Laogdon uitcheli
handled with conmote ekill in m 3131mm but the one epeech ie
biting enough to be worth quoting. Fitting): W. it come iron the
Iipe of DeBeyeter tolfe. e 1905 vereion of the tap,

... All the common have Rnittod the third great wedding
march-ate the divorce com-tn"?

he Ia. etctod earlier, m in an interior play. The typing of
characters ie no definite that the plot outcome appear: obvione at the
end of the firet cot. While one central idea ie engzhneieed. the argu-

ment of the play scene to be indirect and obscure. he a eociol common-

tel-y it ie not on effective oe MW.

923mm” Howard. m (Flee York. 1906). Act 1?.

93mg... m 1.
9km. m n.

It9

m we. homer. indicative of u change in the notoriale being
need by writere of eooiol comedy. With the turn of the oentury, the
m we in the vanguard of the crusading publications expoeing corrup-
tion. protiteering. and inordimte expansion of big bueimee. Ida Tan.
tell. Lincoln Steffen. Upton Sinclair. and Frank Harrie were becoming
the tenor of the moropniom politician end the profit-crowd emaloyer.
no longer were bueineee end e Willion-Ronoolpb-Eemt type of culture
eocial foiblee: they ha! become problem for the reformer. Immoh u
M through the problem of honesty in miage. improachee character
We" ee it: point of departure. it indicatee the changing inten-
eete of the social om. no longer me e trend iteel! the mo: iee'oe:
tether. eere the component “meme of the trend of contending in-
portence. Society'e foiblee were being broken up into individual chor-
uter faults.

This ehitticg mphaeie. approached by Howard. is clearly eeen in all
the writing of Clyde ritoh. with the one exception of hie tint play.
mm chick the produced in 1390. Excellent u the play ie an e.
eocial M. and euperior he it ie mechanically, it hoe little sign-
ficance to thie em. tith ite locale in England. and bridging the
eighteenth and nineteenth mturiee. the pie: both in place and period
one far removed tron ite oonteoporary none. In many reopeote the clev-
ereet of Pitoh'e eooial comedian. m W is here matted from any
further diecueeion eololy on the ground of ite hietoflcal subject matter.
0! the other 1313:! by Clyde fitoh. three ehould he considered in the
light of the changed interest: of the eooial comedy. :33 5.1.23. 1.1m m
9.932113111- mm and mm are the plays in point.-

The first. mmmmmm deals, so might be expected

50

from the title. with Jealousy; Jinny finstin and her husband. John. haw!
but an: obstacle to {not in innit othorvioovhagpily lorriod.ootato:
Jim in momma»: Jealous. John. having bun wamd by Jim's par-
also. laugh: tho dang»: of! as dbourd. IJinny; oonooious of’hor funli.
trio: to ho fair and impartial in‘her'Judgmnnts. .A series of incidents
involving John and Ruth Cheater mun Jinn". Jealousy booms John
ruinous to toko her into hit confidonoo. Because Ruththm been the via.
tin of Jimmy". brother‘s cont-c1100. John is asking to spare “my. flat--
ur- on broughi to o tragic culmination than J ion: has driven John from
her by hot Joulouo rantings: than. upon learning the truth. who attempts
ouioido,'but in resound. opportunaly; hy1John. oil is obvious from this
brief plot clutch. tho play in a cloudy knot charge against a. opooifil
fault. Kn attampt to tie Jinny‘s prohlon.to oooioiy in coastal is undo.
By intercom. of «nouns. such a commotion may be drawn: mic” is
faced with the problem of win]. instability boom” of the character
fault, Jealousy. The main arm! or the play, however. it “tough
emphasised.

Through on. or two oinor oharaotm. Fitch ammo to touch non
opotn in the imatioaa 300191 30.3.. H31. Cullinghan is o.forfhright
soul Ibo nay! ihoi tho thinks. ‘Hor bonsai roaaflt to Jinn: fibre-I light
on in: min). position and hot on snobbery as well u that of those of
whoaraho uposko.

... I (1013'. 21:0! how to mm: you both. You”. asked
no zoday to use: the owollost oroud.l'vo ovor'boon in that.

I Ian M. and didn't hm in our um». and felt I

had a right to Ia: ”nothing besides “mun m.‘ and 'I beg
your pardom'95

 

95cm. man. momma m mam <3!» rm. 1905). m I.

51

In it: pointing of fin. Coilinghan'o dooire to hm locial entry. the
epoeoh anticipates Fitch’s later play. mam. To Biro. Cullinghoa
are also given the monotone lime describing "the Tom Cmittoe of
Thirteen for tho moral iopmvenont of Peoria“ which anticipated, to; on-
us). yam. Sinclair Lnio'e biaet against the mail-aiming" of the
man MP6

in the woe em, union tattoo plane in the Vatican, moi: humor in
around at the upon“ of tho American tourist who gooe about We in
great hut- gathering information from bong! end not too well infomd
guides. Hr. Phipps of mm W would have found emrol
kindred cool: in the tourist groups ritoh 15mm. moo minor char-
ootere m dotinitoly of emodary wot-tame: the prime obJootive of
the ploy in its will defined stuck on Jealousy.

The second play. mam is not IO o1»: out in its throet.
Liko Bout-11's m tho more penetrating momentary is somewhat hidden
in tho Mose satin on eooial oiiobiog. In lire. Hunter and hot dough-
tor Clara. the petty. vindictive. oooionr ambition. woman is ropreeontod.
In the persons of 25.11. Starling, Both Hunter. and Jessica. the more sari-
out oomot on society is code.

fire. Hunter's mortioiality in revealed with dingo-light oleorneu
in the ”:7 infinite oooiol ottitudo with which of» vim her )mobaod‘e
timers). union. It in 3 am of pride and piooeoro that mryone of
social importance we there-anon}, in foot. who had never bofore recog-
nized hot ”Gianni. Inter. in attending hon avid interest in the social

nature of the union. she meaiinégly remake.

9631,.“ Fitch. mmmmmm (30! York. 1905). Act II.

52

... not that I ever acknowledged I no your father's
inferior. I consider a fail: woe Just as good so hie, only

'0 "I" W’
it ehonid he noted that the enperfioiol attaching of eooiai inportanoe
to one religious denomination our mother met have boon prevalent
enough. eotoaiiy. for the author to point it out a e. character-“tic
o! e culturally effete society. Clara's promotion of bar whitione
label her ee equally “come--

In: like to be e. eort of Anna Beld....98

The entrance living of hire. {miter em! Clara and the Women“).
mrei moundoeee of Richard Sterling preeentj the trende which mtoh
denim to point out: lire. Bteriing’e reaction to her men-m tribula-
tione and the elderly hath Bunter'e ineietme upon e retention of ideal-
in emhoeiee the oherooter {mite Fitch one book of the trends. Pro-
53131: the root retooling epeeoh of the pie: is Ruth hunter“ to have.
Starling:

0h. w dear, that'e Juot it! The watchtord of our age

ie ”if: he are all for moire” the twentieth oentory ie

to be e. glorifioation of eoifiohneee. the Era of igotiooi

Forget yourself. end what would you do? The diaii’ied

thing....99
The epeeoh cone to mind the cloning lines of 2m. Batman‘s m but
there the ambiance ends. Wt fire. Batman eooewhat tentotively eug-
geeted. Clyde Fitch node boldly clear in hie indictment.

In m mm, 1906. Fitch returned to the almost eingle treatment

of on individual fault. The title in self-explanatory am: the 13on hoe

M

97c1yae Pitch, mm (flew York. 1905). me. I.

98“ I I

99314.. Mt Iv.

53

the lone implied mm “gum. oe hoe mmmmm'
m yE'hen Becky Herder learned the necessity of telling the truth,

the odor ohetoole to her harried hoppimo no mood. The play, hoe-
ever. hoe e broader application than the earlier one: the White lie'
of eooial practice it more prevalent than to rampant Jealousy.

Book: and her unborn are direct entithoeee. Where it hoe become
habitual for Boob to use the white lie. Ton holds to the obvious poei»
tionx "The troth‘e eo einpie. eo mob ouier-«hy not ten “1100 there
To: ie nature in hie reasoning and thoroughly rational in hie acceptance
of the ooneietenoy of canoe and effect. Book: ie child-like in her hope
for Wool rm from ooneequenooel

... Dear God in Heaven. if I ever got out of {31"
1'11 never tell another lie so long ee 1 live: ...

having eo prayed. ehe reverte to habituol practice when. et the end of
the wt. ehe breaks on wt rith o Mend. The truth ie that ehe
and harder hm quarreled. but Book: elaborate»
... for has. been called too-Chicago suddenly on Mei.

nae—roe. ien't it too bad? And I've had an telegram that

{other isn't so very roll, no I on taking the tire-twenty

train to Beltimrt. loo. 1'11 write. Ho. I don’t think

he'e eerionely ill. Goodbye:
li‘he oontroet'hoteeen Book: and Tom disappears. of course. when Beoiq
valiantly tello the ehoh‘by truth at the end of the ploy. i‘oe'e use of
the over-worked oliohl that love overcome m obetaoloe ie e ”an:
oomtinentsi curtain epeeoh which does not manure no to the root of the
our.

Veetigee of tire. Tiffany are proomt in the eooiolly unskilled are.

 

momma Fitch. m mg. (he! Yam. 19.07). on II.

who.

9+

Groupiw. then corrected on her French prommoiation. aha reglieo
with ammo that it bliss:

honour: Hume. is plural. ‘11:. o nmlar in manor.
You forget I no «hinted in tin Orleans. 03

And let”.
Etiqm! You can not-root w English when you want to.

but In flinch I". kept pun oinoo school. and l but

Weekly—ell rot-do mains in not you pronounco A.

A: a whole. however, mm, suntan its attention on its major problen
and on: other Intiro in laughable.

Tho period of tho nineties and tho first detain of the twentieth
outury definitely ea: 3 ohitting of omhuio in acid. «may from man
foibles to indiricluol weakness”. It 1. nursery. honour. to call
ottontion to tho fmt that than” tho element: of tho comedy of manner:
in American social comedy practical}: disappeared during this period.
the factor: of the may! oentinont appeared on prominently on ever.

In the inevitable reforn of tho guilty character and the repeated mm-
nlo for the mm. the demand: of o eentimnt loving public were satin-

!ied. Good alum trimmed. and the play: “tamed out right.‘

 

”Mom. ritoh. mmmen York. 1907). not 111.
”km.

01115? IR VIII
PBX-WW Wit} WPwGEJ’SIYflmw”

in '1” of the chemo mt noted. the fut-Ming. brittle. eocid
comediee of the pro-World Ear period are in etriking oontrut to thou

of the preceding period. Dialogue roe more witty. In m {59.1mm
it home operkmu brilliant. Cool. detached entire of e universal
eooial attitude constituted the put-pone of the authore. Charactere
once more teoene representative or recognisable hind-patterns. The eon.-
nere m roe mind with e fineeee that it had never before claimed
in American. The eooelereting tempo of teentieth century promeeimeee
and liberalism neoeeearily one reflected in the eooial comedy of the
period.

The .noet brilliant comedy of the period nee Langdon hitohell'e m
3333123 39;. Fairly eointilleting or it it. the plow it our nearest

approach: to the European comedy 0: manners. That the author nae perhape

aiming at the High Comedy diemeed by Bola-e010h ie indicated in the

tolloring etatenentt

that I rented to eatiriee one e oertnin extreme frivolity
in the America epirit and in our Inez-icon life—frivolity
in the deep sense-«not Just a girl'e frivolity. but that
profound. eterile. maxing frivolity which one obeerree and
mete in our churches. in political life. in literature. in
music; in ehort. in every department of American thonglt.
feeling, and action. The oldafnohioned. high—bred family
in 'The How York lden' ere eolemnly frivolous. and the feet
lightoeinded. highly-intelligent hero and heroine are frivo-
lom in their on: delightful way-ofrivoliw, of some. to
he need for tragedy or W. Our frivolity in. 1 feel. on
‘11. Gag. Of tho "Miae

long” £00m“ are

”5331““ in the introduction in hontroee J. uoeee'e
mnwm 1856-‘9H (He- York. 1925). p. (:00.

 

5.6

fihile. at the ebove mutation indicates. hitchell promlgeted the.

play ee 1; oomntm on merino lite in general; the play ie centered
in the clash in the problem of amuse and divorce—e problem ehioh
appeare to have been dominant during the period. The involved problem
of the divorce and eeoood earring“ of John and Cynthia Karelake produce
e eeriee of eleoet aboard eituotione. Through the conversational attend.
eat upon these eituotioue Kitchen eooree hie eoet telling thmete at
the prevail ing American attitude. The eelt-coneoiouelr dignified E’hilip
Phillimre ie conservatively “liberal“ in hie eooeptanoe of divorce-

lee. the cola—the halcyon cola ofueecond choice...106
Cynthia ie flippant and 'pmgreeeive" in her attitude-

1': your first eii‘e once removed!1°7
Earlier in the play. ehe exylaine the note by vhioh ehe gag“ her conduit:

But at leaet. e: deer Xereloioe. lot we have eone eat

of beauty of behavior! It ee cannot be decent. let Ill en-
deavor to be graceful. (1)5 we can't be aural. at lose-t ee

can mid being vulgar}
That divorce night be 11 social condition through which met people post.
like cutting teeth or getting gray hair. io euggeeted in John Imloke’e
explanation to Cynthia.

... 1 man that cure the e can of {guitar-e divorce,
and. chem. you're in love eith m etill.

The prevalence of the condition ie concisely summed up by the bluff sir

mun-ea.

... Nee York 1! banded if the Earth. South, fleet and
fleet by the etete of Divorce: 0

 

”sundae mean. magnum A. o. Eellim. 95.3,. m"
on x.

”7331.. Act 1?.
mm... m. H. mm mm. m z.

5?

React to the problem of divorce. the languid indifference of IOM
leodere of the church ie most effectively eotirieod. In the pamctilioue
and clericell: eomhulmt Bishop Mathew Phillicore the clergy are oer»
cileeelr portrmd. In the first cot. the bishop romrke-u-eith ecetotic
Joy-not hie loot eervioe:

... It me on exquieite eerconi All he! York was

there! And all Bee York went our happy! Even the sin-
uere—oif there eere mi 1 don't often eeet sincere-a

do you?
The place occupied by the church in the livee of the biehop'e flock. in
designated by Cynthic’e pert. but hornet. remark,

... Oh. well, the clutch—the ohmch ie o regular
quick earrioge ccmtetk...u

he Kitchen stated in hie remake on The an York idea quoted chore.

 

hie objective in the eatire Ice e heeic attitude pervading all of Ameri-
can life. Using the problem of divorce and the indifference of eooe
church leadere co the focal point in hie attack. he omrtheleee effec-
tively hrcught out other eociol evaluations. how of than are voiced

by the otherwiee unincortont character. Grace Fhillicore. twenty-year-
old eieter to Philip. That only the unfaehionshle opent e. eumer in

flow York. that eieeo'ble meme and a respectable family were basic require-
cent: in e. euitor. and that grace and toete were more desirable cuelitiee
then other eocial virtuce ore node the chic! pointe in her credo.

In the :50th unexpected eoluticn of the play through the invali-
dity of the Koreloke divorce and their realisation that they no longer
desire one. the pie: lune to the eentinentol conclusion. I t ie eared
from ouch e commitment in the eeeentiol conflict o! the play. The Phil-

lieoree repreecnt the comer-votive. customary vimoint: the iiorclakee

 

luiehgdon Mitchell. m in m m 15.0. amm.mm..ms 1v.

53

voice the new. changing vim. In the reunion of the itmlnkee they do
thet which ie unorthodox-4o the Phillinoree—oend change custom if they
went to. The eolution my be continental. but it ie continent clothed in
treatieth century enertneee.

Bach inferior to mmmm but e comedy of the cone etacp.
vumflgghgm'. m by A. 3. mouse, produced in 1908. In ite fact-
topping dialogue and chemo eitmflion. the play to definitely of the un-
nere “toga”. In ite teentieth century “advanced” thinking, it it true
to ite period. The plot itself bordere on the fave: e lupochondriec
wife, convinced that ehe has not long to live. eeleote her huehcnd'e
eecond rife. invitee her to vieit eo that her husband end the girl may
become acquainted. and become eo dieturhed at the epperent plesmre the.
new hueband taker in the girl'e company that ehe throne off her phobia.
and emouncee her determination to liv'e. A meantio cub-plot tahee care
of the actrinoniel future of the other girl.

Uncle John Beldon ie the chief commentator upon the meaningless ex-
ietence the family lives. The folloeing epeech in typical:

Yachts. horse-racing. actor care. five suite of olothee

a day! loading. lasting. that's whet {{21" and calling it

eociety doeen't nice it owthing elee.

The eeoi-inVelidien of Irene in e etronger depicting of the fad of
eickneee which also accented in ritch'e 229, $3.31}. m m m m.
There. Peter culinghan one the character addicted to pille of eecorted
eieee and oolore. Irene goee to aboard lengthe in her varioue mdicinee
and ie in strange contra-mt to the present day vogue of health. Fortun-
ately that nae n pheoe of finericcn life the-.t nmr became firnly in-

trenched.
112

 

A. z. Thence. Rammm (35m- Yor‘t. 1908). Act I.

59

A third play of the some type should he noted: {ELEM
written in 1910 by Percy heczaye. Basically an attack on the advocacy
of whet it legally celled com 13! marriage-oil: mew it it
called freedom», the play eleo etreeeee once more the pro-European bent
of eoce Americans. Structurelly the play is mediocre: the plot. plausible
enough and eateriol for witty treatment. at tinee eeme eo forced and
over-corked that the reader to bored; and necessary at e dull mther ie
to ection. it it difficult to believe that my mother could be no dull er
15%me coke: lire. Grey.

lion-it Grey iexthe npottle of European light and liberalism. with
fanatical fervor he explaine hie homecoming to hie brother.

... l hm cone hack free Emmpe. free the piecee of art

end freedon and nodernity. to this home churchyard. to new

you tron the ghocte of our Puritan ancestors: to mount beeide

you into that old pulpit of your next Sway. and declare war

egainet all the epectree of convention.

The higheet compliment he can pay an effective point in hie brother'e

line of reasoning ie.

The prettieot retort I’ve heard einihleaving Paris.
Quite earthy of e eodern and e European.

he explaine hie endoreenent of the non-ceremow marriage with an all-
embracing—-
. 115
... Truth. eir. ie no religion.
Ric uncritical acceptance of platitudinoue phreacr ie illustrated in

hie reopen» to Hildred'e turning hie m weapcne upon him

 

n3Peroy More. M’W (:Iee York. 1310). not 1.
11h

m
115%, we II.

biildredt After all, she is only nineteen. And there
is on impassable gulf between the teens and
the twenties. isn’t there!

hen-is: There’s e lot to chat yon oceans
In every respect iéorrie is the perfect prototype of "Rev: thought" nove-
nente that appeared in ehmdcnce prior to the gorld Eat and, with acne
frequency, immediately after the ear.

the idealien of Elliott Grey reiterates Ruth Hunter's plea for self-
leeeneee in m m. Hie dream oi’ an ideal community night be con-
strned as a natural outgrowth of the activity of the marchers or as e
progmeticnticn of e do: for in the future:

here is a up of our city-non: city no it might be—

as it will be. it are citieene can learn to care less about

mar: :éggiw7 and more about the great ecu]. about
The placing of e eerione ideal in contra-distinction to the canes champion.
ed by Kerrie ens effective planning. clthough the contrast is somewhat
instructive in the play'e execution.

rollosing m—W there was another of those periods of silence
which have been noted in the growth of our eocial comedy. The silence is
mlelnahle. Nineteen-teal" and thirteen witneeoed the prologue to the
world he: in the Balkan unheard” nineteen-fourteen to eigzteen ear the
attention of the entire world centered won the. up to then. worst con-
flict in civilization‘e hletcry. The nood for social comedy was diepel-
led. Even the mfhmgette movement. which normally would have been ideal
fare for the social drmtist. passed practically unnoticed except for

ulnar plows. lions of the circumstances ccnmicive to the eocial comedy

 

1169.”, W’s MW (33cc York, 1310). Act 11.
117m" A” I-

61

war. apparent: leisure, lighthacruanesa. detachment, security. all were
dormant. Arnie: may have (knead baton finance and the world baton n1!»-
toen-fourtam. but one. film battles were begun. 539%.? was relegated to the
backmnnd.

02W 124 XX
TEE 5*:le) TG’QJ‘PIES

fiith tbs return of puma. the pendulum of emotion started to wing
in tho opposito direction. to bring with it the rocklou Twentiu. flan
can sort became gay: ho indulged in follies: and the writora of social
comfiy can. out of hibernation with prolific activity. Ono of the most
outstanding of the writers of this period was Rahal Crothoru when m
m (1921) nomads! at tho outset of the decade tho not. that was to
be it: tone uignal.

Ono oat-liar play by 131" Crothora warrant: trio! mention. if only
became it offers 3 marked contract to the rest of her work. Tho highly
sentimental 33mg, of 1919. on the surface, is unaccountahlo on the
two points of mthornhip and of time. Consider“ as social comment-y.
an idiot Crothors'u 1&th play definitely way be. 13 m falls flatly
inoigzlflmt: considered a.- post-war comedy, tho play is insipid and
vacuum. Em. viewed a a. kind of nostalgia attomt to recaptur- a
m m, 33.53283 boom uplaindlalo. ma though it still romain-
insipid.

The combined Elsi: Dimmers and Folhm qualities of 29939103). Penn
ask! her a heroine that not how. been difficult for the Row York of
tinnitus-nineteen to grasp. Karo, as in some outlier plays, the satin-
icaJ. thrult in all but lost in tho mediocre treatment of the point. The
dmlopmnt of an overly 1:13.33 attitude may he the nigh-poet warning
against social deterioration. 1! I113: Crothora intended mob an inter-

pretation to be made of 33,351}, the comedy mks; its point in the all

53

but niramxloue woy in which PeneIOpe'e supreme confidence in her fellow
non ie rewarded. The enoceee of such onyx-one Optimists an Penelope nay
be an indication that there in still hope for n Jaded, won-weary. society.
If that is the interpretation the author intended. the point is rude,
albeit obscurely.

thichmr ie the cone. 332155, romaine an wachronisn in time and
spirit. One wooden if 25in Brothers in apolOgizing for the {mun}: senti-

mentality of the play in the lines of the node-.12» do Milly-

I guess you're going to be all malt-W you are.

(to Hopeleon) hind of mice-e you believe in things again.

don't it?113
Or in ehe. no wage-ted obove, indulging in nostalgia!

Poet-war recklessness ie probably beet illuntrcted. dramatically,
in 331.522.211.10 Open defiance of convention. youthful flippcncy. and
the conflict botwoen the older and younger generations: ore clearly shown.
Teddy Glouceetor become the symbol of the Twenties; tin-st 3119 was roe-
cued clorn: her emancipated way illnstrntoe once again conedy'e concession
of connomence to the cause of n hnygzy ending. At the rink of including
too long a quotation from the play. the folloning excerpte are cited oe
excellent emotions of the plny'e major point. Teddy in talking with
her aunt iénrgaret. the voice of stability and convention:

liergarotl Do you need no? Haven't you a: chnperon?
Teddy: iloorenn. Aunt iinrgnret! we‘re not babiee.

iéargnret: You don't mean to coy you're going without
one?

Teddy: 33113:, I haven't been any place with n Cheyeron
for e million years.

 

“Sancho: mom. :9. an: in mm m in mm mm (m
York. 1934). Act III.

3!, ergare t 8
Teddy:

E3 argisxret !

Teddyt

You're twenty. I believe.
i believe I weomethmg like that.

You surely don't consider that old enough
to go about done?

we won't be alone. We'll all be together.
Everybody does “.11

And later. on magnet and Hubert. Teddy's indulgent tether. talk. the

eon: trend of the decade is even more plainly pointed out:

3:! nrgaret 2

Hubert :

iznrgaret:
Hubert:
Rergeret:
Hubert:
“areal-0t:

Hubert !

nwgnrett

liargeret 2

The gneete didn't even say goodnight. It
isn't done. I mxppoae.

fiothing'e done thet'e too much trouble-qua
can count on that.

You think bed manner: are amusing than? i
got especiallyuwjuot yromdent.

It's eevgéellingga-eirrply ommlling.

that?

All of ito-everything.

Oh. you take it too eerionnly entirely.
auger».

It's the way things m. ihe neonate of
yesterday have nothing to do with the case.
‘lhie is today.

0 O C O O. O C.

If they were common little npeterte end
pmennee it would bizaaey to understand.
But nice people! ... '

One feel: that Biol-gent. in her concern. is unaware of the irony of her

last etetoment. Scene 3 of Act It introduces the rural Heyfer and en-

pheeioee that the evil is not local to the big city. Sim Eeyfer.

 

119

120
lbgg.

Rachel Crothern. Flog Pmolg in m. 9533.. Act I.

55

They're all ridin’ round in their Ford eutimobiles.
We live in en infernal ago. Why. av grand-daughter name
ain‘t worth the powder to blow her upa-runnin' into then
ungodly movie shows every night of her life-ogittin' hone
long after ten o'clock-ufiret with one feller on' than with
another. till nobody ain't go no notion, nohon, which one
ehe'e goin' ter merry—i! my. The ungodly lawlessness that
young folks is growin‘ my with noe'daye is s disgrace to
their as: m' generation.

Teddy. who has boasted that ehe "gets by“ in her unconventional
ways because she is open in her activities. believes in the inevitable
following of cause by effect. She has none of the almost miracle-expect-
ing confidence of I’enelope i’enn; but she is close indeed to Langdon Rit-
chell'e heroine. Cynthia.

Slush! I'm only calling things by their own names.
What right have we to expect anything else? We've set our
own tum. Eon we'll ., to dance to it, and for heaven's
sake lst'e dance well.

The warning and preeclment of 339.1 Em]; are voiced by Margaret
rho is first bitter and later inspiring. Poet-ear folly in poignzmtly
et‘acked in her outhuret,

She isn't: She isn't. She’s only e child. She's
surrounded by everything that can hurt her and nothing that
can help her. It's all chaos and waste and degeneracy. ind
m boy-dying out there in France! AM this is all it nae
for! He went so gladly. He gave himself for something
greater than himself-ate eeve civilization. Oh, i213 fame
of it! The hideous. horrible. useless sacrifice!

Fittingly enough. her plea for s return to balanced living is male to
youth in the last act. {bearing to Teddy's contemporaries, she points
out.

Of course. You have more enera and daring and clev-
erness and intelligence for your age than any other set of
people in the eorld.... You‘re an institution-«envied and
imitated-drained of and read about. In every city. in
every little town. all the way down. there's a set of you.-

12lilaolml Crothere. mm in 93. 92.1.. Act II. scene 3.

“Ems... m I.

 

66

mm is frankly e comedy 1ei‘th a. moral. The lines of social

criticism ring true, but they do not weigh noon the movement of the
dialogue. The play moves along. closely knit and well integrated. mach
superior to 33, M and more outstanding thm iiiee Crothore'e subsequent
work of the some decade.

Two of her other 33le of this period ehovld be mentioned: m-
mm (1921:) end. £93. flgfigfifl (1939). The first in a eugzerficiel.
rather Meningleen depicting of the increee ingly peg-1.11M psychology of
self-mareeeion. The point is lightly node end eerily forgotten. he a
passing cement. the play is successful. but for on effective entire.
ite touch wee almost too light. The second play, 1.33.3;ng ie more
significant. The plot itself in Maia-serious: e broken wrioge that
lame the principals still inmrdly retaining their dream. but out-
enrol: living by the credo of their ego: let us be gay! vaiously,
they discover it one all a mistake and they are reunited. The signifi-
cant pm of the plot in Ltiee Crothere'e rel-options of the eunerficislo
it:r of the tines. Kitty Brown joins the proceeeion of the Cynthieo and
Tedflyn no ehe announces,

I think it“; all a Very seaming situation myself. For
goodness sake. let's be 59; about 1g.lnu

For Kitty. like Cynthia and Tommy. this geyetyu s self-dolor} ing retreat
from reality: that is the point of the play.

In 1929. Philip Barry. with aim Joined the ranks of the con-
nentetors. condemning the refusal to face reality. He eelected escape

123mm]. Crothere. 5191322219. in 92. an... Act 111.

«u
1.; finchel Crothere. m 29, 331.921 (Ree York. 1929). Act I.

57

of mother type. however: for him. emu; coznplaoemy was en dengeroue ea
herd-riding gayetgy. condemning the criteria of money em} position on
norm for social acceptance, Barry made clear the tragedy of e nit-enf-
fieient social attitude.

Binnie. the younger daughter of the household. alone of the Seton
teenage he. the courage to toe things honeetly. hith direct einglioity
the defines the family position!

... I know you wouldn' t expect that of e nenlég fether'e
position. but the feet ie. money is our god here.

or their surroundings she he: previously Marked,

... “and the general etaoepher of plenty. with the
top riveted don on the “Wit-Jab

Kore earnest than is aunt in the surface flipper»: is her warning to
Johnny when he tell: her he has eon. investment: in omen etook,
Common? Don't no: the word ".127
n‘itb sod. who also eeee the light but prefer: forgetfulneee to freedom.
she further explain- family attitudes to Johnny»-
Hed: Eon ere you noisily?
Johnm hothiog there. either.

Linda You new to my your nether wasn't even a
”shoozieflas

With cruel clever-neon, Barry satiriue the mall talk of the Seton
net in the following scene between Linda and Johnny:
Linda However do you do. ur. Cece?
Johnm And you. nice-duh?

seton is the am.

“—-

1”Philip Barry. W (“or York. 1929‘). Act I.

126“ a: 127:3 i I 133m.

110‘ on: of the bank 30:00.32
‘l'ho two.

rm! 1 but a ihipmnt of ear-marked gum
1: am in on nonduy.

Hm you ban to the Opera mach lately?
Only in fit: and starts. I'm maid.

But w dear. n man do W10: mm:
The: entertained u in Rom.

..And m m Ian flaunt mm“?
Chit.
Chat.
Shawna.
Clan-chat.
Th. v.17 magnum-I of n:- nm to the “song." thrust Bury could
hm made at tho 1m“: of flu rather stuffy and). talk Linda mm.

129

Lindu'o tuna”: laok of communion of n “nun: convex-nation 13 ch.
no“ convincing proof 35:17 could tun devised to bring hon tin truth
that 0. mg scent: «as. heart. nai- speak: no criticism against “salt.

4: annual “Hanna. 1:: the flan of mu: Crothorn and 21:. 3am
on m min tom“ of the mu» m: b: tongue“. 5.1m anthers
attacked {by mtm. hot-tom. unconventional manna of math.
hit. Barry “not! his herb. at tho My». 1008 conspicuom. habitual mind-
not of «nuance adults. Boom. the "shaman Mm: Gretna" mt.
at were when on" they mo capable of ready: team: than» Mr. Barry
mt. of we" MW“). and deeply rooted, they cculd not be remand...
one had to tea: onuolf any fret: them u did 1.12154; when aha ran to not
iohnny as m and 35 mm.

129Ph111p 3W. W (Em: York. 1929). M32 1.

69

nthom both amen wrota plays that m ”pro-entan- of ont-
standing Ionian train!!! at the ”antics, they togethor illustrate a do-
nloping dung. at pm». in mid. comedy. remap: this fact can but
3. brought out w «wmmmumm mmua.
with n panning “at. of conduct: W dosh with a prevailing ttato
a! mind. mm in a «may of tha mucus fronting; W m
a a 531ng 1103 tho mun to what any h. called tho 'pmblm" new
of thy early Thu-tin. m m is a. play with a :inglo Omaha-in:
M is n play of a. hybrid interout. water Fritehard Eaton“ "mark
coming the arms). departure of candy from a not my, pattern in
at: “It in only natural that the cine-r the stag. com: to 1110. the
hotter our techniquo is fitted to want. tha illusion of reality. tho
1”: likely n m to write stage notice net in a hard “$3130 In
3mm TM in sand thmah mark. and how is held «it for her
«Mutation: in W Linda was! to can her own chm” for
happinosl, but tho lot of the smug Satan: is hopeless. mmm
mtigial mammalian in it: happy ending: W has incipicnt to-
all“ in its uric-conic conclusion. It is thin "alts!“ approach to
among. and uni-tragic. social nine pattsm that i. tho dominant chu-
nctcrintio of the lat patina. to h comm-rod in this study.

‘wwmzm Fritchard Eaton in tho 1:1th to m mahnnd'g
m A. 3. mg. m. in" 1:. ix.

s 3-.

cont-7' 22:21 I
ma on “m "GICJJ; 1511231225

Booms of this groom intorwsswing of tho serious with tho cousin,
of social thought with social toi'blo. thsrs are relatively fss plays in
tho sax-1y Thirtiss that as purely social cow. Two will suffice for
untion has! m m M by Rachel Brothers (1932) and W
W M Philip 3m (1932). is the title of Kiss Crothoro's play
suggests it is s candy of situation. Mary's onwillimnsss to carry out
her radical ideas after noting Clairs point tho honor in tho situation.
Chin's refusal to secopt nary on sacral: moth» of Rogers“ 'offaiu'
brings out tho ondoronrrsnt of tragedy. Bridget Irako furnishes tho
host constant on tbs moral instability about which tbs ploy is contorod.
Her analysis of tho difficulty would be ridiculous if it were wt to
smelling.

I tsli you this is on “mania“: smog-anon

to livs in. 1 man ans who wants to 1mm any 35. It yon'vs

atill got the instincts for right and wrong that wars pounded

into you when you were s. girl—what or. you going to fig with

‘sa? Robot}: £1.11 ooans to have Man. And they Just got you

nixed lip-Om hold you boob-so you'rs neither one thing not

than other. bioithor happy—om new: good and W

1011'" nfammm Wand 1‘ down" set 7011
Wm

In m W the plot is main devoted to the problem of nor-
rings. but bars the serious sopoot mob overshadow tbs lmnorono. Proo-
tiodl: devoid of purely light Mom, the problsn “pact of Tom's
final ohoios of Daisy, his wife without benefit of com. mr Cocai-
is unapolisos the sntirs ploy. Cooolis's desire to asks money and to

 

131mm). Brothers. 5353 mm; (233' York. 1932), Act I.

11

1170 fashionably in town as tho niotmoo of Toa's father’s mansion is
tho swoodary interest the pie: has.

As in mutant from tho foregoing brief works. ”both mm
«at and m m woro noro carious than otherwise. although no
thinks of thm a medics. much more hybrid is S. K. Bohrmn’s 3431;
mm writton in 1931‘. Highly discerning in its mlyoio of sorld
trends and ito pointing of tho Fmiot-Comnist-Domorocy clash. tho
ploy homtii’nlly illustratoo tho growth of tho ”problem" in tho social
tons”. in social owed: alum has dons. tho plow oomto on social
summon”: but as only tho oooiol coma: of tho tsentioth contort hos
done. tho ploy ongshaoim thought ”antennas rathu than oonduot wob-
nossoo.

tho moot philosophical and penetrating observation on worm sooisl
conditions is nods to tho Borlin mat. m Villain, on was».

“Wow I was inslandsuddmlyhootilotom.

I thought: if m! I got out of ita-l'll live cultural}.

now I want and I find molt damning about and being

ogrooahlo when smoothness is indicatod. Bully m

notm is too mums}?
its most intomtionnlly significant chug-o is that imsliod in Violot’o
Mont of tho Morison financioru

Hohort't on America: and doesn‘t understand mm.133
Hohart's comment on tho English Fascist amulet is small: illminating:
fihemonbioi 80': Mt s neropapor What a financier:

thou tho Lost Wot oollo it'll ho Just another hoodlino to
iii-.13

Obviously, thou remarks are more than ontortnining wit. they are porn.

 

1323. 3. Bohnan. WWW (an York. 1931*: toting
edition. 1936), Act II, sum 1.

133nm... in» m. 13"

ma.

aunt statement: of o unions-oil centering of interest without the mom
that 'droppoth no the rain from health.“

Tho nors specific problem of fascism is oottly trootod. Ito pro-
pageant: skill in tomhod upon lightly in Eobart's almost roytum do-
scriytion to Rona-

You at tho otioln-oin o Cruoofior'o cinema-driving a

gigsmwjjgs of chap-Comiaanoooodmo-ointo tho

It should be remarked in passing that in the light of world mats in
19M those lino: he» s mro brilliant emphasis for the casual ”odor
than thoy had in 133.1%. Tho tragic wootioo of Jon boitire and its olmoct
opidomio charwtoriotios am noon in tho involuntory rotation of tho
modest. manning Rena; upon learning of Yioiot‘o intomt in Engo. ho
hittorly calcium.

53:: that's shot you tors going to toll no. That's wtw

you topt putting so off! You woro sondoring whoro ho us.

toll. hots ha in.

Hugo: Captain Eldridge-

Rand: You dirty ”192136
Hobart'o explanation of tho Fuoiot attitude hoard tho Jew ohould also
he noted. Volmea of unintentional wit-canonization? of certain repro-
oontotivos of capitdim are spoken in the line"
... You think it‘s boom“ you killot~ Cir-riot that no
{gt-“3%?“ you—lie! It's boom“ you gin birth to

In a woody of my other pm‘ioci the solution of the play could to

A.._._

135s. H. m. mmm (new York. 1931;: acting odition.
1936). Lot 1.

136m. Mt ll, scono 2'.

13I§y;g,. Act III.

73

said to border on continent. Boom of the dominance of the cerium-
pansy. the tragic-13 the 913:. £11. 03:11:13 m‘ be Wm as a state-
ment of faith. field's spinach Moons: :1 undo of idealism
... l bolim in gram". I believe in manning
through. I mm. a poor foolish illusion. I cupped.”

I bollm that in the min people arisgmonahlo and con-
rigiblo and met—Wat: of God.

1383. B. Bellman. 2313 mg gm (5ng York, 19374; acting mutton,
1935). A0! :11.

GILL ”T: 3 XI
CUF‘fCLUSIC‘H

It in manner: to Mayitulato only a littls. The thesis posited
by this study in that in any given period of history, the social comedy
«will adjust its for: and content to tho dominant social attituds. Shorts
the poriod is s secure. leisuroly. frivolous one. tho social cmdy will
nmsnarily stew closer to its original gm and and with tho curious
foibles. Munro the period in amt sith tho imseurity and tragic in-
221 motions of tbs pron-It. ths am will tend to bottom WM 5nd to
deal with the drops: momma. ”preaching social oonsdy tron this
point of visa mutate: that emotion bs taken to the interpretation
of one upset of the social om mas hy iir. John 3m in his study,
mmummmmmmwm eon-
aistantly. air. Hartman imlios that social candy is that vhioh stresses
the characteristics of Society-with s omitted ;. Granted that sinus
the time of than English Restoration. social comedy traiitiomdly hon
dealt with persons of ths Ito-called mayor clans. than is no satisfwtor:
reason for making tho poise and brooding of a 9133'! characters tho chief
basis for its classification no social moody. The very ms of tho con-
non odJsetivo. social, carries the broad" connotation which is attachsd
to tho word: sociov, mankind. and its "amuse: or. tho oil-hint utter

of this branch of tho drmxm To try to sake clear the broader inpu‘

‘395o1m 6. 3mm. mwuwmmm
1215, Doctoral dissertation at tho Univsrsity of Pmoyimnis
Fhiladolphia. 1939) .

1mm mum to Hr. Hartman's scholarship. it should be noted that

( continued on out p860)

75

cations of the coopc of cock). confirm—ohm; ichtiono which this writer
believes authors intend to he poreiaounhhoo been the objootivc of this
min section of this study.

On- further comiaoroticn of tomot remains to be mic. Trix-wai-
out this brief mm of American social comedy. it has been svidont that
certain qualities in hoax-icon life have boon consistently troatcd. the
persistence of those qmliticr is noteworthy.

It is a mic: of tho otw?y of literature) that each m.tion's liter-
cry mtivity will exhibit a two-fold significmo: a universality that
"anaconda border: and political systems and a uniqueness that mark: it
format as tho product of its originu. moi-icon literature—more opaci-
flcally. Marleen oocial cowady—ic no oozes-42th:“ It in with those uniqus
qnolitieo thst thin oocticn will trebt brserxy. '

Tao inoiotonco of that fir-2t JORRthifil that ho onto timly'o “traitor,"
but not his 33. and his otuh‘aorn distinction in tonzm during his: con-
voraation with 363343? roprooonto 011-3 of thooo persistent and miquoly

lhl

American idoao. Tho Jonathan of Tho Rucktailo in a mad: conqmtriot

of his earlier meals, ”but ho hm one choreuctoriotic in common. no

 

(Footnote tho continued)

in a mom statement he .51ch broader occpo to tho social comedy than
he appears to throughout tho greater share of his dissertation. On page.
125—6, he writes. ”It is interesting to note how the social comedies which
reflect the intorrolationo between moinooo and public life. with society.
follow clcooly tho devoloroont o: Amoricon life. 'i'ho very early comedies
do not m1 with this phase because life in tho early room of the United
States was not noorly so complicated as it is todo . men tho inductriol
rmlution spread over this country during the middle of the nineteenth
century, no how seen how the plays of that period immediately reflected
the rush for money: how people opsnt more than thoy cock in order to keep
up with someone else. or to break into circles from thich tho: rare pro-
viouoly box-rod."

IMmW Act II. mac 2.

76

too in not the servant. but tho helper of his ewloyer and he insist.

upon his personal equality)”; Thie insistence on the ”gentleman's gentle-
man" does not town-oar conspicuously until Clyde Fitch'l m We},
more. strangely enough. this typically Mex-loan ray of thinking is put
into the mind of the English valet, i'ortiner. in response to khrehono'
demand, Where's your meter?” I-Sortiner points (mt.

Excuse me, ehore'e to? gentleman. you mean, Hr. Abrahafia.
{rising} I an n gentlemn'e gentleman: i have no meter} 3

It in to he noted that in each of the three instances Just cited it no
the indivimzol in question who inoietod upon him independence. That the
idea, as web, should be cur-jg-orted by other attractors: in the £31th 1!
necesnnry in order to posit it as o notioml charmtorietic. Captain
Dorriville no specks, with double 133:3)038. no he noeto Belem

helm: ... sir, i have the honour of being your servant.

Captain: Thank you sir. it's the first time i ever had
the honour of having one....1m‘

rith the passing of the mtowy *your “want“ as c form of respect-
i'ul mating or leave taking. the beet tool for a deliberate play upon
the word we loet. And with the passing or the eervant no an integral
part of the plot and with hie relegation to the poeition of a kind of e
prop-m in character. mortunity for reiterating the idea we eleo
lost. The “gentleman's gentlenan“ does not appear in twentieth century
Amerioon social comedy.

A second. definitely recurring idea in not uniquely American. but

 

“gnaw m 111. mm 1.
11801:!” Fitch. MM (New York. 1908). Act 1, scene 1.

mammalian. m 1. mm 2.

ito treatment from thn .Ammicm point of via-a mrrmts attsntion. Emma.
chm and virtues has known: seasonal poyularity as far tune}: as Vita-11'.
W Further, the vogue for sentiment and romanticism of the eight-
eenth and nineteenth centuries naturally atimlatad. an interest in rural
eigqvlicity. It follows that Mariam: ruralism should have found a place
in 1-.mer1ce.n now. However, the mm. for the rural in our social
comdy apgasxs to ha more than a. literary vegans: it mm: to eaghmiae
the anaemia}. differences between the indepem’iant American farm: and the
:umgan gommnt agriculturiat. fihother the type was used to satirisa
m frivoiity W contrast at to natirizc its own naive“ or to
mralizc for need» of aontiment, its use was extensive.

The first Jonathan mm the .0111 of 2min“. Bis smzmnt uyon
visiting tbs water when ”they lifted up a gnat groan cloth and let
us look right into the next neighbor'a houseflhs in a ddigjzthl illus-
tration of the uimlicity of large umber! of our early citizen. quml-
13' typhal, probably. are his 123931219an with the involved mannerisms: of
the city and his proforam for customary practices:

If this is the my with your city Indians, give at the

twenty uni-u of rock, the 3133:. the cow. and Tabitha. and

a little pascoeble bundling.

The Jonathan of flaw samplings the aim-la mmohflmaa of
tho unno'phietioata as ha “chairs" the corners of the Itneta in London
last he lose his 923,11”qu we?! of the Widen frontier in tha great-

at ”tropolia of tho world!

1%mm Act 111. some 1.

1m

”473,. ms S'flfiflfln Act II, scone 2.

 

7S

Fora fragment than this satire of rural simplicity has bean tho
extol]. ing of rural virtues. The keynote is sounded by the older Box-ri-
vil'le who speaks with admiration of Floughby...

... Iii: language is the nimr to his soul. from which
sincerity riaas. and tha heart's dictates inane Iran the

lips. Heavenly singiicfisty. 'tiu with than alone that tm

and honesty mido....1
Later he further praises this child of nature-

... Eémation nay tarnish hypocrisy: tut natnrn 0111.!
could would a heart 11km this! uimgia. God-like virtue! 1‘9

its entire action of 33 m is centered about the small tom naint;
of Penelope and weak an the play is. it do“ illustrate the persistenco
of the idea of rural madness. The sane point is made more important
by kin Cmtharu in m M where it is the beneficent run-.1 infin-
onceo that m it pound. for "£9de to work out her salvation. Sign
Etnrgzmt of the country,
Yes, it certainly upsets comp things and eats up others.

All tho important things got mm important and tho worthlou

onus not. and more unwise»...
It should he noted me in that polite, but ruthless, gold rush of tho
Gila-d Age. rural chem was antiraly forgotton: it is significant that
the praise of the tingle reappeared in our social comdy after the World
Ear.

Boforo passing to another persistent thought in Analytical: cow. it
ohould be pointed out that the varying characterization: of the bra-qua
American tron tho rough frontieronsn to the mourn). man of 2-7311 Street

1mm Act II. ammo 1.

“9m" Act III. acano 1.

150335;; 79391213, Act In.

79

is an offshoot of the mural plant. Probably nowhere in American comedy
io tho diamond-imtho-rough idea o0 well brought out no in Dnly'o EigrimEa
Snorkoy in 911392. 3;; W was woefully short on oooiol groan, but
heart beats nmr rang troor than did his. Timothy O'Brion of 19. am
is hio twentioth contury compatriot. Billy Waldo of EM £29319. and Johnny
Can of W sro tho omen-lined. youthful moiono of the ow qual-
ities. it tho opoooito polo. but «molly rough diamonds of varying do-
grooo of polish. m the bluff holiness man in tho persons of Nicholas
Vanaletyne, Sir. inflgw Erastus liormmk in m and $1111.
Smith in mpg-owing $11119}? mm: between tho two on the single,
sterling ooulo who on typified by John limit in mg, mouse. in 33
W W Scott in mmltx &W and Dr. fiainwright
in 22: W-

}. third idea which room's frequently in floor-icon social coasdy is

 

that of oaront—ohild ralationohioo. For the most part filial duty has
been set in: no the ides-l. This thought occuro firot in m Wailers
flax-la ooliloqniooo upon her filial out: to marry Dimple. bar fothor'o
choice, although she herself dioopprotoo.153 inc idoal io alto upheld in
233W Ian-on rim-y refuses 1-" rank boomao of her father's wighoo and
.‘E‘ronk replies. nobly.

{the that agate her duty to a paront will never learn it
for a huoband.

151mm my. W I» 0- 11am»- an. 9.11.

1532mm Crothoro. mm Emu 1:: m man m m
m (new York. 194-).

153mm A“ 1. ww- 2.
1}?“ zooming. m 7. Icon- 1.

80

Ivan tho oolodrmtio mmw in the decision of the court.
posits the theory that a daughter“ place is with her father mo thong:
he be 5 member of tho criminal world.155 And the Iontiaontal Penelope“
somi-mrahipf‘il quoting of bar fother'a teaching; in but another aspect
of the man i:ieo.156

:‘horgly contrasting the traitional idogl of duty ia the revolt of
youth in the pic-:3 of the Twenties. And in preportion as the contra“
is grog} are the 3:15:36 two to tho firewoillzig social fliixi'dng of tho do-
Carla of filming Youth. Today's commit on her father. "I thug-ht I had
him too well traiaod for that.'157 is typical of the merged attitudo
displayed in the play! of that decade. Linda is no nor. disrespectful
than the rest of has: ganoration when she more:

... and if Father starts the wool—whore is, Big Bun-
non. W153

In mm Richard's palmt insistence upon his right to ho hin-
aol! in moral: A non serious aid. of the revolt:

Hobody'o got any right to ask. anything of mono! kw
future's mJob. If I fail at it. all right. I'd rage;
fail in am way than hit the flay in mean. also“. 5

In Ton Collin. in W W the comproniu ponition in top-
resented. Tom’s {other in treated vith roopoot. but Ton dotcrnimdly
live: hi: on life regardless of his father’s wishes. l'hn 1:0an in

 

”me m 1:.

156.33%

1513313221.!- in: n. scene 1.

15%m wt 1.

1593,1113, 33",. mm (New York. 1925). Act II.

81

winging book from the extreme revolt of the ’Iwontioa to a middle 13le
position.

(mo further persistent characteristic wot be montionod semi 1:. like
the rogue of tho mol. in not miguoly moi-icon. that. again. because
it ocmogioe ouch a conspim position in hoot-icon social oooorly it met
he conoidorod. The eociol ambitions aid inoimoritioo of women hove been
consistently eotirizod. Charlotto'e flippont cement on fiiondohip in
to the point:

Scandal. you know. ie but omsing moire: with the

faults. foih‘ioo. tolling. and moutotiono of our friends:

indeed. I don‘t lino: why we ohoilzég his" friends. it we are not

at liberty to moire use of than.
The most vivitl satire of the type he been done in the characters of rare.
Apex in 33;}; hrs. i‘ii'fw in W Lire. Ehmtor in mm and
Lira. Croopigxy in mm Cecelia in the MW in a non
mbtle torsion of the some kind of woman. Under protonoo o! helping Ton
she dooe all that she can to drive hie into living in tom there eh. will
preside over a largo and fashionable household. Further eatira of mmo’e
insinoority ie soda by Mrs. Batman in EEK in tho goeeipy character Hrs.
Ramon who only thinly voila her curiosity under the guise of frioudly
intoreet. Bronson award pokoe m at eomn'e emty observance of eocial
oneton in hie inscription of the mating of Kate end Lady St. John: “The
two women moot. who” and Rise each other with on molt order no if they

had not yesterday {or the first tins instead of being old tram-2151

Hamil: takes a similar point in the little coo-oat play. Fivo (H.109!

221.162

150mm m u. eoone 1.

151553, int 11.

1525:1111» Deon Howolle. W (1?" “3““- 1391‘)-

Era. Sonora. incl you inn-aw how much I dial ikod her.

Canpb.)11. You. I ago by he my you kissed Qifih
other.1
The mining eome in Act I of mm whore tire. Hunter sell: some

of her Parieian arouse to Nine Godoeby and Hioe sillerton in one of the
beet in point. The forthright bluntnaeo of Linda toward the Creme ie

an indirect eatire of the ewe inoinoority.163 The indirwt method ci’
moro moot use ie not eo pointed. not so effoctivo. but the foibloe of
women how given the plmriate maietont subject nattor. Although in
point of time the play is outside the limits of this etudy. Clare Booth'e

m m; ie tho mat motor-ml entire on this etheot “thumb

It
brings to e delightful, and biting. climax tho trwiitional use of roun'e

foibloe ee comedy material.

#M ._.‘ A.“

16aziillion Donn Kooollo. {in m 23.6”. (5" York. 15334) ‘

16521192. at n.
16116130 Booth. 531251329, (I'm 301%. 1937).

‘f v‘.‘ if?

P1 aye

Samuel franch, Lew York: 1932.

 

mum Same-l French, 2-59?! York: 1329.

-.....lzggm} lfggmflg, Sea-meal French, 37m: York: 1330.

“...-23$ Yggygrgsg,€ 55.311512 ranch, hem York: 1:2? {3.

Fiateman. Hrs. Siénsy. in fiagvresa-ntgtive Jm 121 m m,-

gtgggg, 1815-1858, §bntrose J. 240999, E. P. button and Comm-any,
flaw Yerk! 1925.

 

TEiehmen, 7? E3. Pixin . n . Hagen Samal Pranch, 332w Tori-7.: 133.12.

Comma, William. The 21g." ctr“ 91 1" in 339 Q; 29.21153 .9; a 11";22 .
m, edited by Joeaih 2’.ood Irkmtch, 'lhe Lia‘cmillan Company, new
York: 1‘771‘7.

   
    

u-n’f’hg 2‘2”"7512? ..“ifgz‘lrgg in ’I" a Cowmfln L "'gllifm Cone?” eve edited by
Jessa-:1: ”flood. Krutch, The 5.0:.Lllan .0" my, New anti-:3 15227.

' “a Congdieg 91 w ngvng, editeé by Janey-h
‘é’ood :Lmtch, The faéacnillan Joni-13m, 229:! York: 1327.

"mks! “1’” 2!. 35.9. 2m" in 2L 29-- WM 2 at W ' W edited
1w Joaegh 32006. Lmtch. T116 thEilllan Sompw. Haw York! 1927.

Crothers. Fuchal. E in Kim-g2 m 311 Page”; gamer},

Brantano'a. Haw York: 192 .

              

 

.....{L9 33 ‘59 Eli: Samuel Frauen, New York: 1329.

”£3.22 We *2 in m:- ‘ gunmen 9.22m. Brennan's. :2“

Yo Pitt 192

...- O ‘T-T-ac. 121T!» mg mg; Egghe; mm, Brentwc's. lieu York:
1::

WWI-an Lgfiieg 2139}, Same], French, New York: 1939.
Edy. Augustin. W in £5291: 2m 33512.- $1183 Gates dealing, Amari-

can moi: Company, 259: York: 1935.

...-«2:21:29; m figaflghg, Samuel french. flew York: 1

O“!
\(. D
\3)
o

Pitch. Clyde. 'gfifu Prgmgg, John Lmo torpuur, Ike-a Tz'ork: 13-35.

   

   

.....E‘E":e , ifibprfi T113 4561211116.!) v0.3;23clly'. 11:83? York: 1905.
M3312 52:33 Em. 52:5; :2 new f;‘;'-{2;-s;, Tue 22;..cuillcn Sammy. 339:?! You:
1Q3r
J

-.....fag mm, 1116 .iuecmillon Congeny. flew York: 1337.
Howard. Bronson. m Homer and Brothera, 133w York and London: 1906.

mm Lang: r. :3 “ggtghfie: in 1.1.1 3:,- Meg: g 13531-441. 52:: 4.9.51 £51m flag.

«112.83 by Allen Gator: 114.111.1215.», .Lrincoton University rem, Mince-

ton: 1941.
-----‘111 iienrio‘ 1131': c~ diam, Allen Seton Iialline. American Book

   

Gouge-.12.", Yaw York: 1,13.

29:13. a; 323,. ”‘inthm, Sam-val French, New Torn: 1399.

 

Hu‘ton. Joseph. : ..ohion bio 30111923 in . eJrewen‘ we tile 1:11: 1N [mericzan
1>£fi1g§-’,§-§a. 15515—1é358.2‘;ont.rooo J. owe, £3. 2 . Button :35 meow.
New York: 192’.

Bisofiayo, Percy. mi-‘gtfigiflogv. Frederick A. Stokes Conpwy. How York:
19-10.

Allen Cotes

 

Eitohell. Langfion. Th2 Tie Tor; Ideg in
Helline. American 3005 Coogeqy, flew York: 1&35,

Paulding, James K. ' £13m cifififlg: or, Anegigsng lg . . _
Mg. 511...}: lobes Lie 141.; oe, :gwericaz 200}: com; “my, .49.:‘1'01-kg 1935.

fiteela, Riel'urd. 21:3 £0!!ng 111 Isi‘g .33 in 4.3M mgmm
:3: {3715353533, W M Charles :Suribner o Sana, :éaw York: 1891:.

Thom;.o, A. 3. ”Egg, Susana]. French, New York: 1333.

 

 

Tyler .- 2.534411, ”‘w .- . " editei ‘Jy Jawea ion3.m1n 1-1mm. EIoufioton
i-"ifflin (lemony. Boston and sew York: 19.20.

Terran, .‘ro. “any. "the: rm 1313iewm3ent..tivallz=m Eager-gem
3222524119.. 1765-1313.?” Aiontroao J. 3.0396, 45.. r. imtton and CO'flgw.
Jew York: 1313.

 

Background Books, Criticism. and Literary History

$451503. J'ogqgh and Steals, Edohw‘d. '12:; W 3'. P. Button end
Comm. '. 5:317 York: 1909.

Ariatcztlu. 3.9213523» tin-nah ted by S. 1-1. Butcher. 1n 1.1"... ~ -
912293;: .2339; m m Macmillan and Company. Loafiom 1"“‘32.

Aviatotlo. flotofig, trenoleated by J. 22. 8. 17581161012. Lia-.cmlllcn and
Con;:my. Lon-.1031: LEE-"5.

 

Beer. Thomas. T113. Life-31g Eggs-fie, Alfred 5.. 2121051. flew York: 133-5.

Kat'vuré’. University 4 row,

 

Renown, Erneot. 2.2.mfi
Cambriégoz 925.

Life: . Chm and Company. fie!

 

Boynton. foray H. kitergture gm"; {me 1
Fri: and Chicago: 13330.

Bro-.221, Herbert 3.. "Sensibility in Eighteenth Century 3. 12.4.12," fi‘geg'ag;£
L or .. :‘z-‘arch. 193.2. mm University Erase. Lurhm. Ezorth
oarclina.

 
         
 

.25.". E-Zorcourt. Luce and

beeper, Lane. ‘3 22321234211213 T157??? 9.: 5....

Co 921w. 143w York: 1922.

Pickinoon. 1210329. 2113 5.21%: ,9; W m, Roughton Eclifflin Com-
pany, Romeo: 131‘).

f’ r Hr '-
13::3-1720, oxford university Brena.

 

Eryden. John. ‘f'tgg ‘2‘gr‘ég 91mm edited by '27. 1’. flier. Clarendon
Pram, Oxford: 130:).

Rollins, 211231 Bates. .13.. origga 3-1;in , American 3001»; Con; my. How York:
1935.

Hartman. John Geoffrey. 22.2 22122222222 21 222-22222 29.21.51 92222: 129.2
mqezgl University of Fonnsyl‘mnia trees. i'hilmelphifl 1939-

9‘1 '29 rg- 9; Thong}.

   

Hobbes, Thomas. "51.13193. 39232.3 13 'f‘ne ;:
Volume IV. John ..éohn. Eomion: 1:339.

Follicle-y. Carl. "3;; 5.3;} w gm “:2 guys, J. B. 113212121430” '30:)-
pamr, I‘hilaflelghia and. Jam-loo: 1912.

Kant. Immanuel. m g; gang-1:512:33. tranelexod by J. H. Bernord, 12m...
112.1122: and (10239233, London and flew York: 1592.

.31.:ht. Grant 3 2m W299. 223.1222. 2w Long md 21mm
a. finish, Inc.. 39“ York! 1932.

l‘ucauley. ‘1’. B. ”Conic fireman“: of the Rental-ouch.“ tdgn‘mrrhl. x
1m, LXEII. 1321. Edinburgh.

Hayorgg. «5:15:5er C. .1 337130;; 21919;: 9; she ".rnoggggg Eggs“ Rodd, gem,
end Company: 1932.

G. :9. :a‘utmm's 30:13.23” Yark

 

Itimigsmfla. Made-.62 “ng ‘:‘ “‘- .‘f‘W I r)"
and Landau:

t'itchell. ngdon. “Comedy ind the finer-1cm Syn-it,“ “mg... g M 35:: -
gr? . I-;:rch.1§i. 5, Alfred i . ?-.no;;f, 1m York.

 
  

grist

   

W—-ll§§-

    
     
 

2:03.439, itantrose J. -- «
mp, E2. 1’. But on uxd

...—.33?“ resentgjm m 321i.

A (‘i

ton and Cmaeny, gm York: ,5).

Wm WM Little, Brown, and, Conway, Eastern 1911.

E‘hmford, Louis. E g.- 0,1593 Egg! 5 {5511:}; 311. W W gnd
fi‘dmrg, '“eni magi Liver-1,313, .ww Ycr‘ 132%).

usher-cot. Arthur: ""15 :‘rmmtic “65.53.4113" of 03ml). Tyler's 1‘3;
6 " gang‘s-Ea zigwrptm. January. 19181. Lulu University

ir‘raao, KMLfi, wort... virilinb‘

3710011, Allarfiycn. é giving: 9; ,figtg 3m ggengh 363. my f: 532;, na-
15m. University Press, Cambridge; 1927.

Odell, George 6.13. Mg; WM Y9 1'ng 8011mm; University

mg... ... a?! fork: 1327-1333.

Plato. The eré-M 3.123;“ H: trmalajed by George muses, Eienry *3. Tiohn,
London: 1E95. -
ferry. Henry Ten Eyck. ......flm 229.119. 2mm LEW w Yak

{Eniverzity E’raaa, flew Haven! 1538‘).

13.11.1121, Arthm' lio‘mwn. figtgfigom 215m“: .s- Filling“ fig :53 p16 Sigirigglgg
19.1119. mm Harper and firethera. new (ark and London: 1923.

mm 21mm m mmm mmmm

I :51, Hanger and Brothbm, in” mm and .onéom 1227.

 

Wm ‘39; 91 Emerita -, Univaraity of Pennsylvania Press, Handel-
phi” 1932.

E-Teginr. C. C. m 23:; gm 3! ‘ ‘- r The University of Earth Caro-
lina Press, {3115:3391 $111: 1932.

Sam-732', 214311911 ‘62’. 233 mg; M21033 m 2112;;an n1:

varsity of Pennsylvania irons. }hiladolphia: 1951.

Sunny. Sir Philip- mmmm 1' . 1111122. mama
Ell mm Tiolumo III, Macmillan and Company. London: 1923.

Uni-

 

Smith, richer: {etc-QM. M 31% SQLg-rg’ , Menzies-hall. 1:10.,
3731-.- York: 1988.

Smith, wing-d. ;. a 25:, C med‘ Th9 Gotham Pram Boston: 10 O.
M . J

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