University of Southern California Dissertations and Theses

A Re-Evaluation Of The Major Works Of George Kelly

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A Re-Evaluation Of The Major Works Of George Kelly

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Content A R E -E V A L U A T IO N O F TH E
M AJO R WORKS O F GEORGE K E L L Y
by
P e t e r W ood H e n d e r so n
A D is s e r t a tio n P r e s e n te d to the
F A C U L T Y O F T H E G R A D U A TE SCHOOL
U N IV E R SITY O F SO U T H E R N CALIFO RNIA
In P a r t ia l F u lfillm e n t of the
R e q u ir e m e n ts fo r th e D e g r e e
DOCTOR O F PH ILO SO PH Y
( C o m m u n ica tio n - -D r a m a )
S e p te m b e r 1972
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Xerox University Microfilms
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74- 11,689
HENDERSON, Peter Wood, 1926-
A RE-EVALUATION OF THE MAJOR WORKS OF GEORGE
KELLY.
University of Southern California, Ph.D., 1972
Theater
University Microfilms, A >(ERO\ Com pany, Ann Arbor, Michigan
© 1972
PETER WOOD HENDERSON
ALL RIGHTS RESERVED
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED.
UNIVERSITY O F SO U T H E R N CALIFORNIA
TH E GRADUATE SC H O O L
UNIVERSITY PARK
LOS A N G ELES, C A LIFO R N IA 9 0 0 0 7
This dissertation, written by
..................... P fi.tex.-W .Q od-H ftndfixaim .....................
under the direction of M s.... Dissertation Com
mittee, and approved by all its members, has
been presented to and accepted by The Gradu
ate School, in partial fulfillment of require
ments of the degree of
D O C T O R OF P H I L O S O P H Y
Tl/jffi S e p te m b e r , 1972
DISSERTATION, COMMITTEE
T A B L E O F C O N T EN TS
C hapter P a g e
I. S T A T E M E N T O F TH E P R O B L E M AN D
D ESIG N OF TH E S T U D Y ................................................................. 1
S ta te m e n t of the P r o b le m
D e s ig n of the Study
S ig n ific a n c e of the Study
L im ita tio n s of the Study
R e v ie w of the L ite r a tu r e
An O v e r v ie w of the R e m a in in g C h ap ters
II. TH E D E T E R M IN A T IO N O F TH E CRITERIA FO R
JUDGING K E L L Y 'S P L A Y S .......................................................... 14
P lo t
C h a r a c te r iz a tio n
L anguage
T h em e
in . KELLY'S SATIRICAL PLAYS: THE TORCH-
B E A R E R S A N D TH E S H O W - O F F ........................................... 47
T h e T o r c h - B e a r e r s
T he S h ow -O ff
IV. K E L L Y A N D T H E F E M A L E P R O T A G O N IS T .................... 134
C r a ig 's W ife
D a is y M aym e
B eh o ld , the B r id e g r o o m - -
V. TH E O R N A T E R H ET O R IC A N D A U T H E N T IC
R E A L ISM OF K E L L Y 'S L A N G U A G E .................................... 272
A p p lic a tio n of the C r ite r ia
ii
C hapter P a g e
VI. SU M M A RY AND C O N C L U S IO N S ............................................... 296
B IB L IO G R A P H Y ............................................................................................................... 310
C H A P T E R I
S T A T E M E N T O F THE P R O B L E M
AN D DESIG N O F TH E STUDY
D u rin g the 19 2 0 's G eo rg e K elly a c h ie v e d a c e r ta in e m in e n c e as
one of the m o s t i m p r e s s iv e and rep u tab le A m e r ic a n p la y w r ig h ts . He
sta r te d h is t h e a tr ic a l c a r e e r a s an a c to r in v a u d e v ille and by 1918 he
w a s w r itin g o n e - a c t p la y s for the N ew Y ork s ta g e . In 1922 he w r o te
h is f ir s t fu ll-le n g th p lay, T he T o r c h - B e a r e r s , w h ich a c h ie v e d m od erate
s u c c e s s . W ith h is se co n d t h r e e - a c t p la y , The Show -O ff, K elly w a s
voted the P u litz e r P r iz e by the C o lu m b ia U n iv e r s ity C o m m itte e in
1924. T h is a c tio n w a s r e v e r s e d , h o w e v e r , by B ra n d er M a tth e w s,
who b e lie v e d that the p lay H e ll B ent for H ea v en should h a v e the aw ard .
C r itic a l u p ro a r fo llo w e d but M a tth ew s' c h o ic e w as m a in ta in e d . A y e a r
la te r K elly r e c e iv e d the P u litz e r P r iz e for h is th ird f u ll-le n g th p lay,
C r a ig 's W ife .
O ver a p erio d of tw en ty y e a r s , N ew Y ork c r it ic B u rn s M antle
s e le c te d ten p la y s fr o m the N e w Y ork s e a s o n w h ich he c o n s id e r e d of
G eo rg e K e lly , p e r s o n a l in te r v ie w in Sun C ity, C a lifo r n ia ,
June 22, 1971.
1
2
s u p e r io r w o rth for that y e a r . A t the c o n c lu s io n of e a c h s e a s o n , he
p u b lish ed a v o lu m e con tain in g the te n b e s t p la y s . B e tw e e n 1924 and
1928, four K elly p la y s in s u c c e s s i o n w e r e s e le c t e d fo r th is h o n o r .
T h is w a s d u rin g s e a s o n s w hen th e a v e r a g e n u m b er of B ro a d w a y p r o d u c -
tio n s w a s a p p r o x im a te ly 275, not 20 to 30 a s is the situ a tio n tod ay. In
1925, K elly w on the Gold M ed al of th e N ew Y ork T h ea tr e C lub. H is
p lay, C r a ig 's W ife , w a s s e le c te d a s the b e s t p lay o f the y e a r . B r a n -
d e is U n iv e r s ity p r e s e n te d the p la y w r ig h t w ith the C r e a tiv e A r ts M ed a l j
of A c h ie v e m e n t. H e a ls o r e c e iv e d the P h ila d e lp h ia A r ts F e s t iv a l
A w ard fo r D is tin g u is h e d C on trib u tion to the T h e a tr e .
G eo r g e K elly r e c e iv e d h is h ig h e s t a c c la im by c r it ic s fr o m 1922
to 1928, the p e r io d of h is m o s t s ig n ific a n t w o r k s: The T o r c h - B e a r e r s ,
The S h o w -O ff, C r a ig 's W ife , D a is y M a y m e , and B eh o ld , the B r i d e
g r o o m - - . C r itic s Stark Y oung, B a r r e tt C la rk , E dith I s a a c s , and
G ilb ert G a b r ie l have c o m p a r e d a s p e c t s o f K e lly 's w o rk to Ib sen ,
2
C hekhov, and M o lie r e . G lenn H u g h e s, in h is book on th e a tr e h is to r y ,
sa id in 1951, ". . . none of our p la y w r ig h ts h a s p ro v ed m o r e deft than
3
he [K elly ] in the a r e a of f e m a le p o r tr a itu r e ." M o n tr o se M o s e s , in h is
2
S tark Y oung, Im m o r ta l Shad ow s (N e w York: C h a r le s S c r ib
n e r 's S o n s, 1948), p. 6; B a r r e tt C la rk , "N ew P la y s , " The D r a m a M a g
a z in e , 17 (D e c e m b e r , 1926), 74; E d ith I s a a c s , " D aisy M a y m e , " T h e
a tre A r t s , 11 (Jan u ary, 1927), 11-12; and G ilb e rt G a b r ie l, " C r a ig 's
W ife, " N ew Y ork S u n , O ctob er 13, 1925, p. 14.
^G lenn H u g h es, A H is to r y o f the A m e r ic a n T h e a tr e , 1 7 0 0 -1 9 5 0
(N ew York: S a m u e l F r e n c h , 1951), p. 399.
3
w o r k , The A m e r ic a n D r a m a t is t , w ro te that p la y s lik e The S h ow -O ff
and D a is y M a y m e h a v e b e e n a str o n g in flu e n c e on " d ram a o f the c o m -
4
m o n m an ." K elly h a s b e e n c a lle d one of the m o s t s k illfu l d e lin e a to r s
of r e a li s t i c c h a r a c te r and d ia lo g u e. Young sta te d that no oth er p la y
w r ig h t had b e e n able to c r e a te d ia lo g u e w ith ". . . the sh in e of lif e , "
5
a s h a s K e lly . L o u is K r o n e n b e r g e r , in C a v a lc a d e of C o m e d y ,
a s s e m b le d " T w e n ty -o n e b r illia n t c o m e d ie s fr o m J o n so n and W ych erly
to T h u rb er and C ow ard." He not only in clu d ed The S h ow -O ff but
6
p r a is e d it h ig h ly . W ritin g s p e c if ic a lly about C r a ig 's W ife , Young
w r o te , "It is the m o s t e n te r ta in in g d r a m a tic w r itin g of the s e a s o n . It
7
is a r e m a r k a b le play a s it sta n d s. . . ." B r o o k s A tk in so n noted with
r e g a r d to B e h o ld , the B r i d g r o o m - - : "T h is is p rob ab ly K e lly 's fin e s t
8
play. " C lark m ad e the fo llo w in g r e f e r e n c e to K elly w ith r e g a r d to
D a is y M aym e: "H is so m e w h a t b itte r attitu de tow ard life is a lw a y s
te m p e r e d w ith in d u lg e n c e , and h is c o m e d y a r i s e s out of the com b in a tio n
M o n tr o s e M o s e s , The A m e r ic a n D r a m a tis t (N ew York: B e n
ja m in B lo o m , Inc. , 1964), p. 4 3 7 .
^Stark Y oung, "The Shine of L ife , " T he N ew R e p u b lic , 48
(N o v e m b e r 17, 1926), 3 7 5 -3 7 6 .
^ L ou is K r o n e n b e r g e r , ed. , C a v a lc a d e o f C om ed y (N ew York:
S im o n and S c h u s te r , 1953), p. 489.
7
S tark Y oung, " C r a ig 's W ife, " T he N e w R e p u b lic , 4 4 (N o v e m
b e r 4 , 1925), 2 8 1 -2 8 2 .
g
B r o o k s A tk in so n , "The P la y , " N ew Y ork T i m e s , D e c e m b e r 27
1928. S e c tio n II, p. 1A._________________________________________________________
4
9
o f lo v e and s c o r n th at p ro d u ced the m a s t e r p ie c e s o f M o lie r e ."
W hen one tu rn s fr o m a ll th is p r a is e to th e h is t o r ic a l a c c o u n ts,
e s s a y s , and a c a d e m ic s tu d ie s w h ich s u r v e y the im p o r ta n t A m e r ic a n
p la y w r ig h ts of the la s t 50 y e a r s , one fin d s that K elly is g iv e n a l e s s
and l e s s s ig n ific a n t p la c e in A m e r ic a n d r a m a . T h er e is a d ir e c t r e
la tio n s h ip b e tw e e n th e am ou n t o f m a t e r ia l w r itte n on K elly and the y e a r
in w h ich it w a s w r itte n . The m o r e r e c e n t the book, the l e s s the
m a t e r ia l. F o r e x a m p le , h is to r y s u r v e y s w r itte n during the y e a r s
1 9 2 5 -1 9 3 5 had fiv e to te n p a g e s d ev o ted to K e lly and h is p la y s. B ook s
w r itte n b e tw e e n 1935 and 1955 h a v e one p a r a g ra p h to one and o n e -h a lf
p a g e s . B o o k s w r itte n in the la s t fiv e y e a r s h a v e e ith e r no r e f e r e n c e s
o r only one or two lin e s . The ob v io u s q u e stio n s e e m s to follow : Why
d o e s the rep u tation of a P u litz e r P r iz e p la y w r ig h t, r e c o g n iz e d by m any
c r it ic s a s one of the m o s t im p o r ta n t p la y w r ig h ts in the t w e n tie s , g r a d
u a lly d im in is h in s ig n if ic a n c e ? T h er e a r e tw o p o s s ib le r e a s o n s for
th is: (1) e ith e r m o s t of the a ffir m a tiv e c o n te m p o r a r y c r it ic i s m of the
1 9 2 0 's w a s in c o m p le te a n d /o r in v a lid , or (2) m o d e r n th e a tr e h is to r ia n s
h a v e m in im iz e d the s ig n ific a n c e of K e lly 's p la y s during th is p eriod and
h a v e u n ju stly d i s m i s s e d h im .
^ C lark, "N ew P la y s , " p. 74.
5
S ta te m e n t o f the P r o b le m
The p r o b le m of the study w a s to r e e v a lu a te K e lly 's c r it ic a lly
e n d o r s e d p la y s of the 19 2 0 's in o r d e r to d e te r m in e w h eth er the d im in u
tion of h is rep u tation h a s b e e n ju s tifie d . M ore s p e c if ic a lly , the r e l a
tiv e s tr e n g th s and w e a k n e s s e s of the p la y w r ig h t's m a jo r w o r k s w e r e
d e te r m in e d throu gh th e s y s t e m a t ic a p p lica tio n o f c r it e r ia r e le v a n t to
(1) p lo t, (2) c h a r a c te r iz a tio n , (3) la n g u a g e , and (4) th e m e . The r e l a
tiv e m e r i t s of the e a r lie r and la te r th e a tr e c r it ic s w e r e th en e v a lu a te d
in lig h t o f th is s y s te m a tic a n a ly s is .
D e s ig n of the Study
T he in itia l o b je c tiv e of th is study w a s to d e te r m in e v a lid and
w id e ly a c c e p te d c r it e r ia by w h ich to r e e v a lu a te the m a jo r w o r k s of
G eo rg e K elly . T h e s e c r it e r ia , it w as fe lt, could be a r r iv e d at by
d e te r m in in g w hat the e s ta b lis h e d a u th o r itie s in the fie ld of d r a m a tic
a n a ly s is su ch a s A r is t o t le , G u sta v F r e y ta g , W illia m A r c h e r , B r a n d er
M a tth e w s, John H ow ard L a w so n , G eo rg e P ie r c e B a k e r , M a ria n G al-
la w a y , John G a s s n e r , and F r e d e r ic k B. M ille t g e n e r a lly a g r e e a r e
the b e s t m e a n s o f judging the e ff e c t iv e n e s s o f plot, c h a r a c te r iz a tio n ,
la n g u a g e , and th e m e . It w a s b e lie v e d that th e s e t h e o r is t s could a g r e e
a s to sta n d a rd s one m u s t ad h ere to in o r d e r to fo r m a v a lid ju d gm en t
c o n c e r n in g th e s e m a in a s p e c ts o f d ra m a . O nce the c r it e r ia w e r e d e
t e r m in e d , it w a s a s s u m e d they could b e ap p lied to K e lly 's m a jo r
6
w o r k s w ith the hope that s o m e lig h t m ig h t be c a s t upon the w id e d i s
c r e p a n c y b e tw e e n w hat c r it ic s had to say in p r a is e of the p la y w r ig h t in
the 1 9 2 0 rs and the e v e r - d e c r e a s i n g a c c la im g iv e n h im s in c e then.
S ig n ific a n c e of the Study
L ittle d eta iled r e s e a r c h h a s b e e n done on K elly or on h is m o s t
im p o rta n t w o r k s. No r e s e a r c h e r h a s e v e r a p p lied any p a r tic u la r c r i
te r ia to the m a jo r p la y s in o r d e r to judge th e ir r e la tiv e value; nor h as
anyone a ttem p ted to e v a lu a te a ll of the a v a ila b le c o n te m p o r a r y c r i t i
c is m ; nor h a s anyone v e r y e x te n s iv e ly in te r v ie w e d the p la y w rig h t.
(K elly w a s r e la tiv e ly r e tic e n t d u rin g h is p r o f e s s io n a l p la y w r itin g
c a r e e r and s e ld o m gran ted in te r v ie w s . ) K elly is now 85 y e a r s old
and is no lo n g e r in v o lv ed in the c r e a t iv e p r o c e s s . If one is to p ro fit
fr o m h is w ide know led ge and e x p e r ie n c e c o n c e r n in g p la y w r itin g and its
r e la te d d is c ip lin e s , it had b e s t be done n ow w h en h e is w illin g and s till
ab le to gra n t in te r v ie w s . In one su ch r e c e n t in te r v ie w , for e x a m p le ,
K elly d is c u s s e d p rod u ction p r o b le m s in the p r e s e n ta tio n of B eh o ld ,
the B r id e g r o o m - - w h ich w e r e unknow n at the tim e and p o s s ib ly did
in flu en ce so m e of the c r it ic i s m le v e le d at h is play w h en f ir s t
p r o d u c e d .^
B e c a u s e of the unknown fa c to r s lik e the above and c r it ic a l and
h is t o r ic a l in c o n s is t e n c ie s a lr e a d y n o ted , it i s im p o r ta n t that a
^ K e lly , in te r v ie w , July 3, 1971-
7
r e e v a lu a tio n of K e lly 's m a jo r w o r k s be m ad e th rou gh the s y s t e m a t ic
a p p lica tio n of v a lid c r it e r ia in o r d e r to b e tte r d e te r m in e h is righ tfu l
p la c e am on g A m e r ic a n p la y w r ig h ts.
L im ita tio n s of the Study
T h is study is lim ite d to only fiv e of K e lly 's m o s t im p o r ta n t
w o r k s: The T o r c h - B e a r e r s , The S h o w -O ff, C r a ig 's W ife , D a is y
M a y m e , and B eh o ld , the B r i d e g r o o m - - . T h e s e fiv e p la y s a c c o u n ted
for the h e ig h t of K e lly 's c a r e e r and rep u tation and w e r e all w r itte n in
|
the t w e n t ie s . |
|
The m a jo r ity of the c r it e r ia u tiliz e d in th is study w e r e a c q u ir e d
fr o m the c o n s e n s u s of op in ion of only nine t h e o r is t s in the fie ld of
d r a m a tic a n a ly s is , b e c a u s e it w as d e te r m in e d in a p ilo t study th at t h e s e
in d iv id u a ls, A r is to t le , F r e y ta g , e t a l . , w e r e the m o s t r e s p e c t e d in
th e ir fie ld . The study w a s lim ite d to the ju d g m en t of p lot, c h a r a c
t e r iz a t io n , la n g u a g e, and th e m e , b e c a u s e fr o m A r is t o t le to the p r e s e n t
day th e s e have b een th e p r im e c o n s id e r a tio n s in an e v a lu a tio n of the
d r a m a tic w orth of a play.
T h er e w e r e s o m e lim ita tio n s in the in te r v ie w situ a tio n b e c a u s e
of the p la y w r ig h t's age and the fa c t that he w a s so m e w h a t s e n s it iv e
about c e r ta in a r e a s o f q u estio n in g . F o r e x a m p le , the w o r k K e lly is
m o s t s u b je c tiv e ly in v olved w ith, the one he d e e m s s u p e r io r to the
8
o t h e r s , is B eh o ld , the B r i d e g r o o m - - . ^ W hen su b je cte d to the c r i
t e r ia in th is stu dy, th is play w a s found to be the m o s t fla w ed o f a ll h is
m a jo r w o r k s. To probe p r o b le m s of the p e c u lia r plot s tr u c tu r e , the
am b igu ou s c h a r a c te r iz a tio n , e tc . , w ith the d r a m a tis t w ould h a v e b e e n
a painful p r o c e s s fo r an in d ivid u al a s s e n s it iv e a s K elly . T h e r e f o r e ,
in c a s e s w h er e s e v e r e p la y w r itin g p r o b le m s w e r e e n c o u n te r e d and
w ould h ave c a u se d e m b a r r a s s m e n t to the d r a m a tis t w h en b rou gh t into
;the d is c u s s io n , th e s e q u e r ie s w e r e e lim in a te d fr o m the in te r v ie w .
R e v ie w of the L ite r a tu r e j
D ata u s e d for th is study c a m e fr o m th r e e b a s ic areas:^ (1) p r i
m a r y s o u r c e s - - t h e p la y s , in te r v ie w s , l e t t e r s , e t c .; ( 2 ) ‘n e w s p a p e r and
p e r io d ic a l r e v ie w s ; and (3) b o o k s.
P r im a r y S o u r c e s
F o u r ty p e s of p r im a r y s o u r c e s w e r e u tiliz e d . The m o s t im p o r
tan t of t h e s e , of c o u r s e , w e r e the p la y s t h e m s e lv e s . T he se c o n d m o s t
im p o rta n t p r im a r y s o u r c e w a s the in te r v ie w . The're w e r e th r e e kinds
of in te r v ie w s : (1) e ig h t se p a r a te in te r v ie w s w ith the p layw righ t;
(2) in te r v ie w s w ith D r. L eo B. F r o k e , a p s y c h ia tr is t , w ith r e g a r d to
the p la y , B e h o ld , the B r i d e g r o o m - - , and the p layw righ t; and (3) an
in te r v ie w w ith a c o lle g e h is to r ia n who m ad e m a te r ia l a v a ila b le on the
K e lly , in te r v ie w , June 22, 1971.
9
1 9 2 0 's. The th ird p r im a r y s o u r c e w a s fr o m le t t e r s by K elly to two
o th er in d iv id u a ls who h a v e done s tu d ie s on the p la yw righ t. A ls o th ere
w e r e l e t t e r s f r o m K elly to th is in v e s tig a to r w hen the p la y w r ig h t w as
not a v a ila b le fo r an in te r v ie w . The th ird p r im a r y s o u r c e w a s fr o m
in te r v ie w s w ith the p la y w r ig h t w h ich had b e e n gran ted to o th er in d i
v id u a ls. T h e s e w e r e p u b lish e d arid u n p u b lish ed .
S e c o n d a r y S o u r c e s
N e w s p a p e r s and P e r i o d i c a l s .- -O n e of the fo c a l p oin ts o f this
study is c o n c e r n e d w ith the c o n te m p o r a r y c r it ic a l e v a lu a tio n o f K e lly 's
p la y s; t h e r e f o r e a ll op en in g n igh t, p e r io d ic a l and book r e v ie w s w e r e
so u g h t out for a ll of K e lly 's p ro d u ced p la y s. The p r in c ip a l s o u r c e s for
t h e s e r e v ie w s w e r e the fo llo w in g : P u b lic a tio n of the M o d e r n L an guage
A s s o c ia t i o n , T he R e a d e r s G u id e , J a m e s A. S a le m 's A G uide to C r i t i c a l
R e v i e w s , Ir v in g A d e lm a n 's M o d ern D r a m a , L e w is L e a r y 's A r t ic le s on
A m e r ic a n L ite r a tu r e , T he D r a m a tic Index, a s p e c ia l in d e x of th e a tr e
r e v ie w s fr o m the lib r a r y of the John F . K ennedy C en ter for the P e r
fo r m in g A r t s , and the b ib lio g r a p h ie s in tw o d iffe r en t a c a d e m ic stu d ie s
done on G eo r g e K elly .
F r o m an a s s o c ia t e in N e w Y ork , the in v e stig a to r w a s able to
a c q u ir e fifty op en in g n igh t r e v ie w s , a ll v e r y e s s e n t ia l to th is study.
C e r ta in c h a r a c t e r is t ic s w e r e found to be ty p ic a l of the m a jo r ity of
t h e s e r e v ie w s : (1) on o c c a s io n , the c r it ic s s e e m e d to be in flu e n c e d by
10
the d e g r e e of p op u lar s u c c e s s the p la y w r ig h t had a c h ie v e d p r e v io u sly ;
and (2) th ey s e e m e d to d evote a la r g e p o rtio n of th e ir r e v ie w to a s u m
m a r y of the p l o t - - in s o m e c a s e s th is w a s the sin g u la r e m p h a s is in the
i
r e v ie w . j
The p e r io d ic a l r e v ie w s , in m o s t c a s e s , w e r e m o r e a c c e s s i b l e j
|
than the n e w sp a p e r r e v ie w s . A bout 120 of th e s e r e v ie w s w e r e a v a il- ;
a b le , a v e r a g in g about tw e lv e to a p lay. M o st of the c r i t i c i s m u tiliz e d i
I j
|in th is study w a s d e r iv e d fr o m the fo llo w in g c r it ic s ' r e v ie w s : J o s e p h
t
'Wood K rutch (N ation ), B a r r e t t C la rk (T h e a tre M a g a z in e ), R. D an a ‘
I ------------------ --------------------------------------------------
i
S k in n er (C o m m o n w e a l) , J. R. E d ith I s a a c s (T h e a tr e A r ts M o n th ly ), ' ■
i i
JStark Young (N e w R e p u b lic ), and G eo rg e J e a n N athan (A m e r ic a n M e r - j
ic u r y , A r ts and D e c o r a t io n , and J u d g e ). T h e s e p a r tic u la r c r it ic s w e r e !
| !
devaluated in th is study b e c a u s e of s u p e r io r c r it ic a l a c u m e n . T h e y j
|
s e e m to h ave w r itte n the m a jo r ity of the tim e w ith m o r e p e r s p e c t iv e |
j
and lit e r a r y s k ill. T h ey r e la te d K e lly 's p la y s m o r e o b je c tiv e ly to h is
jother w o rk s and to o th er p la y w r ig h ts . A g r e a te r p e r c e n ta g e of th e s e
c r it ic s a lso had the d r a m a tu r g ic a b ility and p h ilo so p h ic s e n s it iv it y to
i
i
jd is c u s s the a s p e c ts of th e m e r e le v a n c e and im p lic a tio n , s y m b o lis m ,
!
i
and the d e g r e e of u n iv e r s a lity of K e lly 's p la y s.
B o o k s . - -T h e books u tiliz e d in th is study w e r e found th rou gh an
e x p lo r a tio n of the fo llo w in g : (1) The L ib r a r y of C o n g r e s s S u b ject Index
C a ta lo g u e ; (2) b ib lio g r a p h ie s in (a) the P u b lic a tio n of the M o d e r n
11
L a n gu age A s s o c ia t i o n , (b) b ook s r e la tin g to A m e r ic a n th e a tr e h is to r y ,
and (c) b o ok s r e la tin g d ir e c t ly to G eo r g e K elly; (3) r e f e r e n c e s to u n
p u b lish ed s tu d ie s w e r e w e r e d e r iv e d fr o m D is s e r t a t io n A b s t r a c ts ,
S p e e c h M on ograp h , and the E d u c a tio n a l T h e a tr e J o u r n a l.
I ------------------- * ' --— -----------------------------------------------
! !
■ R e f e r e n c e s to K elly alon g h is t o r ic a l lin e s w e r e found to e x is t |
f i
i
in tw e n t y -e ig h t b o o k s. W ith the e x c e p tio n of v o lu m e s by M o n tro se
M o s e s , B a r r e t t C la r k , J o s e p h W ood K ru tch , John M a so n B row n , and |
I |
iB urns M a n tle , m o s t of the A m e r ic a n T h e a tr e h is t o r y b ook s con tain ed j
: !
| , I
:a p p r o x im a te ly a p a r a g r a p h to one and a h a lf p a g e s on K elly and h is j
i •
Iplays. And m o s t o f th e s e v o lu m e s d e d ic a te d about 90 p e r c e n t of !
i i
Ithese p a r a g r a p h s to a d is c u s s io n of only two of K e lly 's w ork s: The ;
j ;
|S h ow -O ff and C r a ig 's W ife . If one d e s i r e s to p u r su e a c o m p r e h e n s iv e j
stu dy of K e lly 's p la y s one w ould find the e x is t in g A m e r ic a n T h ea tr e
h is t o r y b ook s c o m p le te ly in a d eq u ate. T h ey w e r e h e lp fu l, h o w e v e r , in
e n a b lin g the in v e s tig a to r to p la c e K e lly in a p r o p e r h is t o r ic a l p e r s p e c -
i
Itive and in r e la tin g h im to im p o r ta n t p la y s and p la y w r ig h ts of the
11 9 2 0 's.
T he m a in te x t u s e d to e s t a b lis h b a s ic c r it e r i a for the ju d gm en t
of the p la y s w a s B a r r e tt H. C la r k 's E u r o p e a n T h e o r ie s of the D r a m a
w ith the added s e c t io n on A m e r ic a n c r it ic i s m . C r itic s and d r a m a tic
t h e o r is t s found m o s t v a lu a b le in th is v o lu m e w e r e G otthold E. L e s s in g ,
John D r y d e n , D e n n is D id e r o t, B e a u m a r c h a is , Joh an n W. von G oeth e,
12
F r a n c is q u e S a r c e y , F e r d in a n d B r u n e t ie r e , G eo rg e J e a n N athan,
J o se p h Wood K ru tch , B r a n d e r M a tth e w s, and John H ow ard L a w so n .
S o m e of C la r k 's s e le c t io n s on d r a m a tic th e o r y and c r i t i c i s m j
|
w e r e e d ite d and th e r e fo r e in c o m p le te ; c o n se q u e n tly , it w a s n e c e s s a r y j
; I
to go to the o r ig in a l s o u r c e . E ig h t v o lu m e s w e r e found p a r tic u la r ly !
i
va lu a b le in a c q u ir in g a c o n s e n s u s of the n e c e s s a r y c r it e r ia . T h e s e
|w ere The A rt of the D r a m a by M ille t and B e n tle y , D r a m a tic T e c h - I
nique by G eo r g e P ie r c e B a k e r , C o n str u c tin g a P la y by M a r io n G a lla - ]
w a y , T h e o r y and T ec h n iq u e of P la y w r itin g by John H ow ard L a w so n , |
1 P la y -M a k in g by W illia m A r c h e r , T ech n iq u e of the D r a m a by G u sta v ,
■Freytag, and Study of the D r a m a and T he P r in c ip le s of P la y m a k in g by !
jB rander M a tth e w s.
|
A n O v e r v ie w of the R e m a in in g C h a p ters
C h ap ter II d e a ls w ith the e s ta b lis h m e n t and o r g a n iz a tio n of the
!
jc r ite r ia i t s e l f and is e n title d "The D e te r m in a tio n of C r it e r ia for Ju d g-
j
!ing K e lly 's P la y s ." C h a p te r s III and IV d ea l w ith the p lays t h e m s e lv e s
|and a r e an a p p lic a tio n of the c r it e r ia to p lot, c h a r a c te r iz a tio n , and
! I
I |
th e m e . A t the end of e a c h p lay a n a ly s is , th e r e is an e v a lu a tio n o f the (
t
! I
c r it ic i s m of the p ro d u ced p lay. C h apter III is e n title d " K elly 's S a t ir i
c a l P la y s " and is an a n a ly s is of The T o r c h - B e a r e r s and T h e S h o w -O ff
and th e ir c o n c o m ita n t c r i t i c i s m . C h apter IV is e n title d "K elly and the
F e m a le P r o ta g o n is t" and is an e v a lu a tio n o f C r a ig 's W ife, D a is y
13
M a y m e , and B e h o ld , the B r i d e g r o o m - - and the c r i t i c i s m of th e s e
w o r k s . C h a p ter V is e n title d "The O rn ate R h e to r ic and A u th en tic
R e a lis m of K e lly 's D ia lo g u e " and is an a p p lic a tio n of the c r it e r i a to
ty p ic a l e x a m p le s and a s p e c t s of K e lly 's la n g u a g e in a ll fiv e p la y s .
The fin a l ch a p te r is d e v o ted to the c u s to m a r y s u m m a r y and c o n c lu s io n s .
C H A P T E R II
TH E D E T E R M IN A T IO N O F C R IT E R IA F O R
JUDGING K E L L Y 'S P L A Y S j
i
j
T h e c r it e r ia u tiliz e d in th is stu dy h ave b e e n a r r iv e d at th rou gh j
i
a c o n s id e r a tio n of w hat a u th o r itie s h a v e g e n e r a lly a g r e e d a r e the b e s t j
m e a n s o f judging the e f f e c t i v e n e s s of p lo t, c h a r a c te r iz a t io n , la n g u a g e , !
! ;
jand th e m e . F o r e x a m p le , s e v e r a l t h e o r is t s a g r e e as to the b e s t t e c h - :
i i
iniques of h an d lin g e x p o s itio n and th at th e r e a r e c e r ta in sta n d a r d s one ;
[must a d h e r e to in o r d e r to fo r m a c o r r e c t ju d g m en t r e s p e c t in g th e m .
IC riteria fo r the s k illfu l and e ff e c tiv e u s e of e x p o s itio n , fo r e x a m p le ,
w e r e u s e d only if they w e r e c o n s id e r e d to be e s s e n t i a l and u n iv e r s a l
a m o n g m o s t of the a u th o r itie s who w r o te on the su b je ct. A ll o th er
jcr ite r ia u s e d in th is study h ave b e e n s im ila r ly e s ta b lis h e d th ro u g h a
|
c o n s e n s u s of o p in io n a m o n g the m o s t rep u ta b le a u th o r itie s in the fie ld .
I
P lo t
M o s t of the a u th o r itie s w r itin g in the fie ld of d r a m a tic a n a ly s is
and p h ilo so p h y a g r e e that th e r e a r e c e r ta in " sk e le ta l" e le m e n t s o f p lo t
n e c e s s a r y fo r a w e ll- m a d e p lay. A n e x a m in a tio n of e a c h of th e s e
14
15
e le m e n t s w ill sh o w the sta n d a r d s h e r e in u s e d to judge plot.
E xp o s ition
A u th o r itie s c o n su lte d w e r e in a g r e e m e n t that im m e d ia te in t e r e s -:
lin the p lay sh ou ld be e s t a b lis h e d a s so o n a s it b e g in s . Is th e r e a
i
c h a r a c te r , situ a tio n , in c id e n t, w h ic h w ill in s ta n ta n e o u s ly a ttr a c t the
i
jau d ien ces' a tte n tio n ? A r e the p r in c ip a l c h a r a c te r s g r a d u a lly i llu m i- :
! ■ j
Inated w ith r e g a r d to the fo llo w in g : (1) th e ir r e la tio n s h ip s w ith e a c h !
; !
jother, (2) th e ir m o tiv a tio n s , (3) th e ir p r o b le m s , (4) in d iv id u a l p e r -
jso n a litie s and b a c k g r o u n d s, (5) th e ir e n v ir o n m e n t, and (6) th e ir
! |
'in v o lv e m e n t in the b a s ic p r o b le m or c o n flic t of the p la y ? j
: i
■ !
I E x p o s itio n m u s t do m o r e than ju s t e x c it e in t e r e s t and s tir c u r i-;
o s ity . In d r a m a s of p e r s is t e n t w o r th , the a u d ie n c e fr o m the o u ts e t
b e g in s to id e n tify , to r e sp o n d e m p a th ic a lly w ith the c h a r a c te r s in the
1
in itia l s ta g e s of the e x p o s itio n .
T he p r o b le m of the p la y m u s t be m a d e c le a r a s so o n as p o s s ib le .
In R o m e o and J u lie t the p r o b le m of "feuding h o u s e h o ld s " is m a d e e v i-
jdent fr o m the o u ts e t. C o m p lic a tio n s r e g a r d in g the death of h a m l e t ' s
fa th er a r e m a d e ap p a ren t in the b eg in n in g . A s F r e d B. M ille t s ta te s :
. . . w h eth er the p r o b le m is that of a tta in m e n t of a g o a l, or c o n
f lic t b e tw e e n o p p o sin g f o r c e s , w ith ou t or w ith in , o r o f the c o n
s e q u e n c e s of an a c t, it is the fu n ctio n of the e x p o s it io n to in d ica te
^ F red B. M ille t and G er a ld E . B e n tle y , T h e A r t of the D r a m a
(N ew York: A p p le t o n - C e n t u r y -C r o ft s , I n c ., 1935), p. 187.
c le a r ly the p r o b le m w ith w h ic h the p lay is to d e a l. |
T he b e s t w ay to in d ic a te the p r o b le m c le a r ly in the b eg in n in g is
th rou gh a th o r o u g h in tr o d u ctio n of the c h a r a c te r s who a r e to be
|
in v o lv e d in the p r o b le m . A r c h e r w r i t e s , w ith r e g a r d to p r e p a r a tio n j
i j
of the a u d ie n c e , th a t the d r a m a tis t m u s t p la c e en ou gh c lu e s in h is
e x p o s it io n ". . . not on ly to c r e a te a r e q u is ite t e n s io n , but to d ir e c t it !
4 ■
to w a r d s the r ig h t q u a r te r o f the c o m p a s s ." |
j
| It is d e s ir a b le that s u s p e n s e o c c u r f r o m the o u ts e t of the play.
iH o w ev e r , the r e a s o n fo r the s u s p e n s e is the im p o r ta n t c o n s id e r a tio n
i
Ihere. T he s u s p e n s e e n g e n d e r e d sh o u ld d e r iv e f r o m the a u d ie n c e 's !
i i
jin v o lv e m e n t in the p s y c h o lo g ic a l a s p e c t s of the c h a r a c te r and w ith the
i
Ip h ilo so p h ica l a s p e c t s of the p r o b le m of the p lay. In o th er w o r d s , s u s
p e n se sh ou ld a r is e b e c a u s e the a u d ie n c e c a r e s about w h at hap p en s to
j
the d r a m a tis p e r s o n a e , a n d /o r c a r e s about w hat the p lay is s a y in g . j
i
T h is type of s u s p e n s e is s ig n ific a n t of the q u a lity p la y , and should be
J
jco n tra sted to the kind o f s u s p e n s e found in the l e s s e r w o r k , w h ich
i
i 5 i
u s u a lly o c c u r s b e c a u s e of m e lo d r a m a tic h a p p en in g s.
j
2Ibid.
^Ibid. , p. 186.
4
W illia m A r c h e r , P la y -M a k in g (N ew York: D o v e r P u b lic a tio n s ,
Inc. , 1912), p. 135.
5 I
M ille t & : B e n tle y , T he A r t of D r a m a , p. 187.
17
In a d d itio n to p la c in g the a c tio n in its p r o p e r p e r s p e c t iv e in the
i
p r e s e n t by r e v e a lin g the p a s t, the e x p o s it io n m u s t a ls o p r e p a r e the
|
ground w o rk fo r a ll fu tu re d e v e lo p m e n ts . L a w so n s a y s , "as s o o n as
p o s s ib le , he (the p la y w rig h t) m u s t m a k e the a u d ie n c e u n d erstan d : (1) j
!who h is p eo p le a r e , (2) w h e r e h is p e o p le a r e , (3) the tim e of the p la y , j
jand (4) w h at in the p r e s e n t and p a s t r e la t io n s of h is c h a r a c te r s c a u s e s |
i !
6
the s to r y ." A r is t o t le , in c o m m e n tin g on th is p r e p a r a to r y p a rt of the j
jplay, s a y s th at the b eg in n in g is a n e c e s s a r y p art of the plot and that I
I i
jthere a re c e r t a in ite m s w h ic h sh ou ld be su b sta n tia te d in th is b eg in n in g |
j :
|which a r e n a tu r a l a n te c e d e n ts of the m id d le of the p lay. He th in k s the j
I |
w e l l- c o n s t r u c t e d p lay h a s a n a tu r a l o r d e r of a c tio n s f r o m b eg in n in g , j
! 7 ;
jto m id d le , to en d . W ith r e g a r d to th is p r e p a r a tio n fo r the fu tu re ,
; i
jA rcher s a y s , "Find an in te r e s tin g th e m e , sta te its p r e lim in a r ie s
8
c le a r ly and c r is p l y , and le t i s s u e be jo in e d w ith ou t too m u c h d ela y ."
jThis b eg in n in g w h ich m u s t in t e r e s t , c a u s e in v o lv e m e n t, e li c it e m p a th y ,
Imove the a c tio n , g iv e n e c e s s a r y in fo r m a tio n , and, in s h o r t, e s t a b lis h
ja fou n d ation fo r the d r a m a tic s tr u c tu r e the w r ite r h o p e s to r a is e , is a
^John H. L a w so n , T h e o r y and T e c h n iq u e s of P la y w r itin g (N ew
York: H ill and W ang, I 9 6 0 ), p. 233.
7
F r a n c is F e r g u s s o n , A r i s t o t le ' s P o e t ic s (N ew York: H ill and
W ang, 1961), p. 8.
g
A r c h e r , P la y -M a k in g , p. 113.
18
9
true t e s t of the p la y w r ig h t.
R is in g A c tio n j
A c c o r d in g to L a w so n , the p lay m u s t be c o n s id e r e d a s y s t e m of
a c tio n s - - a c t io n s in th is s e n s e m e a n in g a co n tin u ou s s e r i e s o f in n er j
p s y c h o lo g ic a l w an ts a c c o m p a n ie d u s u a lly by p h y s ic a l m a n if e s ta t io n s . i
L a w so n m a k e s it v e r y e x p lic it that th is type of in n er a c tio n h a s c o n - !
c o m ita n t p h y s ic a l a c tio n but it is n ot b a s ic a lly a c tiv ity , not " h u stle and j
----- I
i b u s t l e ." ^ A r is to t le w a s the f i r s t to r e a liz e the d r a m a tic im p o r ta n c e
|of th is in n e r m o tiv a tio n . F e r g u s s o n s a y s in h is a n a ly s is of A r i s t o t le ' s ;
j ;
| P o e t i c s : ;
j One m u s t be c le a r , f i r s t of a ll, th at a c tio n (p r a x is ) d o e s not
! m e a n d e e d s , e v e n t s , or p h y s ic a l a c tiv ity : it m e a n s , r a th e r , !
| the m o tiv a tio n fr o m w h ic h d e e d s sp r in g . B u tc h e r puts it th is
way: 'The p r a x is that a r t s e e k s to r e p r o d u c e is m a in ly a p s y c h ic
e n e r g y w o r k in g o u tw a r d s. . . . W hen w e tr y to d efin e th e a c tio n s
of . . . c h a r a c te r s in p la y s , w e u s u a lly do so in t e r m s of
m o t i v e . ' ^ j
I
L a w so n , g r e a tly in flu e n c e d by A r is t o t le , d e fin e s th is typ e of a c tio n a s j
I
. . d r a m a tic m o v e m e n t c a u s in g m in o^ and m a jo r c h a n g e s of eq u ilib -
\
12
r iu m . " A s G a ss n e r s a y s , d r a m a ". . . is a p o e tr y of a c t i o n - - o r of
9
M ille t & B e n tle y , T he A r t of the D r a m a , p. 187.
^ L a w s o n , T h e o r y and T ech n iq u e of P la y w r it in g , pp. 1 6 8 -1 7 1 .
^ F e r g u s s o n , A r is t o t le 's P o e t i c s , p. 8.
12
L a w so n , T h e o r y and T ech n iq u e of P la y w r itin g , pp. 1 6 8 -1 7 1 .
19
p r o c e s s - - a fo r m of d y n a m ic s . . . . W hen lit e r a t u r e is s e t upon the
13
stage it m u s t tr a n s la te i t s e l f into m o v e m e n t." A r c h e r s a y s that the
14
w ord d r a m a im p lie s in its v e r y m e a n in g a d oin g or a m o v in g .
In c o n s id e r in g th is p r in c ip le of d r a m a tic m o v e m e n t, the type of j
!
a c tio n can be v e r y su b tle. The p lay m a y s e e m s ta tic on the s u r fa c e , j
|
the c h a r a c te r s e v e n a p a th e tic , y e t the a u d ie n c e can s e n s e a te n s io n i
c r e a te d b e c a u s e of the c o n flic tin g p o in ts o f v ie w of tw o f o r c e s , or tw o !
i
i 1
{c h a r a cte rs. It is not n e c e s s a r y to h a v e v io le n t a c tio n o c c u r r in g for |
i i
e x c itin g e m o tio n a l t e n s io n to be e v o k e d . A s L a w s o n n o te s: j
. . . The im p o r ta n t thing in the s c e n e is not the s lig h t n e s s of the i
| m o v e m e n t, but the q u ality of i t - - t h e d e g r e e o f m u s c u la r te n sio n ,
j of e x p r e s s i v e n e s s . E v e n though the s c e n e m a y a p p e a r to be j
{ s ta tic , its s ta tic e le m e n t is n e g a tiv e . T he p o s itiv e e le m e n t is 1
i I c
1 m o v e m e n t.
! I
In judging the e f f e c t iv e n e s s of the p la y 's d r a m a tic m o v e m e n t, one
should a sk the fo llo w in g q u e stio n s: W ill the d r a m a tic m o v e m e n t , no
m a tte r how s u b tle , in v o lv e the a u d ie n c e b e c a u s e it is a con tin u ou s p a t
t e r n of c o n s is t e n t and p la u s ib le , in n er p s y c h ic m o t iv e s in o p e r a tio n ?
I
{And is the play so s tr u c tu r e d that t h e s e t e n s io n - p r o v o k in g a c tio n s a r e j
bein g u tiliz e d to th e ir f u lle s t d r a m a tic p o te n tia l?
13
John G a s s n e r , P r o d u c in g the P la y (N e w York: T he D ry d en
P r e s s , P u b lis h e r s , 1953), p. 16.
14
A r c h e r , P la y -M a k in g , p. 15.
15
L a w so n , T h e o r y and T e c h n iq u e of P la y w r itin g , pp. 1 6 8 -1 7 1 .
20
The c a ta ly s t fo r the r is in g a c tio n is the point o f a tta ck . F r e y ta g
w r ite s that the point of a tta c k o c c u r s w ith the e n tr a n c e o f the e x c itin g
f o r c e s or f o r c e . He s a y s "th ere m u s t be a b eg in n in g of e x c it e d a c tio n .'
A c c o r d in g to h im , th is point o c c u r s in the p lay w h e r e the a c tio n is p r e
cip ita te d in c o n n e c tio n w ith the b a s ic c o n flic t. F o r e x a m p le , in
i !
S h a k e s p e a r e 's J u liu s C a e s a r , the point of atta ck o c c u r s w h en C a s s iu s j
b e g in s to p lan the d eath of C a e s a r . ^ j
I
j i
| In judging the e f f e c t iv e n e s s o f the point of a tta c k , its p r e p a r a -
i ;
I ;
jtion, c la r ity and lo c a tio n in the d r a m a tic s tr u c tu r e m u s t be c o n sid e r e d .:
I
jThe c h a r a c te r s in v o lv e d m u s t be in tr o d u ce d to the e x te n t that th e y a r e
I !
i i
junderstood w e ll enough to p a r tic ip a te p la u s ib ly in the p oin t of a tta ck . 1
F o r e x a m p le , w e m u s t know enough about C a s s iu s to b e lie v e that he !
i !
! 17
'would d e s ir e the death of C a e s a r . It m u s t be c le a r w h at the c h a r a c -
i
j
jters w ant and the point of a tta ck sh ou ld be s t r a t e g ic a lly lo c a te d so a s to
jp recip itate the r is in g a c tio n . It sh ou ld be the b eg in n in g of w h at A r i s -
' 18
jtotle w ould c a ll "the m id d le of the play."
j
| F o r e s h a d o w in g is the p r e p a r a tio n fo r the im p o r ta n t d e v e lo p
m e n ts of the plot. In A D o ll's H o u s e , N o r a 's d e c e p tio n w ith the m a c a -
^ G u s t a v F r e y ta g , F r e y ta g 's T e c h n iq u e o f the D r a m a , t r a n s . by
E lia s J. M a cE w a n (N e w York: B e n ja m in B lo m , 1863), p. 121.
17Ibid.
18
F e r g u s s o n , A r is t o t le 's P o e t ic s , p. 16,.
2 i
r o o n s in the o p e n in g s c e n e p r e p a r e s the a u d ien ce for the d is c o v e r y of
the la r g e r d e c e p tio n of the fo r g in g o f h e r fa th e r 's s ig n a tu r e . In H edda
G ab ler w e s e e the p is to ls in e v id e n c e tw ic e b e fo r e one is u s e d by
I
i
L o v b o rg and th e o th er by H ed da for th e ir r e s p e c t iv e d e a th s . The m a in |
!
p u r p o se o f fo r e s h a d o w in g is to add c o h e r e n c e and unity to the d r a m a by;
19 !
m a k in g su b se q u e n t e v e n ts s e e m lo g ic a l and p la u s ib le . H o w e v e r ,
fo r e s h a d o w in g can a ls o r e v e a l c h a r a c t e r , ^ m ak e d ia lo g u e m o r e e f f e c - j
I 21 22 1
jtiv e , c r e a t e e m o tio n a l a ttitu d e s, e s t a b lis h m o tifs and e le m e n t s that;
jare e s s e n t i a l to the su b se q u e n t d e v e lo p m e n t and d e n o u e m e n t of the j
I 23 24
jp iece, a r o u s e and c a r r y fo rw a r d the in t e r e s t of the a u d ie n c e , and j
; I
; 25 |
iunify and c a u s e con tin u ity fr o m one a c t to the n ext. T he fo r e s h a d - !
! ;
ow ing tec h n iq u e r e q u ir e s g r e a t s k ill b e c a u s e the plan tin g of the c lu e s |
i j
Imust be o b v io u s enough to d ra w a tte n tio n to the ite m b e in g fo r e sh a d o w e d
I 19
i M ille t & B e n tle y , T he A rt of the D r a m a , p. 189-
20
I M a r ia n G a lla w a y , C o n str u c tin g the P la y (N ew York: P r e n t ic e
;Hall, Inc. , 1950), p. 267.
! 2 1
1 Ibid. , p. 258.
^ Ibid. , p. 263.
23
M ille t & B e n tle y , T he A r t of the D r a m a , p. 188.
24
A r c h e r , P la y -M a k in g , p. 113.
^ I b i d . , p. 114.
22
but n ot so o b v io u s a s to c a ll atten tion to the p la y w r ig h t's a tte m p t to
26
fo r e sh a d o w .
M in or c o n flic ts a n d /o r o b s t a c le s , w h ich fr u s tr a te the p r in c ip a l
c h a r a c te r s in the play as th ey a ttem p t to a c h ie v e th e ir g o a ls , a r e c a lle c
|
c o m p lic a tio n s . T h e s e c o m p lic a tio n s m a y app ear in the fo r m of a s o c ia l
i
fa c to r lik e the feu din g f a m ilie s of R o m eo and J u lie t , or a p h y s ic a l f a c - J
to r su c h a s C yran o de B e r g e r a c 's long n o s e . The s k ille d p la y w r ig h t j
/
jm ust m a k e u se of both o b je c tiv e c o m p lic a tio n s , as th o s e in the e x a m - j
l
Jples a b o v e , and a ls o su b je c tiv e c o m p lic a tio n s su ch as the b e lie f s , c o n -'
j ;
jven tion s, id e a s , and m o r e s that plague and o b s tr u c t the c h a r a c te r s in j
i i
j !
[Ib sen 's G h o sts. !
. .. ■ {
j i
! In judging the e f f e c t iv e n e s s of the p la y w r ig h t's u s e of c o m p li- j
i
|c a tio n s , one can u s e the fo llo w in g c r ite r ia : the in tro d u ctio n of the
o b s t a c le sh ou ld a d eq u ately fr u str a te the p r in c ip a l c h a r a c te r s so a s to
27
c a u s e in c r e a s e d t e n s io n and su s p e n s e ; th e r e sh ou ld be a n e w b a la n c e
jof p o w er w h ich m a k e s "the d elay in r e a c h in g the m a in o b lig a to r y s c e n e
( 28
( n e c e s s a r y and p r o g r e s s iv e ; and the p la y w r ig h t sh ou ld s k illfu lly u t i-
29
liz e both o b je c tiv e and su b je c tiv e c o m p lic a tio n s .
2 A
M ille t & B e n tle y , T he A rt of D r a m a , p. 188.
27
G a lla w a y , C o n str u c tin g the P l a y , p. 191-
2 8
L a w so n , T h e o r y and T ech n iq u e of P la y w r it in g , p. 232.
29
M ille t & B e n tle y , The A rt of D r a m a , p. 189.
23
A d r a m a tic e le m e n t c lo s e l y r e la te d to the c o m p lic a tio n is the
c r i s i s . M ille t and B e n tle y note in r e g a r d to c r is e s :
It w ill u s u a lly be found that the d e v e lo p m e n t of the play is su ch
th at it p r o d u c e s a s e r i e s of f o c i fo r e m o t io n s , w h ic h w e m ay
c a ll c r i s e s . T h e s e c r i s e s a r e situ a tio n s u s u a lly in v o lv in g a c la s h
o f in t e r e s t s and e m o tio n s and a n u m b er of p o s s ib le r e a c tio n s to the j
i 3 0 l
s p e c if ic situ a tio n . i
C r i s e s a r e u s u a lly t im e s o f d e c is io n , tu rn in g p oin ts in the p r in c ip a l j
c h a r a c t e r 's jo u r n e y tow ard w hat he d e s i r e s - - o n e cou ld sa y a " c r o s s - j
jroad s. " It is a tim e of te n s io n b e c a u s e the p r in c ip a l c h a r a c te r fa c e s
i 1
(d e c isio n s w h ich m a y a lte r h is d e stin y . T he e f f e c tiv e p lay h a s a s k i ll - ;
| |
jful b a la n c in g o f the c a u se and e f f e c t r e la tio n s h ip b e tw e e n c o m p lic a tio n s j
i
and c r i s e s . The f o r m e r u s u a lly p r e c ip ita te s the la tte r . F o r e x a m p le J
I i
|in A D o ll's H o u s e , K ro g sta d d ro p s a le t t e r off in H e lm e r 's lo c k e d |
m a ilb o x w h ich t e l l s h im th in g s about N o r a th at she d o e s not w ant h er
t
I
husb an d to know . N ora h a s no k ey for the lo c k e d m a ilb o x ; c o n se q u e n tly
as a r e s u lt of th is c o m p lic a tio n , N orah is fa c e d w ith a s e v e r e c r i s i s .
i
•She m u s t n ow d e c id e on a s c h e m e to d is tr a c t h e r husband H e lm e r , so |
I !
!
Sthat he w on 't lo o k into the m a ilb o x .
j
T h e r e a r e c r it e r ia for judging the e ff e c tiv e u se of c r is e s : (1)
the c r i s i s sh ou ld be a n atu ral r e s u lt of a c o m p lic a tio n and b u ild in g t e n -
3 1
sion ; (2 ) it sh ou ld lea d into e ith e r a s tr o n g a c tio n or "a d e c is iv e
30 Ibid. , p. 191.
24
32
e v a s io n of action ;" (3) it should be th a t point in the p lay "at w h ic h the
b a lan ce of f o r c e s is so s tr a in e d that s o m e th in g c r a c k s , th u s c a u s in g a
33
r e a lig n m e n t of f o r c e s ;" and (4) it sh ou ld be so lo c a te d in the play that
jth e d r a m a tis t a c h ie v e s the m a x im u m e m o tio n a l e f f e c t fr o m h is p la c e - j
| i
jment of the c r i s i s and the d is p o s itio n of h is c h a r a c te r s b e fo r e and after;
34
th is e le m e n t. j
N ot only do c o m p lic a tio n s r e s u lt in c r i s e s , but th ey a ls o can [
[resu lt in m in o r c lim a x e s . G allaw ay s a y s w ith r e g a r d to m in o r c li - ;
I j
m a x e s :
j I
! In a p lay th e r e a r e m a y b e tw en ty or m o r e p o in ts at w h ich the j
| a u d ien ce is p e r m itte d the s a tis fa c t io n of s e e in g so m e th in g d on e, j
S or of h e a r in g s tr o n g s e n tim e n ts s tr o n g ly e x p r e s s e d . . . . T h e s e '
I m o m e n ts do not a lw a y s r e le a s e the te n s io n . . . but at l e a s t th ey
! a re m o m e n ts of te m p o r a r y d e f in it e n e s s , w h ic h m a y be thought of '
a s m in o r c l i m a x e s . ^
T he e f f e c t iv e n e s s o f th e s e m in o r c lim a x e s m u s t be d e te r m in e d by ;
th e ir r e la tio n s h ip to the m in o r c r i s i s w h ic h p r e c ip ita te d th e m . T h ey
i
jshould be a p ro b a b le r e s u lt of the c r i s i s . N o r a , in A D o ll's H o u s e ,
|
jdances the t a r a n te lla for H e lm e r , thus s u c c e s s f u ll y , if on ly t e m p o -
I
ir a r ily , d is tr a c tin g h im fr o m the m a ilb o x , and thus a c h ie v in g a fe w
m o m e n ts w h en the t e n s io n is r e la x e d .
32
G a s s n e r , P r o d u c in g the P l a y , p. 41.
33
L a w s o n , T h e o r y and T ech n iq u e: of P la y w r itin g , p. 167.
34
M ille t & B e n tle y , The A r t of the D r a m a , p. 192.
35
G a lla w a y , C o n str u c tin g the P la y , p. 326.
25
M ajor C lim a x
3 6
T he m a jo r c lim a x , or a s G a s s n e r s a y s , "the grand c lim a x ,"
is u s u a lly p r e c ip ita te d by the m a jo r c r i s i s of the p lay. F o r e x a m p le ,
N o r a in A D o ll's H o u se r e a li z e s th at h e r h u sb a n d 's honor and r e p u ta
tio n a r e m o r e im p o r ta n t to h im than she i s . H edda in H edda G ab ler
r e a l i z e s that if sh e c o n tin u es to liv e sh e w ill m o r e than e v e r b e fo re be
a v ic t im of the f o r c e s around h e r . B oth o f t h e s e m a jo r c r i s e s p r e -
I
i
jcipitate the m a jo r c lim a x of e a c h play: N ora le a v e s h e r husband,
j
jHedda c o m m its s u ic id e . G eo r g e P . B a k er s a y s , "the c lim a x is the ;
! 3 7 '
jm om ent of g r e a t e s t in te n s ity r e a c h e d in the p lay." A ll of the c o m - j
j I
(p lic a tio n s, c o n flic ts and c r i s e s , m in o r c li m a x e s , have b e e n pointing
!
[toward th is m o m e n t. T h is p oin t is u s u a lly the r e s o lu tio n of the b a s ic
c o n flic t a n d /o r p r o b le m o f the p lay.
T h e r e a r e c r it e r ia w h ic h can be u s e d to judge the e f f e c t iv e n e s s
of the lo c a tio n and f o r c e s in v o lv e d in the c lim a x . (1) It should be "an
3 8
in e v ita b le o u tc o m e of the e x p e c ta tio n s c r e a te d up to th is point;" the
a u d ie n c e m u s t be p r e p a r e d for th is c la s h of f o r c e s . F r e y ta g s a y s that
the m o r e in te n s e the c lim a x of the p lay the m o r e im p o r ta n t it is that
the a u d ie n c e be p r e p a r e d fo r it. F r e y ta g w r ite s that S h a k e sp e a r e w a s
3 6
G a s s n e r , P r o d u c in g the P l a y , p. 42.
37
G eo rg e P i e r c e B a k e r , D r a m a tic T ech n iq u e (N ew York:
H o u g h to n -M ifflin Co. , 1947), p. 215.
3 8
G a s s n e r , P r o d u c in g the P la y , p. 17.
26
39
a m a s t e r in p r e p a r in g h is au d ien ce fo r the a p p ro a ch in g c lim a x .
40
(2 ) T he c lim a x sh ou ld be the point of h ig h e s t te n s io n and e m o tio n .
(3) T he c lim a x sh ou ld be the r e s u lt of an a c tio n of a p r in c ip a l c h a r a c
t e r . (4) T h e c lim a x sh ou ld r e s u lt in a n e w b a la n c e of f o r c e s . L a w so n
s a y s that the c lim a x sh ou ld m a r k the end of the m a jo r a c tio n of the
p lay. A ny n e w p r o b l e m s , c o n f lic ts , b a la n c e o f f o r c e s , e t c . , "are the
s u b je c t of a n e w p la y , and a r e not w ith in the s c o p e o f the th e m e w h ic h
I 41
jthe p la y w r ig h t h as s e le c t e d . (5) F in a lly , the c lim a x sh ou ld be a c o n -
42
c r e te r e a liz a t io n of the th e m e in t e r m s of an e v e n t.
jD en ou em en t
]
I In A D o ll's H o u s e , N o r a w a lk s out on h e r husb and and fa m ily ;
I
lin H ed d a G a b le r , the title c h a r a c te r c o m m its su ic id e ; in O ed ipu s the
K ing, O ed ip u s g o e s into e x ile ; and in R o m e o and J u lie t, the l o v e r s a r e
u n ited in death. W ith th e s e a c tio n s , the s o lu tio n to the m a in p r o b le m
of e a c h p lay is a c h ie v e d and the p la y s d r a w to a c o n c lu sio n . T h is p a rt
of the p lay is c a lle d the d e n o u e m e n t, or fa llin g a c tio n , and should c o n
stitu te the p a r t of the p lay fr o m the c lim a x to the fin a l c u rta in . It is
39
F r e y t a g , F r e y t a g 's T e c h n iq u e of the D r a m a , p. 17.
40
M ille t & B e n tle y , T he A r t of the D r a m a , p. 193.
41
L a w s o n , T h e o r y and T ech n iq u e of P la y w r itin g , p. 271.
^ I b i d . , p. 178.
27
the fin a l u n r a v e lin g of the p lo t--" th e e x p la n a tio n of a ll the s e c r e t s and
43
m is u n d e r s ta n d in g s c o n n e c te d w ith the p lot c o m p lic a tio n ."
In the p lay of p e r s is t e n t w o r th , one w ill find the d en o u e m e n t
fu lfillin g the fu n ctio n of d r a m a tic r e c a l l in ad d ition to the te c h n ic a l
44
jr e q u ir e m e n ts of "tying lo o s e e n d s." T h is is a p r o c e s s of f o r e -
I !
sh a d o w in g in r e v e r s e ; it is a poin tin g b a ck to s itu a tio n s , o c c u r r e n c e s , I
!
s ig n ific a n t e m o tio n a l id e n tific a tio n s w h ich h a v e b e e n p r e p a r e d for by
i |
[the fo r e s h a d o w in g p r o c e s s . In G e o r g e K e lly 's C r a ig 's W ife, the o c c a -i
| " i
i ;
! !
|sion al d ro p p in g o f r o s e p e ta ls d u rin g the c o u r s e of the p lay c a u s e d con-i
[stern ation to "the w ife , " H a r r ie t C ra ig ; she could not t o le r a te one sp ecif
! i
iof d u st on h e r ru g , le t alon e a r o s e p e ta l. A s the fin a l c u r ta in d e s c e n d s
! I
and H a r r ie t is le ft c o m p le t e ly a lo n e , the a u d ien ce s e e s h e r w ith a I
! i
I j
b ouq uet o f r o s e s in h e r a r m s , p a th e tic a lly and u n c o n s c io u s ly le ttin g j
I
r o s e p e ta ls drop on h e r im m a c u la te ru g , too sh o c k e d to n o tic e a s sh e
c o n te m p la te s h e r lo n e ly fu tu re.
i
I
j T h e r e a r e sta n d a r d s by w h ich w e can judge the e f f e c t i v e n e s s of
I
ja p la y 's d e n o u e m e n t. It should h a v e c la r it y , p la u s ib ility , and c r e a te
45
in te r e s t; it sh o u ld unify and c o m p le te the c o u r s e of action; it sh o u ld
43
H ugh C. H o lm a n , W illia m F . T h r a ll, and A d d iso n H ib b ard ,
A H andbook to L ite r a tu r e (N ew York: T he O d y s s e y P r e s s , Inc. , I9 6 0 ),
p. 135.
44
M ille t & B e n tle y , T he A rt of the D r a m a , p. 195.
45
F r e y ta g , F e y t a g 's T ech n iq u e of the D r a m a , p. 137.
28
46
co n ta in e ffe c tiv e e le m e n ts of d r a m a tic r e c a ll; and fin a lly , the d e -
47
n o u e m e n t sh ou ld s e e m to be a n atu ral r e s u lt of a ll ante c e d e n t a ctio n .
C h a r a c te r iz a tio n
T he m a jo r ity of the sta n d a r d s s e t up for c h a r a c te r iz a t io n ca m e
I
f r o m the fo llo w in g w r ite r s : A r i s t o t le , B r a n d er M a tth e w s , G eo r g e j
I
P ie r c e B a k e r , W illia m A r c h e r , John H ow ard L a w s o n , F r e d B . M ille t, i
S
j
John G a s s n e r , and K enneth M a c g o w a n . j
| |
jc h a r a c t e r s Should B e V ita l j
|and S tr o n g ly M o tiv a ted !
j i
i T h e s e two c h a r a c t e r is t ic s h a v e b e e n lis t e d f i r s t b e c a u s e the j
^m ajority of the a u th o r itie s s e e m to b e lie v e th at the c o m b in a tio n of
i I
j i
'v ita lity and u n r e len tin g d e s ir e w e r e the m o s t d is tin g u is h in g fe a tu r e s
of the e x c itin g d r a m a tic c h a r a c te r . M ille t w r ite s :
. . . p e r h a p s the s u p r e m e t e s t of g r e a t n e s s in c h a r a c te r iz a t io n
| is v ita lity . By s o m e m ir a c le of o b s e r v a tio n , im a g in a tio n , c r e
a tio n , or c r a fts m a n s h ip , the g r e a t c h a r a c te r c o m e s a liv e . He
m a y be b u lly , or c o n s u m p tiv e , g e n iu s or ru ffia n , but he m u s t
be v ita l in e v e r y n e r v e and s i n e w . 48
In an a n a ly s is of c h a r a c te r s lik e R ic h a r d III, H a m le t, M e d e a , and
B la n ch e du B o is , one w ould find p s y c h o lo g ic a l and e th ic a l p r o b le m s
e x is t in g , but one w ould a ls o find in th e s e d r a m a tis p e r s o n a e an in te n se
46
M ille t & B e n tle y , T he A r t of D r a m a , p. 195.
47
L a w so n , T h e o r y and T ech n iq u e of P la y w r it in g , p. 271.
48
M ille t & B e n tle y , The A r t o f D r a m a , p. 221.
29
49
d r a m a tic v ita lity en h a n ced by s tr o n g ly m o tiv a te d d e s i r e s .
It is n ot n e c e s s a r y fo r the v ita l c h a r a c te r to be p h y s ic a lly a g i
tated or b o m b a s tic . On the c o n tr a r y , he can e v e n s e e m at t im e s p a s
s iv e and in d e c is iv e , but if he i s , th e r e sh o u ld be an in tr in s ic d y n a m ism
in o p e r a tio n , an in n er u r g in g to g a in h is g o a l. The au d itor should j
50
s e n s e e v e n in the q u ie t r e f le c t iv e c h a r a c te r a p s y c h ic v ita lity . H am -;
I
llet w ou ld be a p r im e e x a m p le h e r e . M a r ia n G allaw ay s a y s in d i s c u s - j
I j
' i
jsing th is a ttr ib u te of c h a r a c te r : j
j j
j One im p o r ta n t fa c t to r e m e m b e r is th at a c h a r a c te r w ill ap p ea l j
S to an a u d ie n c e if he h a s p o w er fu l and u n d er sta n d a b le n e e d s and
j d e s i r e s . . . . A str o n g d e s ir e , e v e n if it is u n s o c ia l, w ill m o v e ;
! an a u d ie n c e m o r e q u ick ly than any o th e r sin g le d e v ic e fo r m ak in g !
j the p r o ta g o n is t a t t r a c t i v e .3 x ;
| j
i A g r e a t d e g r e e of th is v ita lity w h ic h is so n e c e s s a r y to the I
e ff e c tiv e c h r a c te r iz a t io n is due to the in te n s ity of the c h a r a c te r 's m o
tiv a tio n . T he c h a r a c t e r is t ic s o f v ita lity and m o tiv a tio n a r e lis t e d
to g e th e r b e c a u s e th e r e is su c h an o v e r la p p in g in th e ir r e la tio n sh ip .
G a lla w a y , in d is c u s s in g th is m o s t im p o r ta n t r e q u ir e m e n t for c h a r a c -
!
jter, o b s e r v e s th at the p r in c ip a l c h a r a c te r h a s to be v o litio n a lly
I
I
( d y n a m ic - - c h a r a c t e r s m u s t a lw a y s want:
1
It is im p o s s ib le n ot to r e a c t w ith sy m p a th y to the s p e c ta c le of a
h u m an b e in g in in te n s e n e e d . So u n iv e r s a l is d e s ir e , w h a te v e r
4 9 Ibid.
50
L a w s o n , T h e o r y and T ech n iq u e o f P la y w r itin g , p. 285.
51
G a lla w a y , C o n str u c tin g the P la y , p. 53.
---------------------------------------------------------------------------------------------------------------------------- 3 T T ~
the o b j e c t iv e , th at sy m p a th y is c e r ta in to o c c u r fo r a d e s ir in g
in d iv id u a l. . . . ^
G a lla w a y a ls o b e l ie v e s th at the str e n g th of the a u d ie n c e 's
r e s p o n s e to the d r a m a is p ro p o r tio n a te to the in te n s ity of the p r o ta g -
jo n ist's d e s ir e . B r a n d e r M a tth e w s, notin g the im p o r ta n c e o f B r u n e - |
I |
t i e r e ' s la w of the d r a m a , c o m m e n ts on its s ig n ific a n t c o n n e c tio n w ith j
the a s p e c t o f m o tiv a tio n : "He [B r u n e t ie r e ] m a d e it c le a r that the d r a m a
i j
jm u st r e v e a l the h u m a n w ill in action ; and th a t the c e n tr a l fig u r e in a j
'play m u s t know w h at he w a n ts and m u s t s tr iv e for it w ith in c e s s a n t j
! i
i 5 3 ;
id e te r m in a t io n ." L a w so n c o m m e n t s , in r e la tio n to m o tiv a tio n ,
| i
I " D ra m a can n ot d e a l w ith p e o p le w h o se w ills a r e a tro p h ie d , who a r e j
u nable to m a k e d e c is io n s w h ic h h a v e e v e n a t e m p o r a r y m e a n in g . . . i
54
who m a k e no e ffo r t to c o n tr o l th e ir e n v ir o n m e n t."
C h a r a c te r s Should B e P la u s ib le
and C o n s is te n t
■ I
O nce th e d r a m a tis t h a s d e lin e a te d c e r ta in p e r s o n a lity tr a it s for
I
ia c h a r a c te r , th at c h a r a c te r sh ou ld th en r e a c t in a c c o r d a n c e w ith th e se
b e h a v io r a l p a tte r n s th rou gh ou t the r e m a in d e r of the p lay. A r is to t le
h a s sa id that a c h a r a c te r can be in c o n s is t e n t a s lon g a s he is c o n s is t -
^ Ibid. , p. 54.
53
B r a n d e r M a tth e w s, A Study in D r a m a (N e w York: C h a r le s
S c r ib n e r and S o n s , 1923), p. 95.
54
L a w so n , T h e o r y and T ech n iq u e of P la y w r itin g , p. 285.
31
55
e n tly in c o n s is te n t. T he p la y w r ig h t m u s t n e v e r a lte r the c o n s is t e n c y
o f a c h a r a c te r in o r d e r to a s s i s t in the u n r a v e llin g o f s o m e plot p r o b -
56
le m . C h a r a c te r s m u s t be p s y c h o lo g ic a lly p la u s ib le at a ll t im e s .
A c c o r d in g to L a w so n , m an y p la y w r ig h ts a r e tem p te d to gain
S y m p a th y fo r th e ir c h a r a c te r s at the r is k of c o n s is t e n c y . H e n o tes
th a t th e r e sh ou ld n e v e r be a su b stitu tio n of s e n tim e n ta l a p p ea l in o r d e r I
57 :
to a c q u ir e sy m p a th y fo r a c h a r a c te r . j
C h a r a c te r s Should E v o k e an i
E m o tio n a l R e a c tio n D ue to a
F u ll- D im e n s io n a l D e lin e a tio n
land U n iv e r s a lity
|
j P r in c ip a l c h a r a c te r s in a play sh ou ld be in d iv id u a ls the a u d i-
jence c o m e s to know a s fu lly d e v e lo p e d h u m an b e in g s . T h e r e m u s t be
a w h o le n e s s , a r o u n d e d n e ss to the p r in c ip a l c h a r a c te r s of the d ra m a .
M ille t n otes:
G r e a tn e s s o f c h a r a c te r iz a t io n is a ls o lik e ly to be a s s o c ia t e d w ith
an e ff e c t of c o m p le t e n e s s or r o u n d e d n e s s . We f e e l that w e are
ab le to s e e the c h a r a c te r not in two but in th r e e d im e n s io n s . A ll
the f a c t s , or at l e a s t a ll of the e s s e n t i a l f a c t s , a re r e v e a le d in
thought or s p e e c h or a c tio n , in r e la tio n to h i m s e l f or to one or
an oth er fig u r e in the p lay. C h a r a c te r s done in the fla t, in two
d im e n s io n s , m a y be v iv id and m e m o r a b le , but th ey tend to be
C O
m o t io n le s s and u n a liv e .
55
F e r g u s s o n , A r is t o t le 's P o e t i c s , p. 16.
5 6
A r c h e r , P la y -M a k in g , p. 182.
57
L a w so n , T h e o r y and T e c h n iq u e s of P la y w r it in g , p. 92.
5 8
M ille t B e n tle y . T he A r t o f D r a m a , p. 2 2 1 .___________
32
K enneth M a cg o w a n w r it e s th at the p la y w r ig h t m u s t go beyond s im p le
c h a r a c te r iz a t io n s . M a c g o w a n b e l ie v e s that e x c itin g c h a r a c t e r s are
th o se that in s p ir e p s y c h o lo g ic a l a n a ly s is ; he c o m m e n ts: j
i
I
It is not enough th at a c h a r a c te r should be c o w a r d ly o r a g g r e s s i v e , i
I c y n ic a l or im p e r tu r b a b le . . . w a r m and im p e tu o u s , or s im p le !
and j e a lo u s , or c o n s u m m a te ly e v il, . . . he [th e p la y w r ig h t] j
m u s t p ro v id e th rou gh thought and a c tio n an in s ig h t into the d e e p e r j
p r o c e s s e s o f the c o n s c io u s and u n c o n s c io u s m i n d . 5 9 \
Not only sh ou ld the p r in c ip a l c h a r a c te r s be su b je c t to p s y c h o - j
ilo g ic a l a n a ly s is , but a ls o th e y sh o u ld be d e lin e a te d w ith id e n tifia b le
p e r s o n a lity tr a its; th e r e m u s t be s o m e r e p r e s e n t a tiv e u n iv e r s a lity to '
I !
j :
jthe c h a r a c te r . B e a u m a r c h a is , v e r y m u c h in d is a g r e e m e n t w ith the j
jcon stan t u s e of r o y a l, a r is t o c r a t ic p e r s o n a g e s in the d r a m a , sta te s:
I
|
J The tru e he a r t - i n t e r e s t , the r e a l r e la t io n s h ip , is a lw a y s b e tw e e n !
I m a n and m a n , and not b e tw e e n m a n and king. And s o , fa r fr o m i
in c r e a s in g m y in t e r e s t in the c h a r a c te r s o f t r a g e d y , th e ir
e x a lte d rank r a th er d im in is h e s it. The n e a r e r the s u ffe r in g
m a n is to m y sta tio n in lif e , the g r e a te r is h is c la im upon m y
sy m p a th y .60
jA cco rd in g to S ta r k Y oung, V o lta ir e s a y s that the d r a m a tis t h a s a r a r e
i i
I i
igift w h en he can c r e a te c h a r a c te r s : !
•. . . th at a r e ty p e s but at the s a m e tim e a p p ear to be in d iv id u a ls.
T h ey s e e m to be both a p a r tic u la r p e r s o n and the g e n e r a l type
th at th is p e r s o n r e p r e s e n t s . T h ey a re d e ta ils w ith in a type
59
K en neth M a c g o w a n , T h e P r im e r of PI ay w r itin g (N ew York:
R an d om H o u s e , 1951), p. 71.
^ B a r r e t t H. C la r k , ed . , E u r o p e a n T h e o r ie s of the D r a m a
(N ew York: C row n P u b lis h e r s , Inc. , 1947), p. 305.
33
p a ttern , th e y a r e liv in g in s ta n c e s out of a m o r e g e n e r a l a b s t r a c
tion. 61
W ith u n iv e r s a l, id e n tifia b le p e r s o n a lit y tr a it s e m b o d ie d in
c h a r a c te r s w ith fu ll e m o tio n a l d im e n s io n c h a r a c t e r s , the d r a m a tis t j
sh ou ld h a v e the in g r e d ie n ts fo r an e v o c a tio n of e m o t io n f r o m h is a u d i- j
I
e n c e . T he a u d ie n c e sh ou ld c a r e about the p r in c ip a l c h a r a c t e r s , th ey
|
should e m p a th iz e . M ic h a e l B la n k fo rd o b s e r v e s , " F o r the tim e b e in g j
|
the au d ien ce p la c e s its b e ts on s o m e p e r s o n in the p la y . Id e n tific a tio n i
i 1
i !
|is m o r e than sy m p a th y w ith that c h a r a c te r ; it is a 'liv in g in th e c h a r - !
62 i
ja c te r ' - -w h a t w r it e r s on e s t h e t ic s c a ll 'em p a th y .' " B a k er n o te s that i
! I
{the au d ien ce m u s t f e e l fo r the p e r s o n s of the p la y , the d e g r e e of s y m - i
| i
ipathy the d r a m a tis t d e s i r e s . U n le s s the a u d ie n c e 's sy m p a th y is a s !
S 63
jkeen as h is , the s c e n e w ill fa ll sh o r t e m o tio n a lly .
L an gu age
A c c o r d in g to A r c h e r , th e r e h a s b e e n a g r e a t p r o g r e s s in
{ E n g lish -s p e a k in g d r a m a b e c a u s e o f the a d v en t of r e a l i s m and a m o r e
! 64
r e a li s t i c d ia lo g u e. J u s t a s c h a r a c te r d e lin e a tio n h a s ch an ged ,
^ S t a r k Y oung, " P lay R e v ie w , " The N ew Y o r k T i m e s , F e b
r u a ry 15, 1925, p. 1.
62
L a w so n , T h e o r y and T e c h n iq u e s o f P la y w r it in g , p. 285.
6 3
B a k e r , D r a m a tic T e c h n iq u e , p. 215.
64
A r c h e r , P la y -M a k in g , p. 252.
34
b e c o m in g m o r e r e a li s t i c w ith the ad ven t of the tw e n tie th c e n tu r y , so
have s o m e of the fu n c tio n s of d ia lo g u e.
D ia lo g u e W hich Is A u th en tic
and D is tin c tiv e
T h e r e is a p r o b le m in w r itin g d ialogu e w h ich is l i f e - l i k e , y e t j
I
a ls o h a s an a r t i s t i c , e x c itin g e le m e n t to it. G a s s n e r s a y s th at dialogue;
w h ich is nothing m o r e than a m e r e r e p r e s e n t a tio n of w h at w ould be j
! |
jheard on the s t r e e t is not the r e a li s t i c d ia lo g u e to be d e s ir e d . A ccord -;
i i
jing to G a s s n e r , the p la y w r ig h t m u s t be able to lift h i m s e l f above the
i i
|
jm ere n a t u r a lis tic tr a n s c r ip tio n of e v e r y d a y la n gu age and he m u s t j
| 65 i
c r e a t e a type of " r e a lis m p lu s." H e m u s t be ab le to c r e a te la n g u a g e !
w h ich g iv e s an " a r tis tic i m p r e s s io n of r e a lis m ." T h is is p rob ab ly whatj
i ’
S ta rk Y oung m e a n t w h en he c o m m e n te d on the r e a li s t i c d ialogu e of
66 :
K elly by s a y in g , "it had the sh in e of life ." M ille t, in d is c u s s in g th is j
jneed fo r d ia lo g u e that is r e a li s t i c in g e n r e , but m o r e than r e a li s m , j
jnotes that it is a e s t h e t ic a lly unsound to m e a s u r e th is kind of d ia lo g u e by
a stan d ard of r e a li s t i c a c c u r a c y a lo n e. He s t a t e s , " P r o s e d ia lo g u e,
lik e e v e r y o th er e le m e n t in d r a m a tic tec h n iq u e , is an a r tific e ; the
le g itim a te q u e s tio n is w h eth e r or not the a r tific e is an a ttr a c tiv e
G a s s n e r , P r o d u c in g the P l a y , p. 17.
S ta rk Y oung, "The Shine of L ife ," T he N ew R e p u b lic , 48
(N o v e m b e r 17, 1926), 3 7 5 -3 7 6 .
35
6 7
le ." W illia m A r c h e r a ls o d i s c u s s e s th is p r o b le m o f g iv in g " c o n
c e n tr a tio n and d is tin c tio n to o r d in a r y ta lk , w h ile m a k in g it s t ill s e e m
o r d in a r y ." A r c h e r in fe r s that the g o a l of th is typ e of s p e e c h is to gain
a d is tin c tiv e q u ality throu gh the p r o c e s s of s e le c t io n . H e s a y s , " S tyle,
in p r o s e d r a m a , is a siftin g of c o m m o n s p e e c h ." j
M ille t s u m m a r iz e s the p r o b le m w h en he w r ite s : j
In th is s lo w e v o lu tio n , two in te n tio n s of the d r a m a tis t a r e in c o n - |
I flict: the d e s ir e to w r ite d ialogu e th at sou n d s r e a l, and the d e - j
s ir e to w r ite d ialogu e th at sh a ll be e ff ic ie n t and in te r e s tin g . T he
a c c u r a te r e p r o d u c tio n o f c o n v e r s a tio n in the d r a m a ru n s the not
in c o n s id e r a b le r is k of b o r in g the au d itor w h ile it p r e s e r v e s its
a u th e n tic ity , and no d r a m a tis t can afford to b o r e h is a u d ie n c e for
the sak e of b e in g lin g u is t ic a lly p r e c i s e . ^9
To d e te r m in e the e f f e c t iv e n e s s of th is type of d ia lo g u e , the f o l- j
lo w in g c r it e r io n should be applied: the p la y w r ig h t, th rou gh a p r o c e s s j
of s e le c t io n and tr a n s p o s itio n should e s t a b lis h a b a la n c e b e tw e e n j
au th en tic d ia lo g u e , r e c o g n iz a b le as n a tu ra l s p e e c h , and d ia lo g u e w h ich
70
iis d is tin c tiv e and a ttr a c tiv e - - a " r e a lis m p lu s," a s G a s s n e r o b s e r v e s .
D ia lo g u e M u st B e E ffic ie n t,
T e r s e and C le a r in F u r n ish in g
In fo rm a tio n about P lo t,
C h a r a c te r and E n v ir o n m e n t
In e s ta b lis h in g th is c r it e r io n , the u t ilita r ia n fu n c tio n s of d ia lo g u e
6 7
M ille t & B e n tle y , T h e A rt o f D r a m a , p. 228.
6 8
A r c h e r , P la y - M a k in g , p. 256.
69
M ille t & B e n tle y , The A rt of D r a m a , p. 124.
70
G a s s n e r , P r o d u c in g the P la y , p. 17.__________
36
a r e e n c o u n te r e d . In lig h t of the above th e r e a re tw o g e n e r a l fu n c tio n s
of d ia lo g u e of s p e c ia l im p o r ta n c e : ( 1) to a c c o m p a n y the a c tio n o c c u r
r in g on s ta g e , and (2 ) to r e la t e e v e n ts and a c tio n s w h ich can n ot o c c u r j
i
on s ta g e . L a w so n c o m m e n ts on the f i r s t by sta tin g that the d ia lo g u e j
j
m u s t d e r iv e fr o m the a c tio n i t s e l f - - i t m u s t be an in te g r a l p a rt of the !
d r a m a tic m o v e m e n t. S p e e c h m u s t not be r e g a r d e d a s a d e c o r a tiv e j
i
d e s ig n u s e d to e m b e llis h the a ctio n . H e adds that in too m a n y p la y s the!
| i
|w ords and e v e n ts run p a r a lle l to e a c h o th e r , and th e y s e ld o m m e e t . <
I !
jD ialogue h a s no fu n ctio n in the d r a m a , u n le s s it " d r iv e s the a c tio n
[fo r w a r d ." I
j J
j I
j W ith r e g a r d to the se c o n d fu n c tio n , the p la y w r ig h t m u s t e x e r - \
j ;
[cise g r e a t s k ill in h an d lin g d ialogu e w h ic h r e la t e s e v e n ts and a c tio n s
i i
jo cc u r r in g o ffs ta g e . The d r a m a tis t m u s t tr y to fu r n is h th is type o f j
J !
in fo r m a tio n at a tim e w h en it m o s t v ita lly a ffe c ts the c h a r a c te r (s ) on j
i
j
stage; that i s , w h en the in fo r m a tio n not only m a in ta in s the d r a m a tic j
te n s io n , but f a c ilit a te s its h e ig h te n in g . T h e r e is an e x a m p le of th is in
I
S o p h o c le s ' E l e c t r a , w h en P e d a g o g u s d e s c r ib e s O r e s t e s ' su p p o se d
death a fte r he had hand ed E le c t r a the u rn w h ich he h a s to ld h e r c o n
ta in s h e r b r o th e r 's a s h e s .
D ia lo g u e fu r n ish in g in fo r m a tio n about the o v e r t o r e x te r n a l life
of the c h a r a c te r is im p o r ta n t, but the s k illfu l c r e a t io n of la n g u a g e
L a w so n , T h e o r y and T e c h n iq u e s of P la y w r itin g , p. 228.
37
w h ich r e v e a ls the c h a r a c t e r 's in n er p s y c h o lo g ic a l s ta te s is a m o r e
ch a lle n g in g m a tte r . M ille t w r ite s :
I
In d r a m a s o f the m o r e s e r io u s s o r t, in d e e d , a c r it ic a l in s p e c tio n
of the d ia lo g u e w ill sh o w that at l e a s t one of the m o s t im p o r ta n t
s o u r c e s of our in t e r e s t in it is its p ow er to r e v e a l a se q u e n c e of
I p s y c h o lo g ic a l s ta te s in r e s p o n s e to e v e n ts e ith e r d ir e c tly r e p r e - j
se n te d or m e r e ly r e p o r te d . 73 j
T hus a c r it e r io n fo r judging: H ow w e ll d o e s the d r a m a tis t r e v e a l the
I ;
jp sy ch o lo g ic a l n u a n ce s of h is c h a r a c te r s w h en th ey b e c o m e in v o lv e d in j
j ;
jthe c o n f lic ts , f r u s t r a tio n s , and in t e r - r e la t io n s h ip s in the p la y ?
i
j The p la y w r ig h t m u s t be c o n c e r n e d w ith o th e r a r e a s b e s id e s the j
i
I
jp sy ch o lo g ic a l life of the c h a r a c te r . In judging la n gu age th at illu m in a te^
| j
c h a r a c te r , one m u s t e v a lu a te how w e ll the d r a m a tis t h as e x p o s e d the j
fo llo w in g a r e a s : ( 1) h is o b je c tiv e , o v e r t r e a c tio n s to the s tim u li .the
plot p r o v id e s; (2 ) h is r e la tio n s h ip to the o th e r c h a r a c te r s and h is e n - I
I
i
v iro n m en t; and (3) w hat the o th er c h a r a c te r s think of h im . G a s s n e r j
j
jo b s e r v e s , in c o m m e n tin g on c h a r a c te r illu m in a tio n :
i
I
i T he b e s t lin e s of d ia lo g u e a r e th o se w h ic h a re t r u e s t to the n atu re
of the p e r s o n , h is sta tio n , h is e n v ir o n m e n t, h is e m o tio n a l s it u
a tion , and the situ a tio n w h ich he c r e a t e s or in w h ich he fin d s j
j h i m s e l f. 73
A s o r t of s e c o n d a r y fu n ction of the lan gu age of the play w ould bej
I
i
the a r tic u la tio n of c e r t a in in fo r m a tio n n e c e s s a r y to h e lp the au d ien ce !
72
M ille t & B e n tle y , The A r t o f D r a m a , p. 124.
73
G a s s n e r , P r o d u c in g the P la y , p. 30.
I
38
a c h ie v e a fe e lin g of m o o d and s e n s it iv it y to e n v ir o n m e n t. N e e d le s s to
sa y , the s e t d e s ig n e r is r e s p o n s ib le for a g r e a t d e a l of the illu s io n
h e r e , but the p la y w r ig h t can h e lp th e in te n s ity of the r e a lity w ith d ia -
74
logue a s s is t a n c e .
T h e m e
H ugh H o lm a n s ta te s that "th em e is the c e n tr a l or d o m in a tin g
75
jidea o f a lit e r a r y w ork . D r y d e n n o t e s , "T is the m o r a l that d ir e c t s
jthe w h o le a c tio n of the play to one c e n te r ; and that the a c tio n or fab le
' ' 7 6
is the e x a m p le b u ilt upon the m o r a l." L a w so n o b s e r v e s th at the
77
th e m e is the r o o t- id e a w ithout w h ic h th e r e can be no a r t i s t i c w ork .
I
jM a eterlin ck , lik e L a w so n , b e lie v e s it is the th e m e w h ich lifts the
| 78
idram a into the s p h e r e of art. And B r o c k e tt w r ite s th at the th e m e is
I
1 79
jthe m a jo r s o u r c e of unity.
|
i B e in g the c e n tr a l and d om in an t id e a , the e le m e n t th at lif ts the
I
jwork into th e r e a lm of a r t, and in d isp e n sa b le to the c o n c e p tio n and unitjr
74
M ille t & B e n tle y , T he A r t of D r a m a , p. 229.
75
H o m a n , e t al. , A H andbook of L ite r a tu r e , p. 4 8 6 .
7 6
B a r r e t t H. C la rk , E u r o p e a n T h e o r ie s of the D r a m a , p. 195.
77
L a w s o n , T h e o r y and T e c h n iq u e s of P la y w r itin g , p. 182.
7 8
B a r r e tt H. C la rk , E u ro p ea n T h e o r ie s of the D r a m a , p. 192.
79
O sc a r G. B r o c k e tt, T h e T h e a tr e (N ew York: H o lt, R in e h a r t
and W in sto n , Inc. , 1964), p. 36.
39
of the w o r k , one can s e e the im p o r ta n c e of th is d r a m a tic e le m e n t.
i
I
|
T h e m e Should R e s u lt in U nity
T he th e m e sh ou ld be the o r ig in a l in s p ir a tio n for the c r e a tio n of
the w o rk . A s D r y d e n m e n tio n s , "it sh ou ld be the m o r a l that c o m e s j
|
f ir s t b e fo r e a ll e l s e and is the m a jo r in flu e n c e on the s e le c t io n of the j
80 i
fab le w h ich is to be u se d ." M ille t s ta t e s w ith r e g a r d to unity:
! In the t r a n s fo r m a tio n of a d im ly s e e n and d iffu s e ly im a g in e d s u b - j
I j e c t into a c o m p le te and in te g r a te d d r a m a , an a lm o s t in e v ita b le
j p r e lim in a r y s te p is the fo c u sin g of the su b je c t in the th e m e . T he j
th e m e is the id e a th at g iv e s the d r a m a u n ity, th at fu r n is h e s the
d r a m a tis t's c o n tr o llin g p u r p o s e , th at d e t e r m in e s fo r h im w hat is j
r e le v a n t and w hat is ir r e le v a n t to h is p u r p o s e . ^ j
i I
: i
;M illet c o n c lu d e s by s a y in g that th is unity is the m o s t im p o r ta n t unity ini
|
ithe d r a m a tic w o rk . !
j
F r e y t a g , in d is c u s s in g the c r e a tio n o f the id e a or t h e m e , s ta te s
i
th at th e r e m u s t be o r ig in a lly s o m e im p u ls e , so m e v is io n , w h ich s ta r ts '
i
|
a tr a n s fo r m a tio n to the e x te n t th at s o m e m a in e le m e n t is se p a r a te d I
jfrom a ll that a c c o m p a n ie s it and w ith the in gen u ity of the p la y w r ig h t- -
|
jadding and s u b tr a c tin g to h is b a s ic c o n c e p t io n - - t h is m a in e le m e n t is
b rou gh t into a u n ifyin g r e la tio n o f c a u s e and e ffe c t. F r e y ta g o b s e r v e s :
T h is n e w u n it w h ic h thus a r i s e s is the Id ea of the d r a m a . T h is
is the c e n te r tow ard w h ich fu r th e r in d ep en d en t in v e n tio n s a re
d ir e c te d , lik e r a y s . T h is id e a w o r k s w ith a p o w er s im ila r to
80
B a r r e t t H. C la r k , E u r o p e a n T h e o r ie s of the D r a m a , p. 192.
81
M ille t & B e n tle y , The A r t of the D r a m a , pp. 1 7 4 -1 7 5 .
40
the s e c r e t p o w er o f c r y s t a lliz a t io n . T h rou gh th is a r e unity of
a c tio n , s ig n ific a n c e of c h a r a c t e r s , and at la s t , the w h ole s t r u c - j
tu re of the d r a m a p r o d u c e d .82
T h e r e is an oth er m a jo r e le m e n t in the p lay w h ich is in flu e n c e d
by a u n ifyin g th e m e : th is is the d is p o s itio n of the c h a r a c te r s a s th ey
m e e t in the c lim a x of the p lay. E u g e n e O 'N e ill in D e s i r e U n d er the j
E lm s is s a y in g that th e r e a r e f o r c e s o f n a tu re w h ic h m a y c a u se u s to |
!
su ffe r and t h e r e f o r e se e o u r s e lv e s m o r e c le a r ly ; but th e s e s a m e j
jforces m a y n e a r ly d e s tr o y u s in the p r o c e s s . T h e r e f o r e , w h en the
jp ro ta g o n ists of th is p lay c la s h in the fin a l s c e n e s , tw o a r e s e n t to ]
jp rison , and the th ird is le ft a lon e at an age w h en lo n e lin e s s can be j
j :
itragic b e c a u s e of a p p ro a ch in g s e n ility and in fir m ity . In th is c a s e , the j
i
ithem e d e t e r m in e s the d is p o s itio n of the c h a r a c te r s at the point of J
j !
c lim a x . j
i
1
j T h e r e a r e c r it e r i a to judge the e f f e c t iv e n e s s o f the t h e m e 's I
i
'cap acity to d e te r m in e the unity of a work: ( 1) the th e m e should d e t e r
m in e the fa b le or sto r y w h ich is u sed ; (2 ) th is s e le c t e d s to r y sh ou ld be
i
jthe m o s t c le a r and e ff ic ie n t e x p r e s s i o n of the th e m e ; (3) the in itia tio n
i
of the fu n d a m en ta l a c tio n in the p la y , and p r o g r e s s io n of th is a c tio n to
the c lim a x , sh ou ld be a p r a c tic a l d e r iv a tiv e of the a b s t r a c t th e m e ; and
(4) by g r e a tly in flu e n c in g the s e le c t io n and d e lin e a tio n of the c h a r a c
t e r s , the th e m e sh ou ld fu r th e r con trib u te to the unity.
F r e y ta g , F r e y t a g 's T ech n iq u e o f the D r a m a , pp. 9 -1 0 .
41
The T h e m e Should B e C le a r ,
R e le v a n t, and U n iv e r s a l
M a tth ew s w r it e s th at th o se who w r ite for an a u d ie n c e m u s t f ir s t
and a lw a y s p le a s e the a u d ie n c e . The d r a m a tis t m u s t adapt t h e m e s to
the a u d ie n c e he w r it e s fo r . M a tth ew s a ls o n o tes: I
I
i
T he d r a m a is . . . the m o s t d e m o c r a t ic of the a r ts; and any j
a tte m p t to o r g a n iz e it on an a r is t o c r a t ic b a s is . . . is f o r e - j
d o o m e d to fa ilu r e . T he d r a m a a p p e a ls a lw a y s to the b road pub
lic , and n e v e r to any s e l f - s t y l e d u p p er c l a s s . A g r e a t p oet m a y !
I be haughty and r e s e r v e d ; and r e a d y to r e tir e into an iv o r y tow er; j
' but a g r e a t d r a m a tis t m u s t n e e d s have an u n d er sta n d in g of h is ■
O o 1
| f e llo w -m a n ; he m u s t h a v e t o le r a tio n and, above a ll, s y m p a th y .OD \
| I
i
iL e s s in g a ls o b e lie v e d that the th e m e m u s t be c le a r to e v e n the unsophisi-
| |
jticated a u d ie n c e . He s a y s , " E ven the d r a m a tic a u th or, if he lo w e r s j
i I
h i m s e l f to the m o b , lo w e r s h i m s e l f on ly in o r d e r that he m a y e n lig h te n J
and im p r o v e the m a s s and not to c o n fir m th em in th e ir p r e ju d ic e s or in
I
84
th e ir ig n o b le m od e of thought.
B r o c k e tt n o te s that in o r d e r to a c h ie v e c la r ity the p la y w r ig h t
i
h a s a d iffic u lt c h a lle n g e . In a tte m p tin g to m ir r o r the v ic is s it u d e s of
jlife he h a s a m o r e d iffic u lt situ a tio n than it a p p e a r s on the s u r fa c e ,
!
'b ecau se o fte n a m b ig u ity is the b a s is of h um an e x p e r ie n c e . T h e r e f o r e ,
the p la y w r ig h t can n ot, on the one hand , s im p lify h is w r itin g so that life
a p p e a r s too s im p le , and on the o th er hand, he cannot co n fu se h is
83
B a r r e tt H. C la r k , E u r o p e a n T h e o r ie s of the D r a m a , p. 495.
84
Ibid. , p. 257.
3 Z -
a u d ie n c e w ith p h ilo so p h ic a l m e a n in g s and s y m b o ls w h ich a r e too
a b s t r a c t a n d /o r c o m p le x . To a c h ie v e s o m e type o f b a la n c e h e r e ,
B r o c k e tt s u g g e s t s the fo llow in g: . . e v e r y o n e s im p lif ie s e x p e r ie n c e
in the p r o c e s s of s e e k in g its s ig n if ic a n c e . S in ce the d r a m a tis t is u s u -
I
jally c o n c e r n e d w ith the p a tte r n s behind the in fin ite d e ta il of lif e , he |
85 I
m u s t e lim in a te w hat he c o n s id e r s ir r e le v a n t ." |
T h e r e a r e c r it e r i a w h ich can h e lp us judge the s im p lif ic a t io n ;
land c la r ity of the th e m e : ( 1) the d r a m a tis t sh ou ld a c h ie v e in h is s i m - !
p lific a tio n of e x p e r ie n c e a r e a li s t i c p ic tu r e o f life w ithout b e c o m in g too'
i !
{a b str a c t and in v o lv e d on the one hand, and not d e p ic tin g too e le m e n ta l (
j ;
|an a p p ro a ch to life on the o th er hand; and (2 ) the p la y w r ig h t's th e m e j
j i
i sh ou ld be c le a r to an a u d ie n c e of h is c o n t e m p o r a r ie s . W ith r e g a r d to
the a s p e c t of r e le v a n c e and u n iv e r s a lity , S c h le g e l w r ite s : j
i
I
. . . it is n e c e s s a r y th at a c o m p o s itio n be a m ir r o r of id e a s , |
th at i s , th ou gh ts and f e e lin g s w h ich in th e ir c h a r a c te r a r e n e c e s - j
s a r y and e te r n a lly t r u e , and s o a r ab ove th is e a r th ly lif e , and a ls o
th a t it sh o u ld e x h ib it th e m e m b o d ie d b e fo r e u s . ^
M a tth ew s c o m m e n ts th at s o m e t im e s a th e m e can be r e le v a n t to the |
point that its v e r a c it y d is tu r b s the a u d ien ce by e x p o s in g th in gs th ey do
not w an t to s e e or know about:
i
I
T he author m a y . . . go s e a r c h in g ly b e lo w the s u r fa c e , d i s c l o s
ing th in g s u g ly and a b h o r r e n t. T h is m a y sh o c k u s , but w hat
1
I
O C
B r o c k e tt, The T h e a t r e , p. 38.
8 8
B a r r e tt H. C la r k , E u ro p ea n T h e o r ie s of the D r a m a , p. 340.
43
s h o c k s u s is n ot n e c e s s a r i l y im m o r a l. V ery o fte n , in d eed , it is
p ro fou n d ly m o r a l, w ith the p a r tic u la r m o r a lity w h ich we happ en
Q *7
m o s t to n e e d .
G o eth e , in d is c u s s in g the a s p e c t of the p la y w r ig h t's in flu e n c e on h is
a u d ie n c e , s ta te s :
1
I
A g r e a t d r a m a tic p oet, if he is at the sa m e tim e p r o d u c tiv e , and j
I is a c tu a te d by a str o n g nob le p u r p o se w h ich p e r v a d e s a ll h is ;
I w o r k s , m a y s u c c e e d in m a k in g the so u l of h is p ie c e s b e c o m e the j
i so u l o f the p e o p le . . . . ^ j
| |
iM a e te r lin c k b e l ie v e s that the d r a m a sh ou ld r e v e a l the m e ta p h y s ic a l I
I !
; I
^sphere o f m a n 's e x is t e n c e and in so d o in g , it b e c o m e s u n iv e r sa l; he j
j I
!o b s e r v e s : !
| |
; . . . th at g r e a t p o e tr y is m ad e up o f th r e e e le m e n ts : 1) v e r b a l j
b e a u ty , 2) r e a lity , and 3) . . . fin a lly , e n v e lo p in g the w h ole w o r k i
I and c r e a tin g the a tm o s p h e r e p r o p e r to it, the id e a w h ich the p o et
| f o r m s of the unknown in w h ich flo a t about the b e in g s and thin gs ;
; w h ic h he e v o k e s , the m y s t e r y w h ich d o m in a te s th e m , ju d g e s !
! th e m and p r e s id e s o v e r th e ir d e s t in ie s . I have no doubt that th is <
la s t is the m o s t im p o rta n t ele m en t.
In 1901, M a e te r lin c k c o m p la in e d about the fa c t that m o s t of the c o n t e m
p o r a r y d r a m a did not h a v e e le m e n t s o f th is th ird c h a r a c te r w h ich he
j
| c a lls :
i
. . . e n ig m a t ic , in v is ib le , but e v e r y w h e r e p r e s e n t, w h ich we
m ig h t w e ll c a ll the s u b lim e c h a r a c te r , and w h ich is p erh a p s no
o th er th an the u n c o n s c io u s though p o w er fu l and u n d en iab le c o n
ce p t of the p o e t's id e a of the u n iv e r s e , w h ich g iv e s to the play a
fa r g r e a t e r r e a c h , a c e r ta in a s p ir a tio n for e x is t e n c e a fte r the
d eath of o th e r th in g s, and m a k e s us r e tu r n to it w ithout e v e r
e x h a u s tin g its p o s s ib il it i e s of b e a u t y .
ft 7 ft ft
Ibid. , p. 305. Ibid. , p. 335.
89
Ibid. , p. 414.
90
Ibid. , p. 416.
4 4
It is th is d e s ir e to e x p r e s s the u n iv e r s a l in the h u m an c o n d itio n th at
h as le d m a n y w r it e r s to th e o r iz e about the th e m a tic im p lic a tio n s of the
d r a m a . B r a n d e r M atthew s s a y s that the d r a m a tis t in a tte m p tin g to
a r o u s e the e m o tio n s of the a u d ien ce m u s t n e v e r lim it h is w r itin g to the
!
s p e c ia l k n ow led ge or in d ivid u al lik in g s of any s in g le p e r s o n , but he j
m u s t "try to find the g r e a t e s t c o m m o n d e n o m in a to r of the th ro n g . T h at
j I
|is to s a y , th ey m u s t e v e r s e e k the u n i v e r s a l - - f o r it is only at th e ir j
I 1
i 91 !
jperil that they can u se the p a r tic u la r ." E c h o in g m u c h the thought of j
M a tth ew s is B r o c k e tt, who s a y s that u n iv e r s a lity is th at q u a lity w h ic h
e n a b le s a play to c o m m u n ic a te w ith a u d ie n c e s , e v e n though c e n tu r ie s j
I
jmay h ave p a s s e d s in c e it w a s w r itte n . B r o c k e tt g iv e s the e x a m p le o f |
i j
IH am let, in w h ich the u n iv e r s a l e le m e n t s a r e found in a c o n flic t between!
jloyalty to the dead fa th er and fe e lin g s for the m o th e r , a c o n flic t b e -
92 !
tw e e n in te g r ity and r e lig io u s faith , e tc . j
|
A c c o r d in g to m o s t t h e o r is t s the th e m e sh ou ld illu m in a te s o m e
a r e a of the h u m an e x p e r ie n c e that w ill h e lp m a n to le a r n of h im s e lf .
j
jNathan w r i t e s , " G reat d r a m a , lik e g r e a t m e n and w o m e n , is a lw a y s a
little sa d . . . . T he a im o f g r e a t d r a m a is not to m a k e m e n happy w ith
t h e m s e lv e s a s they a r e , but w ith t h e m s e lv e s as th ey m ig h t, y e t a la s
^ I b i d . , p. 4 9 6 .
92
B r o c k e tt, T he T h e a tr e , p. 37.
45
93
cannot b e."
T o a s s i s t in the ju d gm en t of th is r e le v a n c y and u n iv e r s a lity ,
the q u e s tio n sh ou ld be ask ed : Is the th e m e r e le v a n t fo r the m a jo r ity of
the a u d ie n c e and d o e s it co n ta in u n iv e r s a l im p lic a tio n s w h ich a r e not
only a p p lic a b le to th e m but illu m in a te s a s p e c ts of th e ir e x is t e n c e whichj
|
w e r e h e r e t o f o r e e n ig m a tic and u n a r tic u la te d ? |
T h e m e Shou ld B e an In te g r a l P a r t I
!of the D r a m a tic M o v e m e n t i
i ------------------------------------------------- |
j |
I I d e a lly , the a u d ie n c e sh o u ld gain a k n o w led g e of the th e m e as j
i j
jan im p lic a tio n of the d r a m a tic m o v e m e n t of the p lay. The d r a m a tis t j
i !
jshould n e v e r h a v e to d id a c tic a lly sta te h is m e s s a g e . D id e r o t s a y s th at I
| ;
'the d r a m a tis t m a y c o m m u n ic a te t h e m a tic poin ts th a t a r e a p p lica b le to !
the au d itor but he sh ou ld not think about it b e c a u s e "if the au d ien ce
d e t e c t s h is p u r p o s e , he w ill fa il to a c h ie v e it; he c e a s e s to w r ite
94
d r a m a , and only p r e a c h e s ." G oethe w r o te that it is a ll righ t fo r the
ipoet to d e s ir e to c o m m u n ic a te s o m e m o r a l, but the r e a l t e s t o f a
d r a m a tis t is to b r in g h is su b je c t c le a r ly and e f f e c t iv e ly b e fo r e h is
a u d ie n c e and m o r a l p u r p o se is of little u s e h e r e , the thing the p la y
w r ig h t n e e d s m o r e than m o r a l p u r p o se is s k ill in d e lin e a tio n and
f a m ilia r it y w ith the s ta g e . G oethe w r i t e s , "If th e r e be a m o r a l in the
93
B a r r e t t H. C la r k , E u r o p e a n T h e o r y of the D r a m a , p. 503.
94
I b i d . , p. 299-
_ . 4 6 ;
'
s u b je c t, it w ill a p p e a r , and the p o e t h a s n oth in g to c o n s id e r but the
9 5
e ffe c t and a r t i s t i c tr e a t m e n t o f the s u b je c t." L e s s in g a g r e e s that the
d r a m a tic p o et sh ou ld n ot o r g a n iz e h is p la y in o r d e r to c o m m u n ic a te
i
s o m e m o r a l tru th. He n o te s: j
1
. . . th is a r r a n g e m e n t of the fa b le is an yth in g but n eed fu l; that j
th e r e a re v e r y in s tr u c tiv e and p e r f e c t p la y s th a t do not a im at j
su c h a s in g le m a x im , and that w e e r r w h en w e r e g a r d the m o r a l
s e n te n c e s that a re found at the c lo s e o f m a n y a n c ie n t t r a g e d ie s ,
a s the k ey n ote for e x is t e n c e o f the e n t ir e p la y .96 i
jM illet f e e ls th at the d r a m a tis t who w r it e s the s o c ia l p r o b le m p lay is
Ithe one that e r r s the m o s t o ften in the a r e a o f o v e r - s t a t e m e n t . M ille t I
I ;
i
s a y s that the p lay w h ic h h a s an undue e m p h a s is on th e m e m a y im p r e s s j
!
the a u d ien ce on in itia l im p a c t, but that th is type of dram a: !
. . . is lik e ly , upon fu r th e r a c q u a in ta n c e , to s e e m to be a '
! S u n d a y -s c h o o l fab le r a th e r than e ith e r r e p r e s e n t a tio n or t r a n s - j
i m u ta tio n of life . If the p la y w r ig h t c o n c e r n s h i m s e l f w ith h is m e s - j
j sa g e to e x c lu s i v e ly , the p lay is lik e ly to s e e m an o v e r .- s im p lif i- j
ca tio n of lif e , o r , at w o r s t , the r e d u c tio n of life to an a lm o s t
9 7
g e o m e t r ic a l d e m o n s tr a tio n of a fo r m u la .
T o judge the e f f e c t i v e n e s s o f t h e m a tic in te g r a tio n , the a n a ly s t
m u s t d e te r m in e if the th e m e is c o m m u n ic a te d th rou gh i m p l i c a t io n - - is it
an o r g a n ic p a rt of the d r a m a tic m o v e m e n t ? Or d o e s the p la y w r ig h t h a v e
to sta te it v e r b a lly th rou gh s o m e c h a r a c t e r ? If the c h a r a c te r s " s e e m |
, 98
like l i f e l e s s m o u t h - p ie c e s fo r th e au th or. . . . ' th e r e is a p r o b le m
in the p lay. |
95jjbid. , p . 337. 9 6xbid_. , p. 259.
9 ? M ille t & B e n tle y , T he A r t o f the D r a m a , pp. 1 7 4 -1 7 5 .
^ B r o c k e t t , T he T h e a t r e , p. 3 7.
C H A P T E R III
K E L L Y 'S SA T IR IC A L PL A Y S:
T H E T O R C H -B E A R E R S A N D TH E S H O W -O F F
E v e n though T he T o r c h - B e a r e r s had l e s s than a fo u r -m o n th
run on B r o a d w a y c o m p a r e d to the n e a r ly t h r e e - y e a r run of The S h o w -
!o ff, both p la y s , in the m a jo r ity of th e ir r e v ie w s , r e c e iv e d fa v o r a b le
j
n o t ic e s f r o m th e c r i t i c s . The m a jo r ity of the c r it ic s a ls o w ro te about
th e s e two p la y s a s if they w e r e s im ila r in fo r m . T h is w a s an u n fo r
tunate o v e r s ig h t . W hile both p la y s a r e s a t i r e s , th e r e is an im p o r ta n t
b a s ic d iffe r e n c e in the f o r m of the tw o w o r k s - - a d iffe r e n c e w h ich not
on ly c a u s e d T h e T o r c h - B e a r e r s to be in h e r e n tly im p a ir e d in s tr u c tu r e
and u n ity , but a ls o fo r e s h a d o w e d K e lly 's m o s t s e r io u s p r o b le m a s a
w r ite r .
The T o r c h - B e a r e r s
G e n e r a l im p r e s s io n s of T he T o r c h - B e a r e r s w e r e u s u a lly in the
a f fir m a t iv e , but w h en s o m e of the c r it ic s s c r u tin iz e d the play in m o r e
d e ta il th e y found s tr u c tu r a l p r o b le m s . In the s e c t io n w h ich f o llo w s ,
both the s im p lic it y of plot w h ich c o n trib u te s to K e lly 's b itin g s a tir e
47
48
and the s tr u c tu r a l d e fe c ts w h ich h a v e s e v e r e ly im p a ir e d the p lay a re
a n a ly z ed .
!
P lot: A c ts I and II
E x p o s it io n .- -T h e p r in c ip a l s o u r c e o f in fo r m a tio n in the op en in g!
!
s c e n e is a b r ie f c o n v e r s a tio n b e tw e e n F r e d R it te r , who h a s a r r iv e d j
h o m e u n e x p e c te d ly w h en a b u s in e s s tr ip w a s cut s h o r t, and the m a id , |
I i
i 1 '
| Jenny. The a u d ie n c e is brought up to date on the r e c e n t e v e n ts in the ;
I !
I ;
R itte r h o m e a s Jenny t e l l s M r. R itte r a ll the n e w s . T h e m o s t im p o r - ;
tan t p ie c e of n e w s is the fa c t that h is w ife h a s d e c id e d to a c t w ith a j
j lo c a l c o m m u n ity th e a tr e . P a u la , the w ife , th en e n t e r s and f u r n is h e s j
i ;
[m ore n e w s about the ap p ro a ch in g p e r fo r m a n c e and about the h o m e ;
2 I
r e h e a r s a l, w h ich sh ou ld b eg in a n y tim e . In u s in g the s e r v a n t to g ive |
i
|
in fo r m a tio n , K elly h a s u tiliz e d a tech n iq u e w h ic h is r a th e r c lic h e and,
to the e x p e r ie n c e d t h e a t r e - g o e r , not to ta lly u n o b tr u s iv e . H o w e v e r , the
I
i
in fo r m a tio n is c le a r and su c c in c t; and the u s e of the w ife to im p a r t j
s o m e of the a n te c e d e n t a c tio n s u p p lie s v a r ia tio n to K e lly 's e x p o s it io n
in the opening s c e n e .
T h e au d ien ce n e x t le a r n s w hy P a u la is p la y in g the p a rt in the
a p p ro a ch in g o n e - a c t play. B e c a u s e sh e is c o m p le t e ly in e x p e r ie n c e d ,
^G eorge K e lly , T he T o r c h - B e a r e r s (N ew York: S a m u e l F r e n c h ,
1922), pp. 1 8 -1 9 .
^Ibid. , p. 2 1 .
49
it is n e c e s s a r y for K elly to m ak e h e r b e in g c h o s e n a c r e d ib le o c c u r
r e n c e . In a b r ie f e x c h a n g e of d ia lo g u e , K e lly m a k e s h e r a p la u sib le
c h o ice and, at the s a m e t im e , in tr o d u c e s M r s . P a m p in e lli, the i m
p r a c tic a l d i r e c t r e s s of the p lay. In a b r ie f s c e n e b e tw e e n P a u la and
h e r h u sb an d , the auditor is g iv en the f ir s t h in ts of P a u la 's th o u g h t
l e s s , n a ive q u a lity . P a u la c o m e s to the top of the s t a ir s and c a lls
F r e d R itte r ! D on 't t e ll m e th a t's you dow n th e r e !
N o, I'm s t ill out in C h ic a g o .
Is it, Jen n y ?
Y e s , M a 'a m , I w a s ju s t cornin' to t e ll you.
I thought I h e a r d h is v o ic e ! I've b e e n sta n d in g up
h e r e fo r the la s t fiv e m in u te s sa y in g to m y s e l f , "Who
can that be that h as a v o ic e so m u ch lik e F r e d 's !"
Why F r e d , d a r lin g what a r e you doing h e r e r
A n e le m e n t of fo r e sh a d o w in g o c c u r s d uring tw o d iffe r e n t
e x c h a n g e s of d ia lo g u e. R itte r , w ith a g e n tle tou ch of s a r c a s m , kids
|
l
h is w ife about h e r w e ig h t p r o b le m and in fe r s that sh e e a ts too m u ch .
I
In the s e c o n d e x c h a n g e , P a u la is v e r y c o n c e r n e d th at the d rin k p r e p a -
4
r a tio n s for the r e h e a r s a l be c a r r ie d out to h e r s a tis fa c t io n . W ith
th e s e two to u c h e s , the auditor should b e g in to a n tic ip a te P a u la 's p r e
o c c u p a tio n w ith food and he should be fu lly p r e p a r e d fo r h e r c o n c e n -
Idown:
|
| P au la.
| R itte r .
P a u la.
I
i Jenny.
i
|
P a u la.
3 4
Ibid. , p. 19. Ibid. , p. 20.
50 |
tr a te d atta ck on the s o u r c e s of food and drink d uring the r e h e a r s a l.
M any in te r r u p tio n s o c c u r r in g d uring the r e h e a r s a l a r e tr a c e a b le to
P a u la 's in s a tia b le h u n ger d riv e; in te r r u p tio n s w h ic h b e c o m e c o m p li
c a tio n s w h en the p lot s tr u c tu r e is c o n s id e r e d . I
In an oth er b r ie f e x c h a n g e of d ia lo g u e th e r e is a nuance of f o r e -
i
sh ad ow in g w ith r e g a r d to the ir r e g u la r it ie s in the p ro d u ctio n o f the play.
P a u la s a y s , "We g ave it on the fo u r te e n th at the C iv ic Club. A nd, m y j
i
j i
|d e a r , that a u d ien ce ju s t lo v e d it. And you 'd be s u r p r is e d , to o , for its j
; I
j a t e r r if i c a l l y s e r io u s thin g. In fa c t, in a w a y , it's too s e r i o u s - - f o r j
5 I
the g e n e r a l p u b lic. . . . " j
! K elly su b tly fo r e s h a d o w s the d is o r g a n iz a tio n of the im m in e n t I
j :
jr e h e a r s a l and a p o s s ib le c o n flic t b e tw e e n P a m p in e lli and R itte r w hen j
j P a u la t e lls R itte r about the g r o u p 's " d ir e c t r e s s : "
P a u la. Kind of a d i r e c t r e s s , I su p p o se you 'd c a ll h e r . (R itter
h a s d ifficu lty k eep in g a s tr a ig h t f a c e . ) T e lls u s w h er e
to go, on the s ta g e , - - s o w e w on 't be running into e a c h
o th e r . (R itter la u g h s. ) R e a lly F r e d , you have no
id e a h o w e a s y it is to run into so m e b o d y on the sta g e .
Y ou 've got to know w h e r e y o u 'r e goin g e v e r y tim e
| you m o v e . (He la u gh s lo u d e r . ) W hy, what a r e you
lau g h in g at ?
R itte r . I w a s ju st thinking of a fe w th in gs I've h ea rd M r s .
P a m p in e lli c a lle d .^
By the tim e the lo c a l T h e s p ia n s b e g in to a r r iv e for the p lay
r e h e a r s a l, the a u d ien ce h a s le a r n e d that P a u la is in e x p e r ie n c e d and
5T 1 6
— . — . ----------------. 5 T -
has ju s t b e e n c a s t , th at h e r husband lo o k s upon the c a stin g w ith
b e m u s e d t o le r a n c e , t h a tM r s . P a m p in e lli's rep u ta tio n as an e c c e n t r ic
in d iv id u a l is not unknown to R itte r , that the p lay w ill be done to m o r r o w
n igh t in the h o r tic u ltu r a l h a ll, and that a r e h e a r s a l of th is p la y , D r.
i 7
j A r lin g to n 's W ife , w ill b e g in any m in u te in the R itte r h o m e . W ith the j
! *
j i
jexcep tion o f a d d itio n a l in fo r m a tio n about s o m e o f the c h a r a c te r s , i
(Kelly h as e s t a b lis h e d the m a jo r ity of the a n te c e d e n t action . W ith a j
i i
I :
jreturning husb an d who h a s a lo q u a c io u s w ife and m u s t be in fo r m e d of
! :
i !
all the c u r r e n t h a p p en in g s, the p la y w r ig h t h a s c r e a te d n atu ral and j
p la u sib le c ir c u m s t a n c e s fo r the t r a n s m is s io n of e x p o sitio n . j
i A s the r e h e a r s a l d ra w s n e a r , a d d itio n a l em p ath y is e v o k e d fo r j
j
jboth R itte r and h is w ife . M a r r ie d m e n in the a u d ie n c e , who have com e!
: I
h o m e to r e la x in the so litu d e of th e ir h o m e s and found an " aftern oon j
!
I
b r id g e club" or an a ftern o o n te a "in r e s id e n c e , " w ould e m p a th iz e w ith
R itte r as he a r r iv e s h o m e to d is c o v e r h is f ir s t e v e n in g b a ck w ill not be
sp en t r e la x in g by the fir e . M any m a r r ie d w o m e n who w ant to e x p e r i-
i
e n c e a g la m o r o u s v a r ia tio n to th e ir m undane rou tin e w ould e m p a th iz e j
w ith P a u la in a w is h - fu llfilm e n t w ay w hen th ey an ticip a te h e r p a r t ic i
pation in a lo c a l play prod u ction . W hen the m a le m e m b e r s of the audi-j
e n c e b e c o m e c a cq u a in ted w ith the T h e s p ia n s and p ro d u ctio n s ta ff who
K e lly , in an in te r v ie w w ith the author on A p r il 8, 1971, in Sun
C ity, C a lifo r n ia , sa id that th is w a s h is v a u d e v ille o n e - a c t , One of
T h o se T h in gs, r e w o r k e d and u tiliz e d for the p la y -w it h in - th e - p la y .
52
c o m e to r e h e a r s e the p la y , th e ir em p a th y for the husband is h e ig h te n e d
as they s e n s e the a b su r d ity of the e n tir e v en tu r e and f e e l R itte r 's
fr u s tr a tio n w ith h a v in g th is u n u su al grou p of in te r lo p e r s in h is h o u s e , j
W ith the a n te c e d e n t a c tio n su p p lied , a d e g r e e of em p ath y e v o k ed
i i
[for the c h a r a c t e r s , and c e r ta in it e m s fo r e s h a d o w e d , K elly in tr o d u c e s J
| |
!the m e m b e r s of the " c a s t and cr ew " of D r . A r lin g to n 's W ife who h a v e j
i
c o m e for the r e h e a r s a l. M r s . P a m p in e lli is the f ir s t to a r r iv e , and j
j
[the e f f e c t iv e n e s s of h e r e n tr a n c e is en h a n ced by the p la y w rig h t s in c e !
' !
jthe au d itor w ould h e a r the a ffe c te d , b e ll- lik e to n e s of h e r w e ll-
! 8 i
[projected v o ic e v ib r a tin g throu gh th e h o u se b e fo r e they v iew e d h e r . |
j i
j i
F u r th e r in t e r e s t is a r o u s e d as M r. S p in d le r a r r iv e s in the com p any of \
|
M r s. P a m p in e lli. T h e r e is im m e d ia te fo r e sh a d o w in g w ith r e g a rd to j
th e ir r e la tio n sh ip a s the au d ien ce v ie w s P a m p in e lli's in itia l e n tra n ce :
M r s . P a m p in e lli. H e llo , P a u la C h ild , h ow a r e y ou , d e a r ? (M r.
S p in d ler h u r r ie s in fr o m the r igh t h a llw a y ,
I c a r r y in g s e v e r a l b o o k s. ) W ill you g ive th o se
th in g s to M r s . R itte r , M r. Spin d ler; s h e 'll
s e t th em dow n s o m e w h e r e .
i i
S p in d ler. C e r ta in ly , c e r ta in ly .
M r s . R itte r . G ood e v e n in g , M r. S p in d le r .
9
S p in d ler. G ood e v e n in g , good e v e n in g .
g
T h is is a tech n iq u e that K elly u s e s to s tim u la te in te r e s t and
h e ig h te n a n tic ip a tio n in s o m e of h is p r in c ip a l c h a r a c te r s . A u b rey P ip e r in
The S h o w -O ff, D a is y M a y m e in the play of the s a m e n am e , and H a r r ie t
C r a ig in C r a ig 's W ife a r e a ll c h a r a c te r s who a re h e a r d o ffsta g e b e fo r e th ey
a re s e e n .
9
K elly, The T o r c h - B e a r e r s , p. 30.
53
In th is f i r s t e n tr a n c e of P a m p in e lli and S p in d le r , K elly h a s w ith
i
I
I
one co m m a n d and one s im p le a ctio n pointed up the h ie r a r c h y e x ta n t in j
i
i
the o rg a n iza tio n : the f e m a le a d m in is tr a to r and the m a le e r r a n d - j
|
r u n n er. T h is is a su b tle fo r e sh a d o w in g of the m an y t im e s S p in d le r willj
i
lit e r a lly " leap to attention" at the co m m a n d of P a m p in e lli and r e sp o n d j
j
w ith a la c r ity to the p r o m p tin g s of a M r s . F e l l , a n o th er d om in an t j
jfem ale in the group. K elly is s e ttin g the s ta g e fo r an o r g a n iz a tio n |
w h ich is f e m a le - o r ie n t e d , tak in g its cue fr o m P a m p in e lli. j
One of the c h ie f fu n ctio n s of e x p o s itio n i s to c r e a te the p r o p e r i
m o o d . K e lly a c h ie v e s the m o o d of s a tir e at the o u ts e t w ith P a u la 's !
u n c o n c e r n e d attitude tow ard the death of h e r fr ie n d 's husb and. W hen !
|sh e is a sk e d if C la r a S h e p h e r d 's husb and k n ew th at C la r a w as goin g to !
I
p lay a p a r t in the p lay, P a u la a n s w e r s :
i
Why o f c o u r s e he did. S h e'd ju st fin is h e d te llin g h im w hen he f e ll
o v e r . (P a u la r e f r e s h e s h e r s e l f w ith a n oth er sip of c la r e t. ) M y
d e a r , p oor C la r a S h ep h erd is a w r e c k . You w an t to w r ite h e r a
n ote w h en you g et t im e , F r e d . And he n e v e r s p o k e - - n o t a s o l i - i
t a r y w ord . B ut, sh e s a y s , - -ju s t a s he w a s d y in g - -h e gave h e r i
the fu n n ie st look . Oh she s a y s - - i f she liv e s to be a th ou san d , !
i 10
| s h e 'll n e v e r fo r g e t the w ay he lo o k ed at h e r . u
i
K e lly 's s a t i r ic a l m o o d is h e ig h te n e d as the au d itor b e c o m e s m o r e
th o ro u g h ly acq u a in ted w ith P a u la R itte r and h e r n a iv e te and g u llib ility ,
w h ic h the p la y w r ig h t c o n tr a s ts to h e r s e r i o u s n e s s of in ten t. It is e v i-
!
dent sh e d o e s not u n d er sta n d the l e a s t thin g about a ctin g . In fo rm in g
10Ibid. , pp. 22 -2 3 .
54
h e r husb and about the q u ality of h e r p e r fo r m a n c e , she s a y s : "Why
N elly F e l l sa id sh e 'd n e v e r s e e n e v e n a p r o f e s s io n a l a c t r e s s so a b s o
lu te ly u n c o n s c io u s . (F r e d m a k e s a sound of a m u s e m e n t. ) . . . Why
th e y sa id if th e y didn't know , th e y n e v e r in the w o rld w ould have
b e lie v e d that it w a s m y f ir s t o f f e n s e . " ^
i
If fo r any r e a s o n the s a t ir ic a l m o o d is not e s ta b lis h e d th ro u g h J
I
the o b s e r v a tio n o f c h a r a c te r s lik e P a u la and M r s . P a m p in e lli, the j
I
I
m a s s i v e c o n fu sio n r a m p a n t at the r e h e a r s a l of the p la y -w ith in -th e -
i i
j i
jplay sh ou ld th o ro u g h ly e s t a b lis h K e lly 's c a lc u la te d , s t e p - b y - s t e p •
j |
jsatire of the f o ll ie s and fo ib le s of the little th e a tr e m o v e m e n t. U sin g j
i i
ju s t one b r ie f s c e n e fr o m the r e h e a r s a l, the a b su r d ity of P a m p in e lli's !
i
d ir e c tio n and the lu d ic r o u s n e s s of h e r c h a r g e s a r e d e m o n str a te d .
F lo r e n c e and H o s s e f r o s s e a r e the tw o a c to r s p a r tic ip a tin g in the s c e n e .
F lo r e n c e h a s b e e n t e m p o r a r ily d is tr a c te d by P a u la and they a r e d i s
c u s s in g the cut of a d r e s s . H o s s e f r o s s e is r e p e a tin g h is la s t s p e e c h ,
|
[w aiting fo r an a n s w e r fr o m F lo r e n c e . M r s . P a m p in e lli ch id es h er
j
| gently:
|
M r s . P a m p in e lli. F l o r e n c e ,d e a r .
F lo r e n c e . (T u rn in g) Oh,I b eg you r pardon. (The n ext
lin e to H o s s e f r o s s e . ) T h is is not a r o m a n tic
a g e , C ly d e.
H o s s e f r o s s e . M r s . R u sh is a p a tie n t of m in e .
*^Ibid. , p. 27.
55
F l o r e n c e .
M r s . P a m in e lli.
M r s . F e ll.
H o s s e f r o s s e .
F lo r e n c e .
M r s . F e ll.
F l o r e n c e .
M r s . F e ll.
M r s . P a m p in e lli.
M r s . F e ll.
She m a y h a v e b e e n o r ig in a lly . (M r s . F e l l
b u r s ts out lau gh in g at s o m e th in g R itte r h a s
sa id to h e r . )
(F lic k in g a fin g e r at N e lly . ) Stn-sh, N e lly .
(To F lo r e n c e who is stan d in g n e a r h e r now . )
Oh,I b eg y o u r pardon, F lo r e n c e .
She is now .
I a m not d en yin g it. B u t she m u s t have a
v e r y p e r s is t e n t m a l a d y - -
(In terru p tin g. ) J u s t a m in u te, F l o s s i e - -on e
m in u te - -
T h at h a s n 't r e sp o n d e d to tr e a t m e n t of m o r e
than s ix y e a r s - -
F l o s s i e , F l o s s i e , F l o s s i e . (F lo r e n c e sto p s
and lo o k s at h e r . ) J u s t a m in u te . (She lo o k s
sh a r p ly at h e r m a n u s c r ip t. )
W hat is the m a tt e r , N e lly ?
Oh, I b eg y o u r p ard on , I thought sh e 'd
o m itte d a lin e . (To F lo r e n c e . ) I b eg y o u r
pardon. 12
A s the a c to r s tr y a g a in to co n tin u e, M r s . P a m p in e lli h a s a coughing
p r o b le m . A s so o n a s the cou gh in g p r o b le m is s o lv e d , P a u la a tte m p ts
to g e t M r s . P a m p in e lli's a tten tio n a c r o s s the r o o m b e c a u s e sh e h a s a
g l a s s of c la r e t fo r h e r . H aving no s u c c e s s a ttr a c tin g P a m p in e lli's
atten tio n , she c o n tin u es to w ave the g l a s s , and w h en th is is to no
a v a il, sh e c a l l s , " B etty , B e t ty ." T h is a ttr a c ts P a m p in e lli's a tten tio n
^ I b i d . , pp. 79-80.
56
but a l s o , of c o u r s e , in te r r u p ts the r e h e a r s a l. And so the p a tte r n o f
c o n fu sio n c o n tin u es a s the r e h e a r s a l c o n tin u e s. T h is "study in d i s o r -
13
g a n iz a tio n , " as A rthur W ills c a lls the r e h e a r s a l, is the m o s t i m p o r
tan t g e n e r a l fo r e s h a d o w in g w h ic h K e lly w ill a c h ie v e in A c t I. The
jaudience m u s t e x p e r ie n c e P a m p in e lli's la c k of c o n tr o l, the in e ffic ie n c y !
I |
|of h e r p r o d u c tio n sta ff, and the n a iv e te of h e r a c to r s during the r e -
| !
h e a r s a l o f the play in o r d e r th a t the f a r c ic a l o c c u r r e n c e s o f the p e r - |
j j
jform an ce in A c t II s e e m p la u s ib le . |
i '
!
! R is in g A c t io n .- - I n a tte m p tin g to lo c a te the point o f a tta c k , a !
! i
jdefect in the plot b e c o m e s apparent: it is d ifficu lt to d e te r m in e a i
s tr u c t u r a lly d e fe n sib le p r o b le m in the play. If one d e s ig n a te s the s u e - j
I
c e s s or fa ilu r e of the p la y -w it h in - th e - p la y a s the p r o b le m of the w o rk , i
th e n T he T o r c h - B e a r e r s h a s no lo g ic a l or d is c e r n ib le c lim a x . If one
i
d e s ig n a te s the d is p o s itio n of P a u la R itte r a s the c e n tr a l p r o b le m of the
1
Iplay, i . e . , w ill sh e p u r su e a th e a tr ic a l v o c a tio n or r e tu r n to d o m e s -
|
jticity, th en th e r e is a s tr u c tu r a lly d efin a b le but not e a s il y d e fe n sib le
iclim a x to the w ork . To d e te r m in e the point of a tta c k it is n e c e s s a r y to
know w hat the p r o b le m o f the p lay is b e c a u s e th is c la s h is the c a ta ly s t
th at in it ia te s the c e n tr a l c o n flic t of the w ork . If the c e n tr a l c o n flic t of
T he T o r c h - B e a r e r s is b e tw e e n P a m p in e lli and R itte r o v e r the futu re of
13
A rth u r W ills , " G eo rg e K elly: A C r itic a l Study of H is P la y s "
P h .D . d is s e r t a t io n , T he U n iv e r s ity of K a n s a s , L a w r e n c e , 1958),
p. 246.
57
P a u la R itte r , the point of a tta ck sh ou ld o c c u r w h en the a u d ie n c e is
m ad e a w a r e th at R itte r d o es not a p p rove of P a u la 's a c tin g and he
th e r e fo r e w ill p ro b a b ly c a u se h e r w ith d ra w a l fr o m the p lay. If th is is
the p r o b le m of the p la y , K elly h as d e p r iv e d h is a u d ie n c e of a c le a r and
d e c is iv e point of attack b e c a u s e th is m o m e n t d o e s not o c c u r on s ta g e .
i
R itte r fa in ts w h en he s e e s h is w ife "act" fo r the f i r s t tim e ; and w h ile :
the a u d ie n c e w ould no doubt a s s u m e at th is point that he d o e s not '
{approve of h e r a c tin g , K elly h a s su p p lied no fo r e s h a d o w in g to in tim a te i
j I
i i
{that R itte r , if c o n s c io u s , w ould c a u s e h e r w ith d r a w a l fr o m the play. !
So w h ile the auditor m ig h t a s s u m e th is to be R it te r 's r e a s o n fo r c o l- j
la p s e , and that if c o n s c io u s he w ou ld w ith d r a w h is w ife fr o m the p la y , ;
i
t h e r e is no w ay of know ing th is fo r c e rta in ; and a s s u m p tio n s do not j
c r e a t e e ff e c tiv e poin ts of attack. H o w e v e r , if the a lte r n a tiv e s e le c t io n
is p r e f e r r e d a s the p r o b le m of the p la y - - t h e s u c c e s s or fa ilu r e of D r.
A r lin g to n 's W i f e - -th e r e is a m o r e s e r io u s d ifficu lty b e c a u s e it is
im p o s s ib le to d e te r m in e w h eth e r the p lay r e a lly w a s a p op u lar s u c c e s s
i
{or not. On the m in u s sid e one know s by v ie w in g the b a c k s ta g e a c t i v i
t ie s of the p e r fo r m a n c e th at th e r e w e r e n u m e r o u s d is tu r b a n c e s , i n t e r
r u p tio n s, e tc . ; and R itte r , in h is b r ie f but s e v e r e c r itiq u e , s u c c in c t ly j
p oin ts out the p r o b le m s of the e ffo r t. On the plus s id e , a c c o r d in g to
s ta g e d ir e c t io n s , the a u d ien ce h e a r tily applauds the p r o d u c tio n , and
g r e a t q u a n titie s of flo w e r s a r e se n t. T h e r e f o r e , if the p r o b le m of
T he T o r c h - B e a r e r s is a c h ie v in g s u c c e s s w ith the p la y - w it h in - t h e - p la y ,
it is n e v e r m a d e c le a r w h eth e r th is o n e - a c t is a s u c c e s s or not; n or is
it c le a r in w h at m a n n e r it is a s u c c e s s - f i n a n c i a l, a r t i s t i c , or pop u lar, j
B e c a u s e the f o r m e r p r o b le m , the c o n flic t b e tw e e n P a m p in e lli and R it- j
te r o v e r P a u la , fu r n is h e s a d r a m a tic a c tio n w h ich p r e c ip ita te s a j
d efin a b le m a jo r c lim a x , it is s e le c t e d for a n a ly s is in th is study. j
W hen R itte r e m b a r k s on h is d ia tr ib e in A c t III r e g a r d in g the |
j
p r o b le m s o f P a m p in e lli and the lit tle th e a tr e m o v e m e n t, it is a p p a ren t !
jthat the b a s ic p r o b le m of the p lay w a s in e x is t e n c e fr o m the b egin n in g. -
f I
j ;
| i
iBut b e c a u s e K e lly d o e s not a d e q u a te ly fo r e s h a d o w th is p r o b le m and |
d o e s not supp ly a c le a r point of a tta ck in the f i r s t a c t, s e v e r a l s t r u c - j
! !
i i
Itural d e fe c ts b e c o m e o b v io u s as one a p p lie s c r it e r i a of p lot c o n s tr u e - i
! I
Ition to the w ork: (1) the point o f a tta c k is not e a s il y d is c e r n ib le ; (2) j
]
th e o n s e t o f the r is in g a c tio n is im p o s s ib le to d e te r m in e s in c e it
j sh ou ld b e g in at the m o m e n t of the point of attack; and (3) b e c a u s e of the
| !
I
la c k of a r is in g a c tio n , the c o m p l i c a t i o n - c r i s i s - c l i m a x c o n fig u r a tio n ,
w h ich s u p p lie s the m o s t e ff e c tiv e d r a m a tic a c tio n , is n o n e x is te n t in thej
f ir s t tw o a c ts .
i
If K e lly 's f i r s t tw o a c ts a r e la ck in g in c e r ta in s tr u c tu r a l e l e
m e n t s , th e y a r e not w ith ou t c o m p lic a tio n s . T h e s e c o m p lic a tio n s w h ich
im p e d e and s o m e t im e s sto p the p r o g r e s s o f both the r e h e a r s a l and the
p e r fo r m a n c e a r e the k ey to the c o m e d y o f the w ork . The d i r e c t r e s s ,
the p r o d u c tio n s ta ff, and the a c to r s a r e a ll so in ep t and in e ffe c tiv e that
s e v e r e c o m p lic a tio n s a r e the only p o s s ib le r e s u lt w h en su c h an
59
in e x p e r ie n c e d and ill - a d m i n is t e r e d group a tte m p ts an a ctu a l p r o d u c tio n
of a p lay. K e lly 's s a t ir e is m o s t c le v e r , a m u s in g , and c le a r d uring
t h e s e f ir s t two a c t s . T he a u d ie n c e s e e s the b lu n d erin g in a n ity o f a
little th e a tr e m o v e m e n t gone a w r y in the u n d isc ip lin e d r e h e a r s a l and
I
!the su b se q u e n t p e r fo r m a n c e . W o o llc o tt s a y s of the r e h e a r s a l: i
. . . the w a n d e rin g atten tio n , the c h a tte r in g at the r e h e a r s a l , i
the a b s tr a c te d p r o m p tr e s s who is a lw a y s s e v e r a l p a g e s beh in d j
the p la y e r s , and the a c to r who is not quite c o m fo r ta b le about ^ j
| th at p ie c e of b u s in e s s "the one w h e r e he tu rn s at the b o o k c a s e ." '
' A s t a t i s t i c a l count sh o w s th e r e a r e s ix ty -fo u r c o m p lic a tio n s j
; 15 !
iw hich o c c u r in A c t I, im p a ir in g the p r o g r e s s of the r e h e a r s a l. T h esb
! i
'c o m p lic a tio n s , in the m a jo r ity of the c a s e s , a r e in th e fo r m o f in t e r - !
i !
j ru p tion s - -in te r r u p tio n s w h ic h a r e q u ite ty p ic a l of the c h a r a c te r s
c a u sin g th e m . P a u la R itte r in te r r u p ts the a c tio n th ir te e n t im e s by j
g ig g lin g , m o v in g a ch air for s o m e o n e , w alk in g in the w ro n g p la c e , and
at l e a s t th r e e t im e s by o ffe r in g food e ith e r to an a c to r who is p e r f o r m -
16
ing or to s o m e o n e a c r o s s the r o o m . M r. S p in d ler d is t r a c t s f iv e .d if -
jferen t t im e s due to h is in e ff ic ie n c y w ith the p ro p s a n d h is a w k w a r d n e ss:
| sittin g by the piano he tw ic e h its a loud ch ord w hen h is a r m f a lls off of
17
the m u s ic stan d . N e lly F e l l in te r r u p ts the p la y e r s a to ta l of s e v e n
14
A le x a n d e r W o o llc o tt, "The P la y , " The N ew Y ork T i m e s ,
A u g u st 3 0, 1922, p. 10.
15
K e lly , T he T o r c h - B e a r e r s , pp. 6 2 -9 2 .
Ibid. , p. 76. Ibid. , pp. 69, 79, 80, and 87.
60
t im e s ; she s e e m in g ly h a s no s e n s e of r e h e a r s a l d is c ip lin e , con tin u a lly
ta lk in g to anyone who is n e a r h e r . She la u gh s out loud if so m e th in g
h u m o r o u s o c c u r s , and w h en le a n in g o v e r to p ic k up h e r s c r ip t she fa lls
off h e r c h a ir , c a u sin g a p r o lo n g e d d is tr a c tio n . She a ls o in te r r u p ts the
i
d ia lo g u e to stop an a c t r e s s who she thought had sk ip p ed a line; N e lly , j
18 !
h a v in g b e e n m is ta k e n , in te r r u p ts ag a in to a p o lo g iz e . M r. H o s s e - i
f r o s s e , an in d ivid u al who is "on sta g e" a ll of the tim e b e c a u s e he is I
!
{playing D r. A r lin g to n , h a s a ten d e n c y to a p o lo g iz e if he is on ly slightly:
i
r e m i s s , no m a tte r how s m a ll the in fr a c tio n he h a s p e r p e tr a te d ; fiv e
t im e s during the r e h e a r s a l he sto p s and a p o lo g iz e s to M r s. P a m p in e lli,
19
c o m p le te ly b r e a k in g c h a r a c te r . R itte r is a s o u r c e of d is tr a c tio n at
t im e s a s he w h is p e r s b r ie f c o n v e r s a t io n s to N e lly F e ll; in m an y c a s e s j
20
R itte r c a u s e s h e r to laugh out loud.
I r o n ic a lly , the g r e a t e s t o ffe n d e r c a u s in g d is tr a c tio n p r o b le m s
is M r s . P a m p in e lli. S in c e K e lly in ten d ed that P a m p in e lli be the fo c a l
21 !
point of h is s a t ir e , he undoubtedly had g r e a t p u r p o se in h avin g the !
I
d i r e c t r e s s be the c a u s e o f the m a jo r ity o f h e r p r o b le m s . In a ttem p tin g
to "help" w ith the r e h e a r s a l , P a m p in e lli in te r r u p ts the a c tio n and
------------------------------- i
^ Ibid. , p. 81
19Ibid. , pp. 68, 7 4 - 7 5 , 76, 78, and 81.
^ I b i d . , pp. 79, 85.
21
K enneth C la r k , "The H u m o r s of C o m m u n ity D r a m a t ic s , "
P la y g ro u n d and R e c r e a tio n M a g a z in e , 16 (N o v e m b e r , 1922), 3 5 7 -3 6 0 .
61
22
and d ia lo g u e te n t i m e s . H er in te r r u p tio n s n o r m a lly c a u s e m o r e
p r o b le m s than th e y s o lv e . A b r ie f ex c h a n g e o f d ia lo g u e w ill illu s tr a t e
th is ( s e v e r a l of the lin e s b e lo w a r e f r o m the p la y -w ith in -th e -p la y ):
F lo r e n c e . H ave you tr ie d ?
i
H o s s e f r o s s e . (W h irlin g upon h e r and s h o u tin g .) N o! ;
|
P a m p in e lli. (In te r r u p tin g .) E x c e lle n t ! i
1 H o s s e f r o s s e . (T u r n in g and bow ing b r ie fly to P a m p in e lli. ) Thank j
I y o u v e r y m u ch . (R e su m in g the s c e n e .) I don't |
i intend to. P e o p le w ill a lw a y s talk; it m a y a s w e ll
i be at m y e x p e n s e a s anybody e l s e ' s . |
P a m p in e lli. (L e a n in g a c r o s s the tab le and sp e a k in g w ith p o i
so n o u s s w e e t n e s s .) A n yb od y's e l s e , d ear.
H o s s e f r o s s e . B e g pardon. j
23 j
P a m p in e lli. W ould you sa y an yb od y's e ls e ; it sou n d s b e tte r .
T h r e e d iffe r e n t t im e s d uring the r e h e a r s a l P a m p in e lli in te r r u p ts with
24
a " s lig h t cou gh in g s p e ll." T h e coughing i t s e lf w ould not be su ch a
s e r io u s d istu r b a n c e e x c e p t th at sh e f e lt it n e c e s s a r y to a p o lo g iz e ea c h
t im e . She a ls o h a s a ten d e n c y to w an d er during the r e h e a r s a l. F iv e
t im e s in h e r w a n d e rin g she g e ts in the w ay of the a c t o r s . T h is situ a tio n
K e lly , T he T o r c h - B e a r e r s , pp. 73, 75, 76, 78, 81, 82, 84,
86, and 87. It is the fu n ction of the d ir e c to r to in te r r u p t if th e r e is a
s e r io u s p r o b le m . B ut P a m p in e lli's in te r r u p tio n s a r e s e ld o m for p r o b
l e m s of c o n s e q u e n c e . She h a s no u n d er sta n d in g of the d r a m a , t h e r e
fo r e sh e h a s no s e n s it iv it y to the p r o b le m s that a r is e in the d ir e c tin g oi
a p la y .
24
Ibid. , p. 76. Ibid. , pp. 80, 81, and 82.
w ould not o r d in a r ily be quite so d is tr a c tin g , but in th is c a s e H o s s e
f r o s s e f e e l s it n e c e s s a r y to a p o lo g iz e e a c h t im e he h a s to go around
P a m p in e lli. T h e r e a r e o th er c o m p lic a tio n s c a u sin g an im p e d a n c e to
the r e h e a r s a l, su c h a s the phone r in g in g , the m a id in te r r u p tin g , R itte r
e x c u s in g h i m s e l f to tak e the phone c a ll u p s t a ir s , and T ed d y S p e a r in g
25 !
in te r r u p tin g ju s t to hang up the d o w n s ta ir s ph on e. ;
F ou r s p e c if ic e le m e n ts of fo r e s h a d o w in g o c c u r in th is op en in g j
I i
j
'act w h ich th o ro u g h ly su b sta n tia te th e f a r c ic a l p la u s ib ility of A c t II: !
f 1
j !
j(l) it i s e v id en t th at P a m p in e lli's p r e o c c u p a tio n with u n im p o rta n t d e -
! |
jtails and h e r o b liv io u s attitude w ith r e g a r d to the la c k of d is c ip lin e in
jher r e h e a r s a l a r e p o te n tia l h a r b in g e r s of d is a s t e r c o n s id e r in g that j
i
'this i s the la s t ru n -th ro u g h b e fo r e a p e r fo r m a n c e in fro n t of an a u d i- J
e n c e ; (2) th e r e is su ffic ie n t r e f e r e n c e to C la r a S h e p h er d in A c t I, the i
" a c tr e s s " who lo s t the p art b e c a u s e of a dead h u sb a n d , so that the
a u d ie n c e w ill be fa m ilia r w ith h e r w h en sh e c o m e s b a c k s ta g e in A ct II;
j
(3) w h en the a u d ie n c e s e e s M r. S p in d le r h avin g d ifficu lty w ith the
Isim p le a ct of lig h tin g a c ig a r e tt e , th ey can r e a d ily b e lie v e that he w ill
h a v e tr o u b le s w h en he a tte m p ts to " stage m a n a g e " the p rod u ction ; and
!
(4) the a u d ie n c e , n otin g the s o c ia liz in g and d is tr a c te d attitude of the
p r o m p t r e s s , N e lly F e l l , can a n tic ip a te p r o b le m s w ith r e g a r d to h e r .
In c o o r d in a tin g h is s ix t y - fo u r c o m p lic a tio n s in A c t I so that
th e y a r e in te r w o v e n into a b e lie v a b le d r a m a tic f a b r ic , K elly h a s c r e
ated a f a s t - p a c e d and m u lt i- f a c e t e d c o m ic a c tio n . It is a c r e d it to h is
63
in gen u ity th a t he w a s ab le to in itia te s ix t y - fo u r p la u s ib le in s ta n c e s to j
i
im p e d e the p r o g r e s s of the r e h e a r s a l; at l e a s t t w e n t y -f iv e of th e s e
26
a r e d iffe r e n t kin d s of in te r r u p tio n s. T h e r e i s , h o w e v e r , a s e r io u s
p r o b le m in the p lot str u c tu r e at th is p oin t, s in c e th e r e is no d e s ig n
w ork in g th rou gh the m a jo r d r a m a tic a c tio n to c r e a t e in c r e a s in g d r a - i
I
m a tic te n s io n and to b r in g to g eth e r tw o o p p o sin g f o r c e s . E a c h c o m - j
I
p lic a tio n is only s lig h tly m o r e s e r i o u s , or l e s s s e r i o u s , than the one j
i
| i
it h at p r e c e d e d it. K e lly , lik e P a m p in e lli, d o e s n ot s e e m to h a v e any I
I i
igoal in the f ir s t a c t e x c e p t to m a k e it th rou gh the r e h e a r s a l o f the play-j
| |
Iw ith in -th e -p la y . T h e r e is no b a s ic c o n flic t, or p r o b le m , w h ich is j
! !
jbeing e x p lo r e d by d e g r e e s . In A c ts I and II, th e r e a r e no c o m p lic a tio n s
i
^which lea d to c r i s e s , and no c r i s e s a r e r e s o lv e d to su b sta n tia te m in o r ;
|
c lim a x e s ; th e r e is no c u m u la tiv e d r a m a tic a c tio n b u ild in g tow ard a j
I
c lim a x .
| A c t II, h a v in g b a s ic a lly the s a m e s tr u c tu r e a s A c t I, p r e s e n ts
i
one c o m p lic a tio n a fte r another; and the only ch an ge is th at the a c to r s
K e lly , in a p e r s o n a l in te r v ie w , A p r il 8, 1971, m a d e the
fo llo w in g c o m m e n ts about the a u th e n tic ity o f h is p lay and the little t h e
a tre m o v e m e n t: " E very b o d y s in c e the War o f the R o s e s who ow ns h is
own c h ic k e n coop h a s s ta r te d a little th e a tr e . I'v e h e a r d th e m s a y ,
'See th at old b r o k e n dow n barn n e a r lo v e r s ' la n e , w ou ld n 't th at m ak e a
g r e a t th e a tr e ? ' It's the kind of b u ild in g I w ould be s c a r e d to go into for
fe a r of not find ing m y w ay out. And the fo u n d e r s o f th e s e th e a tr e
g ro u p s a r e u s u a lly old w o m e n who d r e s s up in s o m e kind of a B o h e
m ia n c o s tu m e b e c a u s e th ey w ant to lo o k lik e an a r t is t . I'll t e l l you T he
T o r c h - B e a r e r s is not s a t ir e , it's the tru th ! I h a v e h e a r d e v e r y th in g
they sa y in the p lay."
— — — _F 4 -
are in v o lv e d in a p e r fo r m a n c e in s te a d of a r e h e a r s a l so the e le m e n t of
hum or is h e ig h te n e d . A s in the f i r s t a c t th e r e is no co n fro n ta tio n b e
tw een R itte r and P a m p in e lli, so th e r e is no c u m u la tiv e d e v e lo p m e n t of
the p r o b le m of the p lay. It is only in e ff e c t iv e ly and in d ir e c tly d e v e l-
i
oped w h en R itte r atten d s the p lay and fa in ts a g a in . (
I
I In A c t II th e r e a r e m in o r c o n flic ts and f a s t - p a c e d a c tio n , but ,
I !
|
th e r e a r e no s tr a t e g ic a lly p la c e d m a jo r c o m p lic a tio n s c a u sin g a j
!
j c o m p lic a t io n - c r is is - c lim a x situ a tio n . T h e r e is no d r a m a tic m o v e m e n t;
|as A r is t o t le and L a w so n w ould d e s ir e it: d r a m a tic te n sio n is not d e - •
I :
i ;
jveloping fr o m in n er p s y c h ic n e e d s in p r e p a r a tio n for a fin al co n fro n -
I !
I |
itation and thus the m a jo r c lim a x of the w o rk . T h e se c o n d a c t i s , in !
je s s e n c e , a h ila r io u s ex h ib itio n o f the p r o b le m s e n c o u n te re d by a group ’
i j
; !
of n a iv e , aw k w ard , n e r v o u s in d iv id u a ls w h en th ey a ttem p t to p r e s e n t a j
i
l
p la y , but s tr u c tu r a lly it h a s p r e c i s e l y the s a m e p r o b le m s a s A c t I.
| B y s t a t is t ic a l count th e r e a r e s e v e n ty - tw o c o m p lic a tio n s o c c u r -
! 27
jring during the p e r fo r m a n c e of th e p la y - w it h in - t h e - p la y . T h e s e
'p rob lem s ran ge in s e v e r it y fr o m a fo r g o tte n lin e to p a rt of the s e t f a ll-
i
!
jing. P r o b le m s of a t e c h n ic a l n a tu r e o c c u r tw e n ty -n in e t im e s during
i
the p e r fo r m a n c e . T y p ic a l e x a m p le s w ould be: P a u la w a tc h e s the p lay
throu gh a c r a c k in the d o orw ay and th en a s the d oor o p en s sh e is both
in the w ay and in fu ll v ie w of the a u d ie n c e ; sh e tr ip s w h en e n ter in g
27
K elly, The T o r c h - B e a r e r s , pp. 96-1 4 9 .
65
f r o m o ffs ta g e b e c a u s e of the door m o ld in g on the flo o r and th en p r o -
28
c e e d s to tr ip on the rug o n ce sh e is o n sta g e; M r. S p in d le r , the sta g e
m a n a g e r , is r e s p o n s ib le fo r s o m e s e v e r e c o m p lic a tio n s su c h a s m i s
sin g a cu e w ith a b e ll h e .is su p p o se d to r in g , trip p in g o v e r a s ta g e !
29 I
s c r e w b a c k s ta g e (m ak in g a loud n o is e ) , in u s in g a " d o o r - s la m m e r " !
he b a n g s it too h a r d , fr ig h te n in g the a u d ien ce a s w e ll as the a c t o r s ,
and fo r g e ttin g to put pen and p ap er on s ta g e , c a u sin g two a c to r s to s it j
j
j
j s p e e c h le s s fo r four m in u te s w h ile a th ird a c to r r a c e s around b a c k - i
I 30 I
jstage lo o k in g fo r the n e c e s s a r y p r o p s. T he one tim e S p in d le r is
jready fo r a phone c u e , the little b e ll se tu p h e c a r r i e s r e f u s e s to fu n c - j
j j
|tion and c a u s e s m ild h y s t e r ia b a c k sta g e; and a fe w m in u te s la te r the j
' 31
(bell sp o n ta n e o u s ly g o e s off lo n g after the cue h a s p a s s e d . O ther ;
ite m s that o c c u r , not only adding to the co n fu sio n of the b a c k s ta g e p e r
so n n e l and the o n sta g e a c to r s but a ls o no doubt a ffe c tin g the a u d ie n c e
are: a door b e in g stu c k , c a u s in g a c h a r a c te r who le ft th rou gh a fron t
32
d oor to r e tu r n throu gh an in n er o ffic e , the p r o m p te r lo s in g h e r
33
(place, an a c to r lo s in g h is m o u s ta c h e and le a v in g h is h at and cane
! 34 35
o n s ta g e , a sta g e fla t c o m in g lo o s e and b eg in n in g to fa ll, and the
2 ^Ibid. , p. 110. 2 ^Ibid. , p. 109. 3 ^Ibid. , p. 112.
3 1 Ibid. , p. 112. 3 2 Ibid. , p. 114. 3 3 Ibid. , p. 116.
3 4 Ibid. , p. 120. 35Ibid. , p. 129.
66
fin al c u r ta in s tic k in g and r e fu s in g to r is e b e fo r e the c u r ta in c a ll is
j 36
c o m p le te d .
S in c e the fo r m o f the f i r s t two a c ts is f a r c ic a l and f a s t - p a c e d ,
the c o m p lic a tio n s w h ich o c c u r to the p r in c ip a ls a r e o b je c tiv e in n a tu r e .
! A11 of t h e s e e m b a r r a s s in g fau x p as a r e no doubt c a u s in g s u b je c tiv e r e - j
j
a c tio n s w ithin the p a r tic ip a n ts: how d o e s S p in d ler f e e l w h en he c a u s e s j
!such p r o b le m s b a c k s ta g e , or h ow d o e s T edd y f e e l w hen he can 't find j
j |
jthe p r o p s to take b ack on s t a g e ? But K e lly 's intent in A c ts I and II is j
; i
i I
|to sh o w the c a u s e s and p h y s ic a l r e s u lt s of lu d ic r o u s little th e a tr e d i r e c
tio n ; he is not in te r e s te d in the e ff e c ts of th e s e in c id e n ts on the p eo p le j
i !
[in volved , ju st a s he is not in te r e s te d in slo w in g dow n A c t I to a r tic u - ;
i '
date R it te r 's f e e lin g s about P a u la 's p e r fo r m a n c e . In c r e a tin g th e s e
j I
jd r a m a tic p la te a u s of m u ltip le c o m p lic a tio n s (he h a s w r itte n two a c ts j
of f a s t - p a c e d , s a t ir ic a l fa r c e w ith a unity of fo r m ), he h a s not changed
h is m o d e of a t t a c k - - h e is in t e r e s t e d in d e m o n s tr a tin g h is th e m e throu gh
im p lic a tio n . H o w e v e r , in c r e a tin g th is p la te a u -lik e c o n s tr u c tio n , h is
p lo t s tr u c tu r e h a s b e e n g r e a tly im p a ir e d in A c ts I and II. In A ct III the
ip la y w rig h t b e c o m e s in te r e s te d fo r the f ir s t tim e in the s u b je c tiv e r e
a c tio n s of h is c h a r a c te r s ; w ith th is ch an ge of in ten t, the an im a ted
a c tiv ity c e a s e s , the au d itor is su b je c te d to v e r b a l d eb a te, the s t r u c
tu r e c o m p le te ly c h a n g e s , and the r e s u lt is a play w ith d isu n ity and an
in c o n s is t e n t fo r m .
_________^^Ibid. , pp. 1 4 6 - 149.___________________________________________________
67
Plot: A ct III
I r o n ic a lly , A c t III c o n ta in s e v e n ts and a s tr u c tu r e that g iv e the
play a p r o b le m , a b a s ic c o n flic t, and a m a jo r c lim a x . In A c t III, the
)
p lay su d d en ly ta k e s on a s tr u c tu r a l fo r m b e c a u s e K e lly d e s ir e d to makej
a s p e c if ic s ta te m e n t about the little th e a tr e m o v e m e n t. He e v id e n tly
w a s not s a tis fie d w ith the im p lie d s ta te m e n t he had m a d e in A c ts I and I
II, so he e s ta b lis h e d a d r a m a tic fig u r e to m a k e the s ta te m e n t for h im . j
‘K e lly 's p u r p o se in the play is not on ly to m a k e fun of the little th e a tr e '
I i
jm o v e m en t but to in fo r m the a u d ie n c e that if it w e r e not fo r fra u d s lik e ;
j :
i 1
jM rs. P a m p in e lli th is type of group w ould p ro b a b ly be a m o r e v ita l and j
I j
lim p ortan t unit in the c o m m u n ity . O nce the p la y w r ig h t had c r e a te d M rs:
jP a m p in e lli a s the m a in o b je c t o f h is s a t i r e , th en he n e e d e d a ch a r a c te r ;
jin the p lay to judge and e x p o s e h e r . H is r a is o n n e u r b e c o m e s F r e d e r ic k
R itte r . It is due to the c o n fro n ta tio n b e tw e e n R itte r and P a m p in e lli
jthat the th ird a ct y ie ld s a m a jo r c lim a x .
j
T he fin a l a c t ta k e s p la c e b ack in the h o m e o f th e R it te r s . T he i
i
a u d ie n c e d is c o v e r s that R itte r h a s a r r iv e d h o m e b e fo r e any of the play
p a r tic ip a n ts and that he is e x p r e s s in g h i m s e l f s a r c a s t ic a l ly and n e g a -
37
t iv e ly about the p e r fo r m a n c e o f D r . A r lin g to n 's W ife. A fter d i s - J
c la im in g h is op in ion of the p e r fo r m a n c e , he e x its at the m o m e n t P a m
p in e lli e n te r s b r in g in g b ou q u ets and f lo r a l w r e a th s fr o m the p e r fo r -
~^Ibid. , p. 159.
68
m a n c e . She is b r im m in g w ith e n th u s ia s tic a p p ro b a tio n s of P a u la R it
t e r 's p e r fo r m a n c e . Upon le a r n in g that P a u la R itte r is about to a r r iv e
and that h e r h u sb an d is c o m in g d o w n s ta ir s to g r e e t h e r , P a m p in e lli
h id e s behind the d r a p e s . M uch to P a m p in e lli's c h a g r in and e m b a r -
!
r a s s m e n t , R it te r , in s te a d of a d m ir in g the f lo w e r s and p r a is in g the 1
!
p r o d u c tio n , v e r b a lly b la s ts the p e r fo r m a n c e and s c a th in g ly b e r a t e s j
i
P a u la fo r th in k in g sh e had any p o te n tia l a s an a c t r e s s . In h is a n a ly s is j
j j
jof t h e ’ p lay and P a u la 's p e r fo r m a n c e , h e in s u lts both P a m p in e lli's ,
38 |
in te g r ity and rep u ta tio n . At the p eak of th e ir deb ate r e g a r d in g
P a u la 's a c tin g p r o w e s s , P a u la is t e llin g R itte r about P a m p in e lli's I
!
p la n s for h er:
M r s . R itte r . (W ith r e s e n t m e n t .) No, she didn't m e a n anything
o f the k ind, sh e m e a n t I ought to go to N ew Y ork.
M r s . R itte r . Sh e s a y s I ought to go on w ith the w ork .
R i t t e r . She m e a n t the h o u s e w o r k .
R itte r . And w hat w ould you do w h en you got th e r e ?
M r s . R itte r . Why I'd go on the s ta g e , of c o u r s e .
R i t t e r . H ow ?
M r s . R itte r . Why, I w ou ld go to the p e o p le who h a v e c h a r g e of
it.
R i t t e r . And do you think th e y 'd put y o u on the s ta g e sim p ly
b e c a u s e y o u w an ted to go on it?
O O
I b i d ., pp. 161-164.
69
M r s . R itte r . W e ll, M r s . P a m p in e lli w ou ld g iv e a l e t t e r - -
R itte r . H u m !
M r s . R it te r . So th at I w ou ld h a v e it w h en I'd g e t th e r e .
R it te r . T h at'd do you a lot of good. Y ou'd find a thousand
th e r e ah ead of y ou , w ith l e t t e r s fr o m M r s . P a m
p in e lli. N obody in N ew Y ork kn ow s M r s . P a m
p in e lli; and if th ey did, it'd p ro b a b ly k ill any
c h a n c e that a p e r s o n m ig h t h a v e o t h e r w is e .39 j
P a m p in e lli is s u b je c t to a s e v e r e c o n flic t a s sh e lis t e n s to R it- j
te r c h a lle n g e h e r d ir e c t o r ia l a b ility and in te g r ity . T h is c o n flic t j
i
I
c a u s e s a c r i s i s s itu a tio n r e q u ir in g a d e c is io n . D o e s sh e s ta y th e re and
j
s u ffe r fu r th e r in d ig n itie s or d o e s sh e r e v e a l h e r s e l f and r is k a c o n - j
|
fr o n ta tio n ? She c o m e s fo r th , and th e r e is a c o n fro n ta tio n w h ich le a d s j
to R it t e r 's h a r a n g u e e v a lu a tin g the p e r fo r m a n c e of D r . A r lin g to n 's
W ife. N e lly F e l l h a s e n te r e d the s c e n e and sh e c o m e s to the a s s i s t
a n ce of P a m p in e lli in d e fe n s e of the p la y -w it h in - th e - p la y . But s in c e
the p e r fo r m a n c e o f the p lay w as su c h an in ep t f a r c e , h e r c o m m e n ts anc
jP a m p in e lli's a r e so m u c h fau lty r h e to r ic c o m p a r e d to R it te r 's w e ll-
!
I founded c r i t i c i s m . H e m a k e s h is p oin ts w ith s a r c a s t i c c a n d o r , h avin g
! 40
little c o n c e r n fo r P a m p in e lli's e g o . If th e r e w e r e any doubt in the
a u d ito r 's m in d who K e lly 's c h ie f o b je c t of s a t ir e i s , th at doubt is d i s
p e lle d a fte r th is s c e n e . A ty p ic a l ex c h a n g e o c c u r s w h en R itte r c o m
p la in s about h is w ife trip p in g on s ta g e . F e l l c o m e s to the d e fe n s e of
• 2 q an
Ibid. , pp. 1 6 3 -1 6 4 . Ibid. , pp. 1 7 3 -1 8 2 .
70
P a u la , sa y in g th at sh e did no su c h thing. P a m p in e lli u s e s the e x c u s e
of the r u g s.
M r s . P a m p in e lli. T h o se funny r u g s - - t h a t th e y have down
t h e r e . We didn't u se th e m at the r e h e a r -
s a l s - - a n d , n a tu r a lly , w h en it c a m e to the
p e r fo r m a n c e , - -P a u la w a s n 't a c c u s to m e d to
th e m .
R itte r .
M r s . P a m p in e lli.
R it t e r .
She w a s a c c u s to m e d to r u g s at h o m e w a s n 't
sh e ?
( T e r s e ly ) W e ll, sh e w a s n 't at h o m e on the
s ta g e .
(W ith a g e s tu r e of c o m p le te a c q u ie s c e n c e . )
T h a t's m y a r g u m e n t in a n u ts h e ll. ( P a m p i
n e lli sta n d s f r o z e n in the m id d le of the r o o m
a s if she w e r e tr y in g to m e n ta lly a s s a s s i n a t e
h im . )41
O nce R itte r h a s e x p r e s s e d h is f e e lin g s in A c t III, it is a p p a ren t
that he had b e e n u p s e t w ith the p la y -w it h in - th e - p la y and h is w if e 's
p a r tic ip a tio n a s e a r ly a s A c t I; and th is u p s e t w a s a s e r io u s c o m p li
ca tio n for h im . H o w e v e r , a s h a s b e e n n o te d , th is c o m p lic a tio n w a s
jn ever m a d e c le a r to the au d ito r. In the se c o n d a c t, w h en R itte r v ie w s
h is w ife in an a c tu a l p e r fo r m a n c e , he is fa c e d w ith an oth er s e r io u s
c o m p lic a tio n and he fa in ts . T h is c o m p lic a tio n le a d s to a c r is i s : he
m u s t m a k e a d e c is io n to take s o m e kind of a c tio n . U n fo r tu n a tely , only
the c u m u la tiv e e ffe c t of th e s e two c o m p lic a tio n s is a p p a ren t to the
a u d ie n c e . H is c r i s i s , w h ich o c c u r s in the in te r im b e tw e e n A c ts II and
III, c a u s e s h im to c r it ic i z e h is w ife and r e s u lt s in the co n fro n ta tio n
41
Ibid. , p. 178.
71
w ith P a m p in e lli. U n d e r sta n d in g t h is , it is a p p a ren t that K e lly had the
s k e le ta l s tr u c tu r e o f a le g it im a t e b a s ic c o n flic t o p e r a tin g f r o m the f ir s i
a c t but did not m a k e it c le a r to the a u d ie n c e .
K e lly 's p r o t a g o n is t , P a m p in e lli, is im p e lle d into a s e v e r e
i
c o m p li c a t i o n - c r i s i s s itu a tio n due to R it t e r 's d e c is iv e a c tio n in A c t III. j
P a m p in e lli, lik e the a u d ie n c e , is n o t f a m ilia r w ith R it t e r 's f e e lin g s j
until the fin a l a c t. H o w e v e r , th e in s u lts and r e c r im in a t io n s of R itte r j
in the p r e s e n c e o f h e r p e e r s is a s e r io u s s u b je c tiv e c o m p lic a tio n to thej
j
buoyant and e g o t is t ic w o m a n . T h is c o m p lic a tio n r e s u lt s in a m a jo r
c r i s i s situ a tio n fo r h e r . She m u s t s tr ik e b ack at R itte r : she m u s t j
i
p rove she is r ig h t. H er f o il in the s itu a tio n is P a u la . (P a m p in e lli, j
i
f r o m the o u t s e t , h a s e n c o u r a g e d the la tte r to le a v e the bonds of d o m e s -j
tic ity and p u r su e an a c tin g c a r e e r . ) She m a k e s the d e c is io n to a sk
P a u la to le a v e R it te r . T he m a jo r c r i s i s of the p lay is e s ta b lis h e d as
the a u d ie n c e a n tic ip a te s the p oin t in the w o r k w h er e the fu tu re of P a u la
is to be d e c id e d . T h e m a jo r c r i s i s f a lls to P a u la who h as to m a k e the
d e c is io n .
M r s . P a m p in e lli. . . . y o u m u s t go on. . .y o u cannot fa il.
F o r y ou h a v e e v e r y thin g in you r fa v o u r .
M r s . R itte r . T hank yo u .
M r s. P a m p in e lli. A nd the m a s s e s n e e d you d e a r . . .
M r s . R itte r . B u t - - I don't know w h eth e r F r e d 'll w ant m e to
go on any m o r e - - ( P a m p i n e l l i s to n ily lo o k s
dow n at P a u la w ith m e r c i l e s s in q u iry . ) - - t h e
w ay he sp o k e .
72
M r s . P a m p in e lli.
M r s . R itte r .
I
M r s . P a m p in e lli.
j
I
j
j
j
ilf the deciision r e g a r d in g P a u la 's fu tu re is a c c e p te d a s the p r o b le m of !
i i
I :
i j
Ithe p la y , then the w o rk h a s a s tr u c t u r a lly d e fin a b le p r o b le m . W hen \
j i
IP a m p in elli co n fro n ts P a u la w ith the q u e s tio n of "to a c t or not to a c t, " !
jPaula is fa c e d w ith a m a jo r c r is i s ; and w h en sh e m a k e s a d e c is io n for j
i j
d o m e s t ic it y , the p lay h as a c lim a x . T he two m a jo r f o r c e s in the p lay I
|
jm eet, and, d ep en d en t upon the o u tc o m e of th e ir c o n fro n ta tio n (P a u la 's
d e c is io n ) , th e r e is a r e s o lu t io n to th e p r o b le m of the play; th e r e is
I
a ls o a d istu r b a n c e in the e q u ilib r iu m w h ic h c a u s e s a n ew b a la n c e of j
f o r c e s .
T h e r e a r e s tr u c tu r a l w e a k n e s s e s in the c h o ic e of th is c lim a x :
(1) it is d eb atab le w h eth e r th is is the e m o tio n a l h ig h p o in t of the play;
(2) the p r e p a r a tio n fo r th is c lim a x i s c o m p le t e ly in ad eq u ate; and (3) the
a n ta g o n istic f o r c e s - - P a m p in e lli and R i t t e r - - d o not a c tu a lly m e e t at the
m o m e n t of c lim a x . E v e n though t h e s e p r o b le m s do e x is t , the o c c u r -
A nd, do y o u m e a n th at y o u w ill a llo w h im to
sto p y o u , P a u la ?
W e ll, o f c o u r s e h e 's m y husb an d B e tty . (She
c r i e s and M r s . P a m p in e lli r e g a r d s h e r w ith
a s o r t of p a in e d to le r a tio n . )
V e r y w e ll, th en P a u l a - - i f you f e e l that w ay
about it, I sh o u ld a d v is e you to k e e p him ;
and I sh a n 't w a s t e any m o r e o f m y tim e
e n c o u r a g in g y ou . (She s w e e p s around to
h e r le ft and up to w a r d the c e n te r d oor.
^ I b i d . , p. 187.
73
r e n c e of the c o m p l i c a t i o n - c r i s i s - c l i m a x situ a tio n e n a b le s K elly to have
a le g it im a te and e ff e c tiv e d r a m a tic a c tio n in o p e r a tio n for the f ir s t
tim e in the p la y . T h u s, d r a m a tic m o v e m e n t is o c c u r r in g b e c a u s e of
s u b je c tiv e c o m p lic a tio n s and r e s u lta n t in n e r p s y c h ic m o tiv a tio n s .
i
i
|
D e n o u e m e n t. - -T h e fu n ction of d r a m a tic r e c a ll is fu lfille d in i
I
i
fou r w ays: (1) N e lly F e l l, ig n o ra n t o f the fa c t that P a u la h a s d e c id e d j
|
jnot to p u r su e the a c tin g c a r e e r , s u g g e s ts th at P a u la go to N ew Y o r k - - j
jgoing to N ew Y ork to fu lfill a s p ir a tio n s of a c tin g had b e e n b r o a c h e d a s j
I I
|a su b je c t s e v e r a l t im e s ; (2) F e l l , in t e llin g P a u la h ow to m a n a g e h e r i
i
h u sb a n d , fu r th e r illu m in a te s h e r ow n m a r r ie d c a r e e r w h ich had b e e n j
p r e v io u s ly fo r e sh a d o w e d ; and (3) R it te r , r e c a llin g h is w i f e ’s r e c e n t
|a s p ir a tio n s to s ta r d o m , s a y s that he w ould be glad to take c a r e of the
f lo w e r s for h e r d uring the p r e s e n ta tio n of the p la y -w it h in - th e - p la y
( s a t ir iz in g P a m p in e lli in h e r d r a m a grou p a d m in is tr a tio n , for sh e is
m o r e c o n c e r n e d w ith the o r g a n iz a tio n of the f lo w e r s than she is w ith
43
the d ir e c tin g of the p lay). j
C h a r a c te r iz a tio n
A lth ou gh s o m e of the c r it ic s f e e l th e r e is s o m e p r o b le m w ith i
the s tr u c tu r e o f T he T o r c h - B e a r e r s , th ey s e e m to be in g e n e r a l a g r e e
m e n t a s to K e lly 's s k ill w ith r e g a r d to c h a r a c te r iz a t io n .
43Ibid. , p. 191.
74
M r s . P a m p in e lli. - -W h eth er the au d ito r e m p a th iz e s w ith M r s .
j
P a m p in e lli or n o t, h e w ould be i m p r e s s e d w ith h e r e n e r g y , h e r d y n a -
i
m is m , and c e r ta in ly h e r v ita lity as a c h a r a c t e r . K e lly h a s p r e p a r e d
us for h e r e n tra n ce w ith s e v e r a l fo r e s h a d o w in g r e f e r e n c e s . R itte r
i
r e f e r s to h e r in a s o m e w h a t d e m e a n in g m a n n e r , but P a u la p r a i s e s h e r !
i
d ir e c t o r ia l s e n s it iv it y and g iv e s the i m p r e s s io n that P a m p in e lli is a i
i 44 !
jvery i m p r e s s iv e in d iv id u a l. B e fo r e the a u d ie n c e a c tu a lly s e e s P a m - |
I
I 45 :
!pin elli th ey h e a r h e r v o c a l p r o je c tio n p e r v a d in g the h o u s e . P a r n p i-
I i
; i
!n elli, b ein g p a tte r n e d a fte r e lo c u tio n t e a c h e r s that K e lly h a s know n,
| ;
jwould h a v e a d is tin c tiv e and a ffe c te d w ay of s p e a k in g . A s the p la y -
i i
i
; i
jw right s a y s in h is d e s c r ip tio n of the c h a r a c te r : j
l
She is one of th o s e m a tr o n s who is fr e q u e n tly r e f e r r e d to in the j
suburban w e e k lie s a s a "lead ing sp irit" ; and th is p a r tic u la r I
d e s c r ip tio n h a s a lw a y s so fla tte r e d M r s . P a m p in e lli's p a r tic u la r
v an ity that sh e o v e r lo o k s no op p o rtu n ity of ju s tify in g it; and e ffo r t >
w h ich h a s r e s u lt e d in a c e r ta in g r a n d e u r o f v o ic e and m a n n e r ;
.4 6
I
| T h e v ita lity of P a m p in e lli is a p p a r e n t a s sh e u n c o n s c io u s ly
j ste p s to the c e n te r of th in g s and " lea d s" in no u n c e r ta in t e r m s . H er
co n sta n t in te r r u p tio n s at the p lay r e h e a r s a l - - a c t u a l l y done m o r e b e
c a u se of the d e s ir e fo r atten tion than to s o lv e any d r a m a tic p r o b l e m s - -
h e r fo r m a l, g a la , im p r a c t ic a l a ttir e w h en sh e i s h e lp in g b a c k s ta g e at
44 45
I b i d ., p. 25. I b i d ., p. 29.
46
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , Ju ly 2, 1971.
75
the p e r fo r m a n c e , and fin a lly h e r o v e r w h e lm in g n e e d to h a v e h e r own
c u r ta in c a l l - - l a s t , in the p la c e of h o n o r - - a r e only a fe w e x a m p le s of
the c o n s is t e n c y of P a m p in e lli's e g o m a n ia and s e lf - e n g e n d e r e d i m p o r
ta n c e . B e c a u s e of t h e s e r e a s o n s and the fa c t that sh e is K e lly 's m a in
;
o b je c t of s a tir e sh e b e c o m e s the m o s t v ita l p e r s o n a lity in the p lay. j
j
P a m p in e lli h a s an in te n s e n e e d to s u c c e e d . K elly h a s c r e a te d [
j ‘
!a fr u s tr a te d w om an who is a tte m p tin g to a c h ie v e s u c c e s s th ro u g h j
! j
! j
io th ers. T h e r e sh ou ld be little doubt about the str e n g th o f h e r m o tiv a - i
I |
Ition in th is c u r r e n t v e n tu r e . She h a s not had a s u c c e s s f u l r e la tio n s h ip ;
i 47 ;
jwith h e r h u sb an d , sh e h a s b e e n f r u s tr a te d in the a r e a o f a c tin g , and |
th e r e h a v e p ro b a b ly b e e n m a n y in s ta n c e s in the p a s t in w h ic h sh e h a s j
i
s e n s e d that in d iv id u a ls h a v e s e e n throu gh h e r p o m p o sity ; h o w e v e r , in j
w o r k in g w ith th is little th e a tr e g ro u p , sh e h a s a c h ie v e d a c c e p ta n c e and
r e s p e c t o f a kind. She is a w om an who h a s a g r e a t n e e d fo r th is kind of
i
ad u la tio n . N ot b e in g r e a lly s u c c e s s f u l a s a w om an due to the m a r r ia g e
|
p r o b le m , she a s s u m e s the r o le of a d om in an t le a d e r in a grou p c o m
p o s e d of both s e x e s ; in th is grou p sh e can "show the w o rld " th at sh e is
the eq u al o f any m a n and can c r e a te a r t w h e r e th e r e w as n oth in g in the
b eg in n in g (at l e a s t w h at sh e th in k s is art). She is d r iv e n to a c h ie v e the
ad u la tio n sh e so d e s p e r a te ly n e e d s . B e in g the s u b je c tiv e e g o t is t that
sh e i s , sh e h a s no a b ility to s e e h er d r a m a tic p r o d u ct fr o m an a u d ie n c e
47
K elly, The T o r c h - B e a r e r s , p. 173.
76
stan d p oin t. It s e e m s that the only r e a l q u a lific a tio n sh e h a s for th is
d ir e c t o r ia l p o s itio n is the fa c t th at sh e s p e a k s lo u d e r than anyone e ls e .
She p ro b ab ly d o e s , h o w e v e r , u n c o n s c io u s ly f e e l an in s e c u r ity in th is
v en tu r e due to h e r la c k of b ack grou n d and in s e n s it iv it y to the th e a tr ic a l
p r o c e s s . T h is u n c o n s c io u s in s e c u r it y w ould h e ig h te n and in te n s ify h e r j
b a s ic m o tiv a tio n to s u c c e e d . N ot only is sh e f o is tin g h e r fr u s tr a te d j
|
ego upon th o se around h e r - - m is m a n a g in g th e ir t h e a tr ic a l e f f o r t s - - b u t j
I
j ;
jalso sh e is o b s e s s i v e ly p r e o c c u p ie d w ith " s u c c e s s ." N ot the l e a s t o f i
I |
h e r a d m in is tr a tiv e a c t iv it ie s is the o r g a n iz a tio n of the u s u a l tra p p in g s :
jof s u c c e s s w h ich a r e c o n c o m ita n t w ith a th e a tr ic a l v e n tu r e: h e r grou p j
i :
t i
jis doing th e ir b it for c h a r ity , th e r e a r e h u n d red s of f lo w e r s e v e r y - j
iw h ere, the c o m m u n ity h a s b e e n in fo r m e d about the p la y , the n e w s - '
| S
p a p e r s a r e phoning a fte r w a r d , th e r e is a big p a rty a fte r the p e r fo r -
i
m a n c e , and if it w e r e know n, sh e p rob ab ly had s o m e th in g to do with
the am ou n t of a p p la u se the p lay r e c e iv e d . P a m p in e lli is in d e e d c o n s i s
t e n t in h e r e g o m a n ia , h e r d e s ir e to d o m in a te the m a le , h e r p o m p o s ity ,
land h e r la c k of o b je c tiv ity w ith r e g a r d to the t h e a tr ic a l p r o c e s s .
i
| K e lly , h im s e lf , s a y s in an in te r v ie w th at he got the id e a for
!
P a m p in e lli w h ile to u rin g in v a u d e v ille , p a tte r n in g h e r a fte r a r e a lis t ic
48
ty p e. And w h ile it is tru e that the little th e a tr e tod ay h a s p r o g r e s s e d
c o n s id e r a b ly s in c e 1922, one can quite e a s ily find in d iv id u a ls in v o lv e d
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , June 22, 1971.
7 7
in the c o m m u n ity th e a tr e v e n tu r e w ith p e r s o n a lity tr a it s and n e e d s v e r y
s im ila r to P a m p in e lli's - - p o m p o u s and s e lf - s e e k i n g , a n e e d for i n v o lv e
m e n t of the c r e a t iv e u r g e , the d e s ir e to b elo n g and be a p a rt of the
i
" c o r r e c t" s o c ia l g ro u p , and a n e e d for the r e s p e c t w h ich a c c o m p a n ie s j
j
any kind o f a s s o c ia t io n with the a r ts and the a c c o m p a n y in g t itle s : j
" d i r e c t r e s s , " " a c t r e s s , " e tc . W hile it is tr u e th at a ll of th e s e charac-j
jte r is tic s m a y n o t be a s a p p a r e n t n or as f a r c ic a lly d e lin e a te d in the j
' j
• I
jcom m u n ity th e a tr e m e m b e r a s th ey a r e in P a m p in e lli, a p e r u s a l and !
! i
i i
jc o m p a r iso n of t h e s e tr a it s w ill y ie ld m an y s im i la r it i e s .
I |
P a m p in e lli w ou ld e v o k e an e m o tio n a l r e a c tio n fr o m th r e e kinds |
I
jof peop le: (1) th o s e a u d ie n c e m e m b e r s who had had s o m e type of e x - !
Ip erien ce w ith th is kind of a p om p ou s and s u p e r fic ia l in d iv id u a l, (2) the !
i I
m e n in the a u d ie n c e who w e r e a d v e r s e ly a ffe c te d by h e r ten d en cy j
i
to w a r d m a le d o m in a tio n , and (3) th o s e in d iv id u a ls who w ould e m p a -
ithize w ith h e r in te n s ity of m o tiv a tio n and vita lity ; and th en , w hen R it- J
jter so c r u e lly and s a r d o n ic a lly e x p o s e s h e r f o o li s h n e s s , t h e s e p eop le
i j
Jwould find t h e m s e lv e s s y m p a th iz in g w ith h e r . T h e in d iv id u a ls .
!
d e s c r ib e d in (1) and (2) ab ove w ould laugh at P a m p in e lli's a b su rd ity
and p r e t e n s e , and K e lly 's in ten d ed s a tir e w ould be m o s t e ffe c tiv e h e r e .
H o w e v e r , w ith the a u d ie n c e m e m b e r s d e s c r ib e d in (3) a b o v e, the r e a c
tio n w ould be m o r e in the a r e a of pity for P a m p in e lli and d is lik e for
R itte r , and K e lly 's s a t ir e w ould p a r tic u la r ly m i s s its g o a l in th is
in s ta n c e .
78
F r e d e r ic k R it t e r . - -R itte r is not a v e r y v ita l in d iv id u a l. H is
ap p eal is s o m e w h a t blunted by h is p r o s a ic , c o m p a s s i o n l e s s , u n r o m a n -
i
tic p e r s o n a lity and h is r e la t iv e in s e n s it iv it y to o th er p e o p le 's n e e d s .
H e a ls o s u ffe r s f r o m an o v e r - e x t e n s i o n of the m a le ego a s h e s o m e
t im e s a tte m p ts to be im p o r ta n t. K e lly , in u s in g R itte r a s h is r a is o n - j
n eu r to c o m m u n ic a te w hat the p la y w r ig h t b e lie v e s to be an im p o r ta n t j
s ta te m e n t about the little th e a tr e m o v e m e n t, m a k e s an u n fortu n ate !
! i
! |
• c h o ic e . In the fin a l a n a ly s is , any type of id e n tific a tio n o r em p ath y w ith
i j
!the c h a r a c te r of R itte r w ould be d iffic u lt b e c a u s e he i s s e e n a s an in d i-i
I
jvidual who is too s e l f - a s s u r e d and s e lf - r i g h t e o u s . He is a ls o c r u e lly j
; i
js a r c a s tic and sa r d o n ic in h is tr e a t m e n t of a w om an who m a y have prob-l
j i
ile m s but is w e ll-in te n tio n e d and n e e d s h e lp m o r e than v ic io u s c r it ic is m .
| j
I
lit is in te r e s tin g that in a c o m p a r is o n o f R itte r and P a m p in e lli, the
;
jlatter is m o r e of a h u m a n ita r ia n than the f o r m e r b e c a u s e c r u e lty to h e r
!
ife llo w m an is n ot a p a rt of h e r m a k eu p .
j
! R itte r is str o n g ly m o tiv a te d in th e fin a l a c t, but is a r a th er
i
j in s ig n ific a n t fig u r e in A c t I. H o w e v e r , th is is n ot the on ly e le m e n t of
in c o n s is t e n c y in the c h a r a c te r . R itte r s e e m s to be s in c e r e ly c o n c e r n e d
th at h is w ife be e ff e c tiv e in th e p lay and that the play go w e ll, y e t in
A c t I, during the r e h e a r s a l , R itte r is in a lm o s t con tin u al c o n v e r sa tio n
49
w ith s o m e o n e . T h e r e a r e s p e c if ic in s ta n c e s d uring w h ich he
49
K elly, The T o r c h - B e a r e r s , pp. 6 2 -9 0 .
79
e n g a g e s th e p r o m p tr e s s in in tim a te c o n v e r s a tio n c a u sin g h e r to laugh
50
o b s t r e p e r o u s ly . H e th en d o es an about fa c e in A ct III, v o c ife r a tin g
about the p oor p e r fo r m a n c e that w a s g iv e n , and y e t, in d ir e c t ly , h e w a s
a c a u s e of th is in a d eq u a cy due to h is in te r r u p tiv e b e h a v io r at the
i
r e h e a r s a l. j
I
!
P a u la R i t t e r . - -W h ile P a u la w ould not be c o n s id e r e d a v e r y vital;
i
c h a r a c te r b e c a u s e o f h e r r a th er m e e k , s c a t t e r - b r a in e d attitu de and !
i :
^relative im m a tu r ity , sh e is an a ttr a c tiv e c h a r a c te r , c a p a b le o f evoking;
I
f j
e m p a th ic r e s p o n s e s , and is c o n s is te n tly d e lin e a te d . She is n a iv e and
;
51 52 i
g u llib le , c o n sta n tly p r e o c c u p ie d with food or drink, and im p u ls iv e ;
i ;
| 53 I
land often b e h a v e s im m a tu r e ly . B e c a u s e of h e r n a iv e te and h e r touch !
|of im m a tu r ity , c o m b in e d w ith a p le a s in g d is p o s itio n , a d e s ir e to please;,
and s e n s it iv it y to h e r h u sb an d , sh e w ould e v o k e em p ath y fr o m m an y
w o m e n and s o m e m e n in the a u d ie n c e . H is to r ia n F r e d e r ic k A lle n sa y s
th at w h ile th e r e w as a g r e a t fa c tio n in the 1 9 2 0 's that w a s d e s ir o u s of
w o m e n 's e m a n c ip a tio n and thought that the w o m a n sh ou ld b r e a k aw ay
!
!
jfrom d o m e s t ic b on d age, th e r e w e r e m an y in the " m a le s e c to r " who did
54
not a g r e e . T h o se who did not a g r e e w ith th is th r u st of f e m a le
^ Ibid. , pp. 74 and 79. ^Ibid_. , pp. 26 and 27.
^ Ibid. , pp. 4 7 , 4 9 , and 61. ^ I b i d . , pp. 62, 65, 98, and 107.
54
F r e d e r ic k L e w is A lle n , Only Y e s te r d a y (N ew York: H a rp er
and B r o t h e r s , 1957), p. 95.
80
in d e p e n d e n c e w ould s e n s e in P a u la a d e s ir e to s e r v e h e r m a n and
r e m a in at h o m e , and th ey w ould s y m p a th iz e or e m p a th iz e w ith h e r .
T h e m e
T h e T h e m e Should R e s u lt in U n i t y -K e lly w a s c e n s u r e d in T h e j
I
T o r c h - B e a r e r s fo r adding th e th ird a c t in o r d e r to p la c a te the D r a m a j
L e a g u e and T h e a tr e A r ts M a g a z in e . R e a c tin g to th is c r i t i c i s m , K elly j
;said that A c t III w as the w h o le r e a s o n for th e p la y 's e x is t e n c e .
I !
i j
| If I didn't b e lie v e so str o n g ly in the L ittle T h e a tr e M o v e m e n t, I
| cou ld n 't h a v e w r itte n the p la y . . . . I b e lie v e th at the i n t e r e s t !
I in a m a te u r t h e a tr ic a ls is one o f the h e a lt h ie s t s ig n s in the s m a ll j
tow ns tod ay, but ag a in and ag a in I h a v e s e e n th is i n t e r e s t j
; e x p lo ite d by M ain S t r e e t s o c ia l le a d e r s. ^5
! |
'K elly, e x e r c is in g h is d e s ir e to "m ake a s ta te m e n t" in A c t III, h a s d i s - j
iturbed the unity of the w ork . T h is h a s o c c u r r e d b e c a u s e th e r e is a
j d iffe r e n t d r a m a tic a c tio n in A c ts I and II than in A c t III, and the im -
i
{plied th e m e r e s u ltin g fr o m th e a c tio n of the f ir s t tw o a c ts is d iffe r en t
|
f r o m the e x p lic it th e m e in the fin a l a ct. The m e s s a g e in h e r e n t in the
f ir s t tw o a c ts of the p lay w ould be a s fo llo w s : T h e r e is a g r e a t d eal of
e g o m a n ia and la c k of o b je c tiv ity e x is tin g in the p o o r ly guided and i l l -
d is c ip lin e d little th e a tr e p a r tic ip a n t. And K e lly 's d e s ir e d sta te m e n t
in the fin al a c t is: Inept, in e x p e r ie n c e d , v a in g lo r io u s le a d e r s of little
th e a tr e g rou p s a r e u s u a lly the c a u s e of the e x is t in g p r o b le m s , and
^ K e n n e t h C la rk , "The H u m o r s of C o m m u n ity D r a m a t ic s , "
L-P 3-5JL._____________________ ____________________________________________________
81
w ith ou t th e m , the m o v e m e n t w ould p rob ab ly s u c c e e d . L a w so n n o te s
th at d r a m a tu r g ic a lly , th e r e sh ou ld be a s y n t h e s is of th e m e and d r a -
5 6
m a tic action. In The T o r c h - B e a r e r s , with tw o d r a m a tic a c tio n s and
tw o t h e m e s , th is s y n t h e s is i s not a c h ie v e d .
W hile K e lly 's th e m e , a c c o r d in g to h im , w a s the o r ig in a l in s p i- j
r a tio n fo r th e w o r k , it d o e s n o t, in th is c a s e , c o n trib u te to the unity of j
th e p la y . T h e p la y w r ig h t m a y h a v e m e a n t h is th e m e to be th e c o n tr o l- j
j ;
lling p u r p o se of th e w o r k , but th is did not o c c u r . T he m a jo r d r a m a tic j
! !
i i
I a c tio n is an e x p r e s s i o n of a s u b s id ia r y th e m e . j
T he T h e m e Sh ou ld B e C le a r , R e le v a n t, and U n iv e r s a l . - -R e p u - j
57 1
ta b le and r e s p e c t e d th e a tr e a n a ly s ts su c h a s J o s e p h W ood K ru tch ,
5 8 5 9 8 0 i
S ta r k Y oung, A rth u r H o b so n Q uinn, and B a r r e tt C la rk a ll fe lt |
|
the m e s s a g e w as the one d e r iv e d fr o m the d r a m a tic a c tio n of th e f ir s t j
tw o a c t s . T h is w a s n ot the th e m e w h ich the p la y w r ig h t h ad in m in d , so
^ J o h n H ow ard L a w so n , T h e o r y and T ech n iq u e of P la y w r itin g
(N ew York: H ill and W ang, I9 6 0 ), p. 173.
57
John Wood K ru tch , A m e r ic a n D r a m a S in c e 1918 (London:
T h a m e s and H u d so n , 1957), p. 61.
5 8
S ta r k Y oung, I m m o r ta l S h ad ow s (N ew York: C h a r le s S c r i b
n e r 's S o n s , 1948), p. 6.
59
A rth u r H o b so n Q uinn, H is to r y of th e A m e r ic a n D r a m a (N ew
York: A p p le t o n - C e n t u r y -C r o ft s , Inc. , 1936), pp. 2 5 7 -2 5 8 .
^ B a r r e t t H. C la r k , H is to r y of M od ern D r a m a (N ew York:
A p p le t o n - C e n t u r y -C r o ft s , I n c ., 1947), p. 701.
- 82
one can q u e s tio n the c la r ity o f K e lly 's m e s s a g e . T h e r e is a d is tin c t
r e la tio n s h ip b e tw e e n th e tw o th e m e s but not enough s im ila r it y to e l i m i
nate a c la r ity p r o b le m .
K e lly h a s d is tin c tly sta te d h e w a s not in t e r e s t e d in a tta ck in g the
little th e a tr e m o v e m e n t w ith T h e T o r c h - B e a r e r s ; h is p u r p o se w as the j
j
e x p o s u r e of the d i r e c t r e s s f ig u r e . H o w e v e r , s o m e of th e c r it ic s i n t e r
p r e te d h is th e m e a s an a tta c k on the little th e a tr e m o v e m e n t. K en neth j
|
A n d r ew s in The B o o k m a n f e e l s th at K e lly 's p u r p o se w as "to d en ou n ce i
the little th e a tr e m o v e m e n t ," ^ and K en neth C la rk s a y s that the p lay j
had b e c o m e the fo c a l p o in t of a "m ild w h ir lp o o l of d is c u s s io n , the s u b - j
I
!
jject of w h ich w a s: 'Is T h e T o r c h - B e a r e r s an a tta c k upon th e L ittle j
! 62 I
jT heatre m o v e m e n t ? ' " H e r e is e v id e n c e a g a in of a c la r ity p r o b le m .
F o r p u r p o s e s of ju d gin g the r e le v a n c e and u n iv e r s a lity of the
i
th e m e , the in v e s t ig a to r m u s t s e le c t a g e n e r a l s ta te m e n t w h ich w ill j
I
i
r e p r e s e n t th e m e s s a g e to b e ju d ged . L lo y d M o r r is in h is book C u rtain j
j i
T i m e a r tic u la te s a th e m e w h ic h , in its g e n e r a lity , sh o u ld a d e q u a te ly J
I !
japply to th is play; it is s o m e w h a t a s y n t h e s is of the th e m e s in h e r e n t in
both d r a m a tic a c tio n s . M o r r is s a y s , "The T o r c h - B e a r e r s s a tir iz e d
the a m a te u r 'little th e a tr e ' m o v e m e n t th en s w e e p in g the cou n try. He
^ K e n n e t h A n d r e w s , " B ro a d w a y , Our L it e r a r y S ig n p o s t, " T he
B o o k m a n , 57 (N o v e m b e r , 1922), 324.
K en n eth C la r k , "The H u m o r s of C o m m u n ity D r a m a t ic s , "
p. 357.
83
[K e lly ] r id ic u le d the c u ltu r a l p r e te n s io n s and s o c ia l a m b itio n s of a
63
ty p ic a l g rou p ." W hile the c o m e d y , w h ich b o r d e r s on the b u r le s q u e ,
w ould a p p e a l to m o s t a u d ie n c e s fo r s h e e r fun, the th e m a tic i m p l i c a
tio n s w ou ld h a v e little r e le v a n c e e x c e p t to th o s e who do h a v e a p a r t ic i
p a to ry i n t e r e s t in the th e a tr e . F o r e x a m p le , m o s t a u d ie n c e s w ould j
th o r o u g h ly en joy the i d io s y n c r a c ie s of M r. S p in d le r and the e x a g g e r - J
ated sta tu s n e e d s of N e lly F e l l , but th ey w ould not r e a lly c a r e th at i
| j
jK elly w as m a k in g a s ta te m e n t about the p e c u lia r it ie s and p r e te n s io n s j
I
I I
I |
|of a m a te u r a c t o r s . j
! j
W hile the play had a r e la t iv e ly sh o r t run d u rin g its in itia l j
;B ro a d w a y s ta g in g and h a s n ot had a B ro a d w a y r e v iv a l, it h a s b e e n one
I i
iof the m o s t p opu lar lit t le th e a tr e p la y s . F o r e x a m p le , it is le a r n e d j
I j
I
(from f in a n c ia l r e c o r d s at the P a s a d e n a P la y h o u s e that d u rin g the
p e r io d f r o m M ay, 1925, to F e b r u a r y 1929, th e r e w e r e on ly nine p la y s !
out of 102 w h ic h m a d e m o r e m o n e y fo r that o r g a n iz a tio n than T h e
64
T o r c h - B e a r e r s . T he r e le v a n c e of the p lay to little th e a tr e g rou p s
can be s e e n in the p o p u la r ity of the p lay a m on g th e ir m e m b e r s .
A c c o r d in g to s tu d ie s c a r r ie d out by T h e a tr e A r ts M a g a z in e , d uring the
y e a r s of 1 9 2 8 -2 9 , th is p lay w a s one of the m o s t popu lar c h o ic e s am on g
65
th is typ e of grou p . C o n sid e r in g its s h o r t B ro a d w a y run and its
64
K en neth M a cgow an , F o o tlig h ts A c r o s s A m e r ic a (N ew York:
H a r c o u r t - B r a c e , Inc. , 1929), p. 200.
^ I b i d . , pp. 1 9 8 -1 9 9 .
84
p o p u la rity am on g the p r o v in c ia l p r o d u c in g g r o u p s , it can be a s s u m e d
that the play had a m o r e r e le v a n t a p p ea l o u ts id e of N ew Y ork w h e r e
th e r e w ould be m o r e i n t e r e s t in little t h e a t r e - - a n i n t e r e s t due to m o r e
in d iv id u a ls p a r tic ip a tin g in the c o m m u n it y -t h e a tr e - ty p e o r g a n iz a tio n .
| If one c o n s id e r s the a s p e c t s of e x h ib ite d e g o m a n ia , the d e s ir e ;
| |
fo r cu ltu r a l im p o r ta n c e , the n e e d fo r s o c ia l sta tu s and a c c e p ta n c e j
i
I
a m on g P a m p in e lli's a c to r s and p r o d u c tio n s ta ff, and p a r tic u la r ly the j
] j
jh eigh ten ed n e e d s of M r s . P a m p in e lli, the p lay th en ta k e s on a m o r e
u n iv e r s a l s ig n if ic a n c e . A ll a u d ie n c e m e m b e r s a tten d in g p e r fo r m a n c e s |
of T he T o r c h - B e a r e r s w ould h a v e t h e s e n e e d s to a d e g r e e , w h eth er j
1
jthey r e c o g n iz e d the f a c t or not. C o n sid e r in g the r e le v a n c e of the w o r k 1
I in the lig h t of id e n tifia b le c h a r a c t e r is t ic s that m a y or m a y n ot r e v e a l j
the auditor to h i m s e l f , one can sa y th e r e a r e p o te n tia l u n iv e r s a l im p li-
i
I
c a tio n s in K e lly 's th e m e .
i T h e T h e m e Shou ld B e an In te g r a l P a r t of the D r a m a tic M o v e -
i
j m e n t .- - T h e im p lie d th e m e of A c ts I and II is d e fin ite ly an in te g r a l part;
!
! of K e lly 's d r a m a tic a c tio n . H o w e v e r , K e lly 's sta te d t h e m e - - t h e one
he d e s ir e d to m a k e e x p l ic it l y - - w h ic h o c c u r s in A c t III is n ot only
t
f o r e ig n to the m a jo r d r a m a tic a c tio n , but a ls o it is not an im p lie d p a rt
of th e su b s id ia r y a c tio n . A s h a s b e e n n o ted , F r e d R itte r su d d en ly j
s te p s fo rw a r d in A c t III and e x p r e s s e s K e lly 's f e e lin g s w ith r e g a r d to
the little th e a tr e m o v e m e n t. The p la y w r ig h t's " d o u b le -a ctio n " and
85
" d o u b le -th e m e " in T h e T o r c h - B e a r e r s h a s c a u s e d s e v e r e p r o b le m s of
unity and in te g r a tio n .
An E v a lu a tio n of th e C r itic s '
C o m m en ts
V alid but In c o m p le te C r it ic is m . - - T h e m a jo r ity of th e c r it ic s j
|
m a d e r e f e r e n c e to the la c k of u n ity in T h e T o r c h - B e a r e r s . C o m m e n ts j
i
j
jfrom tw o c r it ic s su p p ly ty p ic a l r e a c t io n s to th is p r o b le m . A le x a n d e r \
j ;
i j
iW oollcott s a y s that the r a u c u s fun of the f i r s t tw o a c ts g r a d u a lly j
j j
a tr o p h ie s w hen p la y w r ig h t K elly e x p la in s in the th ird a c t th at th e little |
jtheatre m o v e m e n t is r e a lly a lr ig h t and h e d o e s n 't w an t to d is c o u r a g e
anyone with h is sp o o fin g . W o o llc o tt c o n tin u es: ". . . th is m o rib o u n d
! !
s tr e t c h in the o t h e r w is e bounding jo y of 'T he T o r c h - B e a r e r s ' can e a s ily
be cut o u t - - a n o p e r a tio n w h ich ou gh t n ot to b e d e la y e d . In fectio n m ig h t
66
s e t in. K enneth A n d r e w s in T he B o o k m a n s a y s :
I --------------------------------------
Indeed th is la s t a ct f a lls c o n s id e r a b ly b e lo w the p r e c e d in g tw o ,
b e c a u s e the author su d d en ly r e m e m b e r s that he i s w r itin g a p lay
j w ith a p u r p o se . He w as; but the p u r p o s e w a s n ot to d en ou n ce the
L ittle T h e a tr e M o v e m e n t . . . it w a s to be funny. T hat is m u ch
m o r e d iffic u lt and a d m ir a b le than to p r e a c h a s e r m o n on a n y
thin g. 6 7
H ey w ood B rou n s p e a k s w ith g r e a t e n t h u s ia s m about the f i r s t a c t, is
m o r e c r it ic a l of)th e se c o n d a c t, and s a y s about the th ir d , ". . . withoui;
/ /
W o o lco tt, "The P la y , " p. 10.
6 7
A n d r e w s , " B road w ay, Our L it e r a r y S ig n p o s t ," p. 325.
. 86
w a r n in g , one of the c h a r a c te r s ta k e s the c e n tr e of th e s ta g e and
d e c la im s the a m a te u r on the sta g e and the little th e a tr e m o v e m e n t.
6 8
. . . T h is is not in the l e a s t a m u s in g , and it is h a r d ly c r e d ib le ."
E v en though t h e s e c r it ic s did n o tic e a th e m a tic p r o b le m in the
w o rk , th ey did n ot s p e c if ic a lly c a ll it a p r o b le m of u n ity , and none of
th e m d e s c r ib e d in any d e ta il the a ctu a l d iff e r e n c e s b e tw e e n the d r a
m a tic a c tio n of A c ts I and II and the d r a m a tic a c tio n of A c t III.
j In the a r e a of c h a r a c te r iz a t io n , the c r it ic s ' c o m m e n ts w e r e
I
!
jusually v a lid , but a g a in in c o m p le te . M o s t of the c r it ic s n oted the c o n
s is t e n t d e lin e a tio n of M r s . P a m p in e lli: A rth u r H o b son Q uinn s e e m s to
jsu m m a r iz e the f e e lin g s of the o th er c r it ic s w h en he s a y s , "The b e s t
|
^character w a s M r s. J. D uro P a m p in e lli, the p r o f e s s io n a l e x p lo ite r of
a m a te u r t h e a t r ic a ls , d raw n fr o m a c tu a l lif e , but u n iv e r s a l enough to
69
m a k e an ap p eal a n y w h e r e ." A le x a n d e r W o o llc o tt, C arl C a r m e r , and
R o b e r t A lle r to n P a r k e r a ls o s e e m to h a v e r e a liz e d the s k illfu l d e p ic tio n
jof th is f ig u r e . S ta r k Young and a c r it ic in th e N ew Y ork T rib u n e w e r e
I
i
co g n iz a n t of the c h a r a c te r iz a t io n p r o b le m s in th e d e lin e a tio n of F r e d
70
R it te r . Young c a lle d h im "stupid, blunt, f o r c e and v u lg a r . . .
6 8
H eyw ood B r o u n , "The N ew P la y , " The W orld , F e b r u a r y 6,
1924, p. 104.
69
Q uinn, H is to r y of A m e r ic a n D r a m a , p. 225.
70
Young, I m m o r ta l S h a d o w s, p. 6.
The w r ite r in the T rib u n e r e f e r r e d to the h u sb an d a s "a c h ill b a r b a r ia n
,,71
who 'kids th e p r o c e e d in g s w ith a d e s p e r a te v e n o m .
T he c r it ic s ' c o m m e n ts w e r e in c o m p le te w ith r e g a r d to c h a r a c
te r iz a t io n b e c a u s e they fa ile d to g iv e any s ig n ific a n t n o tic e to K e lly 's
m in o r c h a r a c te r s in The T o r c h - B e a r e r s , and th e r e w a s no w r ite r who
r e c o g n iz e d the a m b ig u ity of F r e d R it te r , K e lly 's r a is o n n e u r . In a p p ly
ing th e c r it e r ia to R itte r , it w a s found that h e is an in c o n s is t e n t and j
(im p la u sib le fig u r e . It s e e m s a s e r io u s o v e r s ig h t that th is w as not
| I
m a d e note of in the r e v ie w s . I
! i
! |
' [ In valid C r i t i c is m .- -G le n n H u gh es n o te s w ith r e g a r d to T he j
| !
iT o r c h -B e a r e r s : "This h ila r io u s s a t ir e on the lit tle th e a tr e m o v e m e n t I
|----------------------------
w a s a p p r e c ia te d b e c a u s e it w a s t im e ly and b e c a u s e it w a s w r itte n w ith
72
a s u r e k n o w le d g e of th e a tr ic a l e ffe c t." K en neth M a cg o w a n o b serv es^
. . . on the ev e n in g of A u g u st 29th, 1922, fiv e or s i x h u n d red
a v e r a g e N ew Y o r k e r s , tw o or th r e e h u n d red fr ie n d s of the m a n
a g e m e n t, and about fifty s o p h is tic a te d f ir s t - n i g h t e r s w e r e in
i g r a v e d a n g e r of r o llin g off th e ir s e a ts in h y s t e r ia b e c a u s e of
I The T o r c h - B e a r e r s .^3
I
I
M acgow an c o n tin u es with h is r e v ie w in a m o o d of a p p r o b a tio n , find ing
no fa u lt w ith the p lay. And although on e w ould a g r e e w ith H u gh es that
^ " T h e T o r c h - B e a r e r s , " N ew Y ork T r ib u n e , A u g u s t3 0 , 1922,
p. 13.
^ G l e n n H u g h e s , A H is to r y of the A m e r ic a n T h a tr e , 1 7 0 0 -1 9 5 0
(N ew York: S a m u e l F r e n c h , 1951), p. 398.
7 ^
K e lly , T h e T o r c h - B e a r e r s , the p r e fa c e by K en neth M a c -
gow an , p. 9.__________________________________________________ _______________ ____
88
T he T o r c h - B e a r e r s is a " h ila r io u s s a t ir e on the lit tle th e a tr e m o v e
m en t" (at l e a s t fo r two a c t s ) , in lig h t of th e fin d in g s of the stu dy one
can n ot a g r e e that it w a s " w ritten w ith a s u r e k n o w le d g e of t h e a tr ic a l
e ffe c t" !
W ith s p e c if ic r e g a r d to s tr u c t u r e , G e o r g e J e a n N athan and j
S ta r k Young f e e l that K elly did n ot h a v e m a t e r ia l fo r a f u ll- le n g t h p la y , j
N athan s a y s th at T he T o r c h - B e a r e r s s t r e t c h e s i t s e l f , u n fo r tu n a te ly , j
! i
iinto a t w o - a c t p lay and th en a t h r e e - a c t p la y , in fe r r in g th at th e r e is
I i
74 !
on ly m a tte r fo r a o n e - a c t . Young c o m p la in s that th e r e is "only m a t - !
75 !
te r fo r a f o r ty -m in u te p ie c e ." T h e s e r e m a r k s s e e m in v a lid w hen onei
! i
j t
jc o n sid e r s that A ct I is on ly a p r e p a r a tio n fo r A c t II, th at the c o m e d y of!
j I
jthe w o rk g r e a tly in t e n s if ie s in A c t II b e c a u s e t h e r e is a p e r fo r m a n c e j
in s te a d of a r e h e a r s a l, and th at the im p lie d th e m e in h e r e n t in the f ir s t
l
tw o a c ts is not fu lly r e a liz e d u n til the end of A c t II.
j
W ith r e g a r d to the u n iv e r s a lity of the t h e m e , A le x a n d e r Wo o i l -
;cott o b s e r v e s ,
T h e r e is sa id to be a m o r b id , s a r d o n ic old m a n liv in g in U n d illa
F o r k s , N. Y. , who n e v e r a p p e a r e d in a m a te u r d r a m a t ic s . B ut
w ith that s in g le p o s s ib le e x c e p tio n a ll a d u lts in th is sta te w ill find
s o m e th in g in th e ir own p a s t to m a k e th e m both s q u ir m and r o a r
74
G eo rg e J e a n N athan, "The L a t e s t B a tc h ," J u d g e , 83 (S e p
te m b e r 23, 1922), 9.
75
S ta r k Young, "The So and So and the F u t u r e , " The N e w
R e p u b lic , 32 (S e p te m b e r 20, 1922), 1 0 0 -1 0 1 .
- 89
w ith la u g h ter w hen th ey s it dow n b e fo r e th is h ila r io u s c o m e d y
w h ich s lip p e d d is c r e e t ly into tow n la s t e v e n in g .^6
A c c o r d in g to W o o llc o tt, n e a r ly e v e r y o n e sh ou ld fin d s o m e th in g r e le v a n t
and e n jo y a b le to lau gh at in The T o r c h - B e a r e r s . H o w e v e r , it w a s
found in the stu dy that the ap p ea l of th e p lay w a s r a th e r s p e c ia liz e d , j
and that th e r e a r e m an y m o r e " sa r d o n ic old" m e n "who n e v e r appearedj
i
in a m a te u r d r a m a tic s " than W o o llc o tt r e a l i z e s . i
I
i
: i
| j
j S u m m a r y . - -T h e m a jo r ity of the c r it ic s m a d e s o m e ty p e of
i
r e f e r e n c e to the fa c t that th e r e i s a p r o b le m in the th ir d a c t of the play.j
H o w e v e r , only a cou p le s e e m to h a v e u n d e r s to o d the s p e c if ic p r o b le m . j
iM ost of the c r it ic s s e e m to h a v e o v e r lo o k e d th is w e a k n e s s , a s th ey talk
I I
I
only about the f r e s h n e s s of the c o m e d y and the p o te n tia l of the n e w j
i
[
p la y w r ig h t. T he play w a s e x p e c te d to h ave a lo n g run. H o w e v e r , The j
T o r c h - B e a r e r s p la y ed on B r o a d w a y fo r only 130 p e r f o r m a n c e s . T h is j
j
in v e s tig a to r f e e l s that the b r e v ity of the run w as due to the la ck of j
! I
t h e m a tic and s tr u c tu r a l unity: a w e a k n e s s n ot s p e c if ic a lly n oted in the
1 9 2 0 's n o r in c o n te m p o r a r y c r i t i c i s m .
T he S h o w -O ff
I
T h e S h o w -O ff is the only im p o r ta n t K elly w ork in w h ich he
m a in ta in e d a p h ilo so p h ic a l d e ta c h m e n t and m a d e no valu e ju d g m en ts on
the h u m an w e a k n e s s e s of h is p r in c ip a l c h a r a c t e r s . In lig h t of the
1
W o o llc o tt, "The P la y , " p. 10.
- 90
c o n c lu s io n s draw n f r o m the a p p lica tio n of the c r it e r i a to the fiv e w o r k s
in q u e s tio n , th is d e ta c h m e n t w a s a m a jo r fa c to r a ffe c tin g the s u p e r io r
q u ality of th is w ork .
P lot: A c t I
E x p o s it io n . - - J u st a s so o n a s the p lay b e g in s and the a u d ie n c e i
m e e t s M r s . F i s h e r and h e r e ld e s t d a u g h te r , C la r a , K e lly im m e d ia t e ly j
i
in tr o d u c e s a s a m p lin g of the m ilie u in w h ich h e h a s p la c e d h is c o m e d y , j
! i
j i
iM other and d au gh ter h a v e not s e e n e a c h o th e r fo r a w h ile , so K e lly h a s j
;
ic le v e r ly e s ta b lis h e d a s itu a tio n in w h ich e x p o s itio n flo w s quite n a tu r a lly
I S
a s th ey d i s c u s s the la t e s t n e w s and p r o b le m s . K elly su b tly f o r e s h a d - j
ow s M r s . F i s h e r ' s c u r r e n t p r o b le m as th e ir c o n v e r s a tio n tu rn s to A m y
th e y o u n g e s t d au g h ter. H er n e w m a le co m p a n io n , A u b r ey P ip e r , is a
g r e a t s o u r c e of c o n s te r n a tio n to M r s. F i s h e r . W ithin the f i r s t fe w
p a g e s of the p la y , K elly h a s sow n the s e e d s fo r the b a s ic c o n flic t of
the w ork: A u b r ey P ip e r , b r a g g a r t-in tr u d e r v e r s u s M r s . F i s h e r ,
|
S lo w e r -m id d le - c la s s m a tr ia r c h . O nce the s u b je c t of A u b r ey is b r o a c h e d ,
|
M r s . F i s h e r can n ot r e s i s t go in g into a lo n g d ia tr ib e about A m y and h im
and the p r o b le m s he c a u s e s . He is the s u b je c t of a d e ta ile d , a n im a te d ,
and h ig h ly d e s c r ip t iv e m o n o lo g u e . A fe w lin e s of th is m o n o lo g u e d e m -
o n sta te the in itia tio n of th is c o n flic t b e tw e e n M r s . F i s h e r and A u brey:
And y o u n e v e r in y o u r life h e a r d anybody talk so m u c h , C l a r a - -
I don't know h ow sh e sta n d s h im . Your P o p can h a r d ly s ta y in
„ 91
th e r o o m w h e r e h e i s . I b e lie v e in m y h e a r t th a t's the r e a s o n he
w en t o v e r to G ille s p ie 's t o n ig h t - - s o he w o u ld n 't be lis t e n in ' to
h i m .77
N ot only is M r s . F i s h e r ' s tir a d e a d is p a r a g in g o n e , but the b a s i c c o n
f li c t i s h e ig h te n e d b e c a u s e of A m y 's lo y a l in fa tu a tio n w ith A u b r e y , and
h e r in te n s e a n ta g o n ism to w a rd anyone who c r i t i c i z e s h im . A ls o d i s - j
j
1
c o v e r e d in t h e s e op en in g m o m e n ts i s the f a c t th at A u b r e y is n o t on ly a ,
i
i
p r o b le m to M r. and M r s . F i s h e r s , but a ls o to the y o u n g e r s o n , J o e , j
|
who qu ite o fte n h a s to tak e r e fu g e in s o m e o th er p a r t of th e h o u s e , |
i
; 1
jaway f r o m A u b r e y , so he can w ork w ith ou t d is tu r b a n c e and in t e r r u p - j
I i
Ition. We fin d th at th e two o th er p r in c ip a l c h a r a c t e r s , C la r a and F ran k i
| i
iHyland, a r e n o t p a r tic u la r ly b o th e r ed by A u b r e y , but do n ot n e c e s s a r i l y
a p p ro v e of h im . I
A t the o u ts e t, M r s. F is h e r and A u b rey a r e in c o n f lic t, e s t a b
lis h in g the p r o b le m of the play: W hat is to be done w ith th is b o is t e r o u s
in t e r lo p e r ? S u s p e n s e sh o u ld b e c r e a te d a s the a u d ie n c e b e g in s to a n ti-
j
Icipate the c o n fro n ta tio n b e tw e e n the tw o c e n tr a l f o r c e s and to b e c o m e
i I
[involved in the p r o b le m of the p la y . A ls o , the m ilie u into w h ic h K e lly
j
f o is t s h is c e n tr a l c h a r a c te r is su b tly d e lin e a te d a s the p la y w r ig h t i n t r o
d u c e s A u b rey and the o th er s ix m a jo r c h a r a c t e r s a ll w ith in f o r t y - s i x
s p e e c h e s f r o m the b e g in n in g . (1) We m e e t C la r a a s the c u r ta in o p e n s .
She is lo o k in g fo r h e r m o th e r . (2) M r s. F i s h e r is in tr o d u c e d and the
77
L o u is K r o n e n b e r g e r , ed. , C a v a lca d e of C om ed y (N ew York:
S im o n and S c h u s t e r , 1953), p. 492.
92
m o th e r -d a u g h te r r e la tio n s h ip is im m e d ia te ly e s t a b lis h e d . (3) M r.
F is h e r is r e f e r r e d to and lo c a te d a couple of s p e e c h e s la t e r . (4) M r s.
F i s h e r is in the p r o c e s s of lo o k in g fo r J o e . She c o m m e n ts on J o e 's
a c t iv it ie s as she t e l l s C la r a , ". . . he sp e n d s h a lf h is tim e dow n in tha:
7 8
c e lla r fo o lin ' w ith th at old ra d io thing." He is id e n tifie d , h is m a in
in t e r e s t c o m m e n te d upon, and h is u s u a l lo c a tio n in the h o u se w e l l - ;
i
e s ta b lis h e d . (5) C la r a 's h u sb a n d , F r a n k , is id e n tifie d a fe w lin e s j
!
; I
jlater. (6) A m y is d e s c r ib e d a s sh e is g ettin g r e a d y fo r h e r b e a u , w h ich
(leads to a n a tu r a l and su b tle in tr o d u ctio n of the s e v e n th c h a r a c te r , j
A u b r ey . T h e r e is a n a tu r a l a s s o c ia t io n a l r e la tio n s h ip in the in tr o d u c -
j
tio n of t h e s e c h a r a c t e r s . M r s . F is h e r m e n tio n s M r. F i s h e r , J o e , and
j
A m y f i r s t - - a l l m e m b e r s of h e r f a m ily . A u b rey is d i s c u s s e d a lm o s t j
s im u lta n e o u s ly w ith A m y - - i n m o s t of the su b s e q u e n t s c e n e s th ey
ap p ear to g e th e r . A nd C la ra is the f i r s t to in tr o d u c e h e r h u sb a n d ,
F r a n k . T h e r e is a ls o a s k illfu l sp a c in g of the in tr o d u ctio n of t h e s e
i
|c h a r a c te r s so that the a u d ie n c e can b e c o m e a c q u a in ted w ith one b e fo r e
m e e tin g the n e x t.
i
In ad d ition to a lo g ic a l and e ffic ie n t in tr o d u ctio n of a ll the p r in
c ip a l c h a r a c t e r s , th e r e is a ls o fo r e s h a d o w in g fo r the a p p r o a c h in g m a r
r ia g e w h en it is le a r n e d that A m y m a y be s e e in g A u b rey e v e r y day d u r
ing h e r lu n ch h ou r.
7 8
Ibid. , p. 491.
93
K e lly c o n tin u e s to su b tly f o r e s h a d o w h is a p p r o a c h in g d r a m a tic
a c tio n a s h e p r e p a r e s the a u d ie n c e fo r the fo llo w in g ite m s : (1) the
au d itor sh ou ld b e g in to s e n s e a c e r t a in d e g r e e of in te r d e p e n d e n c e
I
b e tw e e n M r s . F i s h e r and C la r a b e c a u s e of a b a s ic lo n e lin e s s in e a c h !
i
I
w om an; th ey e n g a g e in p u r p o s e le s s c o n v e r s a tio n r e g a r d in g unim portant}
1
|
s u b je c ts lik e th e fix in g of C la r a 's la m p , the a r r a n g e m e n t of the b o n - j
b o n s, the w r a p p in g of a candy b ox, e t c ., and the a u d ie n c e w ill e v e n - j
|
;tually le a r n m o r e about the l o n e lin e s s of both w o m e n , p a r tic u la r ly j
I ;
C lara; (2) M r s . F i s h e r m e n tio n s m a n y th in g s in h e r d e s c r ip t iv e d ia - •
i
tr ib e about A u b r ey that su b se q u e n tly b e c o m e r e a li t i e s a s w e o b s e r v e j
h is b e h a v io r in th e play; (3) th e r e a r e c lu e s p la c e d s k illfu lly at the j
i ;
i |
^beginning of the p lay to d raw atten tio n to the fa c t that C la ra and F r a n k !
! i
!
jare fin a n c ia lly a f f lu e n t - - C la r a d i s c u s s e s h e r e x p e n s iv e d r e s s , a tte n -
79
tio n is d raw n to h e r fu r , F r a n k is at d in n er at the "G lenw ood Club,"
e tc . - - and th is is im p o r ta n t b e c a u s e of the poign an t and s ig n ific a n t
c o m p a r is o n m a d e b e tw e e n F r a n k and A u b r e y la te r in the play; (4) and
fin a lly , it i s su b tly fo r e s h a d o w e d th at A u b r ey and A m y m ig h t end up
w ith M r s . F i s h e r if sh e le t s th e m co n tin u e th is r e la tio n s h ip . C lara
s a y s , ". . . f o r , r e m e m b e r w hat I'm t e llin g y o u , M om , it ' s y o u th a t'll
80
have th e m on y o u r hand s if she ta k e s h im ."
79Ibid. , p. 492.
80
I b i d . , p. 495.
94
W ith an in n er p s y c h o lo g ic a l t e n s io n a c c r u in g b e tw e e n M r s .
F i s h e r and A m y and, of c o u r s e , a fo r e s h a d o w in g of the t e n s io n b e tw e e n
M r s. F is h e r and A u b r e y , th e r e is a d e g r e e of L a w s o n 's " d r a m a tic
81
a ctio n " in o p e r a tio n . T h is te n sio n w ill b e c o m e the m a in m o tiv a tin g
I
i
f o r c e in the a c tio n s of both M r s . F i s h e r and A m y . It is o b v io u s th at j
A u b r ey is b e c o m in g M r s . F i s h e r ' s m a in p r e o c cu p a tio n ; he is a lr e a d y j
I
A m y 's r a is o n d 'S t r e . !
i
j M ille t s a y s that it is c r u c ia l in the b egin n in g s ta g e s of e x p o s i
tio n th at the p r in c ip a l c h a r a c te r s b e g in to a r o u s e e m o tio n a l f e e l in g s in |
82
the a u d ie n c e . M r s. F i s h e r , a s she a tte m p ts to s o lv e the p r o b le m of j
!
A u b r ey and A m y , e n d e a v o r s to m a in ta in a n e a t and w e ll-fu n c tio n in g |
j I
h o u s e h o ld (i. e . , a tte m p tin g to g e t the c lo c k and h e a te r r e p a ir e d ,
I
| v 83
s c o ld in g M r. F is h e r fo r to b a c c o a s h e s ) , a s one s e n s e s h e r d e s ir e
fo r n ic e r th in g s but r e a li z e s sh e h a s a d ju ste d to the e c o n o m ic s t r i c
t u r e s im p o s e d upon the w ife of a fa c to r y w o r k e r , and fin a lly , a s one
f e e l s the g e n u in e f a m ilia l c o n c e r n fo r h e r o ffs p r in g and h u s b a n d - - e v e n
t
though c o m m u n ic a tio n b e tw e e n h e r and M r. F is h e r is s u p e r f ic ia l and
u n fu lfillin g . M any f e m a le m e m b e r s of the a u d ie n c e un d ou b ted ly w ill
L a w s o n , T h e o r y and T e c h n iq u e of P la y w r it in g , p. 170.
82
F r e d B. M ille t and G era ld E. B e n tle y , The A r t of th e D r a m a
(N ew York: A p p e lto n -C e n tu r y -C r o fts , Inc. , 1935), p. 188.
K r o n e n b e r g e r , C a v a lc a d e of C o m ed y , p. 496.
95
t
e m p a th iz e d e e p ly w ith th is c h a r a c te r . T h e r e w ould b e a d e g r e e of i
!
j
em p ath y e lic it e d f r o m the y o u n g e r m e m b e r s of the a u d ie n c e in r e s p o n s e
!
i
to A m y 's s p ir ite d in d e p e n d e n c e in h e r r e la tio n s h ip w ith h e r m o th e r ,
and, of c o u r s e , an e m p a th ic in v o lv e m e n t w ith A m y a s she e x p e r ie n c e s
i
the t r ia ls and tr ib u la tio n s of h e r lo v e a ffa ir . !
i
I
| T he p la y w r ig h t in s tin c tiv e ly r e a l i z e s the o p p o r tu n itie s fo r |
i t
g r e a te r th e a tr ic a l i n t e r e s t if th e m o o d , v a lu e s , p r e o c c u p a tio n s , and j
I
!
^frustrations of h is m i d d l e - c l a s s m ilie u a r e in d ir e c t o p p o s itio n to th o sq
I |
of A u b r ey . T h e p s y c h o lo g ic a l tone of the F i s h e r h o u se h o ld i s p a r tia lly j
84 1
e s ta b lis h e d in the c o n v e r s a t io n s b e tw e e n C la r a and M r s . F i s h e r and |
th o s e b e tw e e n M r. and M r s . F is h e r ; th e m o o d is fu r th e r e n h a n c e d w hen
I
the a u d ie n c e s e e s the m o th e r k n ittin g and r o c k in g , the fa th e r r e a d in g j
the n e w s p a p e r and sm o k in g h is p ip e. The au d itor b e g in s to r e a li z e the
|s ta tic q u a lity of the h o m e w h en he s e n s e s that t h e s e a r e th e m o s t e x -
|
I c itin g a c t iv it ie s the F i s h e r s p ro b a b ly en g a g e in and that th e m a in c o n -
jcern of the e v e n in g is an a r t ic le in the n e w s p a p e r . T h is is the s ta t ic ,
lo w -k e y e d , m o n o to n o u s d o m e s t ic it y into w h ich A u b rey " b o u n ce s. " N ot
i
only h a s the d r a m a tis t su p p lied a v e r a c ity of m ood; h e h a s h e ig h te n e d
the c o n tr a s t b e tw e e n the f a m ily 's n a r r o w c ir c u m s c r ib e d p r e o c c u p a tio n s
and A u b r e y 's loud, n a t io n a l- p o lit ic a l o r ie n ta tio n , by h a v in g h im b la r in g
fo r th w ith c h a r a c t e r is t ic e u p h e m is m s about sa v in g the w o r ld , i. e . ,
84
Ibid. , p. 4 9 3 .
96
m a k in g it sa fe fr o m c a p ita lis m , s o lv in g th e ta x p r o b le m , and the
d e s ir e fo r a co n fro n ta tio n w ith S e c r e t a r y o f the T r e a s u r y , A n d rew
M e llo n . |
The p r in c ip a l c h a r a c te r s h a v e b e e n in tr o d u c e d , ad eq u ate a n te - j
j
c e d e n t a c tio n h a s b e e n d e lin e a te d , th e b a s ic c o n flic t of th e p lay w e l l- *
I
j
su b sta n tia te d , in t e r e s t and s u s p e n s e c r e a te d fo r the p r o b le m of th e j
!
p la y , and a c e r ta in d e g r e e of fo r e s h a d o w in g a c c o m p lis h e d . W ith th is }
i
i
a c c o m p lis h e d , K elly h a s u n o b tr u s iv e ly su p p lie d h is e x p o s itio n and p re-j
p a r e d h is au d ien ce fo r the p oin t of a ttack .
! R is in g A c t io n . - -W ith th e in tr o d u c tio n of A u b r ey P ip e r on s ta g e ,
the p la y w r ig h t h a s not on ly s tr u c tu r e d an e x c itin g and s k illfu lly lo c a te d |
p oin t of attack as he b r in g s the tw o c o n flic tin g f o r c e s f a c e to f a c e , but i
|
he h a s p r e p a r e d the a u d ie n c e fo r h is b o m b a s tic en try and h u m o r o u s j
|
co n fro n ta tio n in a lin g e r in g and ta n ta liz in g m a n n e r - - t h e a u d ie n c e h a s j
!
h e a r d e v e r y p r in c ip a l c h a r a c te r expound s o m e d e fin ite o p in io n about
P ip e r ; th ey h a v e s e e n h im im ita te d , both p h y s ic a lly and v e r b a lly ; he
h a s b e e n d e s c r ib e d in d e ta il and h is c lic h e s h a v e b e e n d is p a r a g in g ly
quoted. N ow w ith h is a r r iv a l at the h o u s e , K elly h a s A m y m e e t h im in
the p a r l o r - - a r o o m a d ja cen t to the liv in g r o o m w h e r e the fa m ily is
l o c a t e d - - a r o o m s tr a t e g ic a lly p la c e d by th e p la y w r ig h t b e c a u s e the
a u d ie n c e can h e a r the v o la tile b r a g g a r t, o b s e r v e h is e ff e c t on the
f a m ily m e m b e r s , but cannot y e t s e e h im . W ith the e n tr a n c e of A u b rey
97
into the liv in g r o o m , th e r e is a m in o r c r i s i s situ a tio n a s M r. F is h e r ,
J o e , and M r s . F i s h e r a ll c o v e r t ly c o n te m p la te the p r o b le m of th e ir
a d ju stm e n t to h is p r e s e n c e . T h ey d e c id e to le a v e , w h ich th ey do one
by o n e , w h ile P ip e r is ta lk in g to th e m . E a ch e x its in a m a n n e r c h a r a c
t e r i s t i c of the c h a r a c te r and e a c h is e ff e c tiv e ly m o tiv a te d . T h is act of
I
e ffr o n te r y and l o s s of " a u d ien ce" w ould s e v e r e ly a ffe c t m o s t m a le egos^
but P ip e r , u n a b a sh e d , c o n tin u e s h is b o m b a s tic r h e to r ic to A m y and thej
I j
jem pty r o o m . H e c o n tin u es a s s p ir ite d ly a s if he had ju s t r e c e iv e d a j
i I
j stan d in g o v a tio n fo r the d e liv e r y of h is id e a s on s o c i a l i s m , c a p ita lis m ,;
85
and W illia m J e n n in g s B r y a n .
;
j T h e r e is one fin a l it e m of fo r e s h a d o w in g a s the f i r s t s c e n e
I |
jn ears c o m p le tio n . A t a p r e v io u s tim e Joe had m e n tio n e d to A u b rey j
j
that he w a s w o rk in g on a c h e m ic a l so lu tio n to s o lv e the p r o b le m of
r u stin g m e t a l. In an e r r o n e o u s e x h o r ta tio n , A u b rey ir o n ic a lly g iv e s
i
i
Joe an id e a w h ich u ltim a te ly h e lp s the you n g in v en to r s o lv e the r u s t
p r o b le m and a c h ie v e an im p o r ta n t, and fin a n c ia lly lu c r a t iv e , d i s c o v
e r y . T he fo r e s h a d o w in g is p a r tic u la r ly im p o r ta n t s in c e the s a le of the
c h e m ic a l d is c o v e r y s u p p lie s the in c id e n t w h ich p r e c ip it a te s the c lim a x
of the w ork .
W ith the c u r ta in up on the se c o n d s c e n e , w e find Joe w ork in g on
h is "radio thing" and M r s . F i s h e r b ein g aw ak en ed by piano p layin g and
^ I b i d . , p. 4 9 7 .
98
the sound of a b a s s v o ic e s in g in g in the p a r lo r , "R ocked in the C rad le
86
o f.th e D eep ."
M r s . F i s h e r .
J o e .
M r s . F i s h e r .
J o e .
i
i
i
i
M r s . F i s h e r . Oh I w o u ld n 't c a r e if h e b a w le d h is h e a d o ff, a s |
fa r a s I'm c o n c e r n e d -- I 'd b e glad if h e did; but ;
I don't w ant h im to aw ak en y o u r fa th e r . (She j
s te p s to the h a ll- d o o r and lis t e n s at the fo o t of
the s t a i r s . ) And th a t's w h at h e 'll be doin' the
f i r s t th in g y o u know , and th en the fa t'll be in the
i f ir e fo r s u r e . ^
A u b r e y 's sin g in g at th is la te hour p r o v id e s M r s . F is h e r w ith a c o m
p lic a tio n that b e c o m e s a c r i s i s situ a tio n , b e c a u s e h er s p o u s e is s le e p -
I
in g u p s t a ir s and she know s the e m o tio n a l c o n s e q u e n c e s if he is
i
a w a k en ed . H is an g ry p r o te s ta tio n c o m e s f r o m the top of the s ta ir s :
88
"What the d e v il's goin' on dow n th e r e ? Do you know w h at tim e it is ?"
M r s . F i s h e r , in a f r u s tr a tin g situ a tio n p a c ifie s h e r husb an d by takin g
the b la m e fo r th e n o is e , and a s s u r in g h im it w ill c e a s e ! A u b r e y , in the
i
p r o c e s s of le a v in g , c a u s e s i n c r e a s e d t e n s io n in the h o u s e h o ld a s he
W hat t im e i s it n ow J o e ? (T he sin g in g b e c o m e s
lo u d e r , and M r s . F is h e r r i s e s w ith h e r e y e on
the p a r lo r d o o r . ) Is that h im sin g in g in t h e r e ?
(C h eck in g h is p o c k e t w atch) The old S c ie n tific !
A m e r ic a n h im s e lf . A q u a r te r of tw e lv e . j
I
M y God w hat is he s ta r tin ' to sin g at th is hour fo r ! j
j
T a le n t sh o u ld n e v e r be s u p p r e s s e d at any t im e , !
M o th er.
86 87 88
Ibid. , p. 4 9 9 . Ibid. , p. 500. Ibid.
99
y e l l s h is la s t fe w " F a r e w e lls " th rou gh the p a r lo r d o o r . A m in o r
c lim a x o c c u r s a s A u b rey su p p o se d ly g o e s and M r s . F i s h e r ' s c r i s i s is
r e lie v e d . T h e s e m in o r c lim a x e s a r e p a r tic u la r ly im p o r ta n t to K e lly 's
c o m e d y b e c a u s e th ey g iv e the a u d ien ce an e m o tio n a l r e s p it e f r o m the
|
c o n flic t s itu a tio n s . j
A s A m y is s e e in g A u b rey out, th e r e is a b r ie f s c e n e b e tw e e n |
i
M r s . F i s h e r and Joe in w h ich the d is p o s itio n of the d og, G y p sy , is |
i
1 89 !
jd is c u s s e d . It is d ifficu lt to d e te r m in e th e r e a s o n fo r th is s c e n e . It
s e e m s to s e r v e no p u r p o s e . K elly sh ou ld be c e n s u r e d s in c e the c o n - j
I
trib u tio n of the s c e n e to the p lo ttin g s tr u c tu r e d o e s not r e a lly stan d up j
|
junder a n a ly s is . i
I
B e c a u s e A u b rey is s e e m in g ly in s e n s it iv e to c r i t i c i s m th e r e h a s
b e e n no d ir e c t co n fro n ta tio n b e tw e e n the b r a g g a r t and any m e m b e r of
th e fa m ily . T h u s in the fin a l s c e n e of A c t I, w e find the f i r s t h o s t ile ,
f a c e - t o - f a c e co n fro n ta tio n b e tw e e n the tw o o p p o sin g f o r c e s in the p lay.
M r s. F is h e r is co n fro n ted w ith a m in o r c o n flic t as an ir a te A m y
e n te r s:
A m y . (In a q u ie t r a g e ) T hat w a s a n ic e t r ic k you p e o p le
did t o n ig h t !
M r s . F i s h e r . W hat?
A m y . E v e r y b o d y w alk in g out of the r o o m , w h ile A u b rey
w a s ta lk in g .
89
Ibid. , p. 500.
100
M r s . F i s h e r . W hat did you w ant us to d o, s it h e r e a ll night
lis t e n in ' to h im ?
A m y . You w ou ld n 't h a v e to s it h e r e a ll night lis te n in g
to h im , he w a s only in h e r e fiv e m in u te s . j
t
I
j
M r s. F i s h e r . T h a t's no th an k s to h im ; h e 'd h a v e b e e n h e r e t ill i
m o r n in ' if so m e b o d y d id n 't do s o m e th in '. j
90 i
A m y . I w a s n e v e r so m o r t ifie d in m y lif e . j
I
T he e n su in g a r g u m e n t b e tw e e n M r s . F i s h e r and A m y is c o n c e r n e d with
!
the m o th e r 's c r i t i c i s m s and w a r n in g s r e g a r d in g A u b r ey . M r s . F is h e r i
is a n s w e r e d by a s p ir it e d A m y who is q u ite blin d to any fa u lts in h e r j
m a n . H o w e v e r , A m y 's r e c r im in a t io n s a r e of a m ild n atu re u n til she j
|
le a r n s that h e r s i s t e r h a s b e e n su p p ly in g in fo r m a tio n about A u brey: hi^
!
s a la r y , w h e r e h e w o r k s , F r a n k 's op in ion of h im , e tc . The a r g u m en t !
r e a c h e s an e m o tio n a l p eak at th is p oin t, fu r th e r in te n s ify in g an a lrea d y
h e ig h te n e d b a s ic c o n flic t. It i s M r s . F i s h e r who r e s o l v e s the co n flic t.
She c o n c lu d e s the d eb ate by go in g u p s t a ir s , le a v in g a fr u s tr a te d A m y
b e lo w . T h is e m o tio n a l c o n fro n ta tio n b e tw e e n M r s. F is h e r and A m y is j
i
t
s ig n ific a n t q u a lity d r a m a b e c a u s e it i s a d r a m a tic a ctio n o p e r a tin g on aj
s u b je c tiv e , p s y c h o lo g ic a l le v e l . A c c o r d in g to A r is to t le th is is the m o s t
e ff e c tiv e typ e of d r a m a tic m o v e m e n t.
A n e ff e c tiv e m eth o d of a u d ie n c e c o m m u n ic a tio n is through the
tec h n iq u e of p a n to m im e . K e lly 's fin a l s c e n e in A c t I is to ta lly p a n to -
90
Ibid. , p. 502.
101
m im ic . The au d itor fin d s A m y a lo n e , f u r io u s , and ir r e s o lu t e . S lo w ly
sh e g a in s c o m p o s u r e .
A s sh e c la s p s h e r hand s to g e th e r sh e b e c o m e s c o n s c io u s of the
r in g in h e r hand. S h e tip to e s to the h a ll- d o o r , sta n d s lis te n in g
fo r a s e c o n d , th en lo o k s up. T h en sh e h u r r ie s b a ck to the c e n te r -
ta b le , lo o k s at the r in g , s lid e s it onto the th ir d fin g e r of h e r le ft
hand and h o ld s it so th at th e d iam on d w ill c a tc h the lig h t fr o m the !
c h a n d e lie r ^ !
I
I
I
A m y is s t i l l d i s s a t i s f i e d w ith th e am ou n t o f lig h t sh in in g on h e r r in g , so
i
I
sh e m o v e s c lo s e r to the la m p on the ta b le . T h e r e sh e is quite g r a t i- ;
I I
fie d w ith th e e f f e c t and a s the c u r ta in d e s c e n d s , s h e , . . sta n d s, j
h o ld in g h e r hand at a r m 's len g th , lo s t in the m e ltin g w o n d er of h e r j
92
e n g a g e m e n t r in g ."
W ith th is s tr a t e g ic a lly p la c e d p ie c e of s ta g e b u s in e s s , K elly
]
su b tly a c c o m p lis h e s s e v e r a l th in g s. (1) T h e r e is a fo r e s h a d o w in g of
w hat i s to c o m e - - t h e s e c o n d a c t is s ix m o n th s la te r and A m y and
A u b r e y a r e m a r r ie d . (2) The a u d ie n c e sh o u ld b e g a in in g a d e g r e e of
s y m p a th y fo r A m y a s th e y a n tic ip a te the m a r r ia g e . A m y m a y be r e b e l
lio u s and a r g u m e n ta tiv e , but sh e is a s tr id e n t e x a m p le of w om an h ood
in the t h r o e s of you n g lo v e . (4) T h er e is a h e ig h te n in g of the b a s ic c o n
f lic t . (5) T h e r e is the h in t of a c o m ic e le m e n t as A m y h a s to in te n s ify
h e r s e a r c h fo r lig h t in o r d e r to s e e h e r d ia m o n d . In a c c o m p lis h in g the
a b o v e , the p la y w r ig h t h a s e v o k ed a c o n s id e r a b le d e g r e e of a n tic ip a tio n
and c u r io s ity fo r the a p p r o a c h in g se c o n d a c t.
9 1 Ibid. , p. 502. 92Ibid. , p. 504.
102
T h e r e h a s b e e n a g r a d u a l in c r e a s e in te n s io n b e tw e e n the
o p p o sin g f o r c e s in A c t I. L a w s o n 's th e o r y of d r a m a tic m o v e m e n t,
93
w h ic h a c c o r d in g to h im sh ou ld in te n s ify a s the p lay p r o g r e s s e s , i s
e x e m p lifie d in th is f i r s t a c t of T he S h o w -O ff. K elly h a s s tr u c tu r e d h is
f i r s t a c t so a s to le a d f r o m c o m p lic a tio n to c r i s i s to m in o r c lim a x .
i
j
I
P lo t: A c ts II and III
I
I !
I i
! C ontinuing R is in g A c t io n . - -W ith the op en in g of A c t II, the
I !
a u d ie n c e b e h o ld s the s e c o n d c o n fro n ta tio n b e tw e e n A u b rey and M r s. j
! I
F i s h e r . T h e s k illfu l c o n s tr u c tio n of the s c e n e is r e v e a le d a s it p r o - j
i
i g r e s s e s on th r e e le v e l s : (1) th e b a s ic c o n flic t b e c o m e s h e ig h te n e d in j
| j
!in te n sity ; (2) m o r e f a c e t s of both c h a r a c te r s a r e r e v e a l e d - - t h e r e is !
p a r tic u la r illu m in a tio n of P ip e r ; (3) m o r e c o m p lic a tio n s a r e s e e n to
d e v e lo p fo r the p r in c ip a l c h a r a c te r s and n e c e s s a r y fo r e sh a d o w in g
o c c u r s . T he a u d ie n c e a ls o e x p e r ie n c e s a lo g ic a l and p r o g r e s s iv e a s s o
c ia tio n b e tw e e n A c t I and A c t II. A s A c t I e n d s , it is a p p a ren t that
A m y and A u b r ey a r e go in g to be m a r r ie d . A ls o e v id e n t is the fa c t that
th e F i s h e r f a m ily is a lo y a l and c lo s e o n e - - t h e kind of f a m ily in w h ich
o ffs p r in g w ould in s t in c t iv e ly r e tu r n fo r w e e k ly or b iw e e k ly v i s i t s .
T h e r e f o r e it i s q u ite p la u s ib le w h en we fin d A u b r ey at the F is h e r h o m e
lo o k in g fo r A m y . A u b r e y , lo o k in g fo r h is w ife , t e l l s M r s . F i s h e r they
L a w s o n , T h e o r y and T e c h n iq u e of P la y w r itin g , p. 173.
103
have to m o v e f r o m th e ir p r e s e n t d w e llin g s , and th at h e i s lo o k in g fo r
"a h o m e - -s o m e th in g w ith a bit of grou n d around i t - - w h e r e I can do a
94
b it of te n n is in the e v e n in g , if I f e e l lik e it." E v e n w ith ou t A u b r e y 's
p r e p o s te r o u s p r o n o u n c e m e n ts of t h e s e p la n s , t h e r e i s a f e e lin g of t e n
s io n b e tw e e n the tw o c h a r a c t e r s . W hen a s k e d about w h e r e he could !
i
j
a c q u ir e fu r n itu r e fo r su c h a h o m e , he s a y s , ;
I've in v e s t ig a te d the m a tte r th o r o u g h ly , M r s . F i s h e r , and I fin d j
that th e r e a r e at l e a s t fifte e n f i r s t - c l a s s e s ta b lis h m e n t s r ig h t !
| h e r e in th is city that w ill fu r n is h a m a n 's h o u s e f r o m g a r r e t to j
I g a r a g e and g iv e h im the r e s t of h is life to p ay fo r it. 95 j
! j
M r s . F i s h e r e n jo in s with: "T h ey n e e d to g iv e s o m e o f th e m the r e s t ofj
96
th e ir l i v e s , at the r a te th e y 'r e goin ' n ow ." A u b r ey adds to M r s .
i
iF is h e r 's f r u s t r a tio n and the a c c r u in g t e n s io n a s he c o n tin u e s h is p o m - :
pous and u n r e a lis t ic r h e to r ic . H e in fo r m s h e r th at he h a s the lo a n of j
a f r ie n d 's car and h e w an ts to take A m y out to the A u to m o b ile S h ow j
97
to take a lo o k at "that n e w Jord a n S ix ."
M o st in d iv id u a ls who e a r n o n ly $34. 50 a w e e k w ou ld b e s o m e
w hat d is m a y e d at the p r o s p e c t of b e in g e v ic t e d f r o m th e ir p la c e of r e s i
d en ce at a t im e w hen r e a s o n a b le r e n ts w e r e a lm o s t im p o s s ib le to fin d .
P r o b le m s of th is n a tu re w ou ld c o n s is t of a s e r io u s c o m p lic a tio n fo r
m o s t d r a m a tic c h a r a c t e r s , c a u sin g f r u s t r a tio n and in s o m e c a s e s
K r o n e n b e r g e r , C a v a lc a d e of C o m e d y , p. 504.
95 96 97
Ibid. , p. 505. Ibid. Ibid.
T0T~
a n x ie ty . H o w e v e r , h u m o r o u s ly c o n s is t e n t a s a lw a y s - -A u b r e y s a y s he
w a s fed up w ith liv in g in r o o m s an yw ay and th e f a c t th at he h a s to g e t
out is good n e w s ! S in c e A u b r ey r e f u s e s to be c o n c e r n e d about h is
im m in e n t e v ic t io n , the p r o b le m f a ll s on the s h o u ld e r s of A m y and M r s .
F i s h e r - - t h e c o m p lic a tio n r e s u lt in g f r o m th is p r o b le m is t h e ir s . T h e j
i
I
|
a u d ie n c e s e n s e s the fu ll im p lic a t io n of the " r e s id e n c e p r o b le m ," a s j
A m y m a k e s h e r a p p e a r a n c e at th is p oin t in the p la y . She is w e a r y and j
j j
(fr u stra te d a fte r lo o k in g a ll day fo r a p la c e in w h ich to liv e and a fte r ■
(finding n o th in g th at th e y can a ffo r d . A m y fin d s h e r s e l f w ith a s e r io u s j
i |
c r i s i s s itu a tio n , a c r i s i s p r e c ip ita te d by the c o m p lic a tio n of b e in g j
jev icted . M r s . F i s h e r , b e in g m a te r n a lly c o n c e r n e d fo r h e r d a u g h te r 's j
| j
Iw elfare i s , of c o u r s e , a ls o in v o lv e d in the c r i s i s situ a tio n . In m a n u - j
fa c tu r in g th is c o m p l i c a t i o n - c r i s i s situ a tio n , K e lly h a s in s tig a te d p lo t
p r o g r e s s i o n , in te n s ifie d th e b a s ic c o n flic t, and fu r th e r illu m in a te d h is
c e n tr a l c h a r a c t e r s .
j
T h e m o r e ty p ic a l c o m p lic a tio n in the d r a m a tic w o r k is the
o b je c tiv e c o m p lic a t io n - - b e in g e v ic t e d f r o m o n e 's h o m e w ould be an
98
e x a m p le h e r e . H o w e v e r , it i s th e m a r k of th e q u a lity p la y w r ig h t to
99
c r e a t e p la u s ib le and e f f e c t iv e ly - m o t iv a t e d s u b je c tiv e c o m p lic a tio n .
In T he S h o w -O ff th e a u d ie n c e can s e n s e the in n e r te n s io n in M r s .
98
7 Ibid. , p. 504.
99
M ille t & B e n t le y , T h e A r t of the D r a m a , pp. 2 0 9 - 2 1 0 .
jQ-g—
F i s h e r a s A u b r ey v o c if e r a t e s and g e s t ic u la t e s about "the auto sh o w , "
" H arry A lb r ig h t's c a r , " e tc . A c e r ta in d e g r e e of a n x ie ty is e v id en t in
the n e x t s c e n e a s A m y w e a r ily d e s c r ib e s h e r w o r r y about the la c k of a
p la c e to liv e . F o r e f f e c t i v e n e s s , th e s e su b je c tiv e c o m p lic a tio n s can be
c o n tr a s te d to th e m o r e o b je c tiv e c o m p lic a tio n s b rou gh t on by m e lo -
I
d r a m a tic in c id e n ts and c le v e r m a c h in a tio n s of the p lot w h ich a r e s o m e -
i
t im e s s u p e r f ic ia lly m o r e e x c itin g , but s e ld o m le a v e a s p e r m a n e n t an !
i
im p r e s s io n . M r s . F i s h e r is fa c e d w ith a m in o r c r i s i s b e c a u s e of
i
the e v ic tio n s itu a tio n , but a fe w h o u r s la te r sh e is fa c e d w ith a m a jo r i
j
c o m p lic a tio n : the d eath of h e r h u sb an d , w h ich then b e c o m e s a m a jo r j
j c r is is situ ation : h e r so n J o e m a y m o v e out any t im e , and she could j
i
u s e s o m e fin a n c ia l h e lp w ith th e u p k eep of th e h o u s e . A t th is point it
is an n ou n ced th at A m y is g o in g to h ave a baby. T h is only in te n s ifie s
the c r i s i s that M r s . F i s h e r is go in g through: a p re g n a n t A m y w ithout
a p la c e to liv e w ou ld d e e p ly s tir the m a te r n a l in s t in c t s w ithin M r s.
F i s h e r . W ith the a d v en t of th is m a jo r c r i s i s , K elly h a s c r e a te d a
situ a tio n in w h ic h it is n ot on ly p la u s ib le but p r a c tic a l fo r the P ip e r s to
m o v e in w ith M r s . F i s h e r . A c c o r d in g to L a w so n e v e r y m a jo r a c tio n in
the p lay sh ou ld be d e lin e a te d in lig h t of the m a jo r c lim a x of the p l a y . ^
T h is m a jo r a c tio n is so s tr u c tu r e d a s to b r in g the o p p o sin g f o r c e s in
100tk.,
Ibxd.
^ ^ L a w s o n , T h e o r y and T ech n iq u e of P la y w r itin g , p. 178.
106
u n d er the s a m e r o o f and n ot only h e ig h te n the o p p o r tu n itie s fo r the
m a jo r c lim a x of the p lay but p r e p a r e the a u d ie n c e and c h a r a c te r s fo r
th is d r a m a tic e le m e n t. T h is " m o v in g -in " a c tio n c a u s e s a m in o r
c lim a x in the p la y , a c c e l e r a t e s the d r a m a tic a c tio n to w a rd the m a in
I I
jclim a x , and p r o v id e s the p la y w r ig h t an e x c e lle n t op p ortu n ity fo r c o m ic j
i
situ a tio n s . F o r e x a m p le , M r s . F i s h e r c o m m e n ts: j
i
It is n 't that I'd m in d le ttin ' A m y c o m e in h e r e , C lara, - -but I j
! w ou ld n 't lik e to p le a s e h im ; fo r I know the f ir s t thing I'd know , !
| h e 'd v e r y lik e ly be te llin ' so m e b o d y that h e 'd le t m e c o m e in. j
| Oh I w ou ld n 't put it p a s t him ; h e 's told b ig g e r l i e s than that.-*-®^ I
I
T h is r e m a r k g r e a tly p l e a s e s the a u d ie n c e b e c a u s e at th is point in the
p la y th ey h ave a lr e a d y w it n e s s e d a s c e n e in w h ich A u b r ey h a s told a j
i
I
v is it o r to the F i s h e r h o m e that it b e lo n g s to h im and he is le ttin g M r s. j
I
103
F i s h e r liv e w ith h im .
A s e v e r e t e s t of A m y 's and M r s. F i s h e r ' s p a tie n c e o c c u r s w hen
A u b r ey b o r r o w s a f r ie n d 's c a r and b e c o m e s in v o lv e d in a s e r io u s a c c i
dent. A u b rey a r r iv e s h o m e w ith he ad ban d aged and an g ry p r o te s ta tio n s
of in n o c e n c e . A u b rey o b s e r v e s :
I
| The c a r I b o r r o w e d , M r s . F i s h e r , is n ow in the hand s of the
| b a n d its of the la w . T he ju d ic ia l g e n tle m e n , who have e n te r e d
into a c o n s p ir a c y w ith the r e g u la to r s of t r a f f ic - - t o c o lle c t fin e s
f r o m m o t o r is t s - -b y o r d e r in g th e m to go one w a y - - a n d then
s w e a r in g th ey to ld th e m to go a n o th er.
K r o n e n b e r g e r , C a v a lc a d e of C o m e d y , p. 522.
^ ^ Ibid. , p. 516.
^ ^ I b id . , p. 510.
107
It s e e m s he ran th rou gh a r e d lig h t, into a p o lic e m a n in a c r o s s w a lk ,
into a t r o lle y , and w a s d r iv in g w ith ou t a l i c e n s e . T h is b e c o m e s a n ew
c o m p li c a t i o n - c r i s i s - s i t u a t i o n fo r both M r s . F i s h e r and A m y . A u b
r e y 's r e a c tio n to the a c c id e n t, a s in the c a s e of the e v ic tio n , is one of
e x h ila r a t io n - - h e h a s n e v e r had so m u c h a tte n tio n in h is lif e , and is j
f a s t b e c o m in g the ta lk of the tow n. A u b r e y 's e la n v ita l h a s b e e n a c c e l- |
e r a te d to the p oin t o f b u r s tin g . ^ K e lly h a s so e ff e c tiv e ly fo r e s h a d - j
ow ed the c h a r a c te r of M r s. F i s h e r and th e c o n flic t b e tw e e n h e r and j
A u b r ey that the e f f e c t of th is o c c u r r e n c e on the w o m a n is p e r s o n a lly ;
d e v a s ta tin g , but t h e a tr ic a lly v e r y h u m o r o u s . M r s . F is h e r is h a rd ly
g iv e n a ch an ce to a d ju st to th is d i s a s t e r b e fo r e she i s sh a k en w ith
[another s e r io u s c o m p lic a tio n : it i s d is c o v e r e d that F r a n k H ylan d , the !
• i
w o m a n 's s o n - in - la w , h a s d e p o s ite d the b a il to f a c ilit a te A u b r e y 's
r e le a s e ; she th en le a r n s that A u b r ey i s fin e d $ 1 0 0 0 , w h ich F r a n k p a y s.
A s the p lay p r o g r e s s e s , e a c h s u c c e e d in g c o m p lic a tio n o c c u r r in g to
M r s. F is h e r not only b e c o m e s m o r e s e v e r e in c o n s e q u e n c e , h e ig h te n -
jing the t e n s io n , but b e c o m e s m o r e h u m o r o u s fo r the a u d ie n c e . A u b-
I
r e y 's in d o m ita b ility b e c o m e s K e lly 's m o s t e f f e c t iv e to o l to h e ig h te n
the d r a m a tic a c tio n and en h a n c e the c o m e d y . In ste a d of bein g
^^Ibid. , p. 516.
108
sq u e lch ed by s e v e r e m is fo r tu n e h e r i s e s lik e th e P h o e n ix f r o m the
a s h e s of c a ta s tr o p h e , c a u s in g h e ig h te n e d fr u s tr a tio n and a n x ie ty for
M r s. F is h e r .
S a r c e y s a y s that the d r a m a tis t m u s t e x e r c i s e e x tr e m e cau tion
w hen im p le m e n tin g e le m e n ts of c o m e d y and tr a g e d y in the s a m e play3 ;
|
B e c a u s e of K e lly 's a b ility to w r ite in the r e a l i s t i c g e n r e and th e v e r a c - j
I
ity of the c h a r a c t e r s , t r a n s it io n s f r o m the c o m e d ic to the s e r io u s a r e j
I
m a d e s e v e r a l t im e s in T h e S h o w -O ff w ith no p r o b le m of c r e d ib ility . !
T he p la y w r ig h t in h is ju x ta p o sin g of A u b r ey and the F i s h e r s - - t h e r a u - !
jcous and the s u b l im e - - h a s c r e a t e d th r o u g h a c h ia r o s c u r o of c o n tr a s t a j
| |
is e r io u s n e s s of g r e a te r p o ig n a n c y , and c e r ta in ly a c o m e d y of g r e a te r j
e f f e c t iv e n e s s . i
M ajor C l im a x .- - T o d e te r m in e the m a jo r c lim a x of a w o rk it is
n e c e s s a r y to know the m a jo r c r i s i s w h ic h p r e c ip ita te d it. T h e r e is a
p r o b le m , h o w e v e r , w h en one a tte m p ts to lo c a te th is m a jo r c r i s i s . The
d e c is io n that p r e c ip it a te s th e c lim a x of the p la y is the m o m e n t w hen
M r s . F is h e r m a k e s up h e r m in d to le t th e P i p e r s c o m e to liv e w ith
h e r . E v e n though th is d e c is io n is p r e p a r e d fo r and th e a u d ie n c e h e a r s
107
M r s. F is h e r m a k e the a n n o u n c em e n t th at th e y a r e a lr e a d y m o v e d in,
^ ^ B a r r e t t H. C la rk , E u ro p ea n T h e o r ie s of the D r a m a (N ew
York: C row n P u b lis h e r s , In c. , 1947), pp. 3 9 2 -3 9 3 .
107
K r o n e n b e r g e r , C avalcade of C om edy, p. 518.
109
K elly d o e s not r e v e a l M r s . F is h e r in the th r o e s of m a k in g the d e c is io n
- - t h e m a jo r c r i s i s o c c u r s " o ffsta g e."
N ot on ly is the lo c a tio n of the c r i s i s a s o m e w h a t c o n fu sin g
i s s u e , but a ls o the m a jo r c lim a x of the p lay h a s an in h e r e n t s tr u c tu r a l I
p r o b le m . The m o s t e ff e c tiv e c lim a x o c c u r s w h en one of the f o r c e s in !
i
I
a w ork is s u p r e m e in h is d o m in a tio n of the o th e r , r e s o lv in g the b a s ic j
c o n flic t and thus the p r o b le m of the p lay. T h e r e is a c o m e d ic c la s h |
! j
jbetw een M r s . F i s h e r and A u b rey in the fin a l m o m e n t of the p la y , j
I |
jcau sing a change in the b a la n c e of f o r c e s but s t r ic t ly sp ea k in g it cannot!
! I
i ;
be sa id that th is co n fro n ta tio n is the e m o tio n a l h igh point fo r the a u d i- I
i
j !
e n c e , r e s o lv in g the b a s ic c o n flic t. H o w e v e r , s in c e th is is the fin a l j
c la s h b e tw e e n th e tw o c o n flic tin g f o r c e s of the p la y , and one c h a r a c te r j
s e e m s to te m p o r a r ily d om in ate the o th e r , it m u s t be c o n str u e d a s the
c lim a x .
In the s c e n e p r e v io u s to the c lim a x , th e r e is su b tle f o r e s h a d
ow ing g iv in g a hint th at A u b r e y 's p a r t in the s u c c e s s of J o e 's $100, 000
in v en tio n is g r e a te r than m o s t a n tic ip a te . In su p p lyin g th is in fo r m a tio n
ju st b e fo r e the fin a l s c e n e , K elly fu r n is h e s a s o r t of c o m ic u n d erto n e
to th e fin a l m o m e n ts of h is p lay. T he c lim a x o c c u r s a s the fo llo w in g
e x ch a n g e ta k e s p lace:
I
J o e . You know , it w a s a funny thin g M om , w h en I
f i r s t talk ed to th e M e y e r s and S te v e n s p e o p le , I
w a s only to g e t fifty th ou san d d o lla r s in ad vance;
and w hen I w en t up th e r e tod ay th ey had the c o n
t r a c t s m a d e out fo r a hundred th ou san d .
110
A u b r ey . And th e y 'r e g e ttin g aw ay w ith m u r d e r at that.
M r s . F i s h e r . Oh be q u ie t y o u , y o u d on 't know an yth in g about
i t . 108
A u b r ey in fo r m s a ll th o s e p r e s e n t th at h e m a d e th e M e y e r s and S te v e n s
p e o p le think he k n ew a ll about it. "I r e fu s e d ," he s a y s to J o e , "to a llo w
you to n e g o tia te f u r t h e r - - u n le s s th ey dou b led th e a d v a n c e , m a r k e t it at
j
th e ir e x p e n s e , and o n e -h a lf the n e t." J o e t e l l s th e m th at th a t's the wayj
!
the t e r m s r e a d , and p r o c e e d s to o ffe r A u b r e y a little p r e s e n t.
Y ou 'll not g iv e m e a p r e s e n t , J o e , - -g iv e it to |
y o u r m o th e r t h e r e . S h e 'll n e e d it m o r e than I
w ill. (He c r o s s e s to A m y . ) A m y h a v e you g o t j
th e fin a n c ia l p a g e t h e r e ? j
j
|
(H anding h im th e n e w s p a p e r .) Is th is it A u b r e y ? j
(T aking the p a p er and s ittin g . ) T hank you . j
A u b r ey , y o u 'r e w o n d e rfu l.
I
(S ettlin g h i m s e l f w ith the f in a n c ia l p a g e . ) A little
bluff g o e s a lon g w ay s o m e t i m e s , A m y .
I s n 't he w o n d e r f u l,M o m ?
^ t. , * 109
God h e lp m e , f r o m n ow on.
D e n o u e m e n t. - -In c h o o sin g the ab o v e a c tio n a s the m a jo r c lim a x
o f the p la y , a n o th er c o n s tr u c tio n p r o b le m b e c o m e s evid en t: s t r u c
tu r a lly the p lay h a s no d e n o u e m e n t.
T he r e q u ir e m e n ts of the d e n o u e m e n t sh ou ld b e e x a m in e d at th is
A u b rey .
A m y .
A u b rey .
A m y .
A u b rey .
A m y .
M r s . F is h e r .
108
Ibid. , p. 531.
109
Ibid.
I l l
point to s e e if the la c k of th is e le m e n t h a s s e r i o u s l y im p a ir e d the
e f f e c t iv e n e s s of the d r a m a tic c o n s tr u c tio n . F i r s t , h a s t h e r e b e e n a
lo g ic a l so lu tio n to the p r o b le m of the p la y ? In v ie w in g M r s. F i s h e r
i
.
and A u b rey the a u d ie n c e kn ow s that n e ith e r of th e m w ill change no m a t
t e r h ow m an y y e a r s th e y c o m e in c o n ta ct. T h e r e f o r e , t h e r e can be no
so lu tio n to the co n flict; th e r e can be no c lim a x in the co n v e n tio n a l
s e n s e . T he on ly so lu tio n to the p r o b le m of the p lay c o n s is t e n t w ith the
!
i
v e r a c ity of th e w ork is no so lu tio n . S e c o n d , is the fu n ctio n of d r a m a tic
r e c a l l e ff e c tiv e ly f u lf ille d ? T h e c lim a x of the p lay is a f o r m of d r a - j
m a tic r e c a ll. A ll of the a c tio n s , p r o t e s t a t io n s , and c la im s of A u b rey j
j
ishould have p r e p a r e d the a u d ie n c e fo r th is en d in g . T h e r e should h a v e !
; i
i |
|been adequate fo r e s h a d o w in g to len d c r e d ib ilit y to th is fin a l coup de
g r a c e by the p r o t a g o n is t -- A u b r e y w ou ld c e r t a in ly h a v e the t e m e r it y to
" u p -th e -a n te " f r o m $ 5 0 ,0 0 0 to $ 1 0 0 ,0 0 0 . W hile the c lim a x of the play
is la ck in g in e f f e c t i v e n e s s , it d o e s s e r v e a dual fu n c tio n , su p p lyin g the
w ork w ith th is e le m e n t of d r a m a tic r e c a l l.
Char acte r iz a tio n
M r s. F i s h e r . - - T h e F i s h e r h o u s e h o ld is d o m in a te d by a p u ritan
e th ic . It is an e th ic , in the F i s h e r ' s c a s e , w h ic h d ic ta te s fr u g a lity ,
m o d e r a tio n , and a u s t e r ity . In s h o r t, an a u r a of c o n s e r v a t is m . M r s.
F is h e r is the fo c a l p oin t of th is c o n v e n t io n a lis m . She p r o v id e s the
112
e m o tio n a l ton e fo r the h o u s e h o ld , a tone w h ic h is a d y n a m ic c o n tr a s t to
that of A u b r ey .
F r o m the op en in g of A c t I M r s . F i s h e r is c o n s is t e n tly e s ta b -
I
I
lis h e d a s the h o u s e w if e - m o t h e r . A s the c u r ta in r i s e s , the a u d ie n c e j
le a r n s th at she h a s b e e n h e lp in g A m y g e t r e a d y fo r h e r b e a u 's a r r iv a l; j
i
sh e h a s b e e n c h e c k in g on J o e to m a k e su r e h e is a ll righ t; and as Claraj
110
a r r iv e s , sh e is c o n c e r n e d about h e r w e lfa r e . M r s . F i s h e r is c o n
s is t e n tly m o tiv a te d th rou gh ou t the play; K e lly , th ro u g h the m e d ia of
p a n to m im e and d ia lo g u e , r e v e a l s M r s . F i s h e r ' s r a is o n d 'e tr e a s b ein g
th is c o n c e r n fo r f a m ily and h o u s e h o ld . M any s itu a tio n s can b e c ite d
e x e m p lify in g th is p r e o c c u p a tio n . (1) M oth er F i s h e r is c o n c e r n e d
b e c a u s e Jo e w o r k s so l a t e . ^ ^ (2) H er h u sb a n d 's w e lfa r e is a c o n c e r n
w h en she fin d s A u b rey and A m y s t i l l s in g in g and p la y in g the p ian o at
112
11:30 P .M . (3) T he n e a t n e s s of h e r h o u se is im p o r ta n t w h en sh e
113
t e l l s h e r husb and to be c a r e fu l of h is a s h e s . (4) T he w e lfa r e of the
dog is a s o u r c e of w o r r y at one p oint. (5) It is M r s . F is h e r who m a k e s
114
su r e that Joe c l o s e s h is w in d ow so the n igh t a ir w o n 't b lo w on h im .
(6) M r s . F i s h e r e n g e n d e r s a f e e lin g of " fam ily" a s she r e f e r s to h er
115
o ffs p r in g a s "our Joe" and "our A m y ." (7) And it is sh e who i s so
d istu r b e d w ith h e r y o u n g e r d a u g h te r 's c h o ic e of a m a n . M r s. F i s h e r ' s
* ^ Ibid. , p. 489. * * ^Ibid. , p. 501. ^ ^ Ibid.
^ ^ I b id . , p. 496.______ ^ ^ I b i d . , p. 50 1. ^ *^Ibid. , p. 506.
113
m a te r n a l p r e o c c u p a tio n s a r e a s ig n ific a n t fa c to r co n trib u tin g to the
c o n s is t e n t p ic tu r e w e h a v e of th e F i s h e r m a t r ia r c h w a tc h in g o v e r and,
to an e x te n t, d o m in a tin g h e r b rood .
T h e r e i s a d e g r e e of e m o tio n a l d im e n s io n e v id e n c e d in M r s.
F i s h e r ' s c h a r a c te r iz a t io n a s one a n a ly z e s h e r r e la t io n s h ip w ith h e r
tw o d a u g h te r s . E v e n though she th o r o u g h ly c a s t ig a t e s h e r y o u n g e r j
d au gh ter and a r g u e s w ith h e r d u rin g m o s t of th e p la y , sh e h a s a f i e r c e j
i :
jm a tern a l lo y a lty to w a rd h e r . It is a lr ig h t fo r h e r to c r it ic i z e A m y , j
|
but sh e w on 't a llo w anyone e l s e the s a m e p r iv ile g e . A n e x a m p le of i
j
]
th is o c c u r s w h en M r s . F i s h e r h a s b e e n t e llin g F r a n k H ylan d th at A m y |
j j
|w ill be th e p o o r e s t w om an in the c ity if she ta k e s th is m an: j
! M r s . F i s h e r . . . . You know h ow our A m y sp e n d s m o n e y ,
j (T u rn in g to C la r a .) S h e 's got s e v e n p a ir s of
s h o e s up in that h a l l - c l o s e t .
H yland . (A b str a c te d ly ) A m y c e r ta in ly d o e s le t h e r m o n e y
fly . (M r s. F is h e r g iv e s h im a sto n y lo o k . )
M r s . F i s h e r . W e ll, if sh e d o e s sh e e a r n s it. Sh e m ig h t a s w e ll
h a v e a good tim e now w h ile s h e 's y o u n g ;--G o d
kn ow s w h a t's ahead of h e r . ^ ^
T h rou gh ou t the p lay it is a p p a ren t that M r s . F i s h e r h a s a m o r e
e m o tio n a l r e la tio n s h ip to w a rd A m y than sh e d o e s to w a r d C la r a . If one
lo o k s b e tw e e n the lin e s and i s s e n s it iv e to th e n u a n c e s of M r s . F ish e r's;
r e a c t io n s to the tw o g i r l s , one fin d s n ot only th at A m y is th e d au gh ter
* ^ I b id . , p. 496.
114
th at e m o tio n a lly d is tu r b s M r s . F i s h e r but sh e i s a t t im e s s o m e w h a t
in d iffe r e n t to C la ra . E x p lo r in g the c h a r a c t e r s o n e s te p fu r th e r , we
find the m o th e r and y o u n g e r d au gh ter h a v e s im ila r p e r s o n a lit y t r a it s ,
i. e . , both a r e s p ir ite d , in d ep en d en t, and e m o tio n a l. T h is s im ila r it y
i
!
of ty p e s e e m s to h a v e g iv e n M r s . F i s h e r m o r e of an u n c o n s c io u s j
id e n tific a tio n w ith A m y than w ith C la ra . And b e c a u s e of th is , the i
I I
i i
i i
[m other s e e m s to e x p e c t m o r e of the f o r m e r th an th e la tt e r . It is p o s - j
i i
Jsible that M r s. F i s h e r ' s e m o tio n a l id e n tific a tio n w ith A m y , in c a u s in g |
i i
h e r to e x p e c t m o r e f r o m A m y , h a s th u s b e e n a c a u s e of added fr ic tio n , i
|
T h e r e a r e o th e r e x a m p le s w h ic h s u g g e s t a d e g r e e of e m o tio n a l j
|
Id im en sio n in M r s . F i s h e r ' s c h a r a c te r iz a t io n . C la r a h a s a b r ie f s c e n e j
w ith M r s . F is h e r in w h ich sh e t e l l s h e r of a w o m a n 's n e e d fo r m a le [
j
atten tio n and h ow fo rtu n a te A m y and A u b r ey a r e b e c a u s e th e y a r e in
lo v e . M r s . F i s h e r r e a c t s w ith ir r ita t io n to the m e n tio n of the w ord
" lo v e." She s a y s , "I d on 't know an yth in g about w h en p e o p le a r e in
117
love; e x c e p t that th ey a c t s illy ." It i s a p p a r e n t in th is e x c h a n g e that
M r s . F is h e r h a s little hope or r e s p e c t fo r the e m o tio n of lo v e p er s e .
(In the b r ie f s c e n e in w h ich t h e r e is an e x p o s u r e of th e r e la tio n s h ip
b e tw e e n h e r and h e r husb an d in A c t I, one can s e n s e an e m o tio n a l
s t e r ilit y and a kind of b o r e d a c c e p ta n c e of e a c h o t h e r 's h ab itu al
c o m p a n y . ) The s e n s it iv e au d ito r w ould f e e l h e r e an u n fortu n ate void in
^ ^ Ib id . , p. 520.
115
in M r s . F i s h e r ' s lif e . M r s . F i s h e r ' s r e a c t io n to C la r a 's op in io n of
lo v e is v e r y im p o r ta n t fo r the p u r p o se of c h a r a c te r c o n tr a s t. T h rou gh
the v ie w in g of two a p a th e tic , d u ty-b ou n d , in a ffe c tio n a te m a r r i a g e s
(the H y la n d 's and the F i s h e r ' s ) , the a u d ie n c e sh o u ld gain an a p p r e c ia
tio n fo r the w a r m r e la tio n s h ip b e tw e e n the P i p e r s . ]
1
M r s . F is h e r h a s c h a r a c t e r is t ic s w h ic h w ou ld c a u s e th e a u d ie n c e
I
to e m p a th iz e a n d /o r id en tify w ith h e r . It is e v id e n t that in sp ite of h e r j
h u sb a n d 's m e n ia l s a la r y and th e ir in a b ility to a c q u ir e t a s t e fu l, a e s - j
t h e tic a lly p le a s in g it e m s fo r the h o m e , sh e h a s a s e n s it iv e appreciation]
i
fo r n ic e th in g s . An a e s t h e t ic s e n s it iv it y is in e v id e n c e w h en sh e o p en s j
I
ithe b ox of candy that C lara b rou gh t h er: ,
i
I ;
! M r s . F i s h e r . O h ,isn 't that lo v ely , C la r a ? (T iltin g the b o x .) !
I D o n 't that look n ic e ?
C lara. Y e s , th ey do th e ir candy up n ic e .
M r s. F i s h e r . (G in g e r ly p ick in g up the c o v e r of la c e paper) T hat
lo o k s j u s t like I r is h p oin t la c e , don't it? I think
I 'll put th at aw ay s o m e w h e r e , - - in a b ook or
so m e th in g . My, lo o k at a ll the c o lo r s - -lo o k ,
C la r a -- d id you e v e r s e e so m a n y c o lo r s ?
C lara. It's p r e tty is n 't it?
118
M r s. F i s h e r . It's b e a u t if u l - - s e e m s a p ity to s p o il it.
T he m i d d l e - c l a s s m e m b e r s of the a u d ie n c e w ou ld e m p a th iz e w ith
M oth er F i s h e r if th ey had e v e r w an ted c e r t a in n i c e t i e s w h ic h w e r e
b eyond th e ir m e a n s .
I ] O
Ib id ., p. 491.
Il6~
A u b r e y P i p e r . - - T h e r e is little doubt about the v ita lity of A u b r ey
P ip e r . T h e p r e d o m in a n c e o f A u b r e y 's c h a r a c te r i s e v id e n t f r o m the
b e g in n in g of the p la y . He is e ith e r d i s c u s s e d , m im ic k e d , or m o c k e d
in th e op en in g s c e n e s of the p la y by a ll of the p r in c ip a l c h a r a c t e r s .
T he f i r s t tim e the a u d ie n c e h a s any e x p o s u r e to A u b r e y , he i s h e a r d
119 i
c le a r ly and v ib r a n tly lau g h in g in the p a r lo r . The a u d itor h e a r s n ot j
I
1
on ly the laugh but a ls o A u b r e y 's b a r ito n e v o ic e ech o th ro u g h the h o u se |
I I
I ]
|as he c r a c k s h is jo k e s and a r tic u la te s h is c li c h e s . W hen he f i r s t
e n t e r s th e a u d ie n c e sh ou ld b e i m p r e s s e d w ith the im a g e th ey se e: j
b r ig h t c a r n a tio n , c lo s e - c l ip p e d m o u s ta c h e , sh in y ca n e (w h ich he j
I
I
w ie ld s a s if he w e r e on the v a u d e v ille s ta g e ), w h ite - s patte d s h o e s , j
w in g c o lla r , and s tr ip e d tw e e d s u it. H e is a lw a y s m o v in g f r o m p e r -
I
so n to p e r s o n , tap p in g the c a n e , p oin tin g at th is one and n o w that o n e,
and c o n s is t e n t ly r o a r in g w ith la u g h ter at w hat he c o n s id e r s to be j o k e s .
One can e a s il y im a g in e th is f ig u r e , w ith th e s e a c tio n s , an n ou n cin g h is
e n tr a n c e in the fo llo w in g way:
|
S tay r ig h t w h e r e you a r e f o lk s , r ig h t w h e r e you a r e . (He m o v e s
to the m ir r o r o v e r the m a n tle p ie c e to c h e c k h is p h y s ic a l a p p e a r
a n c e . ) J u s t a little s o c ia l a tte n t io n -- g o in g r ig h t out on the n e x t
tr a in . (A d ju sts h i m s e l f a g a in in the m ir r o r : to u ch in g h is to u p e e ,
s tr a ig h te n in g h is bow tie . ) T h e r e you are, M o th er ! (G e stu r in g to
h is r e f le c t io n in the m ir r o r . ) Any w o m a n 's fa n c y , w h at do you
s a y ? E v e n dow n to the little old c a r n a tio n . ^ 0
119
I b i d ., p. 496.
^ ^ Ib id . , p. 498.
117
T he a u d ie n c e w ill s e n s e in A u b r ey , d uring th is op en in g s c e n e , a
v ita lity w h ic h is so o n a p p aren t to be c o n s is t e n t in the d e s ig n of the
121
c h a r a c te r . A u b r e y 's th o u g h ts, lik e h is a c tio n s and v o ic e , a r e a ls o
" b ig g e r - t h a n - life ." H e ta lk s of m o v in g into a h o u se w ith enough land
around it so he can play a little te n n is in the e v e n in g if he w is h e s .
122 I
T h is i s f r o m a m a n who m a k e s $34. 50 a w e e k ! In the s a m e s c e n e , j
he t e l l s M r s . F i s h e r that h e h a s the loan of H a rr y A lb r ig h t's ca r and j
123 I
he is go in g out to the A u to m o b ile Show . (
j
F r o m h is f i r s t e n tr a n c e u n til he c o n s u m m a te s a d e a l w ith the ,
|
M e y e r s and S te v e n p eo p le fo r $ 1 0 0 ,0 0 0 , K e lly h a s c r e a te d in A u b r ey j
P ip e r a c h a r a c te r th at is tru ly la r g e r than lif e . W ith h is in d o m ita b le j
s p ir it , h is o p t im is t ic a p p ro a ch to lif e , h is r o m a n tic , i d e a li s t i c o r i e n
ta tio n , and h is p e r s o n a lit y -p lu s b o m b a s t, A u b rey d o m in a te s a ll of the
s c e n e s he i s in. P ip e r is one of K e lly 's m o s t unique and v ita l
c r e a t i o n s .
T h e r e a r e m an y a s p e c ts of A u b r e y 's c h a r a c te r w h ic h a r e
r e v e a le d and th en c o n s is t e n tly d is p la y e d th rou gh ou t the p la y . E a c h
12 1
K e lly , in a p r iv a te in te r v ie w on July 2 , 1971, aaid
th at th e c a s tin g of A u b rey w a s a g r e a t p r o b le m b e c a u s e th ey co u ld n 't
g e t an yon e who w a s g r a c e fu l enough. T h ey fin a lly c a s t a d a n c e r in the
part: L o u is John B a r t e ls . M r. B a r t e ls h a s b e e n c o n s id e r e d th e d e f in
itiv e A u b r ey . H e p la y ed the p art fo r t h r e e y e a r s d u rin g the B r o a d w a y
run of the p lay.
122
K r o n e n b e r g e r , Cavalcade of C o m e d y , p. 501.
123
Ibid. , p. 505.
118
t im e that he t e l l s a sto r y or r e la t e s s o m e h ap p en in g in h is life h e c o n
s is t e n t ly p r e v a r ic a t e s , e x a g g e r a tin g the sto r y or in c id e n t into g r a n
d iloq u en t p r o p o r tio n s . An e x a m p le of th is o c c u r s w h en M r. G ill c o m e s
to r e tu r n M r. F i s h e r ' s lu n ch b u ck et a fte r h e h a s d ie d . A u b r e y , alon e
in the F i s h e r h o m e , t e lls M r. G ill the p r o b le m s he had a c q u ir in g th is '
I
I
h o m e that h e o w n s . A u b rey th en p r o c e e d s to e la b o r a te on h is o r ig in a l j
lie , d e s c r ib in g h ow he o ffe r e d M r. F is h e r a h a n d y m a n 's job if he j
i
w ould lik e to f ix th in g s around the h o u se; and he s a y s th at he in v ite d j
124 !
M r s. F is h e r in to liv e w ith h im a fte r the death of M r. F i s h e r . i
i
A n oth er a s p e c t of A u b r e y 's c o n s is t e n c y is r e v e a le d in h is j
a b ility to m a in ta in an e v e n d is p o s itio n in the fa c e of e ff r o n t e r y , d i v e r
s ity , a n d /o r s e v e r e c r it ic i s m . The f i r s t tim e the a u d ie n c e m e e t s j
A u b r ey , he is fa c e d w ith the e ffr o n te r y of the F i s h e r f a m ily a s one by
one e a c h d i s m i s s e s h im s e lf fr o m A u b r e y 's p r e s e n c e (e v e n though A u b
r e y h a s only b e e n in the r o o m fo r about two m in u te s w h en the f i r s t
m e m b e r d e p a r ts). Y et th is le a v e -ta k in g d o es not b o th er A u b r ey in th e
s lig h t e s t . R e tu r n in g h o m e f r o m h is s e r io u s a u to m o b ile a c c id e n t h e is
a c tu a lly quite b u oyan t! And e v e n though fa m ily m e m b e r s s u b je c t h im
to s e v e r e c r i t i c i s m and s a r c a s m , he a c c e p ts th e ir r e m a r k s w ith r e l a
tiv e c a lm and n e v e r r e s o r t s to r e c r im in a tio n s n or d o e s he e v e r in v o lv e
125
h im s e lf m an a r g u m en t.
174 125
I b id ., p. 514. Ibid. , pp. 5 1 4 -5 1 5 .
119
One r e a s o n A u b rey is su c h a s y m p a th e tic c h a r a c te r is b e c a u s e
o f h is r e la tio n s h ip w ith h is w ife . A s A rth u r W ills s a y s in an o r ig in a l
stu d y of G eo r g e K e lly ,
A th ird ste p that the p la y w r ig h t took to m a k e A u b rey lik a b le w as
to g iv e h im a h e lp m a te g e n u in e ly in lo v e w ith h im and blind to h is
fa u lts . . . sh e is en ch a n ted w ith h im and n ot on ly a c c e p ts h im as
he is but p rou d ly c o m e s to h is d e fe n se if anyone m a k e s lig h t of
h im . 126
A u b r e y 's c o n s is t e n t a ffe c tio n for h is w ife is e x p lic it in both h is a c tio n s
I
jand w hat o th er c h a r a c te r s sa y about h im . H is r e la tio n s h ip w ith A m y
I
is d is c u s s e d b r ie fly by C la r a and M r s . F is h e r :
C la ra . S h e 's in lo v e w ith h im M o m - - s h e d o e s n 't s e e
h im th rou gh th e sa m e e y e s that o th e r p e o p le do.
M r s . F i s h e r . Y o u 'r e a lw a y s ta lk in ' about lo v e , you g ive m e a
pain.
C la ra . She m ig h t h a v e tak en w o r s e M om . H e d o es h is
b e s t . He w o r k s e v e r y d ay, and h e g iv e s h e r h is
m o n ey ; and nobody e v e r h e a r d of h im look in g at
a n o th er w o m a n . 127
It is im p o r ta n t in the p o r tr a itu r e of c h a r a c te r for the p la y -
| w r ig h t to sh o w as m a n y n u a n c e s of the p e r s o n a lity a s p o s s ib le in o r d e r
i
to e x p o s e an e m o tio n a l d im e n s io n . E x p e r ie n c in g A u b r e y 's van ity and
b lu ff, h is s o a r in g e n e r g y , h is te n d e r r e la tio n s h ip w ith A m y , h is e v e n
d is p o s itio n in t im e s of s t r e s s , and h is r e f u s a l to s e t t le fo r the c o m -
^ ^ W i l l s , " G eo rg e K e lly ," p. 69.
127
K r o n e n b e r g e r , The C avalcade of C o m e d y , p. 520.
' ■ 120
m o n , the a u d ie n c e s e e s m an y f a c e t s of th e c h a r a c te r .
T h e m e
A s u p e r f ic ia l d e te r m in a tio n of the th e m e w ould r e s u lt in th e
fo llo w in g s ta te m e n t: a g o o d -h e a r te d but ob n oxiou s b r a g g a r t c a n u p s e t \
i
j
a m o t h e r - in - l a w , f u lfill a lo y a l w ife , and h e lp to c o n s u m m a te a s u e - ■
j
c e s s f u l b u s in e s s d e a l. H o w e v e r , an e x a m in a tio n of the r e a s o n s why j
i
A u b r ey is so s u c c e s s f u l in h is b u s in e s s d ea l and a c lo s e r lo o k at the i
m ilie u the m o t h e r - in - l a w r e p r e s e n t s w ill r e v e a l th e m a tic im p lic a tio n s j
of m o r e s ig n if ic a n c e and u n iv e r s a lity . ■
i
i
| T h e m e Should B e C le a r , R e le v a n t, and U n iv e r s a l . - -K e lly is not!
only s a t ir iz in g A u b r e y , he is a ls o taking a m o r e c r it ic a l lo o k at th e j
b u s in e s s c o m m u n ity of the t im e . S e v e r a l c r i t i c s , in e v a lu a tin g the
p la y , found its on ly fa u lt to be the en d in g, w h ich th ey thought to be
r a th e r c o n tr iv e d . T h ey fe lt that K elly s e n t im e n t a liz e s the p lay w h en
th e happy en d in g o c c u r s . T h ey a ls o f e lt that the unity of the p ie c e is
jlo s t w h en A u b r e y the b r a g g a r t and s e l f - s t y l e d " b ig -tim e o p e r a to r "
I
d o e s n 't g e t h is j u s t d e s s e r t s fo r h is la c k of v a lu e s , h ard w o r k , and
p r o p e n s ity fo r p r e v a r ic a tio n . T he point th ey m i s s e d , w h ich M r. K elly
b rou gh t out in an in te r v ie w , w as the fa c t that w hen A u b rey s u c c e e d s so
e a s ily by u s in g b o m b a s t and bluff w ith the M e y e r s and S te v e n s Com pany
(the c o m p a n y th at p a y s fo r J o e 's d is c o v e r y ) , the s a tir e no lo n g e r
f o c u s e s on A u b r e y but in s te a d tu rn s its e x c o r ia tin g lig h t on the b u s in e s s
121
128
c o m m u n ity in g e n e r a l. C o n sid e r in g K e lly 's m e s s a g e in th is lig h t,
th e a u d ie n c e is a sk e d to e x a m in e not on ly A u b r ey P ip e r , but a ls o the
d e c is io n - m a k e r s in big b u s in e s s . W hat d o es it m e a n w hen a m a n can
put a c a r n a tio n in h is la p e l, sp ou t e u p h e m is m s , and c o n s u m m a te a
$ 1 0 0 ,0 0 0 d e a l?
If A u b rey is so c o n v in c in g and s u c c e s s f u l in h is r e la tio n s w ith
c o n te m p o r a r y b u s in e s s e x e c u t iv e s , it ca n be a s s u m e d that th is p r o t o
type of th e " P e r s o n a lit y - P lu s c o u r s e s and the G o -G e tte r S ch o o l of
129
b u s in e s s p r o c e d u r e " m a y be a fa r m o r e im p o r ta n t fig u r e on the
A m e r ic a n s c e n e than m o s t r e a li z e . A u d ie n c e s m a y lau gh at A u b rey
|
jwhen he s tr u ts and b e llo w s , but th ey a ls o m a y e x p e r ie n c e a d e g r e e of
I
|
j id e n tific a tio n w h en th ey s e e h im d e c id e th at h e w an ts a h o u se w ith a
te n n is c o u r t and buy a $7. 50 tic k e t at th e fo o tb a ll g a m e on b o r r o w e d
m o n e y , w ith on ly a s a la r y of $34. 50 a w e e k . A u b rey is m o r e a m a n of
h is t im e s than s u r fa c e o b s e r v a tio n r e v e a l s . F r e d e r ic k A lle n , in h is
book on th e 1 9 2 0 's, O nly Y e s te r d a y , s a y s that p r o s p e r ity w a s due to
two fa c to r s : (1) a r is in g s to c k m a r k e t, and (2) an in c r e a s e in i n s t a l l
m e n t bu yin g. H e c o m m e n ts
P e o p le w e r e g ettin g to c o n s id e r it o ld -fa s h io n e d to lim it th e ir
p u r c h a s e s to the am o u n t of th e ir c a s h b a la n ce; the thing to do w as
128
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , June 22, 197
129
R o b er t B en ch ley, "Dram a, " Life M agazin e, F e b r u a r y 21,
1924, p. 24.
v n r
to " e x e r c is e th e ir c r e d it. " B y th e la tte r p a r t of the d e c a d e ,
e c o n o m is ts fig u r e d that 15 p er c e n t of a ll r e t a il s a le s w e r e on
an in s ta llm e n t b a s is and that th e r e w e r e s o m e s ix b illio n s of
" e a sy p aym en t" p ap er ou tstan d in g.-^ ®
E v e n though K elly h a s e x a g g e r a te d th e fig u r e of A u b r ey s o m e w h a t, he
is a f a ir ly r e p r e s e n t a tiv e in d iv id u a l of the 1 9 2 0 's, w ith h is "buy on
i
I
tim e " and e a s y m o n e y p h ilo so p h y . It s e e m s e v id e n t that K elly k n ew j
j
h is tim e and th e r e p r e s e n t a tiv e typ e he w an ted to s a t i r iz e . H e a ls o j
I
knew that in p lottin g h is play so that A u b rey is ab le to c o n s u m m a te a j
J
i ;
i j
Sprestigious d e a l, he m ig h t be lau g h ed at, but the m o r e s e n s it iv e and |
in sig h tfu l au d itor w ould e x a m in e h im fo r h is r e p r e s e n t a t iv e f o ib le s and |
a b s u r d itie s w h ic h , if th e tru th w e r e know n, w e r e p ro b a b ly a d m ir e d by j
I
a la r g e s e g m e n t of th e c o n te m p o r a r y a u d ie n c e . In a c h ie v in g a d m ir a - !
i
Ition and a ffe c tio n fo r A u b rey as w e ll as id e n tific a tio n w ith th is i r r e
s p o n s ib le e x tr o v e r t, K elly d e m o n s tr a te s the u n iv e r s a lity of h is p lay |
!
and illu m in a te s w ith tr e n c h a n t w it s i m i l a r i t i e s b e tw e e n the c o n t e m p o
r a r y au d ito r and A u b r e y - - s i m i l a r i t i e s th at m o s t a u d ie n c e m e m b e r s
w ould n o t p r e fe r to a c k n o w le d g e .
A n o th e r r e le v a n t a s p e c t of K e lly 's m e s s a g e is the c o n t r a s t
b e tw e e n the v ita lity of A u b rey and th e s ta t ic q u a lity of th e su r r o u n d in g
m ilie u . B y m a k in g A u b r ey a lik e a b le and, to an e x te n t, an id e n tifia b le
c h a r a c te r , K elly c a u s e s the a u d ie n c e to look m o r e p e n e tr a tin g ly at the
130
F r e d e r ic k L e w is A lle n , O nly Y e s te r d a y (N ew York: H a rp er
and B r o t h e r s , 1957), p. 168.
123
in d iv id u a ls around h im . A rth u r W ills , in h is stu dy of T h e S h o w -O ff,
d e s c r ib e s the F i s h e r m ilie u w ith t e r s e s e n s itiv ity :
. . . the p r o s a ic , d ictap h on e n a tu re of the d ia lo g u e r e f l e c t s the
s t e r i li t y in th e F i s h e r ' s lif e and a c c e n tu a te s th e ir in te lle c tu a l
p o v e r ty and s p ir itu a l le th a r g y . The F i s h e r s a r e c r e a t u r e s of
h a b it, n oth in g m o r e . . . and the w o r ld o u ts id e th e ir h o m e is off j
lim it s to th e m . T he p r o b le m s that c la im th e ir e n e r g y , a bad |
h e a t e r , an u n h e m m e d d r e s s , a b r o k e n la m p sh a d e , a r e lin k s in j
a f o r g e d ch a in of d o m e s t ic b o n d a g e. A u b r e y 's r e f u s a l to be m a n - j
a c le d th e y o f c o u r s e can n ot a p p r e c ia te ; h is r e a c h in g fo r the u n - j
a tta in a b le .131 j
i j
JWills c o n tin u e s by s a y in g th at it is n ot so m u c h A u b r e y 's fr u s tr a te d j
r e a c h in g th at is im p o r ta n t, but the fa c t that h e r e a c h e s ! H is d r e a m s , \
h is p la n s , h is r o m a n tic v is io n of the fu tu re " e ffe c tiv e ly d r a m a tiz e the ■
s t i l l b o rn life a rou n d h im . " T he F i s h e r m ilie u s u p p lie s the r e a li s t i c !
b a s e fo r th e p lay and th e " und ertone of a c r id c o m m e n t upon A m e r ic a n
132
life ," a c c o r d in g to K ru tch , but A u b rey fu r n is h e s the w in g s of c o m
ed y and the d r a m a t is t 's c o m m e n t upon the in s ta b ility , im p u ls iv e n e s s ,
and m a t e r ia l is t ic o r ie n ta tio n of the t im e .
In lig h t of th is d i s c u s s i o n , a m o r e pungent and p ro b in g d e f in i
tio n of K e lly 's th e m e in th is s a t ir ic a l w o rk sh ou ld be sta te d as fo llo w s:
a v ita l w e ll- in te n t io n e d p ro to ty p e of the " P e r s o n a lit y - P lu s c o u r s e s and
133
th e G o -G e tte r S c h o o l of b u s in e s s p r o c e d u r e . . . " can not only
W ills , " G eo rg e K e l ly ," p. 68.
132
K ru tch , A m e r ic a n D r a m a S in ce 1918, p. 63.
133
B e n c h le y , "D ram a," L ife, F eb ru a ry 21, 1924, p. 24.
T Z T -
i m p r e s s and sw a y d e c is i o n - m a k e r s in the w o r ld of b u s in e s s , but can
a ls o d e m o n s tr a te by c o n tr a s t th e m o n o to n o u s c o n fo r m ity and s ta tic life
s ty le of a p a r tic u la r s e g m e n t of the l o w e r - m i d d l e - c l a s s m ilie u .
R e le v a n c e and u n iv e r s a lity s e e m to b e the fa c t o r s that h elp ed
th e p lay to h a v e su c h a long run. K elly sa id in an in te r v ie w that fo r a
i
p e r io d of t im e , A u b r ey w as one of the m o s t o ften quoted in d iv id u a ls in J
134 I
N ew Y ork C ity.
I In T h e S h o w -O ff, K e lly d o e s n o t ju d g e any of the c h a r a c te r s . j
1 I
I I
T h e r e is no e x c o r ia tin g j u s t ic e v is it e d upon A u b r ey b e c a u s e of h is j
s h o r tc o m in g s ; quite the c o n tr a r y , sy m p a th y is c r e a t e d fo r h im becausej
|
|of K e lly 's m a n ip u la tio n of c h a r a c t e r s and e v e n ts . T h e F i s h e r fa m ily , j
i 1
jw h ile not e x p o s in g p r o b le m s a s ap p a ren t a s A u b r e y 's , cou ld h ave had
I
135
th e ir " d o m e stic b o n d age," th e ir la c k of s p ir it , and th e ir p u ritan
c o n s e r v a t i s m e x p o s e d w ith a m o r e p i t i l e s s s c a lp e l. H o w e v e r , K elly
r e s i s t s any ty p e of m o r a l e v a lu a tio n of h is c h a r a c te r s and th e p lay,
b e in g a c o m e d y , r e a p s the b e n e fit of h is ju d g m en t.
T h e m e Should R e s u lt in U n ity . - - T h e c e n tr a l c o r e of the p lay,
th e r a is o n d 'e tr e of the w o r k , is A u b rey and h is e f f e c t upon e a c h m e m
b e r of the F i s h e r h o u s e h o ld , non e of w h o m a r e le ft u ntouched or u n a f
f e c t e d . O ne of th e s ig n ific a n t q u a litie s of the c h a r a c te r iz a t io n is the
134
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , Ju ly 2, 1971.
135
_______W ills, "George K elly , " p. 68.________________ ________________
125
w ay A u b r e y r e m a in s tr u e to h im s e lf . T h e r e a re no su b p lo ts and no
o th er c h a r a c te r s w h ich in tru d e on th e i m p r e s s io n th at th is " so a r in g
b lu n d erb u st" is m a k in g . E v e n M r s . F i s h e r , a fo r m id a b le and
r e s p e c t e d a n ta g o n ist of A u b r e y 's w h en the p lay o p e n s , h a s no e f f e c t on
h im w h a ts o e v e r . T h e d e lin e a tio n of A u b rey P ip e r and h is e f f e c t on the
F i s h e r h o u s e h o ld s e e m s to have b e e n the c o n tr o llin g f o r c e in th e play
and to h a v e g iv e n it its f o r m , con ten t, and u n ity.
i
i '
i j
An E v a lu a tio n of the C r it ic is m j
|
V a lid and I n c o m p le te C r i t i c i s m . - -M o s t of the c r it ic s d e a lt w ith
the s k illfu l d e lin e a tio n and u n iv e r s a l a s p e c t s of the c h a r a c te r of A u b r ey
P ip e r . S in c e th e stu dy found th e s e a s p e c t s of T h e S h o w -O ff to be w ith-!
j
out w e a k n e s s , the m a jo r ity of the c r i t i c i s m w as v a lid .
In ap p lyin g the c r it e r i a to th is p la y it w a s d is c o v e r e d th at th e r e
w as a s u b tle and e ff e c tiv e u n ific a tio n of c h a r a c te r and p lo t. H eyw o od
B ro u n n o te s th is a s p e c t of the w o rk w h en he w r ite s :
. . . it s e e m s to m e that th e r e is s o u n d n e ss in the s c h e m e w h e r e
by the au th or m a k e s s o m e one c h a r a c te r a c o n c e r n a b o v e that of
the ta le i t s e lf . I a m no lo n g e r d raw n to the p lay "with the big
id ea" or the c o m e d y c o n s tr u c te d fo r th e sa k e of a s in g le t e llin g
s c e n e . W hen an author w o r k s f r o m su c h a b lu e p r in t h e m u s t . . .
s c r u n c h and w h ittle h is c h a r a c te r s n ow and th en to m a k e th e m fit
into h is p lot s c h e m e . . . . No su c h in te r f e r e n c e is v is it e d upon
A u b r ey P ip e r . . . . He s e t s th e p a c e and the s to r y f o l l o w s .
136
H eyw ood Broun, "The N ew P la y , " The W orld, F e b r u a r y 6,
1924, p. 32.
126
T he b u o y a n cy and v ita lity of A u b r ey m a d e a tr e m e n d o u s im p r e s s io n on
the c r i t i c s . S ta r k Y o u n g's a r tic u la te c o m m e n ts on A u b rey a r e r e p r e -
jse n ta tiv e of w h at o th e r w r i t e r s s a id .
| A u b r e y w ill n e v e r go a n y w h e r e , but h e cannot b e tie d dow n. If
y o u lo v e h im , he r e s p o n d s to it; if y o u c e n s u r e h im , h e h a r d ly j
n o t ic e s th e fa c t. H e h a s w ild w in g s and a th ick sk in . H e is j
a lw a y s s e c o n d - r a t e , c o m m o n p la c e and so a r in g . He is r a u c o u s , I
v a in and g e n tle . . . . H e is an in to le r a b le , in c o n s id e r a t e b r e e z e j
b lo w in g th r o u g h , but f r o m th is t im e on the r o o m w ill be stu ffy j
w i t h o u t h i m . ^ 7 j
!
j T h e u n iv e r s a l a s p e c t s of K e lly 's p r o ta g o n is t w e r e n o ted by m a n y
c r i t i c s . R . D an a S k in n er and R o b e r t B e n c h le y had r e p r e s e n t a t iv e i
|
r e m a r k s in w h ic h th e y r e c o g n iz e d th is s tr e n g th in c h a r a c te r iz a t io n . j
i
i
S k in n er w r o te : j
t !
|
| "The S h ow -O ff" c o n ta in s the s a m e e s s e n t i a l g r a in of tru th that
M o lie r e 's " B o u r g e o is G e n tilh o m m e " c o n ta in s . M o lie r e 's fa m o u s
M o n s ie u r J o u r d a in is a s h o w - o f f of a v e r y d iffe r e n t type fr o m
G e o r g e K e lly 's h e r o . B u t the F r e n c h p e o p le of M o lie r e 's day
co u ld have u n d e r s to o d G e o r g e K e lly 's h e r o , as w e , of c o u r s e ,
u n d e r sta n d M o li e r e ' s .
W ritin g of A u b r e y , B e n c h le y s a y s , "H is c lic h e s a r e m o r e v iv id , and
h is o p p o r tu n itie s fo r B ig T a lk a r e e n h a n c e d a th o u sa n d fo ld w ith the
139
a d v en t of the a u to m o b ile and the w o n d e r s of m o d e r n s c ie n c e ."
137
S ta r k Y ou n g, "Safe C hild of V a u d e v ille , " T he N ew Y ork
T i m e s , F e b r u a r y 15, 1925, S e c . VII, p. 1.
138
R ic h a r d D an a S k in n e r , "T he P la y , " T h e C o m m o n w e a l, 17
(D e c e m b e r 14, 1932), 187.
139
R o b er t C. B e n c h le y , " D ram a, " Life, F e b r u a r y 21, 1924,
p. 18.
127
E v e n though the c h a r a c te r of M r s . F is h e r w a s by lin e - c o u n t a
m o r e e x t e n s iv e p a rt than A u b r e y 's , the c r it ic s did n ot pay p a r tic u la r
a tte n tio n to h e r d e lin e a tio n . It w as found in the stu dy that sh e w as
s k illfu lly d e p ic te d . E v e n though m o s t c r i t i c i s m w a s in c o m p le te as far
i
a s th is c h a r a c te r w as c o n c e r n e d , tw o w r it e r s paid trib u te to M r s . j
F i s h e r . D avid C arb r e c o g n iz e d the a u th e n tic ity of the F is h e r m a t r i- j
arch: j
| . . . the ag in g w o m a n d is illu s io n e d by h a r d s h ip , sh a r p y e t ten d er !
in an u n s e n tim e n ta l w a y , who s a y s , " e v e r y s w e a t e r I s ta r t I
s w e a r i t ' ll be the la s t ." And you know th at alth ou gh sh e w ould j
a s s e r t , "If th ey w ant s w e a t e r s le t 'em k n it th em " sh e w ill go on i
k n ittin g s w e a t e r s to th e e n d .1^0 !
|
Y oung c o m m e n ts on the im p o r ta n c e of M r s . F is h e r su p p lyin g a w is tfu l |
141 I
rh y th m th ro u g h o u t th e w o r k .
N ot o n ly did M r s . F i s h e r ' s c r it ic a l a tten tio n p a le and d im in is h
in the sh a d o w of A u b r e y 's a c c o la d e s , but so did the l e s s e r c h a r a c te r s
in the w o r k . T w o c r it ic s w e r e c o g n iz a n t of the s ig n ific a n c e of K e lly 's
m ilie u d e p ic tio n in th is w o r k . John C orb in w r it e s about K e lly 's fa c ility
w ith th e m in o r c h a r a c te r s :
E v e r y on e of th e s e p e o p le of M r. K e lly 's is to m e a liv in g en tity
w h o se p a s t and p r e s e n t I know as in tim a te ly as th at of m y n e a r e r
f r ie n d s , though th e ir h a b ita t is a d im , r e m o t e , subu rb n e a r
P h ila d e lp h ia . I know th e head of th e f a m ily , a plod d in g s ile n t,
140
D a v id C arb, "To See or N ot to S e e , " T h e B o o k m a n , 59
(A p r il, 1924), 204.
141
Young, "Safe Child of V au d eville, " p. 1.
128
m e c h a n ic . . . . I know h is s h r e w d , lo q u a c io u s w ife , in te r m in a b ly
c a p tio u s of s m a ll fa u lts and s ile n tly fo r g iv in g of th e big o n e s . I
know the in v e n to r so n , s e lf -t a u g h t , s e r e n e - - I know the vain and
s e lf - w il l e d d a u gh ter who is c a p tiv a te d by the g la m o u r of the S h o w -
Off as by the fa s h io n p la te s of th e w o m e n 's m a g a z in e s - -and is
d o g g ed ly fa ith fu l to both. 142
Y oung w a s not only s e n s it iv e to th is m ilie u d e lin e a tio n o f K e lly 's but hej
i i
sa w in it a s u b s id ia r y th e m e in w h ich the v ita lity and a ffe c tio n in h e r e n t j
i
in the c h a r a c te r of A u b r ey w e r e fu r th e r h e ig h te n e d and e m p h a s iz e d . j
i
i
Young o b s e r v e s : !
. . . u n d er n e a th the f a m ilia r m o tiv e of th e r e s t of the fa m ily 's j
h a v in g to chip in and h e lp the im p r o v id e n t m e m b e r s out, w h at j
a s u g g e s tiv e and w is tfu l n u an ce that is w h en the author m a k e s j
the p r o s p e r o u s b r o t h e r - in - la w w ith h is r e m o r s e for so m e th in g
he h as done to a w o m a n who lo v e d h im , the c h ild le s s and u n lo v ed
w ife , th e d e v o te d , gru ff m o th e r , and the in v e n to r so n who h a s I
liv e d on h is ow n kind of d r e a m , d is c o v e r in t h e m s e lv e s a lo n g in g i
to h e lp th is p a ir of m a d -h a tt e r s in P a r a d is e and so k e e p a liv e in
the w o r ld s o m e th in g th ey t h e m s e lv e s h ave n e v e r quite h a d .^ ^
T h e only d is a g r e e m e n t am on g the c r it ic s o c c u r r e d w h en the q u e s tio n ofi
]
the en d in g of th e p lay w a s d is c u s s e d . In the fin d in g s of th is stu dy it !
w as le a r n e d that K e lly 's ending w a s not only c r e d ib le , but that it
b r o a d e n e d h is th e m a tic im p lic a tio n s c o n s id e r a b ly . T h e r e w e r e only
two c r it ic s who m a d e a s p e c if ic point of c o m m e n tin g on th e c r e d ib ility
of K e lly 's e n d in g , C orbin and H a ro ld K e llo c k . T he la tt e r 's r e m a r k s
a r e in e s s e n c e the s a m e as C orb in 's:
142
John C orb in , " 'H e ll-B e n t fo r H ea v en ' v e r s u s 'The S h ow -
O ff' for the P u lit z e r P r i z e , " N ew Y ork T i m e s , M ay 25, 1924, S e c .
VIII, p. ix .
143
Young, "Safe Child of V audeville, " p . 1.
129
S o m e of the c r it ic s h a v e o b je c te d to A u b r e y 's fin a l coup as a r t i
fic ia l; but th is r e v ie w e r found it e a s il y c r e d ib le . T h e r e is lit tle
r e a s o n to doubt th at s u c h a t i r e l e s s h u m a n b e llo w s w ou ld t r a v e l
fa r on th e ro a d to s u c c e s s in a s o c ie t y w h e r e the r e w a r d s a r e
a d ju sted to a d v e r t is e m e n t and s a le s m a n s h ip r a th e r than to w o r k
m a n sh ip and in t e llig e n c e . H e [A u b rey ] h a s no a s s e t s h ig h e r than
u n m itig a te d s e l f - a s s u r a n c e and r e a d y v o c a liz a tio n , but th e s e
ought to s u f fic e . 1^4
i !
i |
T h e c r i t i c i s m of the w r it e r s who w e r e not c o g n iz a n t of K e lly 's sa tiriza -f
|
tio n of big b u s in e s s and K e lly 's u s e of A u b r ey a s a r e p r e s e n t a tiv e of j
i
!the c o n te m p o r a r y , b o m b a s tic s a le s m a n sh o u ld b e c o n s id e r e d in c o m -
! j
p le te . It w as found in th e study th at th is w a s an im p o r ta n t a s p e c t of j
|the w ork . It w a s a ls o d is c o v e r e d that th e r e w a s an im p o r ta n t su b -
i
}
jsid ia ry th e m e w h ic h w a s n o ted by o n ly th r e e c r i t i c s . K elly is m a k in g
ia s ta te m e n t about th e s ta t ic , d o m e s t ic bond age of the F is h e r f a m i l y - - i
I l
la s e n s it iv e o b s e r v a tio n of m i d d l e - c l a s s , m id d le - a g e m a r r ia g e . K rutch
h in ted at th is a s p e c t of the w o rk w h en h e sp ok e of the " a crid overtones"!
145
of th e p lay. Y ou n g's r e m a r k s w ith r e g a r d to th is l i f e l e s s m ilie u
w e r e n o ted on the p r e v io u s p a g e . K en n eth M a cg o w a n w r ite s s p e c i f i
c a lly and c le a r ly on th is s u b s id ia r y th e m e :
I don't r e m e m b e r any A m e r ic a n p la y w r ig h t who h a s so d e lib
e r a te ly and so c o m p le t e ly r e p o r te d the i m p r e s s io n , lo d g ed in a
la r g e p art of th e fe m in in e c o m m u n ity p a s t f o r t y , that the tro u b le
in life is th is b u s in e s s of g e ttin g m a r r ie d . K e lly c a r r i e s th e play
c le a r out of the r a n g e of e f f e c tiv e e n te r ta in m e n t w h en h e sh o w s
144
H a ro ld K e llo c k , "The T h e a t r e , " T he F r e e m a n , 8 (F e b r u a r y
27, 1924), 5 9 2 -5 9 3 .
145
K ru tch , A m e r ic a n D r a m a S in c e 1 918, p. 63.
130
the w ife of th e n o - a c c o u n t b r a g g a r t d e v o ted ly happy and h e r s is t e r
w e ig h e d dow n by h e r m a r r ia g e to a kind, h o n e s t, in d u s tr io u s , and
s u c c e s s f u l m a n w h o , in s p ite of h im s e lf , can not lo v e h e r as he
lo v e d the g ir l who jilte d h im . T h is c o n t r a s t is u n o b tr u s iv e ly m a d e .
It is a ll the fin e r fo r its r e t ic e n c e . 146
M o s t of the c r it ic s w e r e a w a r e of the e la n v ita l and u n iv e r s a lity
j s
of th e play; f a c t o r s w h ic h w ou ld g iv e a w o r k a t i m e l e s s ap p ea l and a j
t
p e r m a n e n c e in th e A m e r ic a n t h e a tr e . T h is is the only K elly w ork j
jwhich h a s b e e n g iv e n s ig n ific a n t B r o a d w a y p r o d u c tio n s in 1932, 1950,
|
jand 1967. B e c a u s e th e p lay e m b o d ie s fe w f la w s , m o s t of the c r i t i c i s m |
I !
j I
Iwas v a lid . J o s e p h W ood K ru tch c o m m e n ts on the 1932 r e v iv a l:
i
| R e v iv a ls of r e c e n t p la y s h a v e a w ay of b e in g d is c o u r a g in g ly
! u n in t e r e s t in g , but G e o r g e K e lly 's "The S how -O ff" sta n d s up
| r e m a r k a b ly w e ll. It is s t ill funny and, lik e a ll M r. K e lly 's
i p la y s , h a s an u n d er to n e of a c r id c o m m e n t upon A m e r ic a n lif e .
| It sh o u ld fin d a p la c e on any l i s t of sta n d a rd A m e r ic a n p la y s . j
|
R . D an a S k in n er c o m m e n ts on th e u n iv e r s a lity of th e 1932 production:
It is of th e "undated" v a r ie t y . T h e m o tiv a tio n s a r e as u n iv e r s a l
tod ay a s th e y w e r e e ig h t y e a r s a g o . T h e p r o p o r tio n a te v a lu e s
a r e the s a m e . T h e p lay is s t i l l e lo q u e n tly h um an and s t ill h id e s
abundant c h a r ity b e n e a th its h u m o r o u s ly c a u s tic s u r f a c e . 148
!
! W ith the r e v iv a l of T h e S h o w -O ff in 1950, B ro a d w a y a u d ie n c e s
j
w e r e g iv e n th e ir f i r s t e x p o s u r e to " th e a tr e -in - th e - r o u n d . " John C hap-
146
K en n eth M a c g o w a n , "S een on the S ta g e , " V o g u e, 63 (A p ril
1, 1924), 80.
147
J o s e p h W ood K ru tch , " D r a m a , " T he N a tio n , 135 (D e c e m b e r
2 8, 1932), 654.
148
R . D a n a S k in n e r , "The P la y , " T h e C o m m o n w e a l, 17 (D e -
c e m b e r 28, 1932), 2 4 5 . ________ ______________________ _______
T3T~
m a n s a y s , "It [the play] w e a r s w e ll, b e in g b a s ic a lly h u m an a n d -s k ill-
149
fu lly h u m o r o u s ." H o w a rd B a r n e s c o n c u r s , " F a r m o r e im p o r ta n t
than the a r e n a d e v ic e is the fa c t th at K e lly 's w ork r e ta in s h e a r t, f la -
150
v o r and h u m o u r , w ith or w ith ou t th e p r o s c e n iu m a r c h ." R o b e r t
i
C o le m a n r e m a r k s , "The K elly c o m e d y r e m a in s f i r s t - r a t e . It h a s s u r -|
|
v iv e d the y e a r s w o n d e rfu lly w e ll. It is h u m a n , w i s e , and w itty. It is ;
151 .
one of the b e s t p la y s w r i t t e n by an A m e r ic a n ." R o b e r t G arland is i
i
jalso a ffir m a tiv e in h is e v a lu a tio n of the a g e l e s s n e s s of the play: j
! "Y ou 'll be s u r p r is e d h ow 'The S h o w -O ff' h o ld s up a fte r t w e n t y - s ix j
152 '
y e a r s , th r e e m o n th s and t w e n t y - s ix d a y s." R ic h a r d W atts, J r . , j
i j
s a y s h e had doubts about the s u ita b ility of " th e a tr e -in -th e -r o u n d " a s a j
m eth o d fo r s ta g in g a p la y , but h e a d d s, ". . . I h a v e no doubts w h a t- j
|
e v e r c o n c e r n in g th e p lay put on. . . . G e o r g e K e lly 's 'The S h ow -O ff'
153
r e m a in s one of the m o s t pungent of A m e r ic a n c o m e d ie s ." F iv e of
the s e v e n N ew Y ork c r it ic s w e r e e n t h u s ia s t ic about th e a b ility of the
149
John C h apm an , " A r e n a -ty p e T h e a tr e G ets Off to a N ice
jsta rt w ith T he S h o w -O ff, " D a ily N e w s , June 1, 1950, p. 20.
| !
150
H o w a rd B a r n e s , "Old W ine in N ew B o t t le s , " N ew Y ork
H e r a ld T r ib u n e , June 1, 1950, P t. II, p. 1.
151
R o b e r t C o le m a n , "The S h o w -O ff F i r s t R ate in A r e n a , " N ew
Y ork D a ily M i r r o r , June 1, 1950, p. 10.
152
R o b e r t G a rla n d , "T h e S h o w -O ff O pens at A r e n a , " N ew Y ork
J o u r n a l A m e r ic a n , June 1, 1950, p. 15.
153
R ic h a r d W a tts, J r . , "A R e v iv a l of a F in e C o m ed y , " N ew
Y ork P o s t , June 1, 1950, p. 7.
132
p lay to r e m a in p la y a b le , r e le v a n t, and to an e x te n t, a g e l e s s .
In valid C r i t i c i s m . - -M o s t of the in v a lid c r i t i c i s m o c c u r r e d w h en
th e w r it e r s c o m m e n te d on th e en d in g of the p la y . A rth u r H o b son Q uinn
s a y s , "The en d in g is w eak; that any c o r p o r a tio n w ould a llo w su c h a j
I
I
b ein g as A u b rey to e x to r t tw ic e the r o y a lty th e y had a lr e a d y a g r e e d to i
154 !
g iv e h is y o u n g e r b r o t h e r - in - la w fo r h is in v e n tio n is in c r e d ib le ." I
J o s e p h W ood K ru tch b e l ie v e s that a " r e a lly lo g ic a l d e v e lo p m e n t of the j
j j
Ithem e" w ou ld n o t h a v e had "the h e r o 's l a s t b lu ff w o r k to the tune of j
i
fifty th ou san d d o lla r s ." H e c o n tin u e s to sa y th at in m a k in g A u b r e y 's
j
bluff w o r k and thus g a in $50, 000 e x tr a fo r you n g J o e , th e r e is a " s e n - j
jtim en tal b lu r r in g of the c o n c lu s io n w h ich r e n d e r s the p lay a s a w h o le so
a m b ig u o u s that it m ig h t a lm o s t be ta k e n a s a ' s u c c e s s s to r y ' a fte r the j
155 i
m a n n e r of W in c h e ll S m ith ." K en n eth M a c g o w a n w a s a ls o d istu r b e d |
i
i
by K e lly 's '.'happy ending"; h e s a y s th at "for a m o m e n t, the p lay k n ock s
156
at the door of the old C ohan and H a r r is o f fic e ." In lig h t of the fin d
in g s w ith r e g a r d to the c h a r a c te r iz a t io n of A u b r e y , and th e s ig n ific a n c e
of K e lly 's th e m e , t h e s e c r i t i c i s m s w ou ld h a v e to be c o n s id e r e d in v a lid .
E le a n o r F le x n o r had a b r ie f c o m m e n t on T he S h o w -O ff w h ich
m u s t be d i s c u s s e d in th is s e c t io n . F le x n o r f e lt th at the in t e r e s t in the
154
Q uinn, H is t o r y of A m e r ic a n D r a m a , p. 266.
155
K ru tch , A m e r ic a n D r a m a S in c e 1 9 1 8 , pp. 6 2 -6 3 .
156
M acgow an, "Seen on the Stage, " p. 108.
_ 133
p lay w a s a c h ie v e d th ro u g h a sy m p a th y fo r the lea d c h a r a c te r and she
s a y s th is is "a fo rtu n a te c ir c u m s t a n c e in v ie w o f th e p la y 's h a p h a z a r d -
157
n e s s , fo r of p lo t t h e r e is n e x t to n o n e ." T h e fin d in g s of th is stu d y
q u ite d is a g r e e d w ith th is o p in ion .
S u m m a r y . - -In an e v a lu a tio n of the c r i t i c i s m one fin d s a ll of the
c r it ic s a c k n o w le d g in g th e e f f e c t i v e n e s s and v ita lity of the p lay and the
p la y w r ig h t's e x p e r t is e in h is c r e a t io n of th e p r o ta g o n is t. H o w e v e r ,
J
only a fe w o f th e c r it ic s fu lly a p p r e c ia te d th e u n iv e r s a lity o f A u b r ey
P ip e r and the s u b tle ty and r e le v a n c e of K e lly 's th e m e . O nly a fe w of
the w r i t e r s w e r e c o g n iz a n t of the s u b s id ia r y th e m a tic e le m e n ts o f th e j
|
w o r k , and th e m in o r s tr u c t u r a l fla w n o ted in the stu dy w a s u n d ete c te d , j
157
E le a n o r F le x n o r , A m e r ic a n P la y w r ig h ts : 1 9 1 8 -1 9 3 8 (N ew
Y ork: B o o k s fo r L ib r a r ie s P r e s s , 1938), p. 236.
CH A PTER IV
K E L L Y A N D T H E F E M A L E PR O T A G O N IST
T he a c e r b ic th ir d a c t of T h e T o r c h - B e a r e r s b e c o m e s m o r e
j
sig n ific a n t a s one c o n s id e r s the a u s t e r e tone of C r a ig ’s W ife , D a is y j
|
jM aym e, and B e h o ld , the B r id e g r o o m — . In t h e s e t h r e e p la y s of i
|
fe m a le d e lin e a tio n , w h ic h a r e d e a lt w ith n e x t, K e lly 's m o r a l o r ie n ta tio n
and r e s u lt a n t a u s t e r ity so in flu e n c e the w o r k s that th e r e is a d r a s tic j
ch an ge in m ood ; the p la y w r ig h t l o s e s the d e ta ch ed a p p r o a c h he m a in - ;
i
ta in e d in T h e S h o w -O ff and A c ts I and II of T he T o r c h - B e a r e r s . \
i
C r a ig 's W ife
C r a ig 's W ife is both a ty p ic a l and an id e a l e x a m p le of K e lly 's
p r o p e n s ity to in s u la te h is p r in c ip a l c h a r a c te r s fr o m th e o u tsid e w o rld
and to c r e a t e e n v ir o n m e n ta l s u r r o u n d in g s th at b e c o m e , in a s e n s e ,
d r a m a tis p e r s o n a e in th e p la y . John M a so n B r o w n d i s c u s s e s th is i n
s u la r ity and the e n v ir o n m e n ta l lim ita tio n s w h ic h r e s t r i c t K e lly 's
c h a r a c t e r s . H e in fe r s that K e lly 's c h a r a c te r s have little tr a ffic w ith
the o u tsid e w o r ld . T h e ir f r u s t r a tio n s , c o n f lic ts , th o u g h ts, and, e v e n
m o r e im p o r ta n tly , the f o r c e s w h ich play upon th e m a r e c o n fin ed to th is
n a r r o w s p h e r e of e x i s t e n c e - - t h i s sin g u la r e n v ir o n m e n t w h ic h is the
134
135
p la y 's s e ttin g . B ro w n s a y s that t h e s e h o m e s a r e th e tru e v illa in s of
the p la y s ,
. . . the s ile n t a n ta g o n is ts , th e d e i e x m a c h in e , who in th e ir own
c a lic o w ay tak e the p la c e s th at the fa te s o n ce f ille d in the d r a m a .
N ot on ly do th ey s e r v e fo r h is p e o p le as the c e n tr e of th e ir u n i
v e r s e , but th e y a r e a ls o th e ir s y m b o ls of p r o p e r ty and a m b itio n .
And as su c h th e y b rin g out th at is b e s t and w o r s t in th e m , and
u n le a s h the m e a n e s t of th e ir a c q u is itiv e in s t in c t s . T h e y s tim u la te j
h is m e n and w o m e n to e n v y and a c c e n tu a te th e ir g r e e d . And th ey j
k e e p th e ir d is p o s it io n s at th at lo w b o ilin g point w h ic h is so n e c e s - j
s a r y to the c r i s e s of d o m e s t ic d r a m a . F o r m o r e than m e r e ly b e in g j
| d w e llin g s , th e s e h o m e s of M r. K elly a re th e b a its he s e t s to [
| c a tc h h is c h a r a c t e r s . . . . ^ j
! j
jBrown is g e n e r a liz in g h e r e about a ll of K e lly 's p la y s , but he cou ld have
i
I
jbeen w r itin g about one in p a r t ic u la r , a p lay in w h ic h the h o u se and its j
i ;
a c c o u tr e m e n ts a r e the r a is o n d 'e tr e of the w ork: C r a ig 's W ife. j
P lo t: A c t I
E x p o s it io n . - - T he s e ttin g of C r a ig 's W ife is a s m u c h o r m o r e a j
p a rt of the e x p o s itio n than any s in g le p ie c e of in fo r m a tio n or a c tio n .
W in ifred D u se n b u r y , author of a b ook on l o n e lin e s s in m o d e r n p la y s ,
a c k n o w le d g e s th is f a c t about th e s e ttin g w h en sh e s ta te s :
. . . the s e ttin g is a lw a y s of s ig n ific a n c e ; n o w h e r e is th is fa c t
m o r e e v id e n t than in C r a ig 's W ife , in w h ic h the h ig h ly p o lis h e d ,
r ic h ly b r o c a d e d f r o z e n g r a n d e u r o f h e r liv in g r o o m r e f l e c t s the
c h a r a c te r of H a r r ie t C r a ig , who w h en she f i r s t e n t e r s , " ap p ears
to h a v e b e e n d r e s s e d fo r th is p a r tic u la r r o o m . "2
John M a so n B r o w n , U p sta g e (N ew York: K en nik at P r e s s ,
1930), p. 33.
O
W in ifred D u se n b u r y , T h e T h e m e of L o n e lin e s s in M o d ern
A m e r ic a n D r a m a (G a in e s v ille : U n iv e r s it y of F lo r id a P r e s s , I 9 6 0 ), p. 166.
K e lly , b e in g one of A m e r ic a 's m o s t p e r c e p tiv e p la y w r ig h ts of e x te r n a l
3
d e t a ils , d e s c r ib e s th e liv in g r o o m in the h o m e of M r. W a lter C raig
w ith m e t ic u lo u s c a r e . T h is r o o m " r e fle c t s the v e r y e x c e lle n t ta ste and
fa n a tic a l o r d e r li n e s s o f it s m i s t r e s s . It is a kind of f r o z e n g r a n d e u r ,
in d ark , h ig h ly p o lis h e d w o o d - - s t r e w n w ith g o r g e o u s , g o ld - c o lo r e d
4
ru gs and d ra p ed in r ic h b r o c a d e d s a tin s ." T h e r e a re lin e s by c h a r a c
t e r s in the p lay w h ic h a s s i s t in c r e a t in g the im p o r ta n t a tm o s p h e r e of j
!
the C raig h o m e . M is s A u ste n , C r a ig 's aunt, s a y s to H a r r ie t, "I don't I
think any e x tr e m it y w ou ld be too g r e a t fo r y o u , H a r r ie t , as long a s it j
i
kept p e o p le out of th e T e m p le of the L o r d . It's a g r e a t w o n d er to m e |
! !
you h a v e n 't a sk e d u s to ta k e off our s h o e s , w h en w e w alk a c r o s s the j
5
c a r p e t." C r a ig c o m p la in s to h is w ife , " th ere w a s m o r e actu al h o m e
i
i
in one r o o m of m y m o t h e r 's h o u s e than th e r e 'd be in a ll of th is if we
liv e d in it a th o u sa n d y e a r s . " To fu r th e r point up the f r ig id it y , f o r
m a li s m , and u n n a tu ra l c le a n lin e s s of the liv in g r o o m d uring th e s e
in itia l m o m e n t s , M r s . H a r o ld , the h o u s e k e e p e r , and M a z ie , the m a id ,
d is c u s s the im p o r ta n c e of the im m a c u la t e r o o m and to h e ig h te n the
j
e ff e c t, M r s . H a ro ld is s e e n flic k in g a b it of d u st f r o m the ta b le . The
a u d ie n c e le a r n s th at H a r r ie t is in A lb a n y , N ew Y o rk , and is n 't
3
B r o w n , U p s t a g e , p. 34.
4
G eorge K elly, C raig's Wife (New York: S am u el F r e n c h , 1925) ,
p. 7.
^Ibid. , p. 39.
137
e x p e c te d back fo r a cou p le of d a y s , but M r s . H arold h a s le a r n e d "to
k e e p a day or tw o ah ead of a w o m a n lik e M r s . C r a ig , . . . if s h e g e ts
the id e a up th e r e th at t h e r e 's a pin out of p la c e around h e r e , s h e ’ll
ta k e the f i r s t tr a in out of A l b a n y . K e l l y su b tly fo r e s h a d o w s the
p r o b le m of h is p lay in th is op en in g s c e n e .
|
M r s . H a ro ld h a s a b r ie f s c e n e w ith M is s A u ste n and th en the j
s c e n e w ith M a z ie r e f e r r e d to a b o v e. In t h e s e two s c e n e s th r e e im p o r - |
i
t
tant p ie c e s of fo r e s h a d o w in g a r e u n o b tr u s iv e ly a ch iev ed : (1) th e a u d i
e n c e le a r n s th at a M r s . F r a z ie r is u p s t a ir s and that sh e h a s b rou gh t a j
7
la r g e bouquet of r o s e s f r o m h e r garden; (2) M is s A u ste n is in tro d u ced
8 '
as a fr ie n d of M r s . F r a z ie r ; and (3) M a z ie r e a d s in the n e w s p a p e r |
about a m a n and h is w ife who w e r e found dead that m o r n in g in th e ir j
9
h o m e . The r o s e s b e c o m e both a s o u r c e of c o n flic t and an im p o r ta n t
sy m b o l; it is d is c o v e r e d that M r s . F r a z i e r ' s p r e s e n c e is due to
A u s te n 's in v ita tio n , and the m u r d e r e d m a n and w ife p r e c ip ita te the
c lim a x of the p lay.
In the fo llo w in g s c e n e K elly su b tly r e v e a ls m o r e a n te c e d e n t
action:
M a z ie . M o r e r a in ag a in to m o r r o w .
M r s . H a ro ld . D o e s it sa y s o ?
^Ibid. , p. 10. ^Ibid. , pp. 8 - 9 .
8 9
I b id ., p. 9. I b i d . , p. 11.
"T3 T T
M a z ie .
M r s . H a ro ld .
M a z ie .
M r s . H a ro ld .
M a z ie .
M r s . H a ro ld .
. . . p rob ab ly thunder s h o w e r s . . . it is n 't v e r y
n ic e w e a th e r fo r M r s . C r a ig , is it?
You ca n 't t e l l .i t m ig h t not be r a in in ' in A lbany.
A r e n 't th o s e r o s e s b e a u tifu l?
Y e s , th e y 'r e lo v e ly .
I h e a r d h e r t e l l M is s A u ste n sh e has o v e r two
h un dred b u sh e s in h e r g a rd en .
Is she s t i l l u p s t a ir s ?
Y eh. I g u e s s sh e is talk in ' p oor M is s A u ste n to
d eath . (M a z ie la u g h s and r e s u m e s h e r p a p er.
M r s . H a ro ld g iv e s an e y e around the r o o m .)
B r in g that p ap er out w ith you w hen y o u 'r e corn
in ', M a zie; don't le a v e it la y in ' around here.-*-®
N ot only d o es the a u d ie n c e g a in in fo r m a tio n about M r s . C raig and M r s .
F r a z i e r , but th ey h e a r again a r e f e r e n c e to the im p o r ta n c e of k eep in g
the r o o m c le a n . K e lly 's e x p o s ito r y s k ill is e v id e n t as h e r e v e a ls both
h is fo r e s h a d o w in g and a n te c e d e n t a c tio n s u c c in c tly and e ffic ie n tly w h ile
m a in ta in in g i n t e r e s t in both the c h a r a c te r s and the p r o b le m of the p lay.
F o r e x a m p le , in the n e x t nine s p e e c h e s and four p ie c e s of b u s in e s s , he
c o m m u n ic a te s the fo llo w in g in fo r m a tio n and a c tio n to the au d ien ce:
M r s . C ra ig is b ack ah ead of t im e , w ith h e r is h e r n ie c e E th e l, they
h ave had a tir in g tim e on the tr a in , H a r r ie t is c o n c e r n e d about the
s c r e e n door la tc h b e in g und one, and M r s . H arold m u s t r u sh in in q u iet
d e s p e r a tio n to g ra b the n e w s p a p e r that M a z ie l e f t . ^
^ I b id . , pp. 11-12. ^ I b id . , pp. 13-14.
139
E v e n though K elly p oin ts up the p r o b le m of the p lay p r e v io u s to
H a r r ie t C r a ig 's e n tr a n c e , o n ce she is on the s c e n e h e c le a r ly s u b s t a n
tia te s a ll n e c e s s a r y fo r e sh a d o w in g of the p r o b le m w ith in e ig h t p a g e s .
As H a r r ie t e n te r s the h o u s e , th e r e is no doubt about h e r d o m in a tio n of
the h o m e; and a s sh e b e g in s to in v o lv e h e r s e l f w ith th o s e around h e r
i
!
and h e r e n v ir o n m e n t, h e r e c c e n t r ic i t i e s a r e su b tly e x p o s e d . She j
r e p r im a n d s M a z ie b e c a u s e the m a id had b e e n u s in g the fr o n t s t a ir s j
i
jwhen H a r r ie t had told h e r to u s e the b a ck s t a i r s . K elly s t r e s s e s H a r - j
r ie t 's n e u r o tic p r e o c c u p a tio n w ith the s t a i r s a s sh e c o n tin u es to d i s c u s s
j
the " s e r io u s " p r o b le m of e v e r y o n e u s in g the fr o n t s t a i r c a s e , "And you j
j
know w hat s t a ir s lo o k lik e a fte r th ey h a v e b e e n tr a m p e d up and dow n a |
i
i
fe w t i m e s . " A s the au d itor le a r n s the c a u s e of H a r r ie t 's tr ip to !
A lbany: to v i s i t h e r a ilin g s i s t e r , K elly fo r e s h a d o w s a s p e c t s of H a r
r ie t 's s e l f i s h in s e n s it iv it y .. E th e l is d e e p ly c o n c e r n e d about h e r
m o th e r 's s e r io u s co n d itio n and d o es not f e e l th ey sh ou ld h a v e le ft.
But H a r r ie t s a y s to her:
N ow don't u p s e t y o u r s e lf , E th e l. . .I ' m p e r fe c t ly su r e y o u 'r e m a g
n ify in g the s e r i o u s n e s s of y o u r m o th e r 's co n d itio n , d e a r . . .t h e r e
i s n 't a s o lita r y thing w e could do if w e 'd sta y ed ; th o se n u r s e s
w on 't a llo w it. And the d o c to r s a id I w as u p s e ttin g y o u r m o th e r ,
- - s i m p l y b e c a u s e I to ld h e r a fe w th in gs I thought sh e sh o u ld be
told .
T w o s p e e c h e s la te r K elly d e a ls d ir e c t ly w ith the p r o b le m of the
p lay a s he f o c u s e s on H a r r ie t 's v ie w p o in t to w a r d m a r r ia g e . K elly
^ I b id . , p. 15.
140
u n o b tr u s iv e ly b r o a c h e s th is s u b je c t w h en E th e l t e l l s of h e r P r o f e s s o r
F r e d e r i c k s , who h a s a sk e d h e r to m a r r y h im . H a r r ie t r e a c t s w ith
d is m a y to th is a n tic ip a te d m atch ; she is m o r e c o n c e r n e d about the
am ou n t of m o n e y h e m a k e s than the am o u n t of lo v e they f e e l fo r e a c h
o th e r. D is c o u r a g e m e n t w ith E th e l b e c a u s e of h e r fa ith in r o m a n tic
I
lo v e p r o m p ts H a r r ie t to con fid e h e r ow n v ie w s on the m a r r ia g e arrangej-
m en t. V ie w in g m a r r ia g e a s a b a r g a in b e tw e e n the tw o p a r tic ip a n ts and|
!
\a. m e a n s of e m a n c ip a tio n fo r the w o m a n , sh e h o p e s to gain to ta l in d e - i
I
p e n d e n c e a s a r e s u lt of the union; in ad d itio n , sh e d e s ir e s u ltim a te and I
!
i
to ta l c o n tr o l of the m a n . H a r r ie t r e a l i z e s that e v e n though the w ife j
m a y do h e r duty, fu lfillin g h e r o b lig a tio n s to the h u sb an d , h e r h o u se j
[
and m a r r ia g e a r e s t i l l not c o m p le te ly s e c u r e . S p eak in g of the s e c u r it y j
and p r o te c tio n th at the m a r r ia g e bond a ffo r d s , sh e sa y s:
. . . I h a v e th e m . B u t, u n lik e M r. C r a ig , I c a n 't be a b so lu te ly
s u r e of th em ; b e c a u s e I know that, to a v e r y g r e a t e x te n t, th ey
a r e at the m e r c y of the m o o d of the m a n . And I su p p o se I'm too
p r a c t ic a l- m in d e d to a c c e p t th at a s a s u ffic ie n t g u a r a n te e of th e ir
p e r m a n e n c e . So I m u s t s e c u r e th e ir p e r m a n e n c e fo r m y s e l f . ^
|In th e s e lin e s and the c o n v e r s a tio n w h ic h f o llo w s , K elly e s t a b lis h e s the
b a s ic p r o b le m of the p lay. A s H a r r ie t s a y s : "I m a r r ie d to be on m y
14
o w n - - in e v e r y s e n s e o f th e w o rd ." H a r r ie t c o n c lu d e s h e r d i s s e r t a
tion on m a r r ia g e by s a y in g , "I s a y , if a w o m a n is the righ t kind of a
w o m a n , it 's b e tte r that the d e s tin y of h e r h o m e sh ou ld be in h e r hands
^ I b id . , p. 19. ^ I b id . , pp. 18-19.
141
15
- - r a t h e r than in any m a n 's ." G eo r g e Jea n N athan a r tic u la te ly s u m
m a r i z e s H a r r ie t 's p h ilo so p h y and p r o b le m .
K e lly 's c h a r a c te r is a w o m a n who v ie w s m a r r ia g e s im p ly a s a
m e a n s to m a k e s a fe h e r p o s itio n , h e r p u r s e and h e r w e ll-b e in g ;
who e n t e r s it w ith ou t lo v e , w ith ou t h o n o r , w ith ou t sym p ath y; and
who is r e a d y to s a c r i f ic e h e r h usb and. . . and h e r h u sb a n d 's h a p p i
n e s s if fo r a m o m e n t th e y stan d in the w ay of h e r m a t e r ia l w is h e s
and d e m a n d s . ^
W hen H a r r ie t , s p e a k in g o f h er h om e and s e c u r it y , s a y s , "I j
J
Im ust s e c u r e th e ir p e r m a n e n c e fo r m y s e lf ," she is sta tin g the p r o b le m j
i !
t !
of the work: to a c q u ir e the h o u se and its su p p o se d s e c u r it y . T h is |
d e s ir e is H a r r ie t C r a ig 's r a is o n d ' e t r e . j
A t th is p oint, K elly fo r e s h a d o w s tw o o th er a s p e c ts of H a r r ie t 's |
c h a r a c te r : h e r d is t a s t e fo r r o m a n c e and, as E th e l b r in g s out, h e r dis-j
i
h o n e s ty . B oth of th e s e t r a its a r e to h a v e s ig n ific a n t d r a m a tic r e c a ll in
A c ts II and III.
K e lly 's " p r o ta g o n ist" is c o n fro n ted w ith s e v e r a l c o m p lic a tio n s
in the c o u r s e of the p la y . T he d r a m a tis t in itia te s the f i r s t of th e s e as
17
M r s . H a ro ld t e lls H a r r ie t that the cook h as left. (T he au d itor d o e s
inot r e a liz e it y e t , but w ith the e x it of the co o k , the c lim a x of the play
is fo r e s h a d o w e d . K e lly , w ith s k illfu l su b tle ty , r e m o v e s one in d ivid u al
^ Ibid. , p. 20.
16
G eo r g e J e a n N athan, " D r a m a tic a A m e r ic a n a , " A r ts and D e c
o r a tio n , 2 4 ( D e c e m b e r , 1925), 41.
^ Kelly, Craig's Wife, p. 21.
142
a fte r a n o th er f r o m the C ra ig h o u se h o ld u n til H a r r ie t is le f t a lon e in the
end. ) T he p r o ta g o n is t is fa c e d w ith a s e c o n d c o m p lic a tio n w h en she
le a r n s that M r s . F r a z ie r h a s not only le ft r o s e s in h e r liv in g r o o m ,
but she h a s m a d e h e r w ay into H a r r ie t 's h o u se and is u p s t a ir s v is it in g
j
w ith M is s A u ste n . T h is in fo r m a tio n is not on ly a c o m p lic a tio n fo r th e j
p r o ta g o n is t, but a ls o fo r e s h a d o w in g fo r a c la s h b e tw e e n M is s A u s te n j
j
and H a r r i e t - - a c la s h w h ich is the point of a tta c k of the p la y . T he j
i
p r o ta g o n is t e x p e r ie n c e s a th ird c o m p lic a tio n w h en M r s . H a ro ld t e l l s j
I i
h e r that a M r. B ir k m ir e le f t a te le p h o n e n u m b e r fo r M r. C raig to c a ll j
as so o n a s he c o m e s in; t h e r e is a f e e lin g of u r g e n c y in the m e s s a g e . J
j |
T h is p ie c e of a n te c e d e n t in fo r m a tio n s e e m s in s ig n ific a n t at f i r s t p e r u s - 1
jal, but H a r r ie t 's s u s p ic io u s natu re c a u s e s h e r to e x p e r ie n c e a m in o r i
c r i s i s and she c a lls an in fo r m a tio n o p e r a to r to find out the a d d r e s s of
the phone n u m b e r - - a n a tte m p t to c h e c k up on h e r h u sb an d . T h is
a tte m p t to c h e c k up on C ra ig w ill c a u s e a s e r io u s c o n flic t la te r in the
I
p la y . T h is "sp yin g" a tte m p t is a ls o a fo r e s h a d o w in g of H a r r ie t 's s u r -
r e p t i t i o u s n e s s - - a s u r r e p t it io u s n e s s w h ich W a lter C ra ig in te r p r e ts a s
18
d is h o n e s ty in A ct III.
W ith the ad ven t of W alter C r a ig 's a r r iv a l, the au d itor le a r n s
th a t it w a s only at H a r r ie t 's g r e a t d is p le a s u r e that s h e w en t to A lbany
19
to s e e h e r s ic k s i s t e r . T he s e r i o u s n e s s of h e r s i s t e r ' s co n d itio n is
io iq
I b i d . , p. 129. I b i d ., p. 25.
143
m ade a p p aren t by the fa c t that sh e h a s two p r iv a te n u r s e s in a tte n d a n ce .
H a r r ie t's attitu de to w a r d the g r a v ity o f h e r s i s t e r ' s i lln e s s b e c o m e s
fo il fo r the p la y w r ig h t a s h e e x p o s e s H a r r ie t 's c a llo u s ou tlook and
s e lf is h n e s s w hen c o n fro n te d w ith the o b lig a tio n of sp en d in g s o m e tim e
at a s i s t e r ' s b e d s id e . j
K e lly is ta k in g g r e a t p a in s w ith h is fo r e s h a d o w in g at th is point ;
b e c a u s e H a r r ie t 's f r ig id it y and c o m p a s s i o n l e s s p r a g m a tis m w ould J
I
s e e m u n b e lie v a b le in A c ts II and III if not th o r o u g h ly fo r e s h a d o w e d .
1 I
(E v id en ce sh o w s th at the fo r e s h a d o w in g is done u n o b tr u siv e ly ; a good j
!
e x a m p le is a b r ie f s c e n e b e tw e e n C r a ig and H a r r ie t so o n a fte r he
e n t e r s . In th is s c e n e the d r a m a tis t m a k e s u s e of both d ia lo g u e and i
! a ctio n to d e m o n s tr a te the s u b t le n e s s of H a r r ie t 's in s u la r ity . |
i
C raig.
M r s . C ra ig .
C raig.
M r s . C ra ig .
C raig.
M r s . C raig.
jl^Tbid. , p
(d r a w in g h e r b a ck in h is a r m s . ) B ut I'm glad to
h a v e you b ack a g a in .
(la u g h in g lig h tly ) Stop it, W a lter.
S e e m s y o u 'v e b e e n aw ay a m o n th in s te a d of a
w e e k . (He k i s s e s h e r on the sid e of the h ea d . )
D o n 't b r e a k m y b o n e s , W a lte r !
T h a t's w h at I thin k I'd lik e to do s o m e t im e .
(L au gh in g) N ow sto p it. (He r e l e a s e s h e r and
sh e s tr a ig h te n s u p , to u ch in g h e r h a i r .) Stop.
H e r e , tak e th is h at and put it w h e r e it b e lo n g s .
(He ta k e s the hat and c r o s s e s to w a r d s the p o r -
t i e r s . ) And take th is p a p er out of h e r e too; this
r o o m 's a s ig h t. (He s te p s back and ta k e s the
p a p er.)^ ®
144
In th is s c e n e K e lly r e v e a l s th e g o o d -h e a r te d w a r m th of C r a ig d e lic a t e ly
c o n tr a s te d to o p p o sin g q u a litie s in h is w ife . A ls o d e lin e a te d is the
gen tle but f ir m f e m a le d o m in a tio n in the s c e n e , and th e r e is fu r th e r
e la b o r a tio n of H a r r ie t 's " c le a n lin e s s " o b s e s s io n .
j
The s u b je c t of M r s . F r a z i e r c a u s e s H a r r ie t and C raig to j
j
b e c o m e in v o lv e d in a m in o r c o n flic t of id e o lo g ic a l d if f e r e n c e s . T h is isj
a su b tle m a n ife s ta tio n of C r a ig 's r o m a n tic attitu de to w a r d lif e . It is
a ls o a r e in f o r c e m e n t o f H a r r ie t 's p r a g m a t is m and h e r p r o p e n s ity to be
i
s u s p ic io u s of any in flu e n c e on h e r h u sb an d or h e r h o m e w h ic h e m a n a te s
f r o m o u tsid e the fo u r w a lls of th e a b o d e. T h is d iffe r e n c e in o u tlook ,
i
w h ich is to be c r it ic a l at a la te r p oin t in the p la y , is u n o b tr u s iv e ly j
i ;
jforesh a d o w ed in the fo llo w in g lin e s : I
C ra ig .
M r s . C r a ig .
C raig.
M r s . C r a ig .
C raig.
M r s . C ra ig .
C raig.
She c e r t a in ly h a s s o m e b e a u tifu l r o s e s o v e r t h e r e ,
h a s n 't sh e ?
She ou gh t to h a v e , sh e h a s noth in g to do but lo o k
a fte r th e m .
T h o se r a m b le r s m a k e a p r e tty e ff e c t, down the
s id e t h e r e , d on 't th e y ?
W ait t il l you s e e th e m a w e e k f r o m now .
W hy?
W hy, t h e r e ' ll be p e ta ls a ll o v e r the p la c e o v e r
t h e r e .
T h at ou gh t to be p r e tt ie r than the w ay it is now .
145
M r s . C ra ig . W e ll, y ou m ig h t not think it w a s so p r e tty if you
had to s w e e p th e m u p . ^
It is le a r n e d th at H a r r ie t is v e r y c o n c e r n e d r e g a r d in g C r a ig 's c o n v e r
s a tio n s w ith M r s . F r a z ie r ; sh e b e l ie v e s that the lad y in q u e stio n only
22
has th e r o s e g a r d e n to a ttr a c t m e n to h e r "w eb." A s the c o n v e r s a tio n
!
I
c o n tin u es b e tw e e n husb and and w if e , it is le a r n e d th at C raig had b e e n i
p la y in g c a r d s at a fr ie n d 's h o u s e - - a c o m p a n io n n a m e d P a s s m o r e w h o, j
23 !
a c c o r d in g to H a r r ie t , is e x t r e m e ly je a lo u s of h is w ife . (K elly h e r e
jis r e v e a lin g a n te c e d e n t a c tio n w h ic h is e ff e c t iv e fo r e s h a d o w in g fo r the |
! |
jdenouem ent of the w o r k . ) !
| i
| M r s . F r a z i e r and M is s A u ste n c o m e d o w n s ta ir s at th is p oin t, :
( |
and the a u d ie n c e is in tr o d u ce d to th e "lady of the r o s e s " in a f iv e - p a g e
s c e n e . A t the te r m in a tio n of th is s c e n e the au d itor is acq u a in ted w ith j
i
I
M r s . F r a z i e r ' s w a r m , o u tgoin g, n a iv e ly w h o le s o m e p e r s o n a lity .
K elly is c o n tr a s tin g n ot only W a lter C r a ig w ith H a r r ie t, but M r s .
F r a z i e r , the lo v in g e p ito m e of "good n e ig h b o r lin e s s ." T h is c o m p a r i
so n fu r th e r e m p h a s iz e s H a r r ie t 's h a r s h , fr ig id in s u la r ity . M r s .
jF r a z ie r , in a lo n g m o n o lo g u e , r e la t e s h e r d e v o tio n to h e r dead h u sb a n d
She e x p la in s that sh e n e v e r r e m a r r ie d b e c a u s e a s sh e s a y s , "I'm one
24
of th o s e o n e - m a n w o m e n . T h e r e a r e s u c h w o m e n you know ." W ith
this a d m is s io n and the e x p o s u r e o f h e r g u i l e l e s s n e s s , K e lly e m p h a s iz e s
^ I b i d . , p. 26. ^ Ibid. , p. 27.
23 24
Ibid. , p. 31. I b i d . , p. 35.
146
the a b s u r d ity of H a r r ie t 's s u s p ic io n s w ith r e g a r d to th is c h a r a c te r .
Upon F r a z i e r ' s e x it H a r r ie t e n c o u n te r s M is s A u ste n w ith th e fo llo w in g :
M r s . C ra ig . . . . I think it is about tim e I c a m e b a c k , don't
you ?
M is s A u ste n . Why, d ea r ?
M r s . C ra ig . W hy?
M r s . A u ste n . Y e s , I d on 't u n d e r sta n d w hat y o u m e a n .
M r s . C r a ig . W e ll f r o m the lo o k s of th in g s, if I'd s ta y e d aw ay
j m u c h lo n g e r , I sh o u ld h a v e p r o b a b ly c o m e back
j to find m y h o u s e a th o r o u g h fa r e fo r the e n tir e
! n eigh b o rh o o d .^ ^
I
I
[Mrs. F r a z i e r ' s p r e s e n c e in the h o u s e is a m a jo r c o m p lic a tio n fo r the
p r o ta g o n is t and c a u s e s H a r r ie t to e x p e r ie n c e a m in o r c r i s i s . H a r r ie t
is d istu r b e d en ou gh to d is p a r a g e M is s A u s te n , C r a ig 's aunt, fo r lettin g
F r a z ie r in. In so d o in g , sh e r is k s a lie n a tin g the aunt and p o s s ib ly
u p se ttin g h e r husb and who h a s a d e e p a ffe c tio n fo r th e o ld e r w o m a n .
But K e lly h a s u s e d th is in s ta n c e to e f f e c t iv e ly d e m o n s tr a te th at o n ce a
s tr a n g e r h a s in tru d ed into H a r r ie t 's w o r ld sh e s e e m s to c a r e little
about w h om she o ffen d s or c a s t i g a t e s .
T he c o n fro n ta tio n b e tw e e n H a r r ie t and M is s A u ste n i s the point
of a tta c k of the play; it is the f i r s t t im e H a r r ie t 's a u th o r ity and d om ain
ar e c h a lle n g e d . M is s A u ste n , w ith a r tic u la te c a n d o r , t e l l s H a r r ie t ju s t
w hat sh e thin ks of her: she t e lls H a r r ie t why sh e d o e s n 't w ant anybody
25Ibid. , p. 37.
147
in the h o u s e , w h at sh e is doing to C r a ig , and fin a lly , in d ia lo g u e w h ich
su b tly fo r e s h a d o w s th e c lim a x of the p la y , M is s A u ste n s a y s ,
It's th e tru th , w h eth er you lik e to h e a r it or n ot. You w ant y o u r
h ou se, H a r r ie t, and that is a ll you do w an t. And th a t's a ll y o u 'll
h a v e , at the fin is h , u n le s s y o u ch an ge y o u r w a y . P e o p le who liv e
to t h e m s e l v e s , H a r r ie t , a r e g e n e r a lly le f t to t h e m s e lv e s ; . . . j
|
j
S u b jectin g the p oin t of a tta c k to the c r it e r i a , one fin d s only one I
|
m in o r flaw : the c h a r a c te r of A u ste n is n o t a d e q u a te ly in tr o d u c e d at the!
i
j
tim e of the attack . In the c o u r s e of the a r g u m e n t w ith H a r r ie t , M is s I
i
A u ste n 's r o le in the C raig h o u se h o ld is m a d e m o r e c le a r . B ut K e lly j
i
w ould have had a m o r e e f f e c tiv e point of a tta c k if M is s A u ste n had beenj
|
m o r e c a r e fu lly d e lin e a te d b e fo r e h e r c o n fr o n ta tio n w ith H a r r ie t. T he j
point of a tta c k is a d e q u a te ly p r e p a r e d fo r o t h e r w is e . !
C o n sid e r in g the point of a tta c k , th e r e s u lt a n t r is in g a c tio n , and
the p r e c ip ita tiv e c a u s e s , one fin d s that t h e s e c a u s e s a r e s u b je c tiv e in
n ature; th ey a r e t h e r e f o r e the kind of c a t a ly s t th at c r e a t e s the m o s t
27
e ffe c tiv e d r a m a tic a c tio n , a c c o r d in g to A r is t o t le and L a w so n . W ith
i
e a c h su b se q u e n t c o m p lic a tio n H a r r ie t is o b s e s s i v e l y d r iv e n f r o m w ithin
to cop e w ith w h a te v e r e x ig e n c y t h r e a te n s or a ffe c ts h e r situ a tio n . H a r
r ie t 's m a n ip u la tio n s , a s L a w s o n w ou ld s a y , a r e tr u ly the o u ter m a n i-
26
Ibid. , p. 40.
F r a n c is F e r g u s s o n , A r i s t o t le ' s P o e t ic s (N ew York: H ill and
W ang, 1961), p. 21; John H ow ard L a w s o n , T h e o r y and T e c h n iq u e of
P la y w r itin g (N ew York: H ill and W ang, I 9 6 0 ), p. 173.
fe s ta tio n s of h e r in n er w a n ts. K e lly , in c r e a tin g th is n e u r o tic w om an
who w e a v e s the p s y c h o lo g ic a l w eb of h e r ow n t r a g e d y , h a s e s ta b lis h e d
an id e a l p r o ta g o n is t fo r the m o s t e ffe c tiv e kind of d r a m a tic a c tio n .
I
R is in g A c tio n . - -K e lly b r in g s C ra ig on s ta g e at the p oin t of j
i
I
a tta ck and su b tly in v o lv e s h im in th e b a s ic c o n flic t of the p la y . C ra ig j
|
d o es not u n d ersta n d the d is a g r e e m e n t b e tw e e n the two w o m e n . A s M is s
j
A u ste n c o n tin u es w ith h e r " e x p o se " of H a r r ie t, H a r r ie t is su b je c te d to \
a m in o r c r i s i s . She a tte m p ts to d eb ate w ith M is s A u ste n but so o n ;
b e c o m e s s a r c a s t ic and flip p a n t and e x c u s e s h e r s e l f f r o m the c o n v e r - \
j
isa tio n . A s M ille t s a y s , an in d iv id u a l u s u a lly r e a c t s s tr o n g ly to a j
I
28 , '
c r i s i s or h e ta k e s a d e c is iv e e v a s iv e a c tio n . H a r r ie t , r e a c tin g w ith
i
!
a d e c is iv e e v a s iv e a c tio n , l e a v e s . K elly a c h ie v e s a m in o r c lim a x at
th is point.
K e lly h a s c r e a te d a c o m p le x but s tr u c tu r a lly e f f e c tiv e in c ip ie n t
d r a m a tic a c tio n , b e c a u s e h is p oin t of a tta ck c a u s e s the p r o ta g o n is t to
s u ffe r a m a jo r c o m p lic a tio n w h ic h r e s u lt s in a m in o r c r i s i s and th en a
|
!
m in o r c lim a x . A ls o w ith h is p oin t of a tta c k , K elly h a s s e v e r e ly d i s
tu rb ed the e q u ilib r iu m of the f o r c e s in the p la y . H a r r ie t 's p o s itio n in
the h o u se w ill n e v e r be quite the s a m e again .
K elly h a s n ot only s u b s ta n tia te d h is d r a m a tic a c tio n at th is
28
F r e d B. M ille t and G er a ld E . B e n tle y , T h e A r t of the D r a m a
(N ew York: A pple t o n - C e n t u r y - C r o f t s , I n c ., 1935), p. 191.
149
p o in t, but w ith M is s A u s te n 's te s t im o n y , he h a s fo r e s h a d o w e d two
it e m s w h ic h m u s t s e e m lo g ic a l and p la u s ib le la te r in the play: (1)
H a r r ie t h a s done e v e r y th in g sh e can to d is c o u r a g e C r a ig 's fr ie n d s fr o m
c o m in g to the h o u s e , and (2) the h o u se is w hat H a r r ie t m a r r ie d , not
C ra ig . In sp e a k in g to C r a ig , M is s A u ste n s a y s : j
You s im p ly w en t w ith the h o u s e - - a s a m o r e or l e s s r e g r e tta b le j
n e c e s s i t y . And y ou m u s t not obtrude; fo r sh e w an ts th e h o u s e a ll I
to h e r s e lf . So sh e h as s e t about r e d u c in g y o u to a s n e g lig ib le a j
fa c to r a s p o s s ib le in the s c h e m e of th in gs h e r e . ^ 9 j
A t the c o n c lu s io n of th is s c e n e , M a z ie r e c e i v e s an e n v e lo p e at i
the door and d e p o s its it behind M r s . C r a ig 's p r iz e d o r n a m e n t on the |
|
m a n te lp ie c e ; th is o c c u r r e n c e is a fo r e s h a d o w in g fo r h e r im m in e n t d i s - j
|
30 !
m i s s a l in A c t II and a p a r tia l p r e c ip ita tio n of th e d e n o u e m e n t.
i
The P a s s m o r e a ffa ir , w h ich h a s b een fo r e s h a d o w e d , is now
fu lly in tr o d u ce d . B ir k m ir e a r r iv e s to in fo r m C raig that th e r e w a s a
3 1
sh o o tin g at the h o u se w h e r e C raig w as p la y in g c a r d s the n igh t b e fo re ;
both F e r g u s P a s s m o r e and h is w ife w e r e found dead in th e ir h o m e .
C raig le a r n s f r o m the n e w s p a p e r B ir k m ir e b r in g s th at the v io le n c e
o c c u r r e d a fte r m id n ig h t and that s o m e o n e w a s s e e n le a v in g th e p la c e at
about the tim e that C raig le ft. T he tw o m e n plan to go to the P a s s m o r e
32
h o m e and then to the p o lic e s ta tio n . C r a ig , co n ten t th at H a r r ie t
29
K e lly , C r a ig 's W ife , p. 47.
30 31 32
Ibid. , p. 51. Ibid. , p. 56. Ibid. , pp. 5 9 -6 0 .
150
d o e s n 't know about th is o c c u r r e n c e y e t, ta k e s h is le a v e . H o w e v e r ,
H a r r ie t h a s s e e n the a fte r n o o n p ap er and r u s h e s into the liv in g r o o m
w ith it in h e r hands a fte r the g e n tle m e n h ave le ft. She h a s s e e n the
ite m r e g a r d in g the P a s s m o r e s and is n e a r ly in a sta te of p a n ic . N ot
lo c a tin g C r a ig , she e n lis t s the h elp of M a z ie and se n d s h e r to the the
33
g a r a g e w ith s t r i c t in s tr u c tio n s to se n d h e r husband b a ck im m e d ia t e ly , j
j
K n ow led ge of th is a ffa ir and the fa c t that h e r husb and m ig h t be involved;1
i
e v e n in d ir e c tly is the m a jo r c r i s i s of the p lay fo r K e lly 's p r o ta g o n is t. j
t
If h e r husband w e r e to be in v o lv e d , e v e n in n o c e n tly , th e ir n a m e w ould |
be in a ll the p a p e r s . H a r r ie t p rob ab ly s e n s e s in tu itiv e ly w h at e ff e c t j
Ithis a ffa ir w ould have on h e r . J u st the a n tic ip a tio n of the f a c t th at I
th e r e m ig h t be s o m e a d v e r s e p u b licity h as e v o k e d in H a r r ie t an a lm o s t )
|
e x tr e m e sta te of a n x ie ty . K elly d e s c r ib e s h e r fin a l lin e s and a c tio n s of
A ct I:
(She tu rn s in the door and le a n s a g a in s t the ja m b , lo o k in g s tr a ig h t
out, w id e - e y e d , and h old in g the n e w s p a p e r a g a in s t h e r b o s o m . )
Oh m y G od! (She h u r r ie s a c r o s s above the c e n te r ta b le dow n to the
w in d ow , fo r w a r d , at the r ig h t.) Oh m y G od! (She sta n d s look in g
e a g e r ly through the w indow , to w a rd the le ft, a s thou gh w a tc h in g
M a z ie running dow n the s t r e e t .
A s the p r o ta g o n is t s u ffe r s h e r m a jo r c r i s i s , K e lly en d s A c t I
at a point w h en the d r a m a tic a c tio n h a s attain ed its h ig h e s t p oin t of
te n sio n . T h is te n s io n h as a c c r u e d b e c a u s e the b a s ic c o n flic t h a s b e e n
33 34
Ibid. , p. 61. Ibid. , p. 62.
151
d ev elo p ed to its f u lle s t exten t: H a r r ie t 's p r iv a te d o m a in is b ein g
s e v e r e ly c h a lle n g e d fr o m an o u tsid e f o r c e o v e r w h ic h sh e h a s no c o n
tro l. H er a tte m p t to g a in c o m p le te in d e p e n d e n c e m a y c r a s h down
around h e r if h e r husband b e c o m e s p u b lic ly in v o lv e d in th is kind of an
a ffa ir . She m u s t c o v e r up C r a ig 's in v o lv e m e n t no m a tte r w hat f o r m j
h er m a n ip u la tio n s m a y ta k e. I
I
A p p lyin g the c r it e r ia fo r an e ff e c tiv e c r i s i s to th is in s ta n c e in j
I
C r a ig 's W ife , one fin d s e v id e n c e of K e lly 's p lo ttin g sk ill: (1) th e c r is is j
is a r e s u lt of a c o m p lic a tio n and b u ild in g ten sio n ; (2) in A c t II w h en Harj-
i
r ie t l ie s to h e r husb an d and a tte m p ts h is m a n ip u la tio n in o r d e r to k e e p j
the C raig n a m e d ev o id of p u b lic ity , one fin d s th is c r i s i s lea d in g to j
s tr o n g a c tio n s; and (3) an e m o tio n a l e ffe c t is a c h ie v e d f r o m th is c r i s i s j
b e c a u s e the c h a r a c te r of H a r r ie t is r e v e a le d in a sta te of a n x ie ty .
W ith the c o n c lu sio n of A c t I, the e x p o s itio n fo r C r a ig 's W ife is
n e a r ly c o m p le te : the m a jo r ity of th e a n te c e d e n t a c tio n and f o r e s h a d o w
in g h a s b e e n su p p lie d , and in t e r e s t in both th e p r o b le m of the p lay and
i
I 35
ithe c h a r a c te r s h a s b e e n stim u la te d .
T he d e g r e e of h o s t ilit y p r e s e n t in the a u d ien ce w ould p rob ab ly
be r e la t iv e to the d e g r e e of n e u r o t ic is m a p p a r e n t in the p o r tr a y a l. A
m o d e r n v e r s io n of H a r r ie t C ra ig w ould a tte m p t to sh ow the s ic k n e s s in
the c h a r a c te r , th e r e b y su p p lyin g the a u d ie n c e w ith r e a s o n s why she
b e h a v e s a s sh e d o e s . In th is c a s e th e r e w ou ld be sy m p a th y fo r h e r
c o n g e n ita l n e u r o s is in s te a d of sa n c tio n fo r h e r m o r a l tu rp itu d e.
152
Plot: A c ts II and HI
C ontinuing R is in g A c t io n . - -K e lly h a s so s k illfu lly d e lin e a te d h is
a n te c e d e n t a c tio n and fo r e s h a d o w in g in A c t I that th e r e is v e r y little
e x p o s itio n le f t to su p p ly in A c ts II and III. T he a u d ie n c e le a r n s that the
3 6
C r a ig s h a v e tw o c a r s , th ey find out w h at kind of job C r a ig h a s , and
37 !
C r a ig 's " r o m a n tic " p r o p e n s itie s a r e fu r th e r illu m in a te d . T he la tte r |
|
a c tio n p r o v e s to be fo r e s h a d o w in g b e c a u s e H a r r ie t 's e v e n tu a l d i s - ]
i
g r u n tle m e n t w ith C r a ig 's " r o m a n tic is m " p ro m p ts an innuendo th at so I
38
d is tu r b s C ra ig it in d ir e c t ly p r e c ip it a te s the c lim a x of the w o rk .
j
K elly s u p p lie s a b it of v is u a l fo r e s h a d o w in g as C raig th ro w s a cigarette;
I
39 !
a c r o s s the r o o m to the f ir e p la c e . T o one f a m ilia r w ith th e ch a r a c te r ;1
|
I
of C r a ig , th is b it of pique w ou ld p a r tic u la r ly a ttr a c t a tte n tio n to it s e lf , j
j
T hus K elly h a s e f f e c t iv e ly fo r e s h a d o w e d a s ig n ific a n t a c tio n in A c t II, j
|
th at of b r e a k in g an o r n a m e n t.
j
A s h a s b e e n n o te d , H a r r ie t 's k n o w le d g e of C r a ig 's p r e s e n c e at
the P a s s m o r e h o u se the n igh t of the d oub le sh o o tin g c a u s e s h e r m o s t
s e v e r e c r i s i s . A ffe c te d by th is c r i s i s , H a r r ie t is su b je c te d to s u b
se q u e n t c o m p lic a tio n s , and in a tte m p tin g to r e li e v e h e r te n s io n and
s o lv e the p r o b le m o f p o s s ib le sc a n d a l in v o lv e m e n t, sh e m a k e s m i s
ta k e s in ju d g m en t. In a b r ie f s c e n e w ith the p o lic e in s p e c t o r sh e lie s
^ K e l l y , C r a ig 's W ife , p. 64.
37Ibid. , p. 79. 3 8 Ibid. , p. 8 6 . 39Ibi_d. . P- 91.
153
about a phone c a ll that she had m ad e th at afternoon; and w h en h e r
h usb an d c o m e s h o m e s , she a tte m p ts to lie to h im about the s a m e phone
41
c a ll. Sh e c o u n s e ls h im to b e d is h o n e s t, if it is n e c e s s a r y , to e l i m i -
42
n ate in v o lv e m e n t and p u b lic ity . H o w e v e r , in an in q u is itio n s c e n e
i
w ith C ra ig r e g a r d in g the phone c a ll, a c c u m u la tin g a n x ie ty c a u s e s h e r j
j
to b e c o m e c o n fu se d , and he d is c o v e r s h e r lie about the call; h e r e a l i z e s
i
sh e w ould r a th e r p r o t e c t th e ir rep u ta tio n d is h o n e s tly than t e l l the j
! |
i
p o lic e the tru th . T h is p r o p e n sity to lie is fin a lly r e v e a le d to h im fo r |
j
43 '
the f i r s t t im e . The d r a m a tic a c tio n of the p lay h e ig h te n s as C ra ig j
i
and H a r r ie t b e c o m e in v o lv e d in a c r u c ia l a r g u m en t. The v e r b a l a l t e r - j
c a tio n p lu s r e m e m b r a n c e s of h is aunt's r e m a r k s r e g a r d in g H a r r ie t j
d istu r b C raig m o r e than H a r r ie t r e a l i z e s . S h e, b e lie v in g h e r d o m in a - j
tion o v e r h im is as e ff e c tiv e a s a lw a y s , sp e a k s w ith c r u e l can d or and
im p a ir s h e r a lr e a d y shaky situ a tio n . K e lly 's r is in g a c tio n g a in s in
in te n s ity a s a n e w ly -a w a k e n e d C ra ig c o m m e n ts:
C r a ig . B ut don't m a k e any m is ta k e that I think y o u didn't
w ant m y fr ie n d s h e r e s im p ly b e c a u s e th ey p la y ed
c a r d s . You didn't w ant th e m b e c a u s e , a s m y aunt
s a y s , th e ir v is it s im p lie d an im p o r ta n c e to m e
th at w as at v a r ia n c e w ith you r little c a m p a ig n - -
the c a m p a ig n that w a s to r e d u c e m e to one of th o s e
w if e - r id d e n sh e e p th a t's a fra id to buy a n e c k tie
fo r fe a r h is w ife m ig h t not ap p rove of it.
40 41
Ibid. , pp. 6 9 - 7 0 . Ibid. , pp. 8 2 -8 3 .
42 43
Ibid. , p. 86, Ibid. , p. 88.
154
C raig. . . .1 s e e y o u r g a m e a s c le a r ly as m y aunt s e e s it.
Y ou 've b e e n e x p lo itin g m e , c o n s is t e n tly , in y o u r
sh ifty lit tle b u s in e s s of p e r s o n a l im p lic a tio n in
th is double m u r d e r - - t o p r e s e r v e that s a fe ty .
M r s . C raig. I ’ve b een tr y in g to p r e s e r v e m y h o m e .
C raig. T h a t's a ll I've h e a r d fr o m you s in c e the day I
m a r r ie d y ou .
C ra ig . You s im p ly m a r r ie d the w ro n g m a n , H a r r ie t.
M r s . C raig. I m a r r ie d a r o m a n tic fo o l. T h at's w h at I
m a r r ie d . . .
44
C ra ig . H ow w e ll w e u n d er sta n d e a c h o th er n o w , H a r r ie t.
j
H a r r ie t , u p s e t by the a r g u m e n t w ith C r a ig , tu rn s to h e r m antel-!
p ie c e , w h ich in the c o u r s e of the p la y s h e h a s ten ded w ith r e lig io u s i
z e a l, and d is c o v e r s behind h e r m o s t p r iz e d o r n a m e n t the e n v e lo p e that
M a z ie had d e p o s ite d th e r e e a r li e r . B e c o m in g e n r a g e d b e c a u s e M a z ie
45
is u sin g h e r m a n te lp ie c e "as a c a t c h - a ll fo r e v e r y th in g in the h o u s e ,"
H a r r ie t c a s tig a te s M a z ie and f ir e s h e r . C ra ig is le ft a lo n e as both
H a r r ie t and M a z ie e x it. He e y e s the t r e a s u r e d o r n a m e n t, g r a b s it,
and th r o w s it into the f ir e p la c e , s h a tte r in g it a g a in s t the b r ic k s . A s
John M a so n B ro w n s a y s , "It is not o ften in the th e a tr e th at . . . a m a n
h u r lin g h is w ife 's m o s t p r iz e d v a s e into the f ir e p la c e can c a u s e an
4b
a u d ien ce to c h e e r and applaud a s if the M a r in e s had ju s t la n d ed . . . , M
4 4 Ibid. , pp. 9 0 -9 2 . 4 5 Ibid. , p. 94.
46
John M a so n B r o w n , " In h osp itality H all," S atu rd ay R e v ie w , 30
(M arch 8, 1947), 3 2 -3 4 .
155 '
S tr u c tu r a lly s p e a k in g , a t th is point in the p lay K e lly h a s r e lie v e d a
c r i s i s situ a tio n fo r C r a ig , p r o v id e d a n oth er m a jo r c o m p lic a tio n fo r h is
p r o ta g o n is t, e s ta b lis h e d a m in o r c lim a x b e c a u s e th e r e is a r e a lig n m e n t
of the b a la n c e of f o r c e s , and h e ig h te n e d the d r a m a tic a c tio n by g iv in g
th e p r o b le m of the play fu r th e r i n t e r e s t and a d d itio n a l s u s p e n s e . W ith
th is e f f e c tiv e plottin g at the end of A c t II, th e p la y w r ig h t sh ou ld evok e ai
h e ig h te n e d a n tic ip a tio n fo r A c t III.
P lot: A c t III
M ajor C lim a x .- -K e lly h a s so th o ro u g h ly e s t a b lis h e d h is e x p o s i- i
tio n and d e lin e a te d h is c h a r a c t e r s , that A c t III, w ith th e e x c e p tio n of j
i
K e lly 's h o m il e c t i c s , is a stu dy in the e f f ic ie n c y of p la y w r itin g and the I
e x c it e m e n t of d r a m a tic e ffe c t. T h is is p a r tic u la r ly tru e w hen one c o n
s id e r s the e x p e d ie n c y w ith w h ich K e lly d e v a s ta te s h is p r o ta g o n ist.
A s A c t III o p e n s , C r a ig t e l l s h is w ife that t h e r e is no s e n s e in
47
con tin u in g th e ir m a r r ia g e , but H a r r ie t d o es not take h im s e r io u s ly .
j
jE thel in fo r m s H a r r ie t th at sh e can no lo n g e r sta y in the C raig h o m e
I 48
(b e c a u se sh e is so w o r r ie d about the co n d itio n of h e r s ic k m o th e r .
M is s A u ste n h a s sc h e d u le d h e r d e p a r tu r e for that m o r n in g and sh e is
49
on h e r w ay out. M r s . H a ro ld in fo r m s H a r r ie t th at she h a s b een
K e lly , C r a ig 's W ife , p. 113.
48 49
I b i d ., p. 105. I b i d . , p. 109.
156
a sk e d by M is s A u ste n to a c c o m p a n y h e r as h e r p e r s o n a l m aid; the
50
C ra ig h o u s e k e e p e r h a s a c c e p te d th is offer and is a ls o d ep a rtin g .
W ith th e co o k le a v in g w h ile H a r r ie t w a s g o n e, M a z ie b ein g fir e d the
night b e f o r e , and th r e e o th e r s d ep a rtin g in the f i r s t s ix t e e n p a g e s of
A ct III, H a r r ie t is w e ll on the w ay to a c h ie v in g c o m p le te in d e p e n d e n c e
in the h o u se sh e w o r s h ip s . T h is m a s s exod u s h e ig h te n s the s u s p e n s e ,
|
a d v a n c e s the d r a m a tic a c tio n and len d s an ir o n ic t w is t to the b a la n c e of j
I j
jfo r c e s. On the on e hand , t h e s e d e p a r tu r e s a r e c o m p lic a tio n s fa c in g ;
!
the p r o ta g o n is t if one c o n s id e r s the f a c t that she w ill so o n be alon e; on J
the o th e r hand, e a c h t im e a c h a r a c te r e x it s , H a r r ie t is one s te p c lo s e r j
I
i
to h e r u ltim a te goal: th e a c q u is itio n of h e r h o m e . T he e n tir e r is in g |
i
i
a c tio n h a s an in h e r e n t iron y: H a r r ie t C raig a c q u ir e s u n e n c u m b e r e d j
o w n e r s h ip of h e r h o m e and c o m p le te in d e p e n d e n c e , as in q u ick s u c c e s
s io n the fiv e h u m an b e in g s r e m a in in g in h e r s p h e r e of e x is t e n c e s e e m
in g ly d is s o lv e b e fo r e th e a u d ito r 's e y e s . T hus one b e h o ld s K e lly 's
p r o ta g o n is t s u c c e s s f u l in h e r c o n q u e s t but c r u sh e d and d e s p a ir in g in the
r e a liz a t io n of w h at sh e h a s a c h ie v e d . With the e x c e p tio n of S o p h o c le s '
O edipus R e x , v e r y fe w p la y w r ig h ts h ave a c h ie v e d th is d e g r e e of iro n y
by c r e a tin g a p r o ta g o n is t who s t r iv e s w ith su c h in te n s ity to a c h ie v e h is
d e s ir e s and th en is so d e v a s ta te d by w hat he h a s a c q u ir e d .
^ I b i d . , pp. 122-123.
157
W ith the e x it of M is s A u ste n , H a ro ld , and the n ie c e , C raig
I
51
in fo r m s H a r r ie t that he is going and d o es not think he w ill be back.
H a r r ie t h a s a c h ie v e d h e r g o a l w ith the d e p a r tu r e of C raig. T h is d e p a r
tu re h a s b e e n c o m p le t e ly p r e p a r e d fo r . T h e r e is n ow a c o m p le te r e -
|
a lig n m e n t of the b a la n c e of f o r c e s , the p r o b le m of the play h a s b e e n |
j
s o lv e d - - t h e b a s ic c o n flic t in the p lay h as b e e n r e s o lv e d ; and th is j
o c c u r r e n c e is the r e s u lt of a c tio n by the p r in c ip a l c h a r a c t e r s . It is j
d eb a ta b le w h eth er C r a ig 's e x it is the m o m e n t of h ig h e s t te n s io n or n ot, |
but th e r e is little doubt th at th is is the m a jo r c lim a x of the w ork . j
D e n o u e m e n t.- -A t e le g r a m a r r iv e s fo r H a r r ie t at the s a m e I
! |
52 !
m o m e n t that C raig l e a v e s . In fo rm e d by the e p is t le that h e r s is t e r '
|
h a s ju s t d ie d , H a r r ie t is tru ly a lon e and in d ep en d en t in h e r h o u s e . j
|
T h is n e w s is a fin a l tou ch of ir o n y . M r s . F r a z i e r , the n e x t door |
j
n e ig h b o r , a r r iv e s at a lm o s t the s a m e tim e a s the w ir e w ith a la r g e j
bunch of w hite r o s e s fo r M is s A u ste n . H a r r ie t, now a lm o s t in a sta te
of sh o c k and h avin g sa id goodbye to M r s . F r a z i e r , c o m e s b a ck into the
liv in g r o o m w ith the r o s e s c lu tc h e d to h e r b o s o m .
S e v e r a l r o s e p e ta ls flu tte r to the f lo o r . She stan d s at the piano
fo r a m o m e n t, look in g out th rou gh the bay w indow , th en r e t r a c e s
h e r s te p s . She lo o k s u n - s e e in g ly at the s c a tt e r e d p e t a ls , co n tin u es
up to w a r d s the p o r t ie r e s , lo o k s out th rou gh the d e s e r t e d r o o m s
and fin a lly s to p s . A fe w m o r e p e ta ls d r ift to the f lo o r . . . she
. . . w a n d e rs b ack to w a r d s the piano d e s o la t e ly clu tch in g the
r o s e s c l o s e , h e r e y e s w ide and d e s p a i r i n g .^
^ I b i d . , p. 124. ^ I b i d . , p. 124. ^ I b i d . , p. 126.
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- j - g - g -
C o n sid e r in g the e m p h a s is on r o s e s th ro u g h o u t C r a ig 's W ife, the fu n c
tion of d r a m a tic r e c a l l is su b tly and e f f e c t iv e ly u t iliz e d in th is fin a l
p a n to m im e .
D u se n b u r y c o m p a r e s H a r r ie t 's is o la t io n at the end of the play
w ith V in n ie 's in O 'N e ill's M ou rn in g B e c o m e s E l e c t r a and M a r y 's in !
I
|
A n d e r s o n 's M ary of S c o tla n d but s a y s that H a r r ie t 's is m o r e b itte r . |
I
i
A c c o r d in g to D u se n b u r y , th e r e is g r e a t p ity a r o u s e d fo r V innie and
M a r y , . . the f e e lin g th at both . . . a r e fu lfillin g an in e v ita b le j
d e stin y e le v a t e s th e m to th e r e a lm of tra g e d y ; but in the c a s e of H a r
r ie t , th e r e w e r e no f o r c e s e x c e p t h e r ow n c h a r a c te r w h ic h im p o s e d the!
54 j
fin a l is o la t io n upon h e r ." j
j
T he fu n ctio n of the d e n o u e m e n t to c o m p le te and u n ify the d r a
m a tic a c tio n is c a r r ie d out w ith H a r r ie t 's a c q u is itio n of the h o u s e , h e r
a lo n e n e s s , and h e r d e s o la tio n and d e s p a ir .
C h a r a c te r iz a tio n
H a r r ie t C r a ig . - - H a r r ie t is v ita l in the s a m e m a n n e r th at Iago
and R ic h a r d III a r e vital; sh e is o b s e s s e d w ith a d e s ir e to a c h ie v e h e r
w an ts r e g a r d le s s of who m a y be a lie n a te d or e m o tio n a lly d a m a g e d in
the p r o c e s s . S in c e any e m o tio n a l c o m p r e h e n s io n of lo v e is im p o s s ib le
w ithin the p s y c h e s of t h e s e c h a r a c t e r s , th ey a r e ab le to s tr iv e fo r th e ir
D usenbury, The T h em e of L o n e lin e s s , p. 170.
159
d e s ir e s w ith o u t th e s li g h t e s t c o m p u n c tio n for the d e v a s ta tio n they v i s i t
apon th e ir f e llo w m a n - - a q u a lity th at m a k e s th e m d is ta s t e f u lly r e p u g
nant a s h u m an b e in g s but v ita lly f a s c in a t in g a s d r a m a tic c h a r a c te r s .
H a r r ie t is the e m b o d im e n t of an in n er p s y c h ic te n s io n m a n i
fe s tin g i t s e lf in an e x tr e m it y of b e h a v io r . H er v ita lity is d e r iv e d f r o m i
th is in n er d r iv in g f o r c e and t e n s io n . S h e, lik e h e r V ic to r ia n s i s t e r , j
I
I
H edda G a b le r , s e e m s m o d e s t and q u ie t if one v ie w s h e r w ith an e x t e r - |
j
I j
n al p e r s p e c t i v e . B ut w h en the p la y w r ig h t b e g in s h is su b tle r e v e la tio n j
of h e r d e e p e r m o tiv a tio n s and d is to r t e d fr a m e of r e f e r e n c e , she
i
\
b e c o m e s v ita l b e c a u s e the a u d ito r r e a l i z e s the v ic io u s , w e b -lik e m a tr ix
|
of th is e x te r n a lly a ttr a c tiv e f ig u r e . A s W o o llc o tt s a y s , " H a rr iet |
i
C ra ig . . . is an e m b o d ie d m a n i a - - a w o m a n who w ou ld r a th er have her!
55
husb and s m o k e in h e ll than in h e r liv in g r o o m ."
A n a u d ie n c e w a tc h in g the f i r s t ten m in u te s of C r a ig 's W ife
w ould h a v e lit tle doubt a s to the s tr e n g th of H a r r ie t 's m o tiv a tio n s or
h e r c o n s is t e n c y . W ithin the f i r s t t w e n ty -fiv e p a g e s she g iv e s s e v e n
s e p a r a te in s tr u c t io n s fo r the c a r e and c le a n lin e s s of h e r h o u s e - - a
h o u se w h ic h w a s im m a c u la te b e fo r e sh e e n ter e d : (1) sh e a sk s that the
5 6
la tc h be p la c e d on the door; (2) sh e in s tr u c ts M a z ie in the u s e of the
55
A le x a n d e r W o o llc o tt, " Second T h oughts on F i r s t N ig h ts, " N ew
Y ork W o r ld , O cto b e r 18, 1925, p. 26.
^ K e l l y , C raig's W ife, p. 11.
I
160
b a c k s t a ir s ; (3) th is is fo llo w e d by a b r ie f d ia tr ib e on th e d iffic u lt of
57
k e e p in g s t a ir s " u n tram p ed upon"; (4) sh e th en sp e n d s s o m e t im e
58
lo o k in g at the la n d in g b e m o a n in g its condition; (5) sp y in g a bouquet
of r o s e s , sh e a s k s th at th ey be r e m o v e d fr o m the r o o m b e c a u s e a petal
59
m ig h t f a ll off; (6) sh e i n s is t s that a s p e c ia l v a s e be u s e d fo r the j
j
r o s e s s in c e th ey w ill be tak en u p s t a ir s - -e v id e n tly th e r e a r e s e p a r a te j
I
v a s e s fo r u p s t a ir s and d o w n s ta ir s u se ; and (7) h e r husb and is a sk e d
to r e m o v e the n e w s p a p e r and hang up h is hat e v e n though he h a s only
b e e n h o m e a fe w m i n u t e s . ^ H a r r ie t 's o b s e s s i o n to m a in ta in h e r
i
im m a c u la te h o m e is c o n s is t e n tly illu m in a te d by the p la y w r ig h t th r o u g h
out the r e m a in d e r of the play: (1) sh e t e l l s C r a ig he sh ou ld n ot le a n on
62
the piano b e c a u s e he m ig h t s c r a t c h it; (2) upon e n te r in g the r o o m shej
6 3
m o v e s q u ic k ly to the phone ta b le and " s e tt le s e v e r y th in g p r e c is e ly " ;
(3) s h e a s k s C ra ig not to s m o k e in the liv in g ro o m ; (4) sh e d o e s n 't w ant
64
a c ig a r e tt e le f t in the fir e p la c e ; (5) w h en sh e h e a r s the dull thud of a
d o lly b e in g m o v e d dow n the b a c k s t a ir s sh e " c lo s e s h e r e y e s in an agony
i 65
l of s u ffe r in g and le a n s h e a v ily on the b a n is te r to k e e p f r o m fainting";
!
j and (6) w ith h e r w o r ld fa llin g down around h e r - - C r a i g h a s ju s t le ft,
le a v in g h e r c o m p le t e ly a l o n e - - s h e "looks at the tw o r e m a in in g o r n a -
57 58 59
I b i d . , p. 13. Ibid. , p. 21. 7I b i d . , p. 22.
6° I b i d . , p. 23. 61I b i d . , p. 25. 62I b i d . , p. 28.
k^Ibid. , p. 74. k^ibjd. t p. 80. ^ Ibid. > p_ 107.
161
m e n ts on th e m a n te lp ie c e and t r i e s to c o m e to s o m e c o n c lu s io n about
th e ir a r r a n g e m e n t ." ^ T he s in g u la r ity of h e r p u r p o se and th e c o n s i s t
e n c y of h e r c h a r a c te r iz a t io n s e e m an in d isp u ta b le fa c t.
T h e r e is a v a r ia n c e of op in ion am ong the c r it ic s as to the j
i
d e g r e e of e m o tio n a l d im e n s io n in the d e lin e a tio n of H a r r ie t 's c h a r a c te r :
|
A d e lim itin g fa c to r in H a r r ie t 's d im e n s io n a lity is the f a c t that K e lly , j
i
w ith th e e x c e p tio n of the fin a l c u r ta in , s e ld o m sh o w s H a r r ie t in a j
!
m o m e n t of d e lic a t e e m o tio n a l n uan ce; he has not tak en tim e to g iv e h e r !
an e x te n s iv e v o ic e in s o m e p r iv a te , su b tle m o m e n t of c r i s i s . K elly ;
I
! i
s e e m s m o r e in t e r e s t e d in the "what" of b e h a v io r r a th e r than th e "why. 7
I
In C r a ig 's W ife th e au d itor s e e s the o v e r t a c tio n s w h ic h a r e the r e s u lt j
of s u b je c tiv e m o tiv a tio n s ; he s e e s the e ff e c t of f o r c e s p la y in g u pon j
i
H a r r ie t, but he s e ld o m v ie w s the e x p o s u r e of a n e u r o tic im p u ls e or I
j
s e n s e s a v e r b a l a n d /o r p h y s ic a l o v e r - r e a c t i o n to h e r e x tr e m e a n x ie ty .
The c o n fig u r a tio n of h e r c h a r a c te r iz a t io n is too "tidy." H a r r ie t h a s
not enough " te llta le p s y c h o lo g ic a l lo o s e en d s" th at g r a p h ic a lly d isp la y
h e r in n er p a n ic . She is too c o n tr o lle d , o r g a n iz e d , and r a tio n a l w h en
one c o n s id e r s h e r n e u r o t ic is m and the a n x iety she m u s t be e x p e r ie n c
in g. W hen she d o es b e g in to lo s e c o n tr o l and a b r ie f e x p o s u r e of h e r
p s y c h ic in s ta b ility is im m in e n t, K e lly h a s tily c o n c lu d e s the s c e n e .
F o r e x a m p le , at the end of A c t I, w hen H a r r ie t le a r n s of h e r h u sb a n d 's
^ i b i d . , p. 124.
162
in v o lv e m e n t in th e d oub le s h o o tin g , the s c e n e is an a c tiv e , f a s t - p a c e d
e x c h a n g e of q u e s tio n s and a n s w e r s , w ith M a z ie ev o k in g a s e r i e s of
"Oh m y G ods" f r o m H a r r ie t. In H a r r ie t 's a n x ie ty , she is not e x p lo r e d
p r e c is e ly and fin a lly . T h e r e is no q u ie t but h y s t e r i c a l m o n o lo g u e
r e v e a lin g the fu ll e f f e c t of th is c r i s i s on h e r s e c u r ity ; a s a lw a y s she is
jr e la tiv e ly u n d er c o n tr o l. W hen B la n c h e du B o is , in A S t r e e t c a r Named]
! !
jD e s ir e , f r e e a s s o c i a t e s - - v e r b a l l y e x p o s in g h e r s e l f - - a n d e v e n tu a lly j
! ;
jlo s e s c o n tr o l, the a u d ito r s e e s d e e p ly into h e r d istu r b e d p s y c h e . Inse-j
c u r ity is the r a is o n d 'e tr e of both H a r r ie t and B la n c h e 's b a s ic problem .!
In both c h a r a c te r s t h e r e a r e n u a n c e s of a n g e r , h a te , and c r u e lt y - - |
i ;
j I
jp o ssib ly an o v e r -a b u n d a n c e in H a r r i e t - - w h ic h a r e m a n ife s ta tio n s of j
| ;
‘in s e c u r it y , but f e a r is the m o tiv a tio n a l c a ta ly s t w ro u g h t of in s e c u r ity ; |
| !
Jin B la n c h e 's d e p ic tio n th e r e is a m p le e v id e n c e of th is fe a r in o p e r a tio n ,
!
j
jbut w h e r e in H a r r ie t is th e r e the agon y of the fr ig h te n e d , lo n e ly ,
j
u n lo v ed b e in g ?
I E v e n though th e r e a r e p r o b le m s of e m o tio n a l d im e n s io n in the
d e p ic tio n of H a r r ie t , K e lly h a s r e v e a le d to the a u d ito r, w ith c o n s u m -
j
m a te c o n s is t e n c y in m o s t c a s e s , s e v e r a l p e r s o n a lity v a r ia tio n s in h is
p r o ta g o n is t. H a r r ie t 's s e l f i s h n e s s , p r a g m a tic m a t e r ia l is m and la c k of
s e n tim e n ta lity a r e r e v e a le d in the fo llo w in g s c e n e s : (1) h er d is c u s s io n
6 7
w ith E th e l w hen sh e d i s c l o s e s h e r p h ilo so p h y of m a r r ia g e ; (2) h e r
^ I b i d . , pp. 16-19.
163'
c h a g r in w h en sh e is o b lig a te d to v i s i t h e r s i s t e r who is in the h o s p ita l
w ith a r a th e r s e v e r e h e a r t co n d itio n (H a r r ie t s a y s , . . I'm a fra id I
6 8
h a v e n 't m u c h p a tie n c e w ith s ic k p eop le" ); (3) h e r te llin g h e r n ie c e it
69
w ou ld be im p r a c t ic a l to m a r r y a m a n who h a s l e s s m o n e y than she;
and (4) in a c o n fro n ta tio n s c e n e w ith C raig s h e v e r b a lly r e in f o r c e s h er
p r e v io u s ly sta te d p h ilo so p h y of m a r r ia g e by c o ld ly in fo r m in g h im ,
"Oh, don't tr y to m a k e y o u r s e lf out a m a r ty r ; y o u 'v e had yo u r s h a r e of
70
the b a r g a in ." G ilb e r t G a b r ie l, v o ic in g an op in ion on the s e lf is h n e s s j
!
and u n s e n tim e n ta l p r a c tic a lity of H a r r ie t , s a y s , . . h e [C r a ig ] is !
m a r r ie d to th at m o d e r n e d itio n of the s u c c u b u s , a s e lf is h and perfidious;
7 1 i
v a cu u m c le a n e r ." John C hapm an , r e v ie w in g a 1947 N ew Y ork r e - !
v iv a l of C r a ig 's W ife , s a y s , "To h e r [H a r r ie t] r o m a n c e is im p r a c t ic a l,
72
and an yth in g im p r a c t ic a l is not w o r th b o th e r in g about."
H a r r ie t 's d e s ir e to d o m in a te th o se in h e r e n v ir o n m e n t and gain
p ow er is e v id e n c e d in s e v e r a l e x a m p le s : (1) w h en v is itin g h e r s is t e r
w ith the h e a r t co n d itio n in the h o s p ita l, H a r r ie t t e lls of h e r la c k of
r e s p e c t fo r the n u r s e s and h ow she told h e r s i s t e r "a fe w th in g s she
68 69 70
Ibid. , p. 22. Ibid. , pp. 1 0 7 -1 0 8 . Ibid. , p. 90.
^ G i l b e r t W. G a b r ie l, " C r a ig 's W ife," N ew Y ork Sun, O ctob er
13, 1925, p. 12.
72
John C hapm an, " 'C r a ig 's W ife ,' B r illia n tly W ritten and
P la y e d , S e e m s N ew a s E v e r ," D a ily N e w s , F e b r u a r y 13, 1947, p. 18.
164
73
sh o u ld be told"; (2) H a r r ie t t o le r a t e s the e x is t e n c e of im m e d ia te
r e la t iv e s and s e r v a n ts in h e r h o u s e , but anyone e ls e is n ot w e lc o m e ;
74
sh e is p a r tic u la r ly o u tsp o k e n about the p r e s e n c e of M r s . F r a z ie r ;
(3) she c o m p la in s about h e r h o u se b e in g tu rn ed "into a th o r o u g h fa r e fo r
the e n tir e n e ig h b o r h o o d , " w hen only one v is it o r h a s b een w ith in the
75 i
fo u r w a lls; (4) both M is s A u ste n and C raig sp e a k of H a r r ie t 's s u e - |
76 !
c e s s f u l a ttem p t to k e e p h is fr ie n d s out of the h o u se ; (5) in the s it u a - J
|
tio n w ith E th e l, H a r r ie t a tte m p ts to d o m in a te h e r life by d is c o u r a g in g j
77 !
h e r e n g a g e m e n t to the c o lle g e p r o f e s s o r ; (6) h e r op en in g s p e e c h to j
I
78
E th e l o u tlin e s h e r " m a s te r plan"; (7) she d is c o u r a g e s C r a ig 's c a r d - j
79 80
p layin g; (8) she w o n 't le t h im le a n on the fu rn itu re; (9) sh e c h e c k s
81
on w h at he w as doing d u rin g the tim e she w as away; and (10) sh e is
d is h o n e s t in o r d e r th at th ey r e c e i v e no n o to r ie ty in c o n n e c tio n w ith the
^ • 82
P a s s m o r e a ffa ir .
H a r r ie t is v e r y m u ch the in t r o v e r t - - a n in s u la r b e in g . F o r
e x a m p le , w ith r e g a r d to the P a s s m o r e a ffa ir , sh e t e l l s C r a ig sh e is
not c o n c e r n e d w ith h is g u ilt or in n o c e n c e ; sh e s a y s , "I a m on ly i n t e r
e s t e d in the i m p r e s s io n on the p op u lar m in d and the r e s p e c t of th e
73 74
K e lly , C r a ig 's W ife , p. 15. Ibid. , p. 22.
»ir 7 A 7 7
Ib id . , p. 37. I b id ., pp. 30, 4 7 , 90. . I b id ., pp. 1 8 -2 0 .
78 79 80
Ibid. , pp. 1 6 -1 9 . Ibid. , p. 30. Ibid. , p. 28.
81 82
Ibid. , p. 24. Ibid. , pp. 82-83.
165
83
c o m m u n ity ." K elly h a s s y s t e m a t ic a lly d e lin e a te d e x a m p le s of
H a r r ie t 's in t r o v e r s io n and in s u la r ity : sh e is th o r o u g h ly b o th e r ed by
the o b lig a tio n o f goin g to A lbany to s e e h e r s ic k s i s t e r , one of the m a in
r e a s o n s b ein g th at sh e did not w ant to le a v e h e r h o u se fo r e v e n a
t 84
w e e k .
I
A n o th er c o n s is t e n t a s p e c t of H a r r ie t 's p e r s o n a lit y is h e r s u s - i
j
p ic io n and h o s t ilit y . A s K r o n e n b e r g e r s a y s , "The f e a r of in s e c u r ity i
i
i
that m a k e s s o m e p eo p le s tin g y , or o th e r s o b s e q u io u s , or s t ill o th e r s i
85 !
c o r r u p t, h a s m a d e h e r fa n a tic a lly r u t h le s s ." N ot only h a s the r u th - i
l e s s n e s s r e s u lt e d in h e r a tte m p te d d o m in a tio n of th o s e around h e r , but j
a ls o it h a s c a u s e d h e r to be a b n o r m a lly s u s p ic io u s of e v e r y o n e in h e r
i
e n v ir o n m e n t. The a u d ie n c e h a s only m e t H a r r ie t fo r a fe w m in u te s in j
i
the p lay and s h e is m a k in g a phone c a ll to an in fo r m a tio n o p e r a to r , j
!
ch e c k in g on h e r h u sb a n d 's a c t iv it ie s the n ig h t b e f o r e . She is p ro vok ed
into d e liv e r in g a h a r a n g u e to C ra ig about the p r e s e n c e of M r s . F r a z ie r
in h e r h o u se and h ow the w o m a n is p ro b a b ly th e r e on ly to fu r th e r a
s a la c io u s ca m p a ig n to e n s n a r e C r a ig fo r h e r s e l f . In a d is c u s s io n w ith
C r a ig r e g a r d in g F e r g u s P a s s m o r e ' s w if e , H a r r ie t is v e h e m e n t about
F e r g u s ' je a lo u s y to w a rd h is w ife and f e e l s th at C ra ig sh ou ld not hav e
0*2 OA
Ibid. , p. 84. Ibid. , p. 25.
85
L o u is K r o n e n b e r g e r , " M r s. C raig S till R e ta in s H er H ateful
F a s c in a tio n , " P M E x c lu s iv e , F e b r u a r y 14, 1947, p. 12.
166
gone t h e r e . H a r r ie t is no doubt p r o je c tin g m u c h of h e r own je a lo u s y
‘
and s u s p ic io u s n a tu re to M r s . P a s s m o r e .
A s h a s b e e n m e n tio n e d , in s e c u r it y is the m a tr ix fr o m w h ich
H a r r ie t 's c h a r a c te r tr a it s e m a n a te . H er in s e c u r ity h a s c a u se d h e r to
[want to ta l c o n tr o l of e v e r y th in g in h e r e n v iro n m e n t; thus the d e s ir e j
I |
fo r d o m in a tio n of a ll around h e r . To c o n tr o l sh e m u s t p o s s e s s . And j
I
|
p o s s e s s i o n to H a r r ie t m e a n s s e c u r it y ; thus the m a t e r ia l is m . In w a g - j
jing a c o n sta n t c a m p a ig n to p o s s e s s a ll the m a t e r ia l th in gs in h e r sp h e r e
|
of e x is t e n c e sh e h as b e c o m e c a llo u s and o v e r ly p r a c tic a l; thus the j
p r a g m a t is m . H er in s e c u r ity h a s c a u s e d h e r to b e u n tr u stin g and u n - j
givin g; thus the s e lf is h n e s s and s u s p ic io n . And fin a lly th is in s e c u r ity
j
and its c o n c o m ita n t fe a r h a s c a u s e d h e r to turn aw ay fr o m c lo s e h um an
r e la t io n s h ip s . If sh e d o e s not g iv e of h e r s e l f sh e ta k e s no ch an ce that
sh e w ill g iv e and not g e t. If sh e d o e s not d ep en d on o th e r s th e r e is no
ch a n c e th ey w ill le t h er down; thus h e r d e s ir e to w it h d r a w - -h e r i n s u
la r it y . K elly h a s d e lin e a te d th is n e u r o tic sy n d r o m e w ith s k illfu l
| e ff ic ie n c y .
I
|
In a c o n s id e r a tio n of th is i n s u la r i t y - - t h i s s e lf - im p o s e d a lo n e -
n e s s - - o n e a r r iv e s at an e le m e n t of the p e r s o n a lity that w ould e v o k e a
c e r t a in d e g r e e of e m o tio n a l r e a c t io n f r o m an a u d i e n c e - - if not a r e a c
tion of e m p a th y , c e r ta in ly a d e g r e e of sy m p a th y .
E v e n though it h a s b e e n sh ow n that K e lly could h ave m ad e a
d e e p e r in c is io n into the c h a r a c te r of h is p r o ta g o n is t, la y in g b a r e m o r e
167
of h e r r e s id u a l e m o tio n a l a n x ie ty , the p o r tr a it s e e n is m e t ic u lo u s ly and
e ff ic ie n tly r e v e a le d in an e ffe c tiv e d e lin e a tio n .
W a lter C r a ig . - - K e lly 's m a in p r o b le m in the d e lin e a tio n of
C r a ig 's c h a r a c te r w a s to c r e a t e a husb and who cou ld liv e w ith H a r r ie t
i
!
fo r tw o y e a r s , n ot r e a li z e the s e v e r it y of h e r p r o b le m s , and s t i l l not j
be c a te g o r iz e d a s a d u n ce. O ne of the r e a s o n s K elly is at l e a s t p a r tly j
s u c c e s s f u l in h is a tte m p t is b e c a u s e the m a n is so s im p ly draw n and
i I
js e e m in g ly in s e n s it iv e in the b eg in n in g of the p lay. U pon h is e n tr a n c e ;
86 , !
h e is found to be c h e e r y , c a s u a l, and r a th e r n o n c o m m itta l; a fe w ;
I
lin e s la te r it's d is c o v e r e d he is s e n tim e n ta l, r o m a n tic , and a p p r e c ia - I
i
I
itive of r o s e s . He s e e m s p a r tic u la r ly w h o le s o m e and u n c o m p lic a te d in
i
i
jth ese op en in g s c e n e s . K elly is q u ick to a u g m e n t th is b la n d n e ss and
j
s im p lic it y as h e e s t a b l i s h e s C r a ig 's g u llib ility in a s c e n e w ith h is aunt.
W hen sh e t e lls h im sh e h a s had s e v e r e p r o b le m s ju s t liv in g in the
C r a ig h o m e , he s a y s ,
Why w hat do y o u m e a n , A untie ? I c a n 't b e lie v e that y o u 'v e had
any d iffic u lty w ith any one; and e s p e c i a l ly w ith H a r r ie t - - w h o
th in k s the w o r ld of y o u . (A u sten s m i l e s d r y ly . ) N ow , you know
sh e d o e s , A u n tie. H a r r ie t is ju s t as fond of you as I am ."
T e llin g C ra ig about H a r r ie t 's su b tle c a m p a ig n a g a in s t the " in tru sion "
of h is fr ie n d s in th e ir h o m e , M is s A u ste n e li c it s the fo llo w in g r e m a r k
88
f r o m C raig: " H a r r ie t cou ld n e v e r turn m e a g a in s t m y fr ie n d s ."
Q / O *7 O O
K e lly , C r a ig 's W ife , p. 24. Ibid. , p. 42. I b id ., p. 46.
168
W ith th is e x c h a n g e K e lly d e lin e a t e s C r a ig 's n a iv e te w ith r e g a r d to h is
w if e 's su b tle m a n ip u la tio n s .
T h e r e i s a r a th e r abrupt p e r s o n a lit y ch an ge in th e c o u r s e of th e
p la y a s C r a ig b e c o m e s m o r e p e r c e p tiv e and i n v o l v e d - - l e s s n o n c o m -
I
m itta l and d is tr a c te d . T h e r e a s o n s fo r C r a ig 's i n c r e a s e d s e n s it iv it y 1
J i
|a re the s e r i o u s n e s s of the d oub le m u r d e r s itu a tio n at the P a s s m o r e ' s j
| i
i
land h is w if e 's d is h o n e s ty in ly in g to h im about a phone c a ll sh e m a d e , j
| !
jH o w ev e r , q u e s tio n s of p la u s ib ility a r is e w h en the au d ito r f a c e s the fol-j
i
I
lo w in g e n ig m a : Why h a s th e r e b e e n no s itu a tio n in tw o y e a r s of m a r - j
r ie d l if e w h ich did n ot c a u s e C ra ig su d d en ly to s e e h is w ife p e r c e p - j
i
I 89 j
jtiv e ly fo r the f i r s t t im e ? In A c t I, the aunt r e v e a l s s e v e r a l th in gs J
i ;
jthat h a v e b e e n h ap p en in g d u rin g the tw o y e a r s of the C r a ig m a r r ia g e . I
A c c o r d in g to M is s A u ste n , C r a ig 's m o th e r a s k e d h e r to liv e w ith the
90
tw o n e w ly w e d s b e c a u s e " sh e knew h e r w om an"; H a r r ie t h a s b e e n
su b tly in flu e n c in g h is fr ie n d s fo r tw o y e a r s so th at n on e of th e m c o m e
to s e e h im a n y m o r e ; sh e h a s so in flu e n c e d h im that he d o e s n 't go out
and p lay c a r d s a n y m o r e ; sh e h a s a lw a y s to ld h is fr ie n d s w h e r e to s it
89
K e lly , in an in te r v ie w w ith the au th or on J u n e 2 3 , 1971» sa id
th at C r a ig w a s in te n tio n a lly c r e a te d to be a s s im p le a c h a r a c te r as
p o s s ib le b e c a u s e the to ta l fo c u s of the play w a s to be th r o w n on H a r
r ie t . T he a u d ie n c e w a s n ot to b e c o m e in v o lv e d in the p e r s o n a lit y of
C r a ig . H e w a s to s e r v e a lm o s t lik e a "utility" c h a r a c te r to fu r th e r
illu m in a te the c h a r a c te r of othe w ife .
90
K elly, C raig's W ife, p. 46.
169
w h en th e y c o m e to v is it; and m a n y of C r a ig 's fr ie n d s ta lk about h im
91
now b eh in d h is b a c k , m a k in g fun of h is p e c u lia r w ife . A ll of th is
has b e e n o c c u r r in g w ith in the in tim a te c ir c le of th e m a r r ia g e s itu a tio n
but C r a ig h a s n e v e r n o tic e d any of it. But he w r ite s it off a s s o m e
92 I
kind of m is u n d e r s ta n d in g b e tw e e n th e aunt and H a r r ie t. T h en , j
b e c a u s e o f a d is c o v e r e d lie th at h is w ife h a s to ld , he su d d en ly s e e s
H a r r ie t fo r w h at s h e i s . C r a ig 's t r a n s itio n f r o m a c a s u a l, n a iv e h e lp - |
jmate to an i r a t e , p e r c e p tiv e c r it ic of the m a r r ia g e situ a tio n p o s e s i
i i
q u e s tio n s of in c o n s is t e n c y and im p la u s ib ilit y - - t h e au d itor is not a d e - ;
q u a te ly p r e p a r e d fo r the e x p e d ie n c y of h is m ir a c u lo u s tr a n s fo r m a tio n . !
i
i
I Any sy m p a th y a n d /o r e m p a th y th at w ould be e v o k e d for C raig
w ou ld o c c u r b e c a u s e of H a r r ie t 's tr e a t m e n t of h im , not b e c a u s e of any
a ttr a c tiv e or v ita l q u a lity in h e r e n t w ith in h is c h a r a c t e r - - C r a i g is
m e r e ly a f o il fo r H a r r ie t.
In s u m m a r y , one fin d s that the c h a r a c te r of C ra ig h a s p r o b
le m s of p la u s ib ilit y , a s e v e r e la c k of v ita lity and c o n s is t e n c y , and a
la c k of f u ll- d im e n s io n a l d e lin e a tio n . O nce C r a ig 's r e c o g n itio n s c e n e
o c c u r s , he d o e s b e c o m e s tr o n g ly m o tiv a te d , but h is c o m p a s s i o n l e s s ,
i n s e n s i t iv e , m o r a lly r ig h te o u s ju d g m en t of h is w ife s e v e r e ly lim it s
h is a p p e a l a s a th e a tr ic a l c h a r a c te r .
i
^*Ibid. , pp. 4 8 -4 9 .
92
I b i d ., p. 49.
170
T h e m e
E le a n o r F le x n o r , w r itin g about im p o r ta n t A m e r ic a n p la y s , s a y s
C r a ig 's W ife sh o w s h ow " traged y in e v ita b ly o v e r ta k e s a w om an w h o se
s e n s e of v a lu e s h a s b e c o m e so c o r ru p te d th at sh e s a c r i f i c e s e v e r y th in g
93
to m a t e r ia l s e c u r it y ." T e r s e ly and s u c c in c t ly , F le x n o r h a s s u m
m a r iz e d K e lly 's b a s ic m e s s a g e in th is p lay.
T h e m e Should R e s u lt in U n ity . - - H a r r ie t C ra ig and h e r n e c e s s i t y
i |
to s a c r i f ic e e v e r y th in g fo r h e r c o r ru p te d s e n s e of v a lu e s is the c r u c ib le
i
out of w h ich the p r o b le m of the p la y , m a jo r c r i s e s , c lim a x , d e n o u e - i
jm ent, d is p o s it io n of the m a jo r c h a r a c t e r s , and the d is p o s it io n of the
one su p p o rtin g su b p lo t a r e n a s c e n t. A s A le x a n d e r W o o llc o tt s a y s ,
" 'C r a ig 's W ife' . . . is as s in g le of p u r p o se as 'The S h ow -O ff' w a s or
'D u lcy' o r , fo r th at m a tt e r , 'H edda G a b le r .' T h at p u r p o se is p o r t r a i
tu r e and e v e r y w o r d in the th r e e e x h a u stiv e a c ts of 'C r a ig 's W ife' is
94
d e d ic a te d to a s te a d y , c r u e l illu m in a tio n of H a r r ie t C ra ig ." K e lly 's
th e m e in the c a s e of th is p lay h a s r e s u lte d in a unity of f o r m w h en the
c r it e r i a o f ju d g m en t a r e ap p lied to the w ork .
T h e m e Shou ld be C le a r , R e le v a n t, and U n iv e r s a l . - -O f the
t h i r t y - s i x h is t o r ia n s , c r i t i c s , and r e v ie w e r s who had w r itte n on
93
E le a n o r F le x n o r , A m e r ic a n P la y w r ig h ts : 1 9 1 8 -1 9 3 8 (N ew
York: B o o k s fo r L ib r a r ie s P r e s s , 1938), p. 236.
94
W oollcott, "Second Thoughts, " p. 26.
171
C r a ig 's W ife, th e r e s e e m e d to be little doubt a s to th e c la r ity of the
th e m e , e ith e r in th e ir m in d s or in the m in d s of the a u d ie n c e s . If the
them e w as not c le a r fo r the a u d ie n c e th rou gh im p lic a tio n , the c h a r a c
te r s of A u ste n and C ra ig h a v e s p e e c h e s that h e lp c la r ify the th e m e of
j
the w ork . M is s A u ste n s a y s , " H a r r ie t, p e o p le w ho liv e to t h e m s e lv e s j
]
95 |
a r e g e n e r a lly le f t to t h e m s e lv e s ." C ra ig s a y s to h is w if e , a fte r the j
I
t
m a jo r ity of h e r p r o b le m s h a v e b e e n r e v e a le d to h im , "What h a v e you j
|
e v e r d on e, or a m illio n o th e r s lik e yo u , that w ould w a r r a n t the a s s u m p f
i
96 !
tion of su c h s u p e r io r ity o v e r the m e n y o u 'r e m a r r ie d to?" j
A t the tim e of the p r e s e n ta tio n of C r a ig 's W ife in N ew Y ork , the|
|
ip rom in en ce and in d e p e n d e n c e of the A m e r ic a n f e m a le w a s f a s t b e c o m in g
97
a r e a lity . T h e m e n who w a tch ed H a r r ie t C ra ig in a c tio n m u s t have
^ K e l l y , C r a ig 's W ife , p. 4 0 . ^ I b i d . , p. 93.
97
P a u l Sann in h is b ook , The L a w le s s D e c a d e (N ew York: C row n
P u b lis h e r s , Inc. , 1962), and F r e d e r i c k L e w is A lle n in h is v o lu m e ,
O nly Y e s te r d a y (N ew York: H a r p e r and B r o t h e r s , 1957), note the m an y
fa c t o r s th at w e r e co n trib u tin g to a f e m a le e m a n c ip a tio n m o v e m e n t. They
d is c u s s the fo llo w in g and th e ir in flu e n c e : (1) w o m e n 's s u ffr a g e (A llen ,
p. 95); (2) o r g a n iz a tio n s lik e T h e W o m en 's L e a g u e of V o te r s and the
W o m en 's C h r is tia n T e m p e r a n c e U nion (Sann, pp. 2 4 -2 5 ); (3) the p r o m
in e n c e and p u b lic ity of su c h f ig u r e s a s A m ie S e m p le M c P h e r s o n (Sann,
pp. 1 9 5 -2 0 3 ) and T e x a s G uinan (Sann, pp. 2 5 2 -2 5 4 ); (4) the a c c o m p l i s h
m e n ts of G ertru d e E d e r le (A lle n , p. 209) and A m e lia E a r h a r t (Sann, p.
222); (5) the in c r e a s e in a p a r tm e n t liv in g w h ich gave the f e m a le m u c h
m o r e tim e and f r e e d o m (A lle n , p. 96); (6) th e m o r e d a rin g d r e s s s t y le s
and c h a n g e s in h a ir a r r a n g e m e n ts s u g g e s tin g an e m a n c ip a te d in d iv id u a l
(A lle n , pp. 9 2 -9 3 ); (7) w ith th e ad ven t of the " s p e a k e a s y " d u rin g p r o
h ib itio n , w o m e n n ow drank w ith the m e n , w h ic h w a s quite a ch an ge fr o m
the tr a d itio n of the p r e -p r o h ib itio n bar and s a lo o n w h e r e w o m e n n e v e r
s e t fo o t (A lle n , pp. 1 1 0 -1 1 1 ); (8) the ad v en t o f F r e u d and n e w m a n n e r s
172
had m ix e d f e e lin g s to w a r d h e r . On the one hand th e r e w e r e f e e lin g s of
I
h o s t ilit y b e c a u s e of h e r u s e of h e r husb an d and h e r s u b tle , in v id io u s
I
ty ra n n y , but on the o th e r hand, H a r r ie t w a s not a m o d e r n w o m a n in thej
tru e s e n s e , lo o k in g fo r a jo b , jo in in g e m a n c ip a tio n o r g a n iz a tio n s ,
sm o k in g and d r in k in g , e x p e r im e n tin g w ith lo w - c u t h ig h s k ir te d
d r e s s e s ; in s h o r t, sh e k n ew h e r p la c e w as in the h o m e . T he w o m e n in
i
the a u d ie n c e who e ith e r c o n s c io u s ly or u n c o n s c io u s ly id e n tifie d w ith thej
e m a n c ip a tio n m o v e m e n t m u s t a ls o h a v e had f e e lin g s of a m b iv a le n c e j
to w a r d H a r r ie t . F e e lin g s of em p a th y w ou ld sp r in g f r o m th e ir u n d e r
stan d in g of h e r d e s ir e to g a in s e c u r it y , but they w o u ld - - in m o s t c a s e s j
I
- - r e a c t n e g a t iv e ly to h e r c r u e lt y , f r ig id it y , and u n sc r u p u lo u s m eth o d j
i
of c o n q u e st. T h us to both the m a le and f e m a le a u d ito r s , the th e m e |
I
could be s a id to h a v e r e le v a n c e . J o s e p h W ood K ru tch s a y s that both
T h e S h o w -O ff and C r a ig 's W ife h a v e the d is tin c t ad van tage "of b e lo n g
ing to a f a m ilia r and p op u lar g e n r e ." In c o m p a r in g th e tw o p la y s , h e
s a y s that C r a ig 's W ife , "w hich d r e w at fu ll len g th the p o r tr a it o f a hard
98
w o m a n - - w a s ty p ic a lly 'm o d e r n '. . . ."
and m o r a ls w h ich w e r e a r e s u lt of the n ew " s c ie n tific " age (A lle n , pp.
11 5 -1 1 8 ); and (9) w o m e n w e r e g e ttin g jo b s in e v e n g r e a te r n u m b e r s
than e v e r b e f o r e - - t h e y w e r e no lo n g e r lim it e d to only a cou p le of
p r o f e s s io n s (A lle n , p. 97).
98
John W ood K ru tch , A m e r ic a n D r a m a S in c e 1918 (London:
T h a m e s and H u d son , 1957), p. 62.
173
T he u n iv e r s a lity o f the p la y 's m e s s a g e is s o m e w h a t lim ite d
l
b e c a u s e of K e lly 's d e s ir e to d e a l w ith h is p r o ta g o n is t on a m o r a l b a s is .
S o c io lo g ic a l and p s y c h o lo g ic a l p r e s s u r e s a r e n ot an im p o r ta n t c o n s id
e r a tio n w ith K e lly . A c c o r d in g to E le a n o r F le x n o r , H a r r ie t C raig is a |
|
stu dy of a c h a r a c te r in a v a c u u m . She s a y s that if K elly had d e a lt m o r e
w ith the p s y c h o lo g ic a l and s o c io l o g ic a l in flu e n c e s on H a r r ie t, the play
w ould h a v e b e e n m o r e than ju s t a tr a g e d y of a s e lf is h w om an; it w ould j
j
!
h a v e b e e n an e v a lu a tio n of "the s o c ia l r e la tio n s h ip s and co n d itio n s
9 9 !
w h ic h c a s t p e o p le in so h a r s h a m o ld ." F le x n o r in fe r s that H a r r ie t's;
i
p r o b le m is one of in s e c u r it y c a u s e d by the f e m a l e ' s e c o n o m ic d e p e n d - j
j
en c y upon the m a le . A c c o r d in g to F le x n o r , the c a s h n ex u s and the I
c o n v e n tio n a l m a r r ia g e r e la t io n s h ip a r e the c o r r u p to r s of the h um an
i
b e in g , and th is is the b u rd en of K e lly 's p la y , but he i n s is t s on tr e a tin g
H a r r ie t a s a m o r a l p h en o m en o n . F le x n o r s a y s , "She is d ish o n e st; she !
is g u ilty of m a r r y in g a m a n w ith ou t lo v e and w ith ou t tru st; she is a
p i t i l e s s n a g . F o r t h e s e e n o r m it ie s sh e is p u n ish ed . T h at sh e h as b een
tra p p e d . . . by f o r c e s b eyon d h e r c o n tr o l, is b eyon d the d r a m a tis t's
u n d e r sta n d in g ."
In e s s e n c e , K e lly is s a y in g that if a w o m a n d is h o n e s tly m a n ip u
la te s in d iv id u a ls fo r h e r ow n p u r p o s e , sh e sh o u ld be co n d em n ed and
p u n ish e d w ith a s e v e r it y eq u a l to h e r c r im e ; th e r e is a s o r t of
F le x n o r , A m e r ic a n P la y w r ig h ts , p. 237. Ib id ., p. 238.
T7T
p u r ita n ic a l ju d g m en t v is it e d upon h e r fr o m a b o v e . In K e lly 's v ie w p o in t
th e r e a r e no s h a d e s of g r e y , no e x te n u a tin g c ir c u m s t a n c e s th at sh ou ld
b r in g c o m p a s s io n to the p o r tr a it.
T h e m e Should B e an In te g r a l P a r t of th e D r a m a tic M o v e m e n t .- -
I r o n ic a lly , C r a ig 's W ife cou ld h a v e b e e n a p lay in w h ic h the th e m e w as
j
an im p lic it s ta t e m e n t of the d r a m a tic a c tio n . H a r r ie t 's a c tio n s , r e a c - j
i
t io n s , m a n ip u la tio n s , and su b s e q u e n t l o s s of a ll h u m an c o m p a n io n sh ip j
i s
c o m m u n ic a te c le a r ly to the a u d ie n c e the b a s ic th e m e of the w o rk . j
H o w e v e r , th e p la y w r ig h t d e e m s it n e c e s s a r y to sta te p a r ts of h is them e-
ion at l e a s t two d iffe r e n t o c c a s io n s in the p l a y . ^ ^ D e n is D id e r o t f e e l s !
I |
that th e p la y w r ig h t sh o u ld n e v e r sta te h is t h e m e . H e s a y s , ". . . if j
the a u d ie n c e d e t e c t s h is p u r p o s e , h e w ill f a il to a c h ie v e it; he c e a s e s
,102
to w r ite d r a m a , and on ly p r e a c h e s . K elly p r o c e e d s f r o m a d e
ta ile d , s k illfu lly d e v e lo p e d c h a r a c te r stu d y in A c t I and m o s t of A c t II
to an e x e r c i s e in the e x c o r ia tio n of h is p r o ta g o n is t at the end of A c t II
and m o s t of A c t III.
K e lly 's th e m e r e s u lt s in unity; it is c le a r and r e le v a n t fo r the
a u d ie n c e of the tw e n tie s but f a lt e r s w h en e x a m in e d in the lig h t of the
c r it e r i a fo r u n iv e r s a lit y . And b e c a u s e of K e lly 's " p r e d ile c tio n fo r
^ ^ K e l l y , C r a ig 's W ife , pp. 40 and 93.
102
B a r r e t t H. C la rk , ed. , E u ro p ea n T h e o r ie s of the D r a m a
(N ew York: C row n P u b lis h e r s , Inc. , 1947), p. 299.
175
103
m o r a liz in g . . . ," a s B a r r e t t C la rk c a lls it, the th e m e is not an
in te g r a l p a r t of the d r a m a tic m o v e m e n t .
An E v a lu a tio n of the C r itic s
V a lid but In c o m p le te C r i t i c i s m . - - T h e m a jo r ity of the c r it ic s
!
n oted the s tr u c tu r a l s k ill w ith w h ic h K e lly b u ilt h is p la y . T h ey w e r e ‘
co g n iz a n t of the fa c t th at the d e ta ile d d e lin e a tio n of H a r r ie t C ra ig w as j
i
i
the d r a m a tic a c tio n of the p ie c e ; c h a r a c te r iz a t io n and p lot w e r e n e a r ly j
I ;
in s e p a r a b le . A le x a n d e r W o o llc o tt's r e m a r k s a r e ty p ic a l of th is o b s e r -;
i
vation: i
i
j
| " C r a ig 's W ife" . . . is a s s in g le of p u r p o se as "The S how -O ff" j
w as or . . . fo r that m a t t e r , "H edda G a b le r . " T h at p u r p o se is |
p o r tr a itu r e and e v e r y w o r d in the th r e e e x h a u s tiv e a c ts . . . i s j
d e d ic a te d to the s te a d y , c r u e l illu m in a tio n of H a r r ie t C r a i g . '
H o w e v e r , in th e ir d e s ir e to p r a is e the c h a r a c te r stu dy and the p r e c i
s io n w ith w h ic h K elly d e v a s ta t e s h is p r o ta g o n is t, th ey e m p h a s iz e d the
in h e r e n t s im p lic it y of the p ie c e .
In th e fin d in g s of th e stu d y it w as d is c o v e r e d that H a r r ie t 's
d e p ic tio n is a lm o s t too s im p le , w ith ou t adequate d im e n s io n and, at
t i m e s , b o r d e r in g on the c o n tr iv e d . K ru tch c a lls it "a m o r e s im p le ,
d ir e c t and s e r io u s p lay w h ic h a d h e r e s a lm o s t fa n a tic a lly to the sin g le
^ ^ B a r r e t t H. C la rk , H is to r y of M o d ern D r a m a (N e w York:
D. A p p le to n -C e n tu r y , 1947), p. 701.
104
W oollcott, "Second T houghts, " p. 26.
17 G
th e m e d e v e lo p e d in th e s to r y of a 'good h o u s e k e e p e r '. . . . " H is
r e m a r k , lik e W o o llc o tt's , c o m p lim e n ts K e lly 's s in g u la r ity of p u r p o se
and s im p lic it y of a p p r o a c h , but m a k e s no a llo w a n c e fo r the w e a k n e s s e s
in h e r e n t in th is a p p r o a c h . Of th e t h ir t y - s o m e c r it ic s p e r u s e d , only
K r o n e n b e r g e r , C lark , and G a b r ie l s e e m e d to fu lly r e a liz e the p r o b
l e m of o v e r s im p lif ic a t io n . K r o n e n b e r g e r o b s e r v e s :
W hat M r. K e lly f a ils to sh o w , at l e a s t to the e x te n t he sh o u ld , is
th at alon g w ith s o m e th in g n a tu r a lly h a tefu l in M r s . C raig th e r e is
j s o m e th in g d e e p ly s ic k . H er f a n a t ic is m about b ein g s e c u r e is the
m e a s u r e of h e r fr ig h t about not being; sh e is a d a n g ero u s
n e u r o tic .
The e s s e n c e of C la r k 's r e m a r k s w e r e s im ila r to G a b r ie l's . C lark
! c o m m e n ts:
I
i M r . K e lly in C r a ig 's W ife h a s e r r e d by sk e tc h in g in h is b ack grou n d
and th e m in o r c h a r a c te r s and o v e r d o in g h is c h ie f c h a r a c te r . . . .
M r . K elly m a k e s the u n fortu n ate m is t a k e of tu rn in g h e r in sid e
out, d is s e c t in g h e r th e m o m e n t he in tr o d u c e s h e r so th at a t e n -
y e a r - o l d c h ild cou ld s e e th rou gh h e r at a g la n c e .
H o w e v e r , even the c r i t i c i s m of K r o n e n b e r g e r and C lark w as
in c o m p le te : (1) K r o n e n b e r g e r m a d e no m en tio n of the s e r io u s c h a r a c
t e r p r o b le m s in W a lter C r a ig 's d e p ic tio n , and (2) C la rk sa id th at H a r
r ie t 's d e lin e a tio n sh o w e d no lig h t and sh a d e. In lig h t of the fin d in g s of
K ru tch , A m e r ic a n D r a m a S in ce 1 9 1 8 , p. 62.
106
K r o n e n b e r g e r , "Old P la y in M anhattan, " T i m e , 49 ( F e b
r u a r y 24, 1947), 58.
107
B a r r e t t H. C la rk , " S e v e r a l N ew P la y s for B r o a d w a y , " The
D r a m a , 16 ( D e c e m b e r , 1925), 90.
177
this stu d y , th is r e m a r k by C la rk is a little e x t r e m e . G a b r ie l, w r itin g
one of the m o s t v a lid and s e n s it iv e r e v ie w s of the p la y , n oted the
m a jo r p r o b le m s in the p lay w h ich w e r e d is c o v e r e d in the fin d in g s of
th is stu d y.
W o o llc o tt, c o m p la in in g about the v e r b o s it y of the w o rk , m e n -
j
tio n ed b r ie fly the a s p e c t of K e lly 's p r o p e n s ity to in d u lge in h o m il e c t i c s j
but did not s p e c if y th e su b je c t m a tte r of the p r e a c h m e n t nor in d ic a te j
j
the s e r i o u s n e s s of th is fla w . N athan is m o r e s p e c if ic in h is c r i t i - j
I
c i s m of the work: I
N ot co n ten t w ith p e r m ittin g h is c h a r a c te r s to t e l l th e ir s p e c ia l
s t o r y , he p e r io d ic a lly s te p s to one s id e , p u lls a r u le r out of h is
p o c k e t, and in d u lg e s h i m s e l f in a b la c k b o a r d le c t u r e p ro v in g by
s t a t i s t i c s that th e r e a r e th o u sa n d s of p e r s o n s in the w o rld lik e
h is c h a r a c t e r s . . . . Nothing, of c o u r s e , so w e a k e n s a d r a m a a s j
a s o r tie of th is k in d .1^9
W hile N athan w a s c o g n iz a n t of one of the m a in fla w s of C r a ig 's W ife , he
did n o t s e e m to be s e n s it iv e to the w e a k n e s s in c h a r a c te r iz a t io n s of
e ith e r H a r r ie t or C ra ig . B oth A tk in so n and Young w e r e a w a r e of the
c h a r a c te r iz a t io n p r o b le m s in K e lly 's d e p ic tio n of W a lter C ra ig .
Y ou n g's r e m a r k s a re s im ila r to A tk in s o n 's . Young n o te s:
. . . the p o r tr a it of the w o m a n is r e m a r k a b le . . . the m an
r e m a in s m e r e l y sta g e stu ff, an o r n a m e n t to any c o m m u n ity and
1(10
W o o llc o tt, "Second T h o u g h ts ," p. 26.
109
G e o r g e Jea n N athan, "An A m e r ic a n P la y , " T he A m e r ic a n
M e r c u r y , 6 ( D e c e m b e r , 1925), 504.
178
d e s e r v e r of the b e s t of w i v e s , w h a te v e r that m a y m e a n . T he
tr e n c h a n t stu d y b rou gh t to b e a r on th e w ife sto p s s h o r t, then, at
th e h e r o . 110
Y oung, h o w e v e r , ta k e s no n o tic e of the s e r io u s p r o b le m of im p la u s i-
b ility in the c h a r a c te r of C r a ig , and both w r it e r s h a v e in v a lid itie s in
th e ir r e m a r k s w ith r e g a r d to H a r r ie t.
W o o llc o tt, in d is c u s s in g the s y m p a th e tic q u a litie s of K e lly 's j
I
p r o ta g o n is t, w r ite s : j
I
. . . the a p p ea l o f a lo n e ly , is o la t e d s o u l, liv in g in a w o r ld of |
b lin d fo o ls w ho can n ot u n d e r sta n d th e o v e r p o w e r in g im p o r ta n c e of j
h a v in g both s id e s of the liv in g r o o m c u r ta in s d ra p ed at th e s a m e |
a n g le . Or th at v ig ila n c e w h ic h , in the m id s t of h e r t r a g ic f a r e w e ll !
s c e n e w ith h e r h u sb a n d , im p e ls h e r to in te r r u p t an im p a s s io n e d j
s p e e c h to s p r in g at a p ie c e o f lin t on the rug. It is m e a n s p ir ite d i
and n a r r o w and m a t e r ia l, but, oddly it is p itia b le . A n an a u d ien ce !
w h ic h h a s h a te d h e r v e h e m e n tly fo r two a c ts w ill be w on to a c e r - \
tain c o m p a s s io n at the end of the th ird a c t, as sh e c lin g s in h e r j
b e w ild e r e d d e fe a t to a s h e a f of r o s e s w h ile th e ir p e ta ls d rop ,
u n h ee d e d fo r o n c e on the g le a m in g , h ard w ood f lo o r .
A s W o o llc o tt o b s e r v e s , it w ou ld be p o s s ib le for H a r r ie t to evok e pity
and thus em p ath y f r o m the a u d itor a s the c h a r a c te r is p r e s e n tly w r i t
te n , but w hat he d o e s n 't o b s e r v e is th at if K e lly had e x p o s e d m o r e of
H a r r ie t 's w e a k n e s s and f e a r , th e a u d ie n c e w ou ld th en f e e l fa r m o r e
c o m p a s s io n .
In valid C r it ic is m . - - A c c o r d in g to the fin d in g s in th is stu dy,
^ ^ S t a r k Y oung, " C r a ig 's W ife ," The N e w R e p u b lic , 44 ( N o v e m
b e r 4 , 1925), 281.
^ ^ ^Woollcott, "Second T h o u g h ts," p. 26.
179
Y oung, R . D an a S k in n e r , and C arl C a r m e r have a ll m a d e in c o r r e c t
s ta te m e n ts w ith r e g a r d to the c h a r a c te r iz a t io n of H a r r ie t C ra ig .
(1) Young w r i t e s , "the p o r tr a it of the w o m a n is r e m a r k a b le , sh e is
e x p lo r e d p r e c i s e l y and fin a lly , g iv e n h e r v a r ie ty and m u ltitu d e of r e a c -
,,112
tio n s , h e r h a r s h n e s s , p a th o s, e g o t is m , in te llig e n c e . A s w a s j
r e v e a le d th rou gh th e a p p lic a tio n of the c r it e r io n , H a r r ie t is a stu dy of J
" h a r s h n e s s " and the auditor m ig h t s e n s e h e r " e g o tis m and i n t e l li g e n c e .
B ut she is n ot e x p lo r e d w ith any fin a lity , sh e is quite la ck in g in the j
I
" m u ltitu d e of h e r r e a c t io n s , " and the p o te n tia l of h e r pathos is not
r e a liz e d in the c h a r a c te r iz a t io n . (2) S k in n er sa id th at no c h a r a c te r j
! I
jcould p o s s ib ly be a c r e d ib le c r e a t io n and know as m u c h about h e r s e l f I
I
as H a r r ie t k n o w s. T h is s e e m s to be a p e c u lia r c r i t i c i s m w h en on is j
r e m in d e d of the c h a r a c te r iz a t io n s of S h a k e s p e a r e 's Iago and R ic h a r d
III and I b s e n 's H ed da G a b le r . (3) C a r m e r s a y s of K e lly 's p o r tr a itu r e :
T h e m eth o d u s e d in c h a r a c te r iz in g the m a in p e r s o n . . . h e r e
s e e m s u n fa ir and u n p le a s a n tly g r o te s q u e . T he r e v e a lin g tr a it s of
a w o m a n lik e M r s . C r a ig c r u e lly s c h e m in g to d o m in a te a ll the
c o n d itio n s of h e r life w ith ou t r e g a r d fo r h u m an r e la tio n s h ip s a r e
11 ^
not e a s il y r e c o g n iz a b le in m o d e r n life .
W hile it is tru e th at H a r r ie t m a y n ot be r e v e a le d a d e q u a te ly in depth,
th e r e is noth in g in the c h a r a c te r iz a t io n that s u g g e s t s g r o t e s q u e n e s s or
^ ^ ^ Y o u n g , " C r a ig 's W ife ," p. 281.
113
C a rl C a r m e r , "G eorge K e lly , " T h e a tr e A r t s , 15 (M a r c h ,
1931), 3 2 2 - 3 3 0 .
180
th a t a w o m a n o f h e r ilk w ould not be in h u m an ly v ic io u s in h e r m a n ip u
la tio n s of th o se around h e r .
A tk in so n , W a tts, and H a m m on d h a v e a ll m a d e g e n e r a l in v a lid
s ta te m e n ts w h ic h w ou ld en h a n ce the p u b lic im a g e of the p la y . A tk in so n
h a s tw o s ta t e m e n t s w h ich a r e c e r ta in ly dubious in lig h t of the fin d in g s: !
I
(1) he s a y s of K e lly 's c h a r a c te r iz a t io n , " 'C r a ig 's W ife' p r o v e s g e n - j
I
e r a lly s a tis fy in g by r e a s o n of its e c l e c t i c o b s e r v a tio n of an A m e r ic a n !
114 I
in d iv id u a l . . . and (2) in c o m p a r in g the r e la t iv e w o rth of T he i
S h o w -O ff and C r a ig 's W ife, he w r i t e s , "with h is th ird d r a m a M r. K elly
115
h a s m a d e n o ta b le p r o g r e s s in h is c a r e e r a s a p la y w r ig h t." A tk in
s o n 's c o m m e n t in (I) ab ove is h a r d ly a c c u r a te s in c e one of K e lly 's
m a in p r o b le m s w ith H a r r ie t 's d e lin e a tio n is the n a r r o w n e s s of h is
a p p r o a c h . N otin g h is c o m p a r is o n of T he S h o w -O ff and C r a ig 's W ife ,
one fin d s the f o r m e r play q u ite s u p e r io r th rou gh ap p lyin g the c r it e r ia .
H a m m o n d c o m m e n t s , "He e x p o s e s th e la d y 's e v ils and th e ir c o n s e
q u e n c e s in a d r a m a w h ic h b e g in s , p r o c e e d s and s to p s w ith due r e g a r d
to c r e d ib ilit y and the t h e a t r e . " O n e m u s t q u e s tio n H a m m o n d 's u s e
of the w ord " c r e d ib ility " b e c a u s e of th e " p rea ch m en t" s c e n e s o b s e r v e d
114
B r o o k s A tk in so n , " E n d o r sin g M r. K e lly , " N e w Y o r k T i m e s ,
M ay 9, 1926, P a r t 1, p. 1.
" W
^ ^ P e r c y H a m m o n d , "The T h e a t r e s ," N ew Y ork H e r a ld T r i b
une , O cto b er 2 3 , 1925, p. 14.
181
in the p la y , and the im p la u s ib ility of W a lter C r a ig . And fin a lly , W atts
s a y s , in d is c u s s in g K e lly 's d e p ic tio n of h is p r o ta g o n is t, "To a c e r ta in
e x te n t he f o r g iv e s h e r by e x p la in in g h ow e a r ly h o m e e n v ir o n m e n t had
117
m a d e h e r w hat sh e w a s . . . . " It w a s found K e lly 's m o r a l judgm ent
I
of H a r r ie t is u n flin c h in g ly s tr in g e n t and a u s te r e ; th e r e is little f o r - ]
i
i
g iv e n e s s in the tone of the w o r k . i
i
i
l
S u m m a r y . - -T h e m a jo r ity of the c r it ic s did not note the s e r io u s j
i
im p la u s ib ility of W a lter C r a ig , the la c k of e m o tio n a l d im e n s io n in Har-t
i
r ie t and C r a ig , and th e s e v e r i t y of K e lly 's m o r a l m e s s a g e . W ithout :
c r it ic a l c o n s id e r a tio n of t h e s e it e m s , the p lay a c h ie v e d a stan d ard of
| j
a p p ro b a tio n not d e s e r v e d . j
j
T he y e a r b e fo r e C r a ig 's W ife w a s p r e s e n t e d , The S h ow -O ff
w a s v o ted the P u litz e r P r i z e by the C o lu m b ia U n iv e r s it y a d v is o r y
b o a r d . H o w e v e r , th is d e c is io n w a s r e v e r s e d and H a tc h e r H u g h es'
H e llb e n t fo r H ea v e n r e c e iv e d th e a w a rd . T h e r e w a s c o n s id e r a b le
118
c r it ic a l u p r o a r w h en th is o c c u r r e d . C r a ig 's W ife h a s r e c e iv e d a
c e r t a in d e g r e e of c r it ic a l s ta tu r e b e c a u s e it w on th e P u lit z e r P r i z e .
T h is in v e s tig a to r f e e l s th at th is p lay w a s g iv e n the p r iz e m o r e b e c a u s e
of c o m p e n s a tio n fo r K e lly 's l o s s the y e a r b e f o r e than b e c a u s e of
117
R ic h a r d W a tts, J r . , " G eorge K e lly 's P u lit z e r P la y R e ta in s
Its D r a m a tic P o w e r , " N ew Y o rk P o s t , F e b r u a r y 13, 1947, p. 459.
118
K elly, in an in te r v ie w with the author, June 23, 1971.
182
in h e r e n t m e r i t w ith in the w ork .
D a is y M a y m e
W ith T h e T o r c h - B e a r e r s , K elly had w r itte n a p lay in w h ic h th e
p r o g r e s s io n of the d r a m a tic a c tio n is d ep en d en t upon m an y c h a r a c te r s ;
t
w ith T h e S h o w -O ff and C r a ig 's W ife, h e b u ilt h is plot arou n d one c e n - j
,
!
t r a l p r o ta g o n is t. In D a is y M a y m e , K elly r e tu r n s to a p lot c o n str u c tio n !
w h ic h d ep en d s upon the in te r p la y of s e v e r a l c h a r a c t e r s . The p la y - j
j
w r ig h t a ls o a tte m p ts to r e li e v e the s e r i o u s n e s s of the m ood h e had s u s -|
j
ta in e d w ith C r a ig 's W ife , by c r e a tin g a c o m e d y . H o w e v e r , h is d e s ir e j
to p u n ish h is a n ta g o n ist, plus the c r e a tio n of an o v e r b e a r in g p r o ta g - j
o n is t w h o se a tte m p ts at h u m or a r e o ften in s ip id ly s im p le - m in d e d , 1
i
s e r i o u s l y im p a ir the e f f e c t of the w ork .
P lo t: A c t I
E xp o s it io n . - - L aur a F e n n e r , the a n ta g o n ist of the p la y , is
v ie w e d in th e o p en in g s c e n e c le a n in g h e r b r o th e r 's h o u s e w ith h e r
d au gh ter R uth. In th e f i r s t fou r p a g e s , the a u d ie n c e le a r n s that the
h o u s e b e lo n g s to h e r b r o th e r C liff and th e ir n i e c e , M ay, who a r e
119
c o m in g h o m e , that L a u r a is v e r y c o n c e r n e d about the piano b e in g
p la y e d b e c a u s e th e r e h a s b e e n a fu n e r a l in the h o u se w ith in the la s t
119
G eorge K elly, D a isy M aym e (New York: S am u el F r e n c h ,
1926), p. 5.________________ ~~ ______
183
120 121
m onth; that she w an ts the sh a d e dow n so th at no lig h t c o m e s in;
and th at sh e h a s quite a h o s t ile attitu d e to w a rd h e r s i s t e r , O ily K ipax,
122
who a r r iv e s d u rin g th is op en in g s c e n e . K elly is r e v e a lin g h is a n t e
c e d e n t a c tio n in th is e x c h a n g e , and w ith the la s t th r e e r e f e r e n c e s , he
is a ls o fo r e s h a d o w in g plot d e v e lo p m e n ts to co m e : th e re w ill be a c o n - !
i
I
f lic t o v e r the piano and an a r g u m e n t b e tw e e n the p r o ta g o n is t, D a is y j
M a y m e , and L a u r a about the d raw n s h a d e s . O ily , b e c a u s e of L a u r a 's j
i
h o s t ilit y , w ill e v e n tu a lly s w itc h a lle g ia n c e to D a is y , c a u s in g a change j
|
in the b a la n c e of f o r c e s . The a fo r e m e n tio n e d to p ic s s e e m n a tu r a l fo r j
L a u ra and Ruth to d i s c u s s w h ile th ey a r e c le a n in g , so K e lly 's e x p o s i
tion flo w s quite u n o b tr u s iv e ly at th is p oint. W ith the a r r iv a l of O ily
K ip ax, K elly can in tr o d u c e m o r e su b tly m o r e in fo r m a tio n and fu r th e r
illu m in a te c h a r a c te r , s in c e O ily and L a u ra h a v e not s e e n e a c h o th er
la te ly , and s in c e L a u r a is the " g o ssip y " ty p e. O ily h a s to be told why
L a u ra and h e r d au gh ter a r e t h e r e , and th is s u b je c t le a d s to fu r th e r
in fo r m a tio n about C liff and M ay who a r e v a c a tio n in g and w ill be a r r iv -
I
ing so o n .
T h e r e is the m e r e s t fo r e s h a d o w in g of the b a s ic c o n flic t a s it is
le a r n e d that C liff and M ay a r e n ot p a r tic u la r ly c lo s e to L au ra; sh e is
quite unhappy that the two v a c a tio n e r s did n ot t e ll h er w h en th ey w e r e
Ibid. , pp. 1 -2 . Ibid. , p. 2. Ibid. , pp. 3 -4 .
184
123
c o m in g h o m e . It w as n e c e s s a r y for L a u r a to le a r n the date of th e ir
a r r iv a l f r o m the n e ig h b o r s . T he a u d ien ce a ls o le a r n s that C liff and
124
M ay a r e in A tla n tic City and w ill be d r iv in g h o m e th at a ftern o o n .
K e lly su b tly im p a r ts in fo r m a tio n about the d eath of M a y 's m o th e r and
about the fu n e r a l that L a u r a w a s ta lk in g about, as the f e m a le c o n v e r - j
J
s a tio n q u ite r e a li s t i c a l l y tu r n s to th e s u b je c t of c lo th e s - -th e ir b la c k j
125
m o u r n in g d r e s s e s .
T he p r o b le m of the p lay is d e lic a t e ly fo r e s h a d o w e d a s L a u r a 's
d is lik e and je a lo u s y to w a rd M ay b e c o m e a p p a r e n t w h en the q u e stio n
a r i s e s a s to who is go in g to c a r e fo r the la r g e h o u se n ow that the s is t e r
126
h a s d ied . T he a u d ie n c e le a r n s that w h en M a y 's fa th e r d ied , she and
h e r m o t h e r - - C li f f ' s and L a u r a 's s i s t e r - - c a m e to liv e w ith C liff in the
i
!old f a m ily h o u s e , and, a c c o r d in g to L a u r a , th ey s p o ile d M ay ro tten .
!
j
}She w as n ot a llo w ed to do any h o u s e w o r k , e n c o u r a g e d to do nothing
i
j
jbut p lay th e p ian o, and C liff w a s a lw a y s " sq u a n d erin g h is m o n e y on
I
1 127
jher." L a u r a 's h o s tility is e v id e n t a s she c o m p a r e s the am ou n t of
i
I
a tten tio n and m o n e y C liff h a s b e s to w e d upon M ay to that g iv en h er
d a u g h te r , R uth. K elly is su b tly p oin tin g up a b a s ic s c h is m in the
f a m ily , f r o m w h ich the p r o b le m of the p lay and the m a jo r c lim a x
d e r iv e . Who w ill s u c c e e d to the r o le of f e m a le a d m in is tr a to r of the
123 , 124 125.,., _ 1n
Ibid. , p. 6. Ibid. Ibid. , pp. 8 - 1 0 .
126t1 _.j . - 127T , . .
I b i d ., pp. 15-17. Ibid.
185
C liff M e ttin g e r h o u se h o ld b e c o m e s the p r o b le m of the p lay. K elly
fo r e s h a d o w s th is p r o b le m as the auditor v ie w s L a u r a 's a tte m p t to
i m p r e s s C liff w ith h e r m a n a g e r ia l ab ility: planning the e v e n in g m e a l,
g iv in g in s tr u c tio n s to h e r d a u g h te r , c le a n in g the h o u s e , m a k in g s u r e
128
O ily know s w h at the situ a tio n i s , e tc . S e e in g L a u ra in a c tio n , the
|
a u d itor r e a l i z e s th at sh e is a ttem p tin g to e s t a b lis h h e r s e l f a s a p r im e
can d id ate fo r th e d e s ir e d v a c a n c y . H o w e v e r , l e s t th e r e be no doubt
as to h e r in te n tio n s , K elly h as in s e r t e d an ex c h a n g e of d ia lo g u e b e tw e e n
O ily and L a u r a w h ic h e x p la in s L a u r a 's in te n tio n s and thus f o r e s h a d o w s
the p r o b le m of the p la y . L a u ra is tr y in g to c o n c e a l h e r c h a g r in w ith
O ily fo r c o m in g o v e r ju s t in tim e to be th e r e fo r C liff's a r r iv a l. O ily,
s e e in g th rou gh L a u r a 's plan to im p r e s s C liff, sa y s:
. . . But don't be a la r m e d , - - I w on 't tak e any c r e d it for
y o u r w o r k w h en C liff a r r iv e s .
O h, I k n ew you 'd tu rn it th at w ay.
T h a t's w h a t's the m a tte r w ith y o u , L a u r a , I know a ll
y o u r t r i c k s . You w an ted C liff to c o m e in h e r e and find
y o u o v e r - p o w e r e d w ith w o r k , so that h e 'd r e a liz e w hat
a good s i s t e r he had; and y o u 'r e fu rio u s that he sh ou ld
fin d m e h e r e , too.
I 'm fu r io u s that you sh ou ld fix it so that you 'd j u s t g e t
out h e r e w h en e v e r y th in g w a s done.
Y o u 'r e fu r io u s that I got h e r e at a ll. F o r if you w e r e
s o a n x io u s to have m e h e r e , you could have c a lle d m e
u p .1^9
O ily.
L a u ra .
O ily.
L a u ra .
O ily.
i2 8 , . . 1 2 9 , _
Ibid. , pp. 1-20. Ibid. , p. 7.
186
W ith the b a s ic s itu a tio n e s ta b lis h e d , the p r o b le m of the play-
hinted at, and the e n tr a n c e of C liff and M ay a n tic ip a te d , K elly p la c e s
L a u ra a lo n e on sta g e a s h e in tr o d u c e s the c h a r a c te r of the b r o th e r .
L a u ra can n ow d i s c l o s e a ll of the th in gs she h a s done to r e a d y h is
j
h o u se fo r him : (1) p r e p a r e d the d in n er, (2) c le a n e d s in c e 10:00 A .M . ,
130
e tc .
i
A t th is point K elly b r in g s D a is y M a y m e , h is p r o ta g o n is t, on J
I
j
s ta g e . She is a f o r t y - y e a r - o ld , v a ca tio n in g s p in s te r w h om C liff and j
!
M ay m e t in A tla n tic C ity. She and M ay h a v e b e c o m e the b e s t of friendsj;
I
I
no doubt D a is y f i l l s a v o id le ft by M a y 's d e c e a s e d m o th e r . W ith
D a is y 's e n tr y at th is m o m e n t, K elly h as c le v e r ly ju x ta p o se d h is p r o
ta g o n is t and a n ta g o n ist. L a u r a h a s ju st b e e n tr y in g to a s s u r e h e r
d e s ir e d e n tr e n c h m e n t; and as D a is y e n t e r s , the au d itor m e e t s a v o c i f
e r o u s , k in d -h e a r te d e x tr o v e r t who u n c o n s c io u s ly b e c o m e s a r iv a l fo r
L a u ra w ith h e r f i r s t e n tr a n c e by b r in g in g in g r o c e r i e s fo r "an e n tir e
w e e k ," and is r e a d y to fix the d in n er that L a u ra h a s a lr e a d y p r e -
131
p a red . W ith the e n tr y of D a is y , th e r e is now a n o th er p o te n tia l
" r e sid e n t h o u s e k e e p e r " fo r Cliff; and e v e n though D a is y is not a w a r e of
the p o s s ib le c o n flic t, the m a jo r f o r c e s th at c o n s titu te th e p r o b le m of
the p lay a r e n ow r e v e a le d .
T h e su b tle e x p o s itio n th at is s e t fo r th at th is point d i s c l o s e s
130 131
I b id ., pp. 2 1 - 2 2 . Ibid. , pp. 2 8 - 2 9 .
187
D a is y 's p o te n tia l a s a th r e a t to L a u r a and in d ir e c t ly w ill c a u s e L a u r a
to e x p e r ie n c e a c o m p li c a t i o n - c r i s i s situ a tio n . T he a u d ie n c e le a r n s
that D a is y 's m o th e r d ied w h en sh e w a s quite y o u n g , and th at sh e took
o v e r the f a m ily h o u s e k e e p in g c h o r e s at an e a r ly age and w ou ld be
132
e x t r e m e ly p r o fic ie n t in the d o m e s t ic a r t s . E x p o s itio n a ls o r e v e a ls
that L a u ra h a s an " in stan t d is lik e " fo r D a is y , th at L a u r a 's h u sb an d is
s ic k ly , th e y r e n t th e ir c u r r e n t a b o d e, and th a t D a is y h a s b e e n f o r e
w a r n e d by M ay about L a u r a . K e lly u n o b tr u s iv e ly d e v e lo p s the b a s ic
133
f o r c e s in the play fo r the im m in e n t point of a tta c k .
W ith the in tr o d u ctio n of D a is y M a y m e into the h o u s e h o ld , L a u ra
e x p e r ie n c e s a c o m p li c a t i o n - c r i s i s situ a tio n and h a s to m a k e a d e c is io n
as to a c o u r s e of a c tio n . K e lly 's p oin t of a tta c k o c c u r s a s L a u r a , in
d ia lo g u e w ith O ily , d e s c r i b e s D a is y a s a su b tle o p p o r tu n ist who m u s t
134
be gotten rid of. L a u ra s a y s th at D a is y i s in the M e ttin g e r h o u s e
h old fo r one r e a s o n only: to sn a g C liff as a h u sb an d . O ily d is a g r e e s :
L a u ra . O h, don't be s o ft, O ily . . . Why do y o u su p p o se she c a m e
h e r e at a ll, - -w h e n sh e k n ew t h e r e w a s n 't e v e n a w o m a n
h e r e to m a k e h e r a cup of t e a ? - - f o r th ey sto p p e d at the
c o r n e r to buy food on the w ay up. B ut sh e m a d e h e r
m in d up s h e 'd m a k e h e r ow n tea; and h is , too.
O ily . Such an id e a m a y n e v e r h a v e e n t e r e d the w o m a n 's h e a d ,
L a u ra .
L a u ra . W e ll, we m u s t s e e to it th at it d o e s n 't e n te r it.
132 133 134
Ibid. , p. 29. I b id ., p. 25. Ibid. , pp. 4 0 - 4 2 .
O ily. W e ll, w e'd b e tte r not s e e too h a r d , L a u r a , fo r it
m ig h t have ju s t the o p p o site e ffe c t. - -(L a u r a lo o k s at
h e r . ) and put the id e a into h er h ead .
L a u ra . We don't h a v e to do anything at all: on ly d on 't le t h e r
th in k w e 'r e dying about h avin g h e r h e r e ; and if s h e 's ^
a s s h a r p as I think s h e i s , s h e 'll take the h in t and go.
In ju d gin g th is point of a tta c k in ligh t of the c r it e r ia , the f o ll o w
ing sh ou ld be noted: (1) the c h a r a c te r s of L a u ra and D a is y h ave b e e n
a d e q u a te ly d e lin e a te d both th rou gh a ctio n and d ia lo g u e a s p o te n tia l
f o r c e s p r e c ip ita tin g the p r o b le m of the play; (2) the point of atta ck
sh o u ld be c le a r in th at L a u ra is in itia tin g a c a m p a ig n to r e m o v e D a is y j
|
a s so o n a s p o s s ib le ; and (3) the point o f a tta ck p r e c ip it a te s the r is in g
a c tio n . K elly a ls o a c c o m p lis h e s the fo llo w in g w ith h is p oin t of atta ck
at th is point: (1) fo r e s h a d o w in g is a c h ie v e d fo r a p o s s ib le m a r r ia g e of
C liff and D a is y - -p r e p a r a tio n fo r the c lim a x of the play; (2) o th er f o r e
sh a d o w in g d i s c l o s e s an iro n y w h ich b e c o m e s a b itte r le s s o n to L a u r a - -
sh e le a r n s th at D a is y did not have any id e a of m a r r y in g C liff u n til sh e
g a v e h e r the idea; and (3) fu r th e r illu m in a tio n of both L a u r a and O lly 's
c h a r a c te r s is p r e s e n te d . H o w e v e r , th e r e is an in h e r e n t p r o b le m in
K e lly 's c h o ic e of p e r s o n n e l in h is point of a ttack . A m o r e e ff e c tiv e
c la s h w ould h a v e b e e n a c h ie v e d if K elly cou ld h a v e had the p r o ta g o n is t
and a n ta g o n ist in c o n flic t at th is point.
135
Ibid. , pp. 4 5 -4 6 .
189
The f a c t that D a is y d o e s not p a r tic ip a te in the p oin t of a tta c k
b r in g s up a unique situ a tio n in K e lly 's p lot c o n s tr u c t io n w h ic h m u s t be
d is c u s s e d at th is p oint. W hile the d r a m a tic a c tio n is d e r iv e d f r o m the
a c tio n of both p r o ta g o n is t and a n ta g o n is t, L a u r a is the on ly p a r tic ip a n t
who know s e x a c tly w hat sh e w an ts and s e t s out to a c h ie v e a s p e c if ic
i
g o a l. In the p r o g r e s s of the r is in g a c tio n , it is L a u r a who e x p e r ie n c e s j
i
the c o m p li c a t i o n - c r i s i s situ a tio n . W hile the p r o ta g o n is t is c e r ta in ly
not a p a s s iv e c h a r a c te r , sh e is a p a s s i v e , a l m o s t u n c o n s c io u s p a r t i c i
pant in the p r o b le m of the p la y . If D a is y is w o r k in g fo r any s p e c if ic |
i
g o a l in the p la y , o th er than an a tte m p t to p le a s e C liff and M a y , the
|aud itor h a s no in fo r m a tio n of t h is . D a is y t e l l s L a u r a la te in A c t III
I |
th at L a u ra h e r s e l f is the one who put th e id e a of m a r r y in g C liff into her|
!
I
h e a d , but th e re is no e v id e n c e in the s c r ip t a s to w h e r e th is id e a o c c u r s
to D a is y . D a is y d o es point out a t im e w h e r e sh e le a r n s th at L a u r a had
b e e n a tte m p tin g to co n fu se C liff so he w ou ld b lu n d er into a s k in g D a is y
to go h om e; sh e s a y s that f r o m th en on sh e did th in g s to b e d e v il L a u r a ,
e.g. , sta y in g the e x tr a w e e k . B e g in n in g at th is point in the p la y , th e r e
is a p r o ta g o n is t who is a c tiv e ly e n g a g e d in a c o n f lic t of a t y p e - - s h e is
tr y in g to ir r ita t e h e r o p p o n e n t--b u t th e r e is no e v id e n c e to d e t e r m in e
at w hat point sh e ta k e s a d e fin ite a c tio n to b e c o m e C liff's w ife , thus
b e c o m in g c o n s c io u s ly in v o lv e d in the p r o b le m of the p la y . D a is y ,
b ein g a w e ll- a d j u s te d , fe m in in e ly m o tiv a te d w o m a n , w ould s e n s e the
d e s ir a b ilit y of b e c o m in g C liff's w if e , but th e p la y w r ig h t d o e s n o t supp ly
— - 190
c o n c lu s iv e e v id e n c e p r e v io u s to th e d e n o u e m e n t th at the p lay d o e s h a v e
a p r o ta g o n is t who is know n to be c o n s c io u s ly c o m p e tin g in th e p r o b le m
of the p lay.
j B y the tim e the p la y r e a c h e s th e p oin t of a tta c k , the a u d ie n c e
I
'should be r e a c tin g e m o tio n a lly to th e p r in c ip a l c h a r a c t e r s . L a u ra ,
due to h e r i r a s c i b le d is p o s it io n , h e r p r o p e n s ity to pry into o th e r s ' j
i
a f f a ir s , and h er u n e th ic a l s c h e m in g , sh o u ld not e li c it s y m p a th e tic
r e a c t io n s f r o m the a u d ie n c e . D a is y , b e c a u s e of h e r in fo r m a lity , h e r j
i
t
s e e m in g la c k of r e fin e m e n t , and h e r b r a s h b e h a v io r , w ould n o t e v o k e
th e em p a th y and sy m p a th y th at M r . K e lly w ou ld h a v e d e s ir e d fo r h is j
p r o ta g o n is t. C liff w ould p r o b a b ly be e m p a th iz e d and id e n tifie d w ith
b e c a u s e he is a h a r d w o r k e r , s ta b le , and e a s y - g o i n g .
R is in g A c t io n . - - K e lly in tr o d u c e s a n o th e r c h a r a c te r and a m in o r
subplot: C h a rlie S n y d e r , R u th 's f ia n c e e , and th e ir in v o lv e m e n t w ith
C liff. S n yd er h a s an in d ir e c t , but im p o r ta n t in flu e n c e on the p r o b le m
of the p lay in A c t III. W ith h is in tr o d u c tio n , it is le a r n e d that C liff is
in the r e a l e s ta te b u s in e s s and h a s s e v e r a l n e w h o m e s fo r s a le ; S n yd er
136
and R uth a r e v e r y in t e r e s t e d in a c q u ir in g on e o f t h e s e h o u s e s .
K e lly fo r e s h a d o w s the c h a r a c te r of S n y d e r , as it is m e n tio n e d th at he
h a s ju s t c o m e f r o m a "pool m a tc h , " and R uth m a k e s a joke about h im
^^Ibid. , pp. 68-69.
1 9 T
137
sh o w in g up as a lw a y s , ju s t m tim e fo r d in n er.
O nce K elly s e t s the r is in g a c tio n in m o tio n , L a u r a f a c e s c o m
p lic a tio n s a s a r e s u lt of D a is y 's p r e s e n c e . One of th e s e c o m p lic a tio n s
is a r e s u lt of D a is y 's in s is t e n c e on y e llin g out of th e w in d ow to a
n in e t y - o n e - y e a r - o ld n e ig h b o r n a m e d M r. F ilo o n . W hen F ilo o n v is it s
the grou p in A c t II, h e is the c a u s e of c o n s id e r a b le c o n s te r n a tio n to
L a u r a b e c a u s e of h is ca n d or and d is lik e fo r h e r .
A s A c t I e n d s , t h e r e is a s c e n e of ir o n ic s y m b o lis m and b la ta n t j
fo r e s h a d o w in g . A s a ll of th e m a r e goin g into the dining r o o m to h a v e j
d in n e r , D a is y , in one of h e r p layfu l m o o d s , n o tic e s the gro u p in g of the j
j p r o c e s s io n and sa y s:
i i
D a is y . We look lik e a w ed d in g , goin g in th is w ay. (She and '
C liff la u g h , S n yd er and Ruth go in ah ead of th e m . )
C liff. (In d icatin g R uth and S n y d er. ) T h e r e go the b e s t m a n
and b r id e s m a id ah ead of u s .
D a is y . (T u rn in g b ack . ) C om e on h e r e , M a y , y o u 'v e got to be
the flo w e r g ir l.
M ay. (F o llo w in g the p r o c e s s i o n .) I h a v e n 't got any f lo w e r s .
D a is y . You w on 't n e e d th e m at m y w ed d in g , d e a r . It'll be one
of th o se " P le a s e o m it f lo w e r s " a f fa ir s . (M ay la u g h s .)
C om e on h e r e , L a u ra and O ily , you two can be the
m a tr o n s of h o n o r . (T he c u r ta in c o m m e n c e s to d e s c e n d . )
D a is y t u r n s , lau gh in g b ack to C liff and th ey go out
to g e th e r . ) Got to do th is thing r ig h t, you know; it's the
137
I b i d ., p. 53.
192
n e a r e s t to it I 'll e v e r c o m e , I g u e s s . (M ay r e a c h e s the
d o o r , and w ith a g la n c e b a ck at h e r tw o a u n ts, who a re
s t i l l g la r in g n a r r o w ly at D a is y , g o e s out. . . .
A s A c t I e n d s , K e lly h a s in tr o d u ce d the p r o b le m of the p la y ,
the point of atta ck h a s s tim u la te d the in itia tio n of the d r a m a tic a c tio n ,
the au d ien ce h a s b e e n in tr o d u c e d to a ll of the p r in c ip a l c h a r a c t e r s , and
the fin a l s c e n e of A c t I h a s g r a p h ic a lly fo r e s h a d o w e d the d e n o u e m e n t of
the p lay.
Plot: A c t II
t
R is in g A c tio n C o n tin u e d . - -In th e m a n n e r of r e t r o s p e c t iv e e x p o - j
j
I
s itio n , K elly s u p p lie s m o r e a n te c e d e n t a c tio n . T he a u d ie n c e le a r n s j
m o r e about the n a tu r e of C liff's b u s in e s s and gain s m o r e k n ow led ge of !
Ruth and S n yd er and th e ir a tte m p te d a c q u is itio n of a n ew h o u se fr o m
139
C liff. A ls o in A c t II, K e lly fu r th e r illu m in a te s the c h a r a c te r of
S n y d er, w h o se b e h a v io r r e f l e c t s on the ju d g m en t of L a u ra who h a s
ap p roved of h im as a p o te n tia l s o n - in - la w : (1) w h en Ruth and Snyder
u s e C liff's c a r , th ey s e e m to a c t m o r e lik e o w n e r s of the ca r in s te a d of
140
ju s t b o r r o w e r s ; (2) th ey do n ot p ic k up O ily a s they a r e su p p o se d to,
141
and sh e is o b lig e d to tak e the tr o lle y ; and (3) it is le a r n e d that
142
S nyd er d oes n ot h a v e a job a s had b e e n su p p o se d .
^ ^ Ibid. , pp. 6 6 - 6 7 . ^ ^ I b id ., pp. 6 8 - 6 9 . * ^ Ibid. , p. 125.
141 142
Ib id ., pp. 1 2 4 -1 2 6 . Ib id ., p. 131.
193
K e lly fo r e s h a d o w s an a p p r o a c h in g c la s h b e tw e e n L a u ra and
D a is y w hen M ay n o t ic e s L a u r a and O lly 's d is r e s p e c t f u l b e h a v io r tow ard
D a is y and th en b r in g s it to th e a tten tio n of h e r u n c le as w e ll as to the
143
la d ie s t h e m s e l v e s . H o w e v e r , th e p la y w r ig h t's u s e of the e ld e r ly
n e ig h b o r , F ilo o n , w h o m D a is y h a s in v ite d in , p r o v id e s h is m o s t e f f e c
tiv e p ie c e of fo r e s h a d o w in g in A c t II. F ilo o n h a s b e e n d is c u s s in g the I
|
r e c e n t l o s s of C liff's w ife L yd y. It is a sa d situ a tio n , a c c o r d in g to
F ilo o n , w h en th e r e is no w o m a n in the h o u s e .
F ilo o n . I g u e s s y o u 'll be look in ' around fo r a w ife now , w on 't
y o u , M r . M e ttin g e r ? (C liff la u g h s)
C liff. W e ll, I h a d n 't thought m u c h about that y e t , M r. F ilo o n .
F ilo o n . W e ll, d on 't think too lon g about it. M ake so m e kind j
of lif e fo r y o u r s e lf . (L ook s around the r o o m . ) N ic e
h o m e h e r e ; no u s e b r e a k in ' it up. (H is e y e lig h ts on
D a is y . ) H e r e 's a fin e young w o m a n a ll r e a d y to ste p
into it.
F ilo o n .
C liff.
F ilo o n .
(He b e c k o n s D a is y c lo s e r to h im . ) S e t y o u r cap for
th is m a n h e r e , young w om an; (they laugh) good stea d y
m an .
N ow y o u m u s tn 't be putting h e r up to any t r i c k s , M r.
F ilo o n .
Y o u 'll n e e d a w o m a n around h e r e to lo o k a fte r th in g s.
No u s e w a s tin ' t im e . (He r a i s e s h is fin g e r w ith a
tou ch of s o le m n ity . ) If y o u don't put so m e b o d y in,
s o m e b o d y 'll c o m e in. T h a t's th e w ay it g o e s . It's a
w if e 's p la c e and sh e m ig h t as w e ll b e in it. 1^4
143 144
Ibid. , pp. 9 8 - 9 9 . Ibid. , pp. 1 1 7 -1 1 9 .
194
W ith the c h a r a c te r of F ilo o n , K elly p r e p a r e s the a u d ie n c e fo r the m a jo r
c lim a x of the w ork .
E v e n though K e lly h a s a p r o ta g o n is t who is not c o n s c io u s ly
in v o lv e d in the b a s ic c o n flic t of th e p la y , D a is y d o es do thin gs w h ich
e n h an ce h e r c h a n c e s of b e c o m in g the n e x t M r s. M e ttin g e r . (U n fo r-
i
tu n a te ly , the au d itor d o e s n 't know w h eth er they a r e done c o n s c io u s ly or]
j
u n c o n s c io u s ly . ) The a u d ie n c e s e e s e x a m p le s of D a is y 's ou tgoin g I
i
I
w a r m th and good in te n tio n s: she h a s w o r k e d w o n d e rs w ith M ay, sh e j
a tte m p ts to h e lp C liff to s e e h i m s e l f as a m a n who h as w ork ed too hard j
145 j
and sh ou ld now en joy lif e , and sh e e v e n b e c o m e s s in c e r e ly in te r e s te d
146 I
in h e lp in g a m e m b e r o f the e n e m y c a m p , O ily. It m u s t be ob v io u s j
to C liff that D a is y h a s a h e a lth y e ff e c t on a ll th o se around h e r , p a r - j
!
t ic u la r ly h i m s e l f and M ay. D a is y 's a ttitu d e, a c tio n s , and v e r b a li z a
tio n s a r e su b tle s tr o k e s d e liv e r e d by th e d r a m a tis t to en h a n ce h e r
c h a n c e s of s u c c e s s in the c o n flic t and to l e s s e n L a u r a 's . E a ch tim e
D a is y e n h a n c e s h e r p o p u la r ity w ith e ith e r C liff or M ay it is a c o m p li
c a tio n for L a u r a . F o r e x a m p le , in the se c o n d a c t, s o m e of the fa m ily
m e m b e r s d e c id e to go fo r a r id e , w ith S n yd er doing the ch a u ffeu rin g .
L a u r a in q u ir e s as to w h eth e r D a is y is g o in g - - L a u r a w ould lik e to s e e
th at C liff is a lo n e fo r a w h ile . W hen L a u ra a s k s if D a is y is goin g for
th e r id e , sh e r e p lie s :
145 146
Ibid. , pp. 8 0 - 8 2 . Ibid. , p. 79.
195
D a is y . I'm goin g to sta y h e r e and k e e p C liff co m p a n y . . . I am
go in g to s e e if I c a n v a m p h im . (C liff is a m u s e d .
L a u ra t r i e s to b e. ) Do you m in d , C liff? (D a isy
la u g h s .)
L a u ra . I'm a fra id C liff is a r a th e r h a rd su b je c t fo r the
b e g in n e r .
D a is y . Oh, s o m e b o d y 'll n a il h im , L a u r a , don't w o r r y . I'll
b e t h e 's b e e n v a m p ed a d o z e n t i m e s , h a v e n 't y o u ,
C liff? C om e on, 'fe s s up, C liff. (C liff la u g h s)
In e x c h a n g e s of d ia lo g u e lik e th e a b o v e , L a u r a 's ir e is e a s il y s t ir r e d ,
and the r is in g a c tio n is h e ig h te n e d in in te n s ity . L a u r a s e n s e s in
D a is y 's e n e r g e t ic a c tio n s and p la y fu l j e s t s a c o n s is t e n t p a tte r n of
th r e a ts to h e r ow n p la n s. L a u r a , b e in g a s u s p ic io u s , i n s e c u r e in d i
vid u a l, w h o, lik e H a r r ie t C r a ig , s e e m s u n lo v ed and lo n e ly , is not
equipped e m o tio n a lly to fu lly u n d er sta n d the kind of outgoin g w a r m th
w ith w h ich sh e is in c o m p e titio n . N e ith e r c o m p r e h e n d in g D a is y nor
the r e a s o n s why th is o u ts id e r c a n be so q u ick ly a c c e p te d by M ay and
C liff, L a u ra f a c e s h e ig h te n e d fr u s t r a tio n w hen sh e b e g in s to s e n s e that
D a is y is b e c o m in g a fo r m id a b le can d id ate fo r the v a c a n c y th at sh e w an ts
T h er e is d r a m a tic m o v e m e n t h e r e b e c a u s e of L a u r a 's in n er p s y c h ic
m o tiv a tio n ; the on ly p r o b le m in h e r e n t in K e lly 's r is in g a c tio n is the
la c k of c o m m itm e n t of h is p r o ta g o n is t.
L a u r a , a s a r e s u lt of h e r s u b je c tiv e c o m p lic a tio n , e x p e r ie n c e s
a c r i s i s situ a tio n . S h e, lik e H a r r ie t C r a ig , b e g in s to m a k e m is t a k e s
147
I b i d ., pp. 85 -8 6 .
196
in ju d g m en t w h en s u b je c te d to s e v e r e a n x ie ty . T h is a n x iety - -b e in g
c o n c o m ita n t w ith h e r c r i s i s s it u a t io n - - c a u s e s h e r u n w is e ly to s e e k
c o n fr o n ta tio n s w ith C liff and D a is y . Judging th is c r i s i s in lig h t of the
c r it e r i a , one fin d s the fo llo w in g : (1) L a u r a 's c r i s i s is a r e s u lt of a
c o m p lic a tio n and b u ild in g te n sio n ; (2) the c r i s i s le a d s to a str o n g
a c tio n , w h ic h w ill be d is c u s s e d p r e s e n tly ; and (3) s in c e the c r i s i s j
i
I
b r in g s about a c o n fro n ta tio n b e tw e e n the p r o ta g o n is t and th e a n ta g o n ist,,1
|
one can s a y a h e ig h te n e d e m o tio n a l e ff e c t is a c h ie v e d fr o m the c r i s i s . |
i
!
L a u r a 's c o n fr o n ta tio n w ith D a is y o c c u r s w h en the tw o w o m e n h ave a j
i
s lig h t d is a g r e e m e n t o v e r the p ian o. T h is r e s u lt s in a h ig h ly c h a r g e d
d e b a te , w h ic h en d s w h en D a is y is a s k e d by L a u ra if sh e p lan s to m a k e
i
tr o u b le . D a is y sa y s:
N o, I 'll le a v e th at to you . Y o u 'r e good at that. But I 'll s e e to it
th a t y o u d on 't m a k e any tr o u b le fo r m e w h ile y o u 'r e at it. T h is
is n ot y o u r h o u s e , and I'v e b e e n in v ited h e r e fo r a w e e k . And
m y n a m e is D a is y M a y m e P lu n k ett; and I'm goin g to plunk rig h t
h e r e u n til m y w e e k is up, u n le s s yo u r b r o th e r le t s m e s e e that he
d o e s n 't w ant m e h e r e . 1^8
W ith th is co n fro n ta tio n , th e e q u ilib r iu m of the play is d istu r b e d ,
the c lim a x is fo r e s h a d o w e d , and the d r a m a tis t h a s su p p lied a m in o r
c lim a x s in c e th e r e is a s lig h t r e a lig n m e n t of the b a la n c e of f o r c e s .
T h is c la s h c a u s e s L a u r a to take a n e w ta ck . B ein g in a c r i s i s situ a tio n ,
she d e c id e s to e x p lo r e the p o s s ib ilit y of s u r r e p titio u s ly in d u cin g C liff
148
I b i d . , p. 91.
197
to h in t to D a is y th at s h e is not p a r tic u la r ly n e e d e d . T h e r is in g a c tio n
b u ild s as L a u ra c o m e s to C liff w ith th e s u g g e s tio n that D a is y m ig h t be
149
t h e r e fo r the w ro n g r e a s o n s . A s the la tte r s c e n e is c o n c lu d e d , it
a p p e a r s th at C liff m ig h t s a y so m e th in g to D a is y w h ich w ould m a k e h er
i
think sh e is not w anted; th is w ou ld , of c o u r s e , c r e a te a c r i s i s situation!
j
fo r th e p r o ta g o n is t. H o w e v e r , b e fo r e D a is y e x p e r ie n c e s any c r i s i s , j
j
M ay e x p r e s s e s an a n im o s ity fo r the aunts and K e lly a c h ie v e s a m in o r j
j
c lim a x and fo r e s h a d o w s the m a jo r c lim a x w h en the fo llo w in g ex c h a n g e j
I
!
of d ia lo g u e o c c u r s : !
f
C liff. W e ll, I w ant you to f e e l that you a r e m o r e than j
w e lc o m e , D a is y .
D a is y . I know I a m , C liff.
C liff. And if y o u 'v e g o tten any o th e r im p r e s s io n , I w ant to
a s s u r e y o u it is n 't the rig h t o n e. A nybody who is
h e r e to v i s i t M ay is h e r e to v i s i t m e ; and if O ily and
L a u r a don't w ant to put t h e m s e lv e s out a bit to w a it
on u s - - t h e y d on 't have to; w e can g e t alo n g v e r y n ic e ly
w ith ou t th e m . M ay s a y s y o u two can g e t alon g v e r y
w e ll t ill I can g e t s o m e b o d y .^ ®
F o llo w in g th is s p e e c h , D a is y s u g g e s ts that M ay p lay so m e th in g
on the piano b e f o r e th ey g o . T h e sta g e d ir e c tio n s a r e as fo llo w s:
Sh e s ta r t s to p lay. . . and D a is y m o v e s fo r w a r d to the r ig h t, look in g
out th rou gh r ig h t d o o r. . .w h e r e s h e stan d s w a itin g for L a u ra .
A fte r s e v e r a l b a r s of m u s ic , L a u ra e n t e r s h u r r ie d ly f r o m the
151
r ig h t and sta n d s a g h a st. . . lo o k in g fr o m one to the o th e r.
K e lly 's p r o ta g o n is t is fo r th e f i r s t t im e c o n s c io u s ly in itia tin g ar
149 150 151
Ibid. , pp. 9 2 -9 6 . Ib id ., p. 102. Ib id ., pp. 1 0 4 -1 0 5
198
a c tio n w h ich fu r th e r s the b a s ic c o n flic t and c a u s e s an oth er c o n fr o n ta
tion b e tw e e n the two f o r c e s in the p la y . E v e n though D a is y ta k e s th is
a c tio n m o r e for p layfu l r e a s o n s than a sp ite fu l p u r p o s e , it e v o k e s a
b r ie f s c e n e in w h ich th e in flu e n c e of L a u ra in the M e ttin g e r h o u se h o ld
is put to a s e v e r e t e s t . L a u r a w an ts to know if the piano is n 't goin g to
i
I
be c lo s e d fo r a y e a r , w h ic h is c u s to m a r y . j
i
I
W e ll, it ca n 't be c lo s e d fo r a y e a r , A unt L a u r a , fo r |
I have to p r a c tic e and M a m a w o u ld n 't w ant m e to ;
stop that. |
T he n e ig h b o r s w ill c e r ta in ly h ave a good op in ion of |
u s , C liff. I
(T h o u g h tfu lly .) W ell, I'm a fra id w e 'll have to le a v e
th at to M ay, L a u ra . (M ay lo o k s s tr a ig h t at h e r aunt
and r e s u m e s playin g; and L a u r a sh ifts h e r e y e s to |
D a is y and lo o k s at h e r w ith a s m o ld e r in g b it t e r n e s s .
D a is y , h o w e v e r , d is r e g a r d s it u tte r ly , s im p ly to u c h
ing h e r n e c k la c e and lo o k in g aw ay off, r a th er
m e e k ly . . . ) 152
A s in the p r e v io u s c o n fro n ta tio n b e tw e e n D a is y and L a u r a o v e r the
p ian o, th e r e o c c u r s a d is tu r b a n c e of th e e q u ilib r iu m , a fo r e sh a d o w in g
fo r the m a jo r c lim a x , and a m in o r c lim a x . A ls o L a u r a s u ffe r s h e r
m o s t s e v e r e c o m p lic a tio n thus f a r , b e c a u s e h e r s u g g e s tio n is c e n
su r e d by C liff h im s e lf . In lig h t of the c r it e r i a , th is is an e ffe c tiv e
m in o r c lim a x b e c a u s e : (1) it is a d e q u a te ly p r e p a r e d f o r , s in c e all
c h a r a c te r s in v o lv e d h a v e b e e n d e v e lo p e d s u ffic ie n tly and L a u r a 's f e e l
in gs r e g a r d in g the piano h a v e b e e n fo r e sh a d o w e d ; (2) it is the r e s u lt of
152
Ibid., pp. 105-106.
M ay.
L a u ra .
i C liff.
I
199
of the in v o lv e m e n t of the p r in c ip a l c h a r a c te r s ; and (3) it is an in t e n s i
f ic a tio n of the e m o tio n s of the p r in c ip a l c h a r a c t e r s . W ith th e advent
of th is m in o r c lim a x c o m e s an oth er r e a lig n m e n t of th e b a la n c e of
f o r c e s , and L a u r a s u ffe r s a n oth er m a jo r c r i s i s .
B e f o r e A c t II e n d s , L a u r a is su b je c te d to th r e e m o r e c o m p li- j
i
c a tio n s . In the f ir s t , M ay t e l l s L a u ra she d o e s n 't lik e the w ay she is
tr e a tin g D a isy ; a ls o that if M ay and D a is y d e c id e th ey w an t to take c a r e
I
of the h o u se by t h e m s e lv e s , C liff h a s a s s u r e d th e m of th at p r iv i- j
I
153 I
le g e . In the s e c o n d , O ily adds to L a u r a 's w o r r ie s about the respon-j
I
s ib ilit y of h e r fu tu re s o n - in - l a w w h en sh e t e l l s h e r that S n yd er and j
|R uth le ft h e r and sh e had to ta k e a b u s. P r o v id in g a th ird c o m p lic a - j
i
jtion, O ily, in ad d itio n to h e r s u s p ic io n s about S n y d er , t e l l s L a u ra sh e
i
154
r e f u s e s to m o v e in and "keep an e y e on C liff and D a isy ." W ith
O lly 's a lle g ia n c e to L a u ra f a lte r in g and the u ltim a tu m f r o m M ay, the
p la y w r ig h t a c c o m p lis h e s t h r e e th in gs: (1) he f o r e s h a d o w s O lly 's c o m
p le te w ith d r a w a l f r o m the c o n flic t w ith D a isy ; (2) he in d ic a te s a r e
a lig n m e n t of the b a la n c e of f o r c e s ; and (3) he c a u s e s L a u r a to d ep a rt,
e x p e r ie n c in g h e r w o r s t c r i s i s thus f a r , as h e r c h a n c e s of fillin g the
d e s ir e d v a c a n c y in the M e ttin g e r h o u se h o ld a r e s e v e r e l y w ea k en ed .
H o w e v e r , in so w e a k e n in g L a u r a ’s c h a n c e s , K elly h a s a ls o w ea k en ed
h is d r a m a tic s tr u c t u r e . A t th is point it s e e m s im p r o b a b le th at C liff
153 154
I b id ., pp. 1 2 0 -1 2 3 . I b id ., p. 129.
200
w ill e v e r c o n s id e r L a u r a a s a p o s s ib le ca n d id ate fo r h is r e s id e n t
h o u s e k e e p e r . W ith L a u r a b e c o m in g su c h an u n a ttr a c tiv e ca n d id a te,
K elly h a s s e v e r e ly lim it e d h is p o te n tia l s u s p e n s e in th e b a s ic c o n flic t.
S o m e c o n je c tu r e d o e s e x i s t a s to w h eth e r C liff w ill r e a liz e the w ife ly
p o te n tia l of D a is y , but L a u r a 's sta tu r e a s a fo r m id a b le a n ta g o n ist has
b e e n s e v e r e ly lim ite d . j
j
P lot: A c t III
i-----------------------
I
R is in g A c tio n C o n tin u ed . - -A n in e ffe c tiv e r is in g a c tio n c o n
tin u e s a s K elly fu r n is h e s r e t r o s p e c t iv e e x p o s itio n w ith r e g a r d to the
c h a r a c te r of D a is y . In the b e g in n in g of A c t III, the a u d ie n c e le a r n s
m o r e ite m s that m a k e D a is y a p la u s ib le c h o ic e fo r the r e s id e n t -
h o u s e k e e p e r p o s itio n . F o r e x a m p le , sh e h a s b e e n c le a n in g , s e w in g ,
and co ok in g d e lic io u s d in n e r s a ll w e e k . B e c a u s e of L a u r a 's w e a k e n e d
p o s itio n a s an a n ta g o n ist, K e lly 's c a s e fo r D a is y b e c o m e s r a th e r c o n
tr iv e d and o b v io u s at th is point.
A s if D a is y 's situ a tio n had not b e e n en h a n ced s u ffic ie n tly , K elly
b r in g s on th e c h a r a c te r of S n yd er who fu r th e r d a m a g e s L a u r a 's c h a n c e s
to a c h ie v e h e r g o a l. H e h a s n o t h e ld a job fo r any len g th of t im e , th e r e
a r e t im e s w h en he ta k e s off fo r long p e r io d s of t im e , le ttin g no one
155
know h is w h e r e a b o u ts , he is u s u a lly b ehind in h is r e n t, he
155
I b i d ., pp. 176-177.
201
co n tin u a lly h a n g s out at the p o o l h a ll, and w h en he d o e s n 't g e t h is w a y ,
156
he b e c o m e s im p u ls iv e ly ru d e and v in d ic tiv e . S n y d er is one m o r e
s e r io u s c o m p lic a tio n fo r L a u r a , s in c e , in a w a y , sh e is h is b e n e f a c t o r .
W ith D a is y b e c o m in g a lm o s t in d is p e n s a b le to the M e ttin g e r s
d u rin g h e r tw o -w e e k s ta y , the p la y w r ig h t fu r th e r d im in is h e s r e s id u a l
I
s u s p e n s e in the p r o b le m of the p la y . A s S tark Y oung s a y s , w h en the j
l
I
au d itor c o n te m p la te s A c t III there is little le ft fo r h im to w o r r y about;
it i s only a m a tte r of tim e b e fo r e "we a r e told rou n d ly and v is ib ly in soj
I
I
m an y w o r d s that th is lo v a b le s p in s t e r is to s ta y in C liff's h o u s e as h is j
l
,1 5 7
w ife .
K e lly m o v e s w ith m o r e e x p e d ie n c e to the c lim a x of the p lay as
C liff and D a is y a r e found r e la x in g in the liv in g r o o m and M ay is playing!
the p iano. K e lly 's p r o ta g o n is t b e g in s to c r y s ile n t ly a s s h e lis t e n s to
the p ia n o - - it is h e r l a s t n ig h t in the M e ttin g e r h o m e . M ay q u e stio n s
h e r about the t e a r s . D a is y s a y s th at she a lw a y s c r i e s w h en s h e h e a r s
158
m u s ic and that sh e is a c tu a lly h a v in g a v e r y good t im e . H o w e v e r ,
it is ap p a ren t that D a is y h a s b e e n a ffe c te d by th e p ath os of the m o m e n t
and, in h e r c r i s i s situ a tio n , e v a d e s the i s s u e and g o e s u p s t a ir s to
p ack. M ay, r e a liz in g th at D a is y is goin g the n e x t day, f a c e s a c r is i s
156
I b i d . , pp. 1 6 4 -1 6 7 .
^ ^ S t a r k Y oung, "The Shine of L if e ," T he N ew R e p u b lic , 48
(N o v e m b e r 17, 1926), 3 7 5 -3 7 6 .
158
K elly, D a isy M a y m e , p. 151.
202
situ a tio n : sh e m u s t take a c tio n to k e e p D a is y t h e r e . She c o n fro n ts
C liff w ith th e r e a s o n s th at D a is y sh ou ld sta y . C liff is i m p r e s s e d w ith
h e r a r g u m e n t but s a y s that D a is y h a s a b u s in e s s to tend to and she
ca n 't s ta y f o r e v e r .
M ay. W e ll, o th er p e o p le h a v e b u s i n e s s e s to ten d to and they
go and liv e in o th e r p la c e s .
C liff. T h ey don't u n le s s th ey a r e go in g to g e t m a r r ie d or j
s o m e th in g . j
j
M ay. W e ll, why c o u ld n 't D a is y g e t m a r r ie d , y o u could
m a r r y her. (C liff la u g h s . ) Why cou ld n 't y o u ? ^ ^
C liff g iv e s r e a s o n s w hy he c o u ld n 't m a r r y D a is y , but it is a p p a r e n t he j
is n ot to ta lly r e je c tin g the id e a . W ithout a p o s itiv e d e n ia l fr o m C liff,
the c o m p li c a t i o n - c r i s i s c o m p le x w h ich M ay h a s ju s t e x p e r ie n c e d is now;
Ipassed on to h im . C liff know s D a is y is le a v in g , he know s M a y 's f e e l
i n g s , and, of c o u r s e , h e know s h is own. It is in te r e s tin g that the m a in
c r i s i s of the p la y , th e on e th at p r e c ip it a te s the m a jo r c lim a x of the
w o r k , o c c u r s n ot only to the p r o ta g o n is t, but a ls o to C liff and M ay,
who a r e s u b s id ia r y c h a r a c t e r s . S u b jectin g th is c r i s i s to the c r it e r ia ,
one fin d s out th e fo llo w in g : (1) th is c r i s i s is the r e s u lt of a s e r io u s
c o m p lic a t io n - - b u t w h eth e r or not it is the r e s u lt of b u ild in g te n s io n is
d eb atab le; (2) th is c r i s i s d o es le a d to a str o n g a c tio n , s in c e M ay is
o b lig e d to f o r c e C liff into so m e kind of a d e c is io n to k e e p D a is y th ere;
159
I b i d . , p. 154.
203
(3) h o w e v e r , th is c r i s i s d o e s n ot r e s u lt in the p r o ta g o n is t and the
a n ta g o n ist b e in g d ir e c t ly in v o lv e d and th e r e fo r e is s o m e w h a t la ck in g in
d r a m a tic e ffe c t.
B y ju x ta p o sitio n in g p r o ta g o n is t and a n ta g o n ist in th is th ird a ct
in a lte r n a te s c e n e s , K elly a c h ie v e s an added d e g r e e of in te n s ity in h is ;
I
I
I
r is in g a c tio n . W ith the e x it of D a is y and M ay, the p la y w r ig h t b r in g s j
i
L a u ra into d ir e c t c o n ta ct w ith C liff. L a u ra co n fro n ts h im w ith the
p r o b le m of the p lay. She a s k s h im if he h a s a tte m p te d to g e t s o m e o n e
to c o m e in to s e r v e in the c a p a c ity of a h o u s e k e e p e r . He s a y s he h a s j
|
not b o th e r e d y e t. L a u r a s a y s to him : j
j
j
. . . it is n 't a lw a y s e a s y to g e t s o m e one ju s t w h en you w ant th e m . [
I w a s thinking the o th er d ay, C l i f f - - o f c o u r s e , it's on ly a s u g g e s - j
tio n -~ b u t w h en R uth g o e s , w h at w ould y ou think a b o u t - -m e - - c o m
ing in h e r e ? Y o u 'll h a v e to h a v e so m eb o d y ; and I don't think you
h a v e any r e a liz a t io n of w h at a job it is to find a good h o u s e k e e p e r .
Of c o u r s e , D an and I w ou ld pay our w ay h e r e , ju s t as w e do now ,
- - b u t I thought it w ould s a v e y o u the b o th er of e v e r la s tin g ly lo o k
ing fo r h o u s e k e e p e r s , and at the s a m e tim e s p lit the liv in g e x
p e n s e s fo r both of u s . ^ 0
O ily c o m e s in at th is m o m e n t, and C liff, not a n s w e r in g L a u ra , e x c u s e s
h i m s e l f and g o e s u p s t a ir s .
i
M ovin g q u ick ly n ow to w a rd the r e s o lu t io n of the p r o b le m , the
p la y w r ig h t fu r n is h e s a b r ie f p a n to m im ic s c e n e in w h ic h he s e e m s to
r e s o l v e p a r t of the p r o b le m of the play: " (L au ra sta n d s p e r fe c tly s t ill
in the c e n te r of the r o o m , r e a liz in g the f a ilu r e of a ll h e r s c h e m e s .
160I b i d ., p. 174.
204
H er a r m s drop to h e r s id e s , and sh e a lm o s t b r e a k s into t e a r s .) "
J u s t p r e v io u s to th is p h y s ic a l d isp la y of r e s ig n a t io n , L a u r a h a s told
O ily that she w ill le a v e w ith h e r . S tr u c tu r a lly sp e a k in g , th is is a s i g
n ific a n t r e a lig n m e n t of the b a la n c e of f o r c e s , the m a jo r c r i s i s of the
I
p lay for L a u ra , and the m o s t im p o r ta n t m in o r c lim a x in the p lay. Sub-|
je c tin g th is c r i s i s to the c r it e r i a , one fin d s: (1) it is c e r ta in ly a resu lt!
I
of a c o m p lic a tio n (in L a u r a 's c a s e , m u ltip le c o m p lic a tio n s ) and b u ild
ing ten sio n ; (2) it le a d s to an e v a s iv e a c tio n (L a u r a is lea v in g ); and (3)
it in v o lv e s one of the p r in c ip a l c h a r a c te r s of th e w o rk .
The p la y w r ig h t, h o w e v e r , is not quite th ro u g h w ith th e c h a r a c
te r of L aura: th e r e is a fin a l c o n fro n ta tio n s c e n e b e tw e e n D a is y and
h e r at th is point. W ith h e r u s u a l c a n d o r, D a is y b la s ts L a u ra in an
e x c o r ia tin g d ia tr ib e . D a is y sa y s:
Do you think I'm b lin d ? . . . tr y in g to get C liff to b lu n d er into
te llin g m e to go h o m e , fo r fe a r I'd be in c o n v e n ie n c e d . A s though
y ou c a r e d w h eth e r I w a s in c o n v e n ie n c e d or not. T hat w a s w hen
you m a d e y o u r m is t a k e , L au ra; fo r I'd h ave b e e n on m y w ay a
w e e k ago on ly fo r that m o v e . . . I had no m o r e id e a about m a r r y in g
yo u r b r o th e r . . . than you had. But you put it into m y m ind; and
th a t's a d a n g ero u s thin g to do s o m e t im e s , L a u r a , for s o m e
p e o p le 's m in d s have a w ay of putting id e a s into p r a c t i c e . ^ 2
B e c a u s e L a u ra had p h y s ic a lly e x p r e s s e d h e r d e fe a t and sa id sh e w as
g o in g , th is s c e n e b e tw e e n the tw o is a n t ic lim a c tic . K elly had a lr e a d y
m a d e the point that L a u ra w as b e a ten and w a s lea v in g ; t h e r e f o r e , the
161Ibid. , pp. 178-179. 162Ibid. , p. 182.
205
above s c e n e is u n n e c e s s a r y and an in te r r u p tio n to K e lly 's r is in g a ctio n .
H o w e v e r , the p la y w r ig h t m u c h m o r e s e r i o u s l y im p a ir s h is r is in g
a c tio n a s h e in s e r t s a f o u r - p a g e , m a u d lin "m utual a d m ira tio n " s c e n e
b e tw e e n O ily and D a is y . T h e s c e n e c e m e n t s r e la tio n s b e tw e e n O ily andj
i
D a is y , but K e lly 's ju d g m en t in p la c in g the s c e n e h e r e sh ou ld be q u e s - I
|
tio n ed s in c e the p la y is e x t r e m e ly lo n g , and O lly 's su b sta n tia tio n as a j
f
i
"good guy" is n ot p a r tic u la r ly im p o r ta n t. j
C liff a s k s D a is y to m a r r y h im in the n e x t s c e n e and the m a jo r
c lim a x of the play is c o n s u m m a te d a s D a is y a c c e p ts . T he b a s ic c o n - j
f li c t and the p r o b le m a r e r e s o l v e d , and the e q u ilib r iu m is d istu r b e d to j
the point th at th e r e is a p e r m a n e n t r e a lig n m e n t in the b a la n c e of fo rces^
One fin d s out the fo llo w in g in ju d gin g th is m a jo r c lim a x in lig h t of the
c r it e r ia : (1) it h a s b e e n p r e p a r e d f o r , (2) the e m o tio n s of the p r in c ip a l
c h a r a c te r s h a v e b e e n m u ltip lie d and in te n s ifie d , (3) the c lim a x is not
the r e s u lt of the a c tio n of p r in c ip a l c h a r a c t e r s , and (4) it is d eb atab le
w h eth e r th is is the m o m e n t of h ig h e s t te n s io n . One of the r e a s o n s why
th is c lim a x la c k s in in te n s ity is b e c a u s e K elly h a s in D a is y a s o m e
w hat u n c o n s c io u s , l a i s s e z - f a i r e p r o ta g o n is t who a c h ie v e s e v e r y th in g at
the end o f the p lay w ith little c o n flic t. In th is p la y , K e lly h as o v erd o n e
h is f o r e s h a d o w in g , tip p in g the s c a le s too m u c h in fa v o r of h is p r o ta g
o n i s t - - t h e c lim a x is a lm o s t a fo r e g o n e c o n c lu sio n .
206
D e n o u e m e n t. - -C o n s id e r in g the am ount of fo r e s h a d o w in g that
K elly in c o r p o r a t e s into h is s c r ip t in p r e p a r a tio n fo r the c lim a x , the
d e n o u e m e n t is c e r t a in ly the lo g ic a l s o lu tio n to the p r o b le m of the p lay.
S in ce L a u r a is r e v e a le d a s a s c h e m in g , ir a s c ib le o p p o r tu n ist, and
jo a isy r e v e a le d a s a w e ll- in te n t io n e d , e ffic ie n t h o u s e k e e p e r , it is
Jobvious that D a is y is the only p r o p e r can d id ate fo r the r e s id e n t -
j i
h o u s e k e e p e r - a d m in is t r a t o r of the M e ttin g e r h o u se h o ld . j
| j
T he fu n c tio n of d r a m a tic r e c a ll is u tiliz e d to a d e g r e e : (1) M r. j
!
163 I
F ilo o n 's a d v ic e to C liff is quoted; (2) c o m m e n ts about C liff b ein g a
" stea d y m an" a r e h ea rd ; and (3) D a is y ta lk s again about s o m e of the j
th in gs w h ic h h a v e e n d e a r e d the M e ttin g e r h o m e to h e r - - C l i f f ' s c ig a r s , j
I
164
the ta ll t r e e s , the piano m u s ic , e tc .
C h a r a c te r iz a tio n
D a is y M a y m e .- - T h e title c h a r a c te r c e r ta in ly is a v ita l in d iv id
u a l, F r o m h e r f i r s t s c e n e , in w h ich sh e e n te r s d is c la im in g , "We look
165
lik e M a g g ie b u n d le s," u n til sh e fin a lly s it s dow n fo r one of the fe w
t im e s in the p la y , and the c u r ta in d e s c e n d s , D a is y h a s profoundly
a ffe c te d e v e r y c h a r a c te r w ith the e x c e p tio n of R uth and S n y d er . She is
loud, o fttim e s b r a s h , and h a s unbounding e n e r g y . She h a s so a ffe c te d
M ay d u rin g the la t t e r 's v i s i t to A tla n tic City that M a y , who had left
^ ^ Ib id . , p. 190. ^ ^ Ib id . , p. 191. ^ ^ Ib id . , p. 26.
207
h om e w ith h e a lth p r o b le m s , r e tu r n e d a p p a r e n tly w e ll. A n d , fin a lly ,
D a is y is o u tsp o k en and c o u r a g e o u s w h en she s e n s e s any typ e o f inju s -
t i c e - - n e v e r h e s ita tin g to t e ll L a u ra F e n n e r w h at sh e th in k s of h e r
n e fa r io u s m a n ip u la t io n s .^ ^ K e lly 's p r o ta g o n is t s e e m s to be o m n i
p r e se n t: c le a n in g the h o u s e , co o k in g , s e w in g , e n jo y in g the t r e e s ,
lis te n in g to M ay p lay the p ian o, k e e p in g C liff c o m p a n y , d is c u s s in g
H a r r is b u r g w ith the n e ig h b o r F ilo o n , d is c u s s in g h a ir s t y le s w ith O ily ,
and s e n s it iz in g h e r s e l f to the a c tiv itie s of L a u ra . A u b rey P ip e r is
K e lly 's only o th er c h a r a c te r iz a t io n w h ich cou ld c h a lle n g e D a is y fo r
167
s h e e r e n e r g y and p r e d o m in a n c e in the th e a tr ic a l situ a tio n . A s the
B o sto n T r a n s c r ip t d e s c r ib e s h e r r a m p a g in g a c tiv itie s :
C h ee r fu lly D a is y M a y m e jo in e d b attle; p r e v a ile d w h en sh e w ould
have the piano o p e n e d - - in a h o u se of m ou rn in g; s c o r e d w hen sh e
took the p a rt of M e ttin g e r and M ay; now la u g h ed the e n e m y out of
co u n ten an ce; ag a in b ea t it dow n by h ig h p la in w o r d s; f in a lly d rove
it fr o m the h o u s e .
A g r e a t d e g r e e of D a is y 's v ita lity is d e r iv e d , of c o u r s e , f r o m
the fa c t th at s h e is so s tr o n g ly m o tiv a te d . Jud gin g f r o m e v id e n c e of
166
I b i d ., p. 32.
161
K e lly , d uring a p r iv a te in te r v ie w on J u ly 2 , 1971, w as
a sk e d if he had any in te n tio n s of p a tte r n in g D a is y a fte r h is A u b rey
P ip e r . He sa id if th e r e w as a s im ila r it y , h e did n ot in ten d it.
168
"G eorge K elly's D a isy M aym e Now A cted," B oston T r a n
sc r ip t, A p ril 23, 1927, p. 20.
208
D a is y 's p a s t and h e r c o n te m p o r a r y b e h a v io r , sh e s e e m s to h a v e an
in te n s e d e s ir e to lo v e and be lo v e d . T he auditor le a r n s that she took
169
c a r e of h e r b r o th e r s and s i s t e r s f r o m the tim e h e r m o th e r d ied ,
sh e h as r e ju v e n a te d M ay both p s y c h o lo g ic a lly and p h y s ic a lly w ith h e r
a tten tio n in A tla n tic C ity, sh e is in t e r e s t e d in O lly 's h e a lth p r o b le m s
170 I
and o f fe r s s u g g e s tio n s fo r im p r o v in g O lly 's a p p e a r a n c e , and sh e |
s e e m s g e n u in e ly in t e r e s t e d in C liff and d e s ir o u s of h e lp in g h im to liv e
a m o r e en jo y a b le lif e .
Ju d gin g f r o m the e v id e n c e in the p la y , sh e is an in d iv id u a l w ith
the g ift of en jo y in g life and a d e s i r e to g iv e to o t h e r s . F r o m the tim e
sh e e n t e r s u n til the fin a l c u r ta in , sh e is p r e o c c u p ie d w ith g iv in g a d v ic e
to p e o p le , r u fflin g th e ir h a ir , pattin g th e ir b a c k s , and d raw in g th em
out to ta lk about t h e m s e lv e s . A s G ilb e r t G a b r ie l s t a t e s , "She r o a r s
and m e l t s , c h o r t le s , s la p s b a c k s , b a ttle s fo r h e r m a n and h e r m e a n -
171
in g s . . . . " D a is y d o e s n ot lim it h e r a ffe c tio n to M ay and Cliff;
sh e s e e m s to h a v e a s in c e r e d e s ir e to c o n ta c t a ll d r a m a tis p e r s o n a e
in the p la y . She c o m m u n ic a te s d ir e c t ly and a ffe c tio n a te ly w ith O ily the
172
f i r s t tim e sh e m e e t s h e r , sh e is p h y s ic a lly d e m o n s tr a tiv e tow ard
169
K e lly , D a is y M a y m e , pp. 2 9 , 8 2 -8 3 .
17° Ibid. , pp. 1 8 5 -1 8 6 .
171
G ilb e r t G a b r ie l, " C r a ig 's L a t e s t H o u s e w ife ," The N ew Y ork
S u n , O cto b e r 26, 1926, p. 12.
172.
K elly, D a isy M a y m e , pp. 3 4 -3 5 .
209
173
tow ard S n y d e r , and y e ll s o v e r t u r e s , w e l c o m e s , and b e fr ie n d s M r.
F ilo o n , a n e ig h b o r w h o se r e p u ta tio n of v e r b a l b lu n tn e s s and ir a s c ib ilit y
p r e c e d e h im . It can be a s s u m e d f r o m the F ilo o n in c id e n t that D a is y is
s tr o n g ly m o tiv a te d to e x p r e s s h e r a ffe c tio n to w a r d h e r fe llo w m a n
r e g a r d le s s of w h at o th e r s m a y thin k of h e r . D a is y , f e e lin g w a r m v i- !
I
b r a tio n s f r o m the old m a n , is s tr o n g ly m o tiv a te d a s u s u a l and, f o c u s
ing on the h u m a n e le m e n t , w e lc o m e s F ilo o n , r e g a r d le s s of the p r a c - j
t ic a l a n d /o r s o c ia l c o n s id e r a t io n s . T h is d e s ir e to "touch" o th e r s
174 I
e m o tio n a lly s e e m s th e k e y to the m o tiv a tio n of the c h a r a c te r . j
K e lly 's m e t ic u lo u s p la y w r itin g h as c r e a t e d a p la u s ib le and j
c o n s is t e n t c h a r a c te r in D a is y . F r o m the t im e of h e r f i r s t e n tr a n c e , j
h e r e x te r n a l m a n n e r is m s , m o tiv a tio n s , and r e s u lta n t b e h a v io r b e c o m e !
a c o n s is t e n t p a tte r n th rou gh ou t the p lay. She is c o n s is t e n tly fu n -lo v in g ;
173Ibid. , pp. 5 8 -5 9 .
174
K e lly , d uring a p r iv a te in te r v ie w in Sun C ity, C a lifo r
n ia on July 2, 1971, sta te d th at th is w as the e m p h a s is he d e s ir e d
w h en he c r e a t e d the c h a r a c te r . H e had a g r e a t affin ity fo r D a is y and
d e s c r ib e d h e r th u s ly in the in te r v ie w : " D a isy is a poor m a r ty r who
h a s tak en c a r e of n i e c e s and n e p h e w s , f a m ily , and e v e r y o n e s in c e
the 'W ar of the R o s e s . ' T h en w h en th e y a ll g r o w up, go aw ay and
le a v e h e r , fin d h u sb a n d s and w i v e s , o th er i n t e r e s t s , th ey no lo n g e r
w an t h er: th e y h a v e th e ir own f a m i li e s n ow . She u s e d a ll h e r m o n e y
up on h e r p r e v io u s r e s p o n s ib i l it ie s and, w h en sh e w an ts to go into a
s m a l l b u s i n e s s , sh e h as to b o r r o w m o n e y . She s u c c e e d s , though;
sh e h a s n o t l o s t h e r s p i r i t - - t h i s is the im p o r ta n t th in g."
210
175
sh e j o k e s , la u g h s at the s lig h t e s t p r o v o c a tio n , fin d s a m u s e m e n t in
176
s im p le th in g s, and en jo y s F ilo o n b e c a u s e to h e r he is o u tsp o k e n and
177
h u m o r o u s . She is c o n s is t e n tly w e ll- in te n t io n e d . She h a s no s y m
pathy fo r L a u ra and c a s t ig a t e s h e r fo r h e r a tte m p te d m a n ip u la tio n s ,
I
but D a is y d o e s not w an t to indulge in any a tte m p t at h o s t ilit y h e r s e l f .
W hile D a is y is found to be v ita l, s tr o n g ly m o tiv a te d , and c o n
s is t e n t , th e r e is a s e r io u s la ck of d im e n s io n in h e r d e lin e a tio n , and
I
th is is th e m a jo r w e a k n e s s in h e r c h a r a c te r iz a t io n . E x c e p t fo r a j
p oig n an t m o m e n t in A c t III, w h en D a is y b e g in s to w e e p , the au d itor j
i
n e v e r r e a lly s e e s a r e v e a lin g sid e of D a is y . D a is y f a c e s v e r y fe w j
i
s u b je c tiv e c o m p lic a tio n s c a u s in g h e r to e x p o s e any u n gu ard ed m o tiv a - J
j
tio n s or to tak e any u n c a lc u la te d a c tio n s . T h e a u d ie n c e n e v e r s e e s
D a is y u n d er any e le m e n t of s t r e s s . If sh e h a s m o m e n ts w h en sh e f e a r s
goin g b ack to h e r two lo n e ly r o o m s in H a r r is b u r g , or if she is s u b je c t
to a n x ie ty about the i m p r e s s io n she is m a k in g , one n e v e r s e e s th e s e
m o m e n t s . And s in c e the au d itor d o e s not s e e m u c h d e e p e r than
i
D a is y 's s o c ia l fa c a d e , he is n e v e r s u r e w h eth e r she is r e a lly th e w a r m ,
s o c ia l h u m a n ita r ia n she s e e m s to be or w h eth e r sh e is an e x c e lle n t
a c t r e s s who h a s r e c o g n iz e d a good thin g and is even ab le to cr y at the
r ig h t m o m e n t. T he a u d ie n c e is n e v e r c e r ta in w h eth e r sh e is r e a lly
175
K e lly , D a is y M a y m e , pp. 3 5 - 3 6 , 39.
176Ibid. , p. 79. 17?Ibid. , pp. 1 0 6 -1 0 9 .
211
goin g to m a in ta in the s e w in g , c o o k in g , and c le a n in g rou tin e once m a r
r ie d or n ot. D a is y , b ein g s u b je c te d to little s t r e s s , is w ith ou t an
u n gu ard ed n u a n ce .
K e lly 's in te n tio n s w h en h e c r e a te d D a is y M a y m e w e r e that sh e
be e m p a th iz e d w ith and lo o k e d upon w ith a ffe c tio n by the c o n te m p o r a r y
a u d ie n c e . H o w e v e r , he f e l t th at th is did not o c c u r b e c a u s e the a c t r e s s
178
he had in the p a r t of D a is y , J e s s i e B u s le y , w as too old . D a is y is j
i
|
la h e a lth y ou tg o in g in d iv id u a l and it is s tr a n g e that w ith th e s e c h a r a c - j
I [
I |
jte r is t ic s sh e did n ot s tir m o r e u n iv e r s a l f e e lin g s in the a u d ito r. T here!
I
I
a r e p ro b a b ly tw o r e a s o n s w hy K e lly 's p r o ta g o n is t did not evoke a m o r e j
j
s y m p a th e tic r e s p o n s e f r o m th e 19 2 0 's au d ien ce: (1) the la c k of d im e n -j
s io n in h e r e n t in the c h a r a c te r - -m a n y in d iv id u a ls w ou ld in te r p r e t h e r |
i
as b ein g nothing m o r e than an in s ip id fa ca d e; and (2) the f e m a le e m a n
c ip a tio n m o v e m e n t of the t im e s . D a is y c a m e a lo n g at a tim e w hen
w o m e n w e r e g a in in g an a s c e n d a n c y of in d e p e n d e n c e u n h eard of in y e a r s
179
p r e v io u s . C o n sid e r in g the m a jo r ity op inion of th e c o n te m p o r a r y
c r it ic s and r e v ie w e r s who w e r e d e c id e d ly r e p u ls e d by the c h a r a c te r of
D a is y , it is p o s s ib le th at s o m e of th e m lo s t th e ir o b je c tiv ity w h en th ey
c o n te m p la te d a w o m a n who in s o m e w a y s r e p r e s e n t e d the n e w ly e m a n
c ip a te d w o m a n .
178
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , Ju ly 2, 1971.
179san n , T he L a w le s s D e c a d e , pp. 2 4 - 2 5 , 1 9 5 -2 0 3 , 2 5 2 - 2 5 4 ,
222; and A lle n , O nly Y e s t e r d a y , pp. 95, 2 0 9 , 9 6 , 9 2 - 9 3 , 1 1 0 -1 1 1 , 115-
118. and 97. (See s u p r a , p. 171, n. 9 7 .)____________________________________
212
L a u r a F e n n e r . - - K e lly 's a n ta g o n ist is v ita l in the w ay sh e d o m i-
, 180
n a te s the m o r e v illa in o u s a c tio n of the work: g iv in g o r d e r s to R uth,
181
a tte m p tin g to m a n ip u la te O ily , and try in g su b tly to in flu e n c e C liff.
F o r tw o a c t s , L a u r a 's m a lic io u s in flu e n c e s e e m s to be a kind of o m n i
p r e s e n t su b te x t, lin g e r in g lik e a bad odor that is d iffic u lt to e r a d ic a t e .
A s in the c h a r a c te r of D a is y , L a u r a 's v ita ln e s s is c a u se d by the
s tr e n g th of h e r m o tiv a tio n s . L a u ra w an ts w ith g r e a t in te n sity ; h e r
jentire b e in g y e a r n s to be the r e s id e n t - h o u s e k e e p e r - a d m in is t r a t o r of
the M e ttin g e r h o u s e h o ld . T h e r e is little she w ould n ot do to a c h ie v e
th is p o s itio n . In the o p e n in g s c e n e she m a k e s c o m m e n ts to O ily about
182
the d e s ir a b ilit y of the h o u se ; the f i r s t tim e sh e s e e s C liff sh e d rop s
jlittle h in ts a s to the am o u n t of la b o r done and tim e sp en t p r e p a r in g fo r
183
h is h o m e c o m in g ; in a s c e n e of su b tle innuendo sh e h in ts to C liff that
m a y b e D a is y d o e s n 't w an t to sta y th e r e a fte r all; and w ithin m o m e n ts of
the fin a l c u r ta in , w h en sh e r e a li z e s h e r tim e is running out, sh e
a p p r o a c h e s C liff " p oin t-b lan k " a sk in g h im w hat he w ould think about
• , 184
h e r c o m in g in t h e r e .
T h at L a u r a is c o n s is t e n tly i r a s c i b le , m a n ip u la tiv e , s c h e m in g ,
and s u s p ic io u s th e r e is lit tle doubt. E v id e n c e p r e v io u s ly c ite d d e m o n
s t r a t e s that L a u r a is m a n ip u la tiv e and s c h e m in g . A s to h e r s u s p ic io u s
180 181
K e lly , D a is y M a y m e , pp. 1 -3 , 11. I b id ., pp. 9 3 - 9 6 .
182 _ 183 184
I b id ., p. 7. I b id ., pp. 2 0 - 2 3 . I b id ., p. 174.
213
185
n e s s , one only h a s to c o n s id e r h e r d e s ir e to "spy" on D a is y and h e r
186
se n d in g Ruth u p s t a ir s to "w atch O ily" (L au ra ca n 't e v e n t r u s t the
s i s t e r she c o n fid e s in).
187
L a u r a 's d e p ic tio n is m o r e or l e s s o n e -d im e n s io n a l: the
a u d ien ce s e e s h e r in a c tio n , but the r e a s o n s fo r h e r b e h a v io r a r e not
d ivu lged . L a u ra w ou ld p rob ab ly e v o k e h o s tility f r o m the a u d ie n c e as
K elly in te n d s, s in c e she is p ain ted w ith a n e g a tiv e b r u s h , and the
au d itor can find little to lik e and e v e n l e s s to u n d e r sta n d . H o w e v e r , it
is p o s s ib le that she m ig h t evok e a d e g r e e of sy m p a th y w hen s h e is
188
r a th er s e v e r e ly e x c o r ia te d by D a is y in A ct III. T h e r e w ou ld be
th o s e in the a u d ien ce who w ould f e e l that she h a s u n d er g o n e enough
s tr a in and s t r e s s by th is point in the play.
T h em e
If a w o m a n e x h ib its good in te n tio n s, a w h o le s o m e p h ilo so p h y ,
and a g r e a t p r o fic ie n c y in th e d o m e s t ic a r ts , sh e w ill s u c c e e d in o u s t
ing a M a c h ia v e llia n h a r r id a n and w inning an u n r o m a n tic but sta b le hus^
band. T h is s e e m s lik e a r e a s o n a b le s ta te m e n t of K e lly 's th e m e .
T h e m e Should R e s u lt in U n ity .- -O n e is not s u r e w h eth e r K elly
is m o r e c o n c e r n e d w ith the e x p u ls io n of L a u ra or the e n s c o n c in g
185Ibid. , pp. 4 7 - 4 8 . 186>Ibid. , p. 19.
I8 7 Ibid. , pp. 1 7 2 -1 7 3 . 188Ibid. , pp. 180-U 82.
214
of D a is y . T h e e x c o r ia tio n of L a u r a is one of the m a jo r e m p h a s e s in
the p la y . O ily c r i t i c i z e s h e r , M ay c a s t ig a t e s h e r , and D a is y , w ith
in te n s e candor on tw o o c c a s t io n s , b e r a te s L a u r a fo r h e r a tte m p te d
m a n ip u la tio n s in the M e ttin g e r h o u se h o ld . If D a is y is the c e n tr a l s u b
j e c t of the p lay (and th e r e d o e s n 't s e e m to be any o th er p la u s ib le c o n -
|
s id e r a tio n ), h e r c h a r a c te r d o e s not s e e m to be the c o n tr o llin g p u r p o se j
of the w ork . It sh ou ld be n o ted that in a n a ly z in g the p lot of th is p la y , !
m u c h of the d r a m a tic a c tio n c e n te r s around L a u r a 's a tte m p ts to m anip-j
I
u la te the e x is tin g f o r c e s . D a is y is s e ld o m c o n s c io u s ly in v o lv e d in a j
j
j
c o n flic t situ a tio n . T he d r a m a tic a c tio n can not r e a lly be c a lle d a p r a c
t ic a l d e r iv a tiv e of the a b s t r a c t th e m e . H o w e v e r , the d is p o s itio n of the
I
c h a r a c te r s in the p la y is in d ir e c t r e la tio n s h ip to the th e m e , and the
c lim a x of the play is c e r ta in ly a r e a liz a t io n of the th e m e in a c o n c r e te
a c tio n . W hile the th e m e of D a is y M aym e d o e s not con trib u te a to ta l
unity to the p ie c e a s d o e s the th e m e of C r a ig 's W ife , it c e r ta in ly
r e s u lt s in m o r e of a unity than The T o r c h - B e a r e r s .
T h e m e Should B e C le a r , R e le v a n t, and U n iv e r s a l. - - B e c a u s e of
the p r o b le m s d i s c u s s e d in the p r e v io u s s e c t io n on u nity, the th e m e w as
not p a r tic u la r ly c le a r to a ll th o se who c o m m e n te d on the p lay.
It w a s a ls o n o ted that no tw o w r it e r s quoted the s a m e th e m e fo r
the p la y . F o r e x a m p le , K ru tch b e lie v e d that the th e m e , lik e C r a ig 's
W ife, w as c o n c e r n e d w ith the b itte r " str u g g le of a w om an fo r the
215
p o s s e s s i o n of a h o u s e - - t h i s t im e the h o u se of h e r b r o th e r into w h ic h a
189
w ife th r e a te n s to in tru d e." If a c r it ic w ith the a c u m e n and r e p u t a
tion of K ru tch is fau lty in h is ju d g m en t of the t h e m e , th e r e m u s t be
s o m e p r o b le m s of c la r ity in h e r e n t in K e lly 's m e s s a g e .
In d e te r m in in g the r e le v a n c e and u n iv e r s a lity of K e lly 's t h e m e ,
j
one e n c o u n te r s a b a s ic p r o b le m in the work: the s im i la r it y b e tw e e n
the s to r y lin e and s ta te m e n t of th e m e . T h e r e is v e r y lit tle d iff e r e n c e
|
b e tw e e n th e s e tw o it e m s . T h is s im ila r it y is a t e s t a m e n t to the s u p e r - i
|
f ic ia lit y of K e lly 's c o m m e n t on the h u m an co n d itio n . E v e n if one \
a tte m p ts to a b s t r a c t the th e m e fu r th e r and s a y th at K e lly is c o m m e n tin g
upon the p e t t in e s s , r ig id ity , and n a r r o w n e s s of v is io n of m i d d l e - c l a s s
I
su b u rb ia (in s h o r t, a ttem p tin g to e x p o s e a w h ole sy n d r o m e of p h ilo -
i
s o p h ic a l m y o p ia ), the p la y 's v is io n s t ill d o es not ex ten d m u c h fa r th e r
than the v is io n of the c h a r a c te r s t h e m s e lv e s . T h e r e a r e su b tle ir o n ie s
w h ic h r e s u lt fr o m a t w is t in the p lot or a ju x ta p o sitio n of c h a r a c t e r s ,
but they do not r e s u lt f r o m s o m e g r e a te r tru th in o p e r a tio n .
T h e th e m e m a k e s no c o m m e n t upon the h u m an c o n d itio n e x c e p t
th at w h ic h w ou ld a lr e a d y be know n. T h e r e is lit t le c o m m e n t o r p e r
s p e c tiv e on why th e s e p e o p le a r e lik e th ey a re; no a tte m p t is m a d e to
r e la t e th e m to anything o u tsid e of th e ir own in s ig n if ic a n t l i v e s . T he
p la y w r ig h t h a s su p p lied no in te r p r e ta tio n of life w h ich is m o r e r e le v a n t
189
J o s e p h W ood K ru tch , " U n sp a cio u s D a y s ," T h e N a tio n , 121
(N o v e m b e r 4 , 1925), 521.
216
a n d /o r u n iv e r s a l than the th o u g h ts, v a lu e s , and w an ts of the c h a r a c
t e r s ; and the d r a m a tis p e r s o n a e a r e e x t r e m e ly p r o s a ic and c o m m o n
p la c e . K e lly 's p o r tr a itu r e sh ou ld h a v e b e e n m o r e lik e an i n t e r p r e
tiv e p ain tin g than a r e a l i s t i c ph otograp h .
T h e m e Should B e an In te g r a l P a r t o f the D r a m a tic M o v e m e n t . - -
In the c o u r s e o f the p lay D a is y e x h ib its th e p e r s o n a lit y t r a it s w h ic h J
e n d e a r h e r to C liff and M ay, th e d r a m a tic a c tio n is c o n c e r n e d w ith the j
! |
ir e m o v a l of the M a c h ia v e llia n a n ta g o n ist, and n o w h e r e in th e p lay d o es !
i
a c h a r a c te r sta te in " so m a n y w o r d s" the th e m e . T h e th e m e of D a is y j
M a y m e is tr u ly an im p lic it r e a lity of the d r a m a tic m o v e m e n t . K elly
h a s an e x c o r ia tio n s c e n e in A c t III a s he had in T h e T o r c h - B e a r e r s and
I
!
C r a ig 's W ife , but in th is p la y , u n lik e the o th e r tw o, it is n o t a s c e n e in
w h ic h the th e m e is sta te d .
|
An E v a lu a tio n of the C r itic s
I
V alid B u t In c o m p le te C r i t i c is m . - - S e v e r a l c r it ic s w r itin g about
the p lay in the a ffir m a tiv e n oted the te c h n ic a l s k ill of K e lly 's c r a f t s
m a n s h ip . A tk in so n n o t e s , "M r. K elly b le n d s both s to r y and c h a r a c te r
190
m o s t s k illfu lly ," T he c r it ic fo r the B o s to n T r a n s c r ip t c o m p lim e n ts
K e lly by s a y in g , "He w r it e s in an a s s id u o u s ly jo in e d , p oin ted and
190
J . B r o o k s A tk in so n , "The P la y ," T he N e w Y ork T i m e s ,
O c to b e r 26, 1926, p. 24.
217
p o lis h e d p a tte r n fo r the th e a tr e w h e r e in nothing s h a ll be w a s te d and
191
noth in g m i s s f ir e ." The r e m a r k s of th e s e two in d iv id u a ls a r e r e p
r e s e n t a t iv e of the o th e r c r it ic s who c o m m e n te d on th is p u r e ly te c h n ic a l
a c c o m p lis h m e n t . H o w e v e r , w ith th e e x c e p tio n of A tk in so n , fe w c r it ic s
|
n oted that th is d r a m a tu r g ic s k ill b e c o m e s l e s s s ig n ific a n t a s the w e a k - j
i
n e s s e s of the p lay a r e e n u m e r a te d . |
i
I
S ta rk Young s e n s it iv e l y n o tic e d an a s p e c t of K e lly 's p lottin g thaf
j
cou ld be c la s s i f i e d as a w e a k n e s s . Young found s e v e r e p r o b le m s in thej
j |
w r itin g of A c t III. H e f e l t th at K e lly had m a in ta in e d no s u s p e n s e in the
s tr u g g le fo r the p o s itio n of the h o u s e k e e p e r of the M e ttin g er h o m e .
I
Y oung n oted th at the " ca rd s w e r e sta c k e d " fo r D a is y . He w r ite s :
. . it is on ly a m a tt e r of t im e b e f o r e w e a r e told roundly and v is ib ly
in so m an y w o r d s , that th is lo v a b le s p in s te r is to sta y in C liff's
192
h o u s e ." Young f a ile d to o b s e r v e th at one r e a s o n K e lly 's s u s p e n s e
and in te n s ity is w e a k e n e d is due to the f a c t th at he h a s an u n c o m m itte d
p r o ta g o n is t. H o w e v e r , L . M . M a le v in s k y , c r it ic fo r B illb o a r d M a g a -
z in e , n oted th at t h e r e w a s a s e v e r e s tr u c tu r a l p r o b le m c a u s e d by
K e lly 's l a i s s e z - f a i r e p r o ta g o n is t. W ithout c o m m itm e n t th e r e is little
s tr iv in g . M a le v in s k y w r it e s that a p lay is not p a r tic u la r ly good d r a m a
191
" D a isy M a y m e N ow A c te d , " B o s to n E v e n in g T r a n s c r ip t ,
A p r il 23, 1927, p. 20.
102
_____________Young, "The Shine of L ife, " pp. 3 7 5 -3 7 6 .
218
just b e c a u s e it h as c o n flic t. A c c o r d in g to h im , the c o n flic ts m u s t
" c r e a te c o m p lic a tio n and th e r e a r e n 't en ou gh c o m p lic a tio n s in 'D a isy
M a y m e ' to m a k e one s it on ed g e ! D a is y M a y m e 's job in th e p lay is too
193
e a s y , sh e ran r ig h t o v e r s c h e m in g L a u ra F e n n e r and h e r d a u g h ter."
A c c o r d in g to th e fin d in g s of th is stu d y , one of th e m a in w e a k
n e s s e s of th is w o r k is the s u p e r fic ia lit y of th e c h a r a c t e r s . O nly th r e e
i
j
w r it e r s w e r e c o g n iz a n t of th is m a jo r fa ilin g in the p la y . D a v id C arb |
s t a t e s , ". . . the c h a r a c t e r s a re m o s t ly in on e d im e n s io n , on ly o c c a - j
194
s io n a lly in tw o , and n e v e r in th r e e ." C o m p a r in g C h ek hov and K e lly ,
i
E d ith I s a a c s , c r it ic fo r T h e a tr e A r t s , n o t ic e s the la t t e r 's te n d e n c y |
to w a rd "the e x te r n a l attack in c h a r a c te r iz a t io n . . . ." I s a a c s c o n - j
I
1
t in u e s , "In s p ite of a ll th e m a lic io u s p e n e tr a tio n th a t g iv e s ste a d y j
i n t e r e s t to h is p la y , M r. K elly is co n ten ted w ith th e s u r f a c e , w h e r e
195
C h ek hov is c o n c e r n e d w ith the so u l." G ord on M . L e la n d of B i l l-
b o a r d s u c c in c t ly s u m m a r iz e s the p r o b le m h e r e : " T h er e is no e ffo r t to
in te r p r e t m o tiv e o th er than it a p p e a r s and so u n d s on the s u r fa c e .
R e a l is m of the ou tw ard h as b e e n a c c o m p lis h e d but s o m e th in g m o r e than
193
M. L. M a le v in s k y , "N ew P la y s A n a ly z e d , " V a r i e t y , D ecern
b e r 29, 1926, pp. 32, 38.
194
D a v id C arb , "Seen on the S ta g e , " V o g u e , 68 (D e c e m b e r 15,
1926), 76.
195
E d ith I s a a c s , " D a isy M a y m e , " T h e a tr e A r t s , 11 (J a n u a ry ,
1927), 1 1 -1 2 .
that is r e q u ir e d in w o r th w h ile t h e a tr e ." A ll th r e e of t h e s e w r it e r s
s e n s it iv e ly n oted a b a s ic p r o b le m in c h a r a c t e r iz a t io n , but none of th e m
c o n n e c te d th is fa u lt w ith the b a s ic m e s s a g e of the p l a y - - K e l ly ' s s u p e r
f ic ia l and c o m m o n p la c e th e m e . A tk in so n , in c o n t r a s t to the th r e e
c r it ic s a b o v e , n o ted the "flat d im e n s io n " of K e lly 's v is io n and c o n -
I
I
I
n e c te d th is w e a k n e s s of the p lay m o r e w ith the t h e m a tic a s p e c ts of the j
i
!
w o r k than w ith the c h a r a c te r iz a t io n . A tk in so n w r ite s : i
i
M r. K elly is a r e a lis t ; h e w o r k s in the fla t d im e n s io n . In the n ew ;
p la y [D a is y M a y m e ] e s p e c i a l ly h e k e e p s to th e r e p r e s e n t a tio n a l j
m eth o d of c r a ft s m a n s h ip that c o n c e r n s i t s e l f w ith s u r f a c e s and j
a c tu a litie s . And w hat one m i s s e s m o s t in " D a isy M a y m e " is j
i n t e r p r e t a t io n - - a c r e a t iv e im p u ls e s u p e r io r to the d e ta ils of the
p la y , illu m in a tin g both s to r y and p e o p le , and su p p ly in g the 'lift'
w h ich is e s s e n t i a l to a ll good d r a m a . *9^
W ith r e g a r d to th e m e , R . D an a S k in n er c o m m e n ts on th e d e c id e d ly cool!
a p p r o a c h to the d r a m a tic m a t e r ia l and i s p a r t ic u la r ly c r it ic a l of the
198
" r e la tiv e u n im p o r ta n c e of the th e m e i t s e lf . . . ."
Invalid C r it ic is m . - -M an y of the c r it ic s w e r e o v e r z e a lo u s in
th e ir p r a is e of D a is y M a y m e , s o m e w r itin g a s if the p lay had no fa u lts
196
G ordon L e la n d , " D a isy M a y m e , " B illb o a r d , N o v e m b e r 6,
1926, p . 3.
197
J . B r o o k s A tk in so n , " G eo rg e K e lly and the A c e r b it ie s of the
M id d le C l a s s ," T he N ew Y o rk T i m e s , O cto b e r 31, 1926, S e c . VIII,
p. IX.
198
R . D an a S k in n e r , "G lam our C o m e s and G o e s , " T h e In d e -
p en d en t, 118 (Jan u ary 1, 1927), 21.
220
w h a ts o e v e r . A tk in so n w r o te that K e lly had m a d e c o n sta n t p r o g r e s s io n
as a p la y w r ig h t, in fe r r in g that the p lay in q u e s tio n w a s b e tte r than T h e
199
S h ow -O ff o r C r a ig 's W ife. W o o llc o tt, g r e a tly im p r e s s e d w ith th is
p la y , c o m m e n te d th at D a is y M a y m e " stan d s h ead and s h o u ld e r s above
'C r a ig 's W ife'; it c o n ta in s in c e r ta in s c e n e s , th e f in e s t w o r k K elly h a s
200
done fo r the s ta g e . . . ." T he B o s to n T r a n s c r ip t c r it ic a ls o thought
201
the p lay w as b e tte r than C r a ig 's W ife . C h a r le s B r a c k e tt, c r it ic fo r
The N ew Y o r k e r , w as e n t h u s ia s t ic in h is a p p r a is a l w hen he w r o te ,
" 'D a isy M a y m e ' t o w e r s ab ove any o th e r c o m e d y of the s e a s o n , above I
202 i
e v e r y o th er p la y , e x c e p t 'B r o a d w a y .' " The c r it ic fo r L i f e , R o b e r t I
i
B e n c h le y , found no fa u lt w ith the p lay and w r o te , " G eo rg e K elly h a s j
added to h is c o lle c t io n of p e r fe c t e tc h in g s ." B e n c h le y a ls o f e lt the p r o
p o s a l that D a is y r e c e iv e d f r o m C liff M e ttin g e r w a s a " m a s te r p ie c e of |
203
im p lie d tr a g e d y ." C r itic B e n ja m a n D e C a s s i e r e s g iv e s K elly
199
A tk in so n , " G eo rg e K e lly , " T he N ew Y ork T i m e s , p. IX.
^ ^ A le x a n d e r W o o llc o tt, "The S ta g e ," N ew Y ork W o r ld , Octobei[
2 6 , 1926, p. 20.
201
" D a isy M a y m e N ow A c te d , " B o s to n E v e n in g T r a n s c r ip t ,
A p r il 23, 1927, p. 20.
202
C h a r le s B r a c k e t t, " D a isy M a y m e , " T he N ew Y o r k e r , 2
(N o v e m b er 6, 1926), 33.
203
R o b er t B e n c h le y , "Daisy M a y m e ," L ife, 88 (N ovem b er 11,
1926), 23.
221
u n q u a lifie d p r a is e w h en he s ta te s :
G eo r g e K e lly is the g r e a t e s t p s y c h o lo g is t of A m e r ic a n m id d le -
c la s s life that A m e r ic a h a s y e t p ro d u ced e ith e r in d r a m a o r f i c
tion . T h e r e is s o m e th in g of M o lie r e and B a lz a c in h im . He
r e c o r d s c e r ta in chunks and s l i c e s of h is e n v ir o n m e n t u n d er the
a s p e c t of e te r n ity . . . . G eo r g e K elly w ith E u g en e O 'N e ill is the
A m e r ic a n s ta g e t o d a y . j
E v e n K ru tch , who is u s u a lly e x t r e m e ly s e n s it iv e to any p r o b le m in the j
d r a m a tic w ork and n o r m a lly q u ite c o n s e r v a t iv e in h is o b s e r v a t io n s ,
c o m m e n ted : "D a is y M a y m e is n o t m e r e ly funny, it i s , lik e C r a ig 's
205
W ife , e x c itin g a s w e ll." And B a r r e t t C la rk , one of the t h e a tr e 's ;
i
m o s t a stu te d r a m a tic a n a ly s t s , en d s a g lo w in g r e v ie w of th is p lay w ith j
i
i
i
th e fo llo w in g : j
!
H is [K e lly 's ] s o m e w h a t b itte r attitu d e to w a rd life is a lw a y s ter n - j
peired w ith in d u lg e n c e , and h is c o m e d y a r i s e s out of th at c o m b i
n ation of lo v e and s c o r n th at p r o d u c e d the m a s t e r p i e c e s of M o lie r e .
Who e ls e a m on g the m o d e r n h a s c o m e so c lo s e to the a r t of the
author of B o u r g e o is G e n tilh o m m e ?206
In lig h t of the fin d in g s of th is stu d y, a ll of the ab o v e c r i t i c i s m is
in v a lid .
S u m m a r y ■ - -It is in te r e s tin g th at a p lay th at on ly ran 112 p e r
f o r m a n c e s and is s e ld o m e v e r m e n tio n e d in c o n n e c tio n w ith the p la y -
B e n ja m in D e C a s s i e r e s , " B road w ay to D a te , " A r ts and
D e c o r a tio n , 26 (D e c e m b e r , 1926), 100.
205
K ru tch , " U n sp a c io u s D a y s ," p. 521.
206
B a r r e tt H. C la rk , " D a isy M a y m e , " T h e D r a m a , 17 ( D e c e m
b e r , 1926), 74.
2 2 2
w r ig h t's n a m e in m o d e r n t h e a tr e h i s t o r i e s w ou ld r e c e i v e s u c h e n th u
s ia s t ic e n d o r s e m e n t . It sh o u ld b e n o ted th at non e of the c r it ic s w e r e
c o g n iz a n t of the p r o b le m of th e r a th e r a m b ig u o u s p r o ta g o n is t, and on ly
a fe w of th e m w e r e s e n s it iv e to the s u p e r f ic ia lit y o f the c h a r a c t e r iz a
tion and th e m e . T h is in a d e q u a c y in c r i t i c i s m , p lu s the f a c t th at D a is y
M a y m e w a s the n e x t K e lly w o r k to be p r o d u c e d a fte r th e tr e m e n d o u s
i
popu lar and c r it ic a l s u c c e s s of both T h e S h o w -O ff and C r a ig 's W ife ,
a r e p rob ab ly c o n tr ib u to r y f a c t o r s in flu e n c in g the o v e r z e a lo u s e n d o r s e
m e n t of th is w o r k . J u d g in g f r o m the fin d in g s of th is stu d y , D a is y
i
!
M a y m e 's s u c c e s d 'e s t im e d e m o n s t r a t e s a s e v e r e w e a k n e s s in s o m e of |
|
the c o n te m p o r a r y c r i t i c i s m of th e 1 9 2 0 's. '
i
i
B e h o ld , th e B r i d e g r o o m - -
B e h o ld , the B r i d e g r o o m - - , h a v in g s e r io u s w e a k n e s s e s in its
p lo t, c h a r a c te r iz a t io n , la n g u a g e , and th e m e , and r e c e iv in g c o n s i d e r
ab le c r it ic a l e n d o r s e m e n t d u rin g the 1 9 2 0 's, is the m o s t r e p r e s e n t a tiv e
e x a m p le in th is stu d y of a s e v e r e l y fla w e d p la y c a u s in g an a g g r a n d iz e
m e n t of G e o r g e K e lly 's r e p u ta tio n . In the fo llo w in g p a g e s , th is w r ite r
w ill a tte m p t to p oin t out t h e s e w e a k n e s s e s and s u m m a r iz e the c r it ic a l
e n d o r s e m e n t.
P lo t: A c t I
B e h o ld , th e B r i d e g r o o m - - is unique in that the b a s ic c o n flic t
of th e w o r k is not b e tw e e n tw o p e o p le , a s w a s the c a s e in K e lly 's p r e
223
viou s p la y s , but a s A le x a n d e r W o o llco tt s a y s , "The a c c u s a tio n , the
t r ia l, the v e r d ic t and e x e c u tio n tak e p la c e a ll w ith in h e r [ T o n y L y le 's ]
m in d ." 207
E x p o s it io n . - -K e lly b e g in s w ith th is d e s c r ip tio n :
M is s L y le is s ittin g , s lo u c h e d , on a lu x u r io u s d ivan . . . . H er
d r e s s is a r a th e r d a rin g P a r is c r e a tio n in s c a r l e t v e lv e t that
sh o w s e v e r y lin e of h e r lo v e ly fig u r e . . . sh e is w e a r in g a n e c k
la c e of tw en ty fin e gold c h a in s cau gh t w ith c la s p s of ja d e , and the
b r a c e le t on h e r r ig h t a r m and h e r tw o r in g s a r e of ja d e . The
b r a c e le t on h e r le ft a r m is th r e e in c h e s w ide and s e t s o lid ly w ith
a lte r n a tin g r o w s of d ia m o n d s , s a p p h ir e s , e m e r a ld s and r u b ie s.
P e r s o n a ll y , M is s L y le is the c o lo r of h e r d r e s s , bold and b iz a r r e
- - a h u s s y of th e h ig h w o r ld .
K elly h a s T ony L y le r e a d in g a book fo r an in sta n t or tw o , th en t o s s in g
th e book a w a y . T h ro u g h the d e ta il of h is sta g e s e ttin g , the cloth in g
sh e w e a r s , and the b u s in e s s he g iv e s h e r in the b e g in n in g , K elly
a c c o m p lis h e s s e v e r a l p u r p o s e s : (1) the a u d ie n c e g e ts a good ch a n ce to
e x a m in e the o p u le n c e and d a r in g q u a lity of h e r a t tir e , h e lp in g K elly to
e s t a b lis h h is p r o ta g o n is t's c h a r a c te r th rou gh v is u a l c lu e s ; (2) h er
r e s t l e s s n e s s is an im p o r ta n t fo r e s h a d o w in g fo r the m a jo r c o n flic ts
w h ic h th e c h a r a c te r w ill en d u re; and (3) the a u d ie n c e is in fo r m e d , to
an e x te n t, of th e s o c ia l and f in a n c ia l sta tu s of the p r o ta g o n is t. W ith
207
A le x a n d e r W o o llc o tt, "The S ta g e , 1 1 The N e w Y ork W orld,
D e c e m b e r 2 7 , 1927, p. 18.
208
G eorge K elly , B ehold, the B r i d e g r o o m - - (New York:
S a m u e l F r e n c h . 1927), p. 1.______________ __________
224
r e g a r d to s o c ia l s ta tu s , K elly r e v e a ls in the f i r s t fiv e p a g e s th at th e re
is a b u tle r , an u p s t a ir s F r e n c h m a id who t r a v e ls w ith T o n y , a h o u s e
k e e p e r , and a g a t e - k e e p e r . T he in tr o d u ctio n of th is p e r s o n n e l is
hand led u n o b tr u s iv e ly by K elly: both the b u tler and h o u s e k e e p e r a r e
in tro d u ced by g iv in g th e m d u ties in the op en in g s c e n e ; the u p s ta ir s
m a id is c a lle d w h en T ony n e e d s m o r e c ig a r e tt e s ; and the g a t e - k e e p e r
is r e f e r r e d to w h en th ey a re lo o k in g fo r a v is it o r who is on th e e s ta t e
s o m e w h e r e . T h e la r g e s iz e and a fflu e n c e of the e s ta t e is h in ted at j
|
a ls o w h en T ony r e c e i v e s w ord that h e r c o u s in is d r iv in g th rou gh the j
209 '
r o s e g a r d e n s . W ith the r e f e r e n c e to the r o s e g a r d e n s in the o p e n -
j
ing s c e n e , K elly a c c o m p lis h e s fo r e s h a d o w in g as w e ll a s e x p o sitio n ; a i
r o s e fr o m th is g a r d e n w ill b e c o m e the m o s t im p o r ta n t s y m b o l in the j
!
p la y . |
P a r t of the b a s ic c o n flic t w h ich e v o lv e s w ith in T ony is h e r d i s - j
s a tis fa c t io n w ith h e r s e lf ; and m u c h of th is d is s a t is f a c t io n e m a n a te s
f r o m the fa c t th at she know s she h a s had e v e r y p o s s ib le opp ortu n ity
a v a ila b le to a you n g g ir l. Subtle fo r e s h a d o w in g is b ein g r e n d e r e d by
K elly w hen he im p lie s the n u m b er of "staff" on the e s ta t e and the s iz e
and e x is t e n c e of the r o s e g a r d e n s and sh o w s the lu x u r ia n t a ttir e of
T on y. It is e v id e n t T o n y 's m a t e r ia l w an ts h a v e b e e n m e t . A ls o by
sh ow in g T o n y 's r e s t l e s s d is c o n t e n t - - e v e n w ith h e r k in d ly b u tler - -K e lly
2 ° 9 T , . , A R
Ibid. , pp. 4 - 5 .
225
is fo r e s h a d o w in g th e d r a m a tic a c tio n . T h is r e s t l e s s n e s s is on ly a
m in o r s y m p to m of w h at is to c o m e . T he d is c o n te n t is fo r e s h a d o w e d
and the p la y w r ig h t su b tly in tr o d u c e s the c h a r a c te r s of the fa th e r and
the ch a u ffeu r in the fo llo w in g e x c h a n g e of d ia lo g u e b e tw e e n T ony and
the b u tle r . T ony is c o m p la in in g about the f a c t th at the c h a u ffe u r ,
M a th e w s , is a lw a y s s e e in g th in g s:
T on y. . . . I w is h to God he w e r e a s good at s e e in g th in gs
w h en he is d r iv in g that c a r of m in e . B ut I'll t e l l you
w hat you can do, E d w a r d s - -
E d w a r d s . Y e s , M is s .
T on y. G et m y f a th e r 's o ffic e on the te le p h o n e out t h e r e , and
t e l l th e m I'd lik e to sp e a k to h is p r iv a te s e c r e t a r y .
E d w a r d s . I im a g in e th ey a r e a ll gone by n ow , M is s L y le; it's
n e a r ly a q u a r t e r - -
T o n y . (in te r r u p tin g h im im p a tie n tly ) W e ll, c a ll the n u m b er
and s e e ; - -
E d w a r d s . V e r y good , M is s .
T on y. T h en y o u w o n 't h a v e to im a g in e .
K e lly 's p u r p o s e in the c o u r s e of h is r is in g a c tio n is to e s ta b lis h
c a ta ly tic f o r c e s w h ic h w ill so a ffe c t h is p r o ta g o n is t th at she w ill s e e
h e r s e l f o b j e c t iv e ly . K e lly h a s s k illfu lly s e le c t e d h is c h a r a c te r s for
th is p u r p o s e . E le a n o r R id g e w a y is a c h a r a c te r who is tr u ly a fo il fo r
the p la y w r ig h t, b e c a u s e sh e is the a n t it h e s is of Tony: sh e is w h o le -
210
^ I b id . , p. 6
226
s o m e , s ta b le , q u ie t, and m o d e st; one can im a g in e h e r b e fo r e m a r r ia g e
b ein g v ir g in a l and r ig h te o u s . In s h o r t, sh e is a w om an w ith a s t r ic t
m o r a l s e n s e . B y w ay of c o n tr a s t, M r s . R id g e w a y quite v iv id ly and
1
e ffic ie n tly illu m in a t e s T o n y 's p r o b le m s of im m o r a lit y , in s ta b ility ,
i r r e s p o n s ib ilit y , and la c k of m o r a l s ta n d a r d s . K elly h a s M r s . R id g e
w ay b r in g the " e m o tio n a l c a ta ly st" of the p la y , S p e n c e r T r a in , out to
T o n y 's e s ta t e the s a m e day T ony a r r iv e s b a ck f r o m E u r o p e . K elly
i
I
su b tly m e ld s s e v e r a l s tr a in s of th e p lo t w h en the a u d ien ce is in fo r m e d j
that the r e a s o n M r s . R id g e w a y and T r a in a r e th e r e today is b e c a u s e j
T r a in h a s a g e n e r a l i n t e r e s t in la n d sc a p in g and a p a r tic u la r in t e r e s t in j
211 1
r o s e s . M r s . R id g e w a y h a s le f t T r a in w a n d e rin g th ro u g h the r o s e !
g a r d e n s and sh e h a s c o m e back to the h o u se to phone; w ith th is c le v e r
ju x ta p o sitio n in g of c h a r a c t e r s , K elly h a s g iv e n T ony and M r s . R id g e
w ay a s c e n e a lo n e b e fo r e the e n tr a n c e of T r a in . E x p o sitio n at th is
point is u n o b tr u s iv e , b e c a u s e the p la y w r ig h t h a s brou gh t to g e th e r two
c lo s e fr ie n d s who h a v e not s e e n e a c h o th e r for quite s o m e tim e and
ea c h m u s t be b ro u g h t up to d ate. B y the end of th is s c e n e , n e a r ly a ll
of the n e c e s s a r y e x p o s itio n h a s b e e n su p p lied by K elly . Connie P e y to n ,
h avin g b e e n d i s c u s s e d in d e ta il, the a u d itor is p r e p a r e d fo r h e r v o c if -
212
e r o u s e n tr a n c e and p r e o c c u p a tio n w ith d rin k . It is h in ted that C onnie
and T on y a r e " s i s t e r s - i n - d i s s i p a t i o n , " so the a u d ie n c e is p r e p a r e d fo r
2 1 1 Ibid. , p. 9. 2 12Ibid. , pp. 4 8 - 5 1 .
227
C o n n ie's s h o c k in g r e m a r k s about T o n y 's p a s t b e h a v io r . T h e d r a m a tis t
su b tly p r e s e n ts a c h ia r o s c u r o of c h a r a c te r c o m p a r is o n by sh o w in g
C onnie and T o n y , on the one hand, d rin k in g th e ir c o c k t a ils , d r e s s e d in
th e ir b iz z a r e a t tir e , o u tsp o k e n , b o is t e r o u s , and d e fin ite ly w o m e n of a
l e is u r e c la s s ; and on the o th er hand, M r s . R id g e w a y and T r a in a r e j
|
s o b e r , s ta b le , v ir tu o u s m e m b e r s of a m o r a l l y r ig h te o u s m ilie u . T he
I
p la y w r ig h t in v o lv e s h is c h a r a c te r s in th is " c h ia r o s c u r o of c o n t r a s t ,"
b e c a u s e th en T ony cannot h e lp but c o m p a r e the s ta b ility and p e r s o n a l
a d ju stm e n t of h e r c o u s in , M r s . R id g e w a y , w ith h e r ow n d is c o n te n t. !
i
i
T h is is f o r e s h a d o w in g fo r the b a s ic c o n flic t of the w o r k , b e c a u s e T on y j
! I
!
b e g in s to s e e h e r s e l f m o r e o b je c tiv e ly a s the play p r o g r e s s e s . T h e j
e ffe c t of C o n n ie 's a p p r o a c h in g m a r r ia g e and the c o m p a r is o n w ith M r s .
R id g ew a y a r e both c o m p lic a tio n s to the p r o ta g o n is t. H o w e v e r , n e ith e r
is s e r io u s en ou gh to evok e a m a jo r c r i s i s .
K elly a c c o m p lis h e s fu r th e r e x p o s itio n and c o n tr ib u te s an a d d i
tio n a l c o m p lic a tio n to T o n y 's p e r s o n a l c o n te n tm e n t w h en M r s . R id g e -
jway b r in g s up the s u b je c t of G eh rin g F it le r . F it le r h a s b e e n "dogging
I
the fo o ts te p s " of T on y fo r th r e e y e a r s , a sk in g h e r to m a r r y h im . M r s.
2 13
R id g ew a y th in k s th at T ony sh ou ld m a r r y G eh rin g . It is d is c o v e r e d
th at F it le r is an id le r , a h e a v y d r in k e r , and s o m e w h a t a d o le s c e n t ly
o r ie n te d in h is a ttr a c tio n tow ard T on y. The p la y w r ig h t u t il i z e s th is
^ ^ I b id . , p. 22.
228
c h a r a c te r a s an im p o r ta n t s o u r c e of g u ilt fo r h is p r o ta g o n is t, so the
fo r e s h a d o w in g is q u ite u n o b tr u s iv e .
K e lly 's s k ill in su p p ly in g su b tle e x p o s it o r y t r a n s it io n s can be
o b s e r v e d in the s u b tle ju x ta p o sitio n of the F i t l e r m a r r ia g e s c e n e to the
s u b je c t of T o n y 's fa th e r . T o n y 's p o s s ib le m a r r ia g e to F i t l e r is a
n a tu r a l a n te c e d e n t a c tio n to p r e c e d e the s u b je c t of the r e m a r r ia g e of
h e r fa th e r . T he e ld e r L y le w an ts T ony s e tt le d b e fo r e he m a r r i e s
a g a in . So M r s . R id g e w a y t e l l s T on y th at M r. L y le is a n tic ip a tin g th e j
I
n u p tia l s te p , but th at he h a s h e s tia t e d to m a r r y " b e c a u se of a s e n t i - j
..214 !
m e n ta l f e e lin g about putting a s te p m o th e r o v e r y o u . j
A t th is p oin t th e p la y w r ig h t is su b tly s tr u c tu r in g a s e r i e s of |
I
c o m p lic a tio n s w h ic h w ill h a v e an a c c u m u la tiv e e ff e c t on the p r o t a g
o n is t. T h e au d ito r can a lr e a d y s e n s e in T on y a d is c o n te n t, a d is lik e of
s e lf , and a c o n fu s io n about w h at sh e w ill do n e x t. M r s . R id g e w a y ,
b r in g in g up the s u b je c t of F i t l e r , r e m in d s T on y o f an u n s o lv e d e p iso d e
in h e r l i f e - - a c o m m itm e n t sh e h a s; and M r s . R id g e w a y , b e in g s o m e
w hat of a m o r a l i s t , la y s the b la m e fo r F i t l e r ' s c o n d itio n at T o n y 's fe e t.
I m m e d ia te ly a fte r b e in g r e m in d e d of h e r o b lig a tio n to F i t l e r , T on y is
th en p r e s e n te d w ith a n ew c o m p lic a tio n in the f o r m of a fa th e r who is
w a itin g fo r h e r to m a r r y so he w ill f e e l f r e e to m a r r y .
i
N e c e s s a r y f o r e s h a d o w in g is a c c o m p lis h e d a s M r s . R id g e w a y
2 1 4 . . .
Ibid. , p. 26.
229
u n o b tr u s iv e ly illu m in a t e s an e x t r e m e ly s ig n ific a n t a s p e c t of th e p r o
t a g o n is t 's p e r s o n a lit y . In A c ts II and III, T on y m u s t w e a k e n and die
b e c a u s e of a p r o c e s s of rep in in g ; th is m a la d y w ill only o c c u r to an
in d iv id u a l who is s e n s it iv e and a lm o s t h o p e l e s s l y r o m a n tic . K e lly
b e g in s to p r e p a r e h is p r o t a g o n is t fo r the a d v en t of r e p in in g . T on y and
|
M r s . R id g e w a y a r e d i s c u s s i n g m a r r ia g e and the la tte r t e l l s the j
i
I
f o r m e r sh e kn ow s e x a c tly w hy T ony d o e s n 't m a r r y .
M r s . R id g e w a y . It's b e c a u s e y o u 'r e so p rofou n d ly r o m a n tic ,
A n to in e tte . . .A n d y o u 'r e w a itin g fo r the kind |
of lo v e e x p e r ie n c e that y ou think w ill s a t is f y j
y o u . B u t I thin k y o u 'r e w a itin g in v a in , d e a r , \
fo r e v e n if it w e r e to c o m e , I think you 'd find j
y ou w e r e n 't r e a d y fo r the o c c a s i o n - - b y any j
j m e a n s . 215 j
i !
iK elly h e r e h a s not o n ly b egu n to p r e p a r e the a u d ie n c e fo r the p r o c e s s j
l
of r e p in in g , but w h en M r s . R id g e w a y t e l l s T on y she is u n p r e p a r e d fo r
the lo v e e x p e r ie n c e sh e d e s i r e s , he h a s a l s o , in e s s e n c e , sta te d the
th e m e of the w o r k and f o r e s h a d o w e d th e p oin t of a ttack .
In the c o u r s e of h is e x p o s it io n , K elly h a s b e e n p r e p a r in g the
a u d ito r fo r the e n tr a n c e of S p e n c e r T r a in . T r a in c a u s e s the m a jo r
c o m p l i c a t i o n - c r i s i s s itu a tio n in the p l a y - - a d e v a s ta tin g e m o tio n a l u p
h e a v a l in the p r o t a g o n is t - - a n d th e r e fo r e m u s t be an e m b o d im e n t of
c e r t a in t r a i t s . T on y n ot on ly s e n s e s h is s ta b ilit y , h is w h o le s o m e n e s s ,
and the fa c t th at h e is a " s e lf -m a d e m a n , " but sh e a ls o in v e s t s h im
215
Ibid. , p. 27.
Z3U-
w ith a r o m a n tic q u a lity of a b n o r m a l p r o p o r tio n s . W hen T r a in e n te r s
he is q u ie t, p o lite , and g r a c io u s . H e is d r e s s e d in dark c lo th e s and
has a w h ite r o s e pin n ed to h is la p e l. T o n y 's op en in g r e m a r k to T r a in
Z16
is: " B eh o ld , the B r id e g r o o m c o m e th ." K e lly 's fo r e s h a d o w in g at
th is p oin t is r a th e r o b v io u s. W ith the " b r id e g r o o m -lik e " a p p e a r a n c e ,
the w e a r in g of the w h ite r o s e and the a u s t e r ity and f o r m a lit y of T r a in j
217 !
- - s t a g e d ir e c t io n s h a v e h im b ow in g " ra th er c e r e m o n io u s ly " - - t h e j
o r d e r in g of the c ir c u m s ta n c e by the p la y w r ig h t is p e r h a p s a little c o n - j
tr iv e d fo r e ff e c t. |
W ith T r a in 's e n tr y , K elly a c c o m p lis h e s not only the f o r e s h a d
ow in g r e f e r r e d to but a ls o h is point of a tta ck . A s G e o r g e J ea n N athan
I
s a y s w ith r e g a r d to T o n y 's in c ip ie n t p r o b le m s : "Her r e a l tr a g e d y g e ts
und er w ay and under fu ll s t e a m e x a c tly a m in u te or two a fte r sh e f i r s t
218
la y s e y e s on h e r n o n su c h m a le . . . ."
S u b je c tin g th is point of a tta c k to th e c r it e r ia , one fin d s that:
(1) the c h a r a c te r s in v o lv e d a r e qu ite a d e q u a te ly p r e p a r e d f o r , (2) the
c h a r a c t e r s p a r tic ip a tin g in the point of a tta c k a r e p r in c ip a ls , (3) the
a c tio n is c e r t a in ly p r e c ip ita te d in c o n n e c tio n w ith the b a s ic c o n flic t,
but (4) th e p oin t of a tta c k is not p a r tic u la r ly c le a r . T h e r e is a
216 , 217
Ibid. , p. 32. Ibid. , p. 31.
Z18
G e o r g e J e a n N athan, "The T h e a t r e , " The A m e r ic a n M e r -
c u r y , 13 (M a rch , 1928), 3 7 5 -3 7 6 .
231
r e s p o n s e f r o m T on y w h en T r a in e n t e r s - - s h e e v e n ta lk s about h im
lo o k in g lik e a b r id e g r o o m - - b u t T on y h a s b e e n d e lin e a te d as a r a th e r
c y n ic a l, flip p a n t in d iv id u a l in th e o p en in g s c e n e , s o th e r e is little
c h a n c e th at the a u d ie n c e w ou ld take h e r s e r i o u s l y w h en it is h in ted that
T r a in m ig h t be an a n tic ip a te d s p o u s e . It is le a r n e d in A c ts II and III
th at T r a in h a s a d e v a s ta tin g e f f e c t on T o n y , but at th is point in A c t I j
i
n ot e v e n the p r o ta g o n is t r e a l i z e s th e e x te n t of h is e m o tio n a l im p a c t.
The au d itor w ou ld h a v e little ch a n c e of kn ow in g that the tw o m a jo r
f o r c e s in the p la y a r e m e e t in g and th at one is in flu e n c in g the o th er in
|
i
the e x t r e m e .
|
I
!
R is in g A c t io n .- - T h e d r a m a tic a c tio n of the w o rk is p r e c ip ita te d
i
by T r a in 'e e f f e c t on T o n y , and th is b e g in s im m e d ia t e ly a fte r h is
e n tr a n c e . M r s . R id g e w a y e x c u s e s h e r s e l f to phon e, le a v in g T r a in and
T on y a lo n e . T r a in 's f i r s t o v a tio n is to o ffe r the r o s e he is w e a r in g to
T on y. K e lly n o t on ly b e g in s h is r is in g a c tio n w ith th is o v e r tu r e , but
he a ls o f o r e s h a d o w s the r o m a n tic s y m b o lis m of the p lay. T ony c h o o s e s
to p r e s s the f lo w e r in a b ook .
F u r th e r fo r e s h a d o w in g of T o n y 's e x t r e m e r o m a n t ic is m o c c u r s
w h en M r s . R id g e w a y r e tu r n s and is to ld about the gift of the r o s e .
T on y m a k e s lig h t of the e p is o d e and M r s . R id g e w a y s a y s , ". . . S h e 's
b e e n tr y in g to p e r s u a d e e v e r y b o d y fo r y e a r s , S p e n c e r , that s h e 's
s im p ly an e m o tio n a l n e g a t iv e , but I a s s u r e y ou s h e 's the m o s t r o m a n tic
232
219
p e r s o n I know ."
K e lly 's r is in g a c tio n in t e n s if ie s r a th e r n a tu r a lly as T ony is s u b
je c te d to c o n s e c u tiv e c o m p lic a tio n s . T on y is m a d e to r e a liz e h e r own
p u r p o s e l e s s n e s s w h en M r s . R id g e w a y d i s c u s s e s h e r ow n s a c r i f ic e in a
m a r r ia g e to a m a n who did n ot h a v e m u c h m o n e y . M r s . R id g e w a y t e lls
T on y th at sh e d o e s n 't know it, but sh e is the kind who w ou ld be ju s t as
220
's a c r i f i c i a l a s any o th e r w om an" if sh e found the rig h t m a n ,
T o n y . M aybe s o , d a rlin g ; but I think y o u o v e r e s t i
m a te m y q u a lity .
M r s . R id g e w a y . W e ll, I d on 't think I do at a ll. (T ony lo o k s at
T r a in . )
T o n y . Joy w a s n e v e r duty to m e , M r. T r a in . (He
lo o k s s te a d ily at h e r , c u r io u sly ; and she
h o ld s h is e y e fo r a d ead p a u s e . The s m ile
d ie s g r a d u a lly f r o m h e r f a c e . . . ) B ut you
m u s tn 't lo o k at m e so d is a p p r o v in g ly .
T r a in . I'm s o r r y to g iv e y o u th at im p r e s s io n , M is s
L y l e .
T o n y . U n c o n s c io u s ly , p e r h a p s; but t h e r e 's a rebuke
- - i n yo u r e y e s - - t h a t w ith m y p r e s e n t s ta te of
c o n s c ie n c e m a y in d u ce a m o r a l r e f o r m - - . . . ^21
K e lly is f o r e s h a d o w in g the c lim a x and d e n o u e m e n t of the p lay w ith M r s .
R id g e w a y 's r e m a r k s ab ove and th is e x c e r p t of d ia lo g u e .
K e lly fu r th e r h e ig h te n s h is d r a m a tic a c tio n at th is p oin t as
C onnie P e y to n is in tr o d u c e d . K e lly su b tly a c c o m p lis h e s fiv e d iffe r e n t
219
K e lly , B e h o ld , the B r id e g r o o m C o m e t h - - , p. 43.
2 2 °Ibid. , p. 47. 221Ibid.
233 '
ite m s w ith th is c h a r a c te r : (1) he s u p p lie s fu r th e r in fo r m a tio n about
T o n y 's p a s t in the p r e s e n c e o f T r a in and th e r e b y fu r th e r d im in is h e s
T o n y 's s ta tu r e both in h e r ow n e y e s and T r a in 's ; (2) he f u r n is h e s a
[con crete e x a m p le of the id le , afflu en t s e t th at T ony " tr a v e ls " w ith;
(3) he f o r e s h a d o w s the a p p e a r a n c e of M r . L y le and F itle r ; and (5) he
su p p lie s a c h a r a c te r who c a u s e s T on y to u n d ergo s e v e r e c o m p lic a tio n , j
I
T h e r e is e v id e n c e that it is v ita lly im p o r ta n t to T ony that sh e m a k e a j
i i
good i m p r e s s io n on T r a in . Connie is a d istu r b in g e le m e n t b e c a u s e I
I
I
s h e d i s c u s s e s w ith can d or and s a r c a s m f a c e t s of T o n y 's b a c k g ro u n d !
I
i
that a r e in im ic a l to T o n y 's d e s ir e for a good im a g e .
W hen T r a in and M r s . R id g e w a y le a v e t e m p o r a r ily to c le a n up
I
fo r d in n e r , T on y h a s a b r ie f s c e n e w ith C on n ie. K e lly ta k e s th is
opp ortu n ity to fu r th e r su b sta n tia te and fo r e s h a d o w two of the u n s o lv e d
p r o b le m s in T o n y 's life: (1) h e r fa th e r 's im p e n d in g m a r r ia g e and (2)
222
the d is p o s itio n of F i t l e r .
A s A c t I e n d s , K elly d e lic a t e ly m a n e u v e r s h is c h a r a c t e r s so
that T on y and T r a in a r e le f t on th e s ta g e to g e th e r . T he o th er tw o,
Connie and M r s . R id g e w a y , h ave h u r r ie d off to d in n e r , g a ily ch attin g
about w o m e n 's m a t t e r s . K elly c o n c lu d e s A c t I w ith th e fo llo w in g
sc e n e :
^ ^ I b id . , pp. 6 1 -6 2 .
234
T r a in .
T on y.
T r a in .
T on y.
T r a in .
T on y.
T on y.
T r a in .
T on y.
(T ony a tte m p ts to g e t up out of the d ivan , but
f a lls b a c k la u g h in g .)
(Stepp ing o v e r to h e r and o ffe r in g h e r h is
hand. ) C an't you g e t up, M is s L y le ?
(T ak in g h is hand. ) T h a n k s. T h is d ivan is
so low . (As sh e g e ts up h e r r ig h t fo o t g iv e s
u n d ern ea th h e r and s h e sin k s a g a in s t h im .
He c a tc h e s h e r in h is a r m s . She b e c o m e s
su d d en ly s t ill. . . She g r a d u a lly r a i s e s h er
e y e s to h i s , then d e ta c h e s h e r s e l f s lo w ly and
m o v e s aw ay a ste p or tw o to the righ t, w h er e
sh e sta n d s look in g s tr a ig h t o u t - - v e r y s t ill. )
A r e y o u i ll , M is s L y le ?
N o, I'm a ll righ t.
Can't I g e t you s o m e th in g ?
223
N o, it's nothing.
. . . J u s t go in y o u r s e lf , M r. T r a in , and t e ll
th e m I 'll be in in a m o m e n t. (He s ta r ts
to w a r d s the le ft, but sto p s in the m id d le of
the r o o m and tu rn s b a ck . )
I r e a lly don't lik e to le a v e you th is w ay.
I'm qu ite a ll r ig h t, I a s s u r e you . (He c o n
tin u e s r a th e r r e lu c ta n tly , a c r o s s and up to
the le f t d o o r. And sh e r e m a in s p e r fe c tly s t ill
lo o k in g s tr a ig h t out. He ta k e s one m o r e lo o k
at h e r , th en tu rn s s lo w ly and g o e s dow n the
h a llw a y . She w a its q u ie tly fo r a m o m e n t,
th en g r a d u a lly le ts h e r e y e s fo llo w h is p a th
w a y , - - a l o n g the flo o r ; and p r e s e n tly she
m o v e s in a d r e a m to the m id d le of th e r o o m ,
h e r e y e s s t ill fa s te n e d on the d o o r. A t the
223
I b i d . , p. 69-
235
m id d le of the r o o m she sto p s and b e h o ld s the
2 2 4
m y s t e r y . The c u r ta in d e s c e n d s . . . )
W ith the s ta g e d ir e c t io n s , ". . . sh e sto p s and b e h o ld s the
m y s t e r y ," one a s s u m e s that T ony h a s f a lle n in lo v e . E v e n though th is
m o m e n t h a s had e x t e n s iv e fo r e s h a d o w in g , th e r e is n oth in g m o r e s p e
c if ic in the s c r ip t than th is p a n to m im ic m o m e n t to c la r ify T o n y ’s r e a c -
i
tio n fo r the a u d ie n c e . T he c o n fu sin g q u e s tio n s e e m s to be: A t w h at J
!
I
point d o e s T ony r e a liz e the fu ll e ff e c t of th is m a n on h e r b e in g ? C on - j
| j
s id e r in g the s tr u c t u r e of B e h o ld , the B r i d e g r o o m - - , th is w ou ld be the j
------------------------------------------------ i
i
m a jo r c r i s i s of the play and w ould p r e c ip ita te the c lim a x of the w o r k . I
A c t II is a m on th la te r and the s e r i o u s n e s s of T r a in 's e f f e c t on T on y is j
n ot u n d e r sto o d by h e r u n til s o m e t im e during th is m on th o r , one co u ld !
s a y , d u rin g the in te r im b e tw e e n A c ts I and II. So it m u s t b e a s s u m e d
th at th is " b eh old in g of the m y s te r y " is nothing m o r e than a r e c o g n it io n
of h e r lo v e fo r T r a in . H o w e v e r , the c o m p le x e ff e c t of the l o v e -
r e c o g n itio n , p lu s w hat T r a in r e p r e s e n t s to T o n y , a r e the c a t a ly s t s
w h ich p r o m p t the m a jo r c r i s i s - c l i m a x situ a tio n . It is d iffic u lt to c l a s
sify s tr u c t u r a lly th is m o m e n t at the end of A c t I. It co u ld be c l a s s i f i e d
as a s e c o n d p oin t of a tta c k a n d /o r a m a jo r c o m p lic a tio n to the p r o t a g
o n is t. P e r c y H a m m o n d d e s c r ib e s th is c a t a c ly s m ic c o n fro n ta tio n
b e tw e e n T r a in and Tony:
224
Ibid., p. 70.
236
T h ereu p o n a m a n e n t e r s - ^ d iff e r e n t fr o m the h o llo w and u s e l e s s
m a le s of h e r ow n s e t . He is of the q u ie t, c le a n and m a g n e tic
c iv il e n g in e e r typ e. A lm o s t w ithin the tw in k lin g of an e y e sh e is
in love w ith h im in h e r o u tw ard ly cold fa s h io n and b e c o m e s a
ch an ged w o m a n . B ut h e , a w h o le s o m e f r e s h a ir f e llo w , a lit tle
s tifle d by the s m a r t m ia s m a s w h ich e n v e lo p h e r , is w a r y , if
O O C
not d is in t e r e s t e d . She s e e s in h im h e r b r id e g r o o m . . . . c‘c ‘3
E x a m in in g th is ending of A c t I, on e fin d s th at the tec h n iq u e of
h avin g the " h eroin e" f a ll a c c id e n ta lly into the a r m s of th e "hero" is a
ra th er c lic h e p ie c e of sta g e b u s i n e s s , but K elly d o e s a c c o m p lis h the
fo llo w in g w ith th is c o n fro n ta tio n at the end of A c t I: (1) t h e r e sh o u ld be
a d e g r e e of em p ath y e v o k e d in the a u d ien ce fo r h is p r o ta g o n is t b e c a u s e
she is fa llin g in love; (2) a m o r e in te n se i n t e r e s t in the c h a r a c te r s of j
Tony and T r a in (who a r e c e n tr a l to K e lly 's th e m e ) sh ou ld be stim ulated!;
(3) the b a s ic c o n flic t of the p lay is fo r e sh a d o w e d ; (4) t h e r e sh o u ld be a
d e g r e e of s u s p e n s e e n g e n d e r e d as the a u d ie n c e c o n te m p la te s an a n t ic i
pated r o m a n c e b e tw e e n T ony and T ra in .
Plot: A c t II
G lim a x and D e n o u e m e n t. - -T h e a u d ie n c e not only le a r n s that
four w e e k s h a v e p a s s e d f r o m the tim e of T r a in 's m e e tin g w ith T on y,
but a ls o is in tr o d u ce d to th e c h a r a c te r of G eh rin g F i t l e r . In the o p e n
ing s c e n e of A c t II b e tw e e n F it le r and M ary M cG ra th , th e h o u s e k e e p e r ,
225
P e r c y H a m m o n d , "The T h e a t r e s , " N ew Y ork H e r a ld T r i b
u n e, D e c e m b e r 27, 1927, p. 10.
237
th e a u d ie n c e is in fo r m e d of T o n y 's u n u su al b e h a v io r . T he h o u s e k e e p e r
t e l l s F itle r :
She w on 't s e e an yb od y, . . . She h a s n 't b e e n o u ts id e of th is p la c e
one s in g le tim e s in c e s h e 's b e e n b a c k - - n o t o n c e . And she w on 't
le t you t e l l anybod y s h e 's h e r e , so th e r e h a s n 't b e e n a so u l out to
s e e h e r . . . T h e r e 's s o m e th in g the m a tte r w ith h e r , . . . She w o n 't
c o m e to m e a l s , and w h en sh e d o e s c o m e sh e j u s t s it s th e r e and
p ic k s lik e a c h ild that'd be h a lf s ic k . T h e r e w e r e two days la s t
w e e k I d on 't think sh e b ro k e h e r f a s t . ^ ^
M a ry c o n tin u es to t e l l F i t l e r that Tony g o e s fo r lon g w a lk s in the r o s e j
g a r d e n and th at th e r e a r e t im e s w hen sh e h e a r s h e r c r y w ith t r e m e n
dous in te n s ity . A ll of th is in fo r m a tio n about T on y is e x t r e m e ly e s s e n
tia l to the p lot. W hile the tec h n iq u e of u tiliz in g a s e r v a n t to g iv e e x
p o s ito r y in fo r m a tio n is r a th e r t r it e , the in te n s ity of F i t l e r ' s m o tiv a tio n
to find out about T on y is c e r t a in ly ju s tifia b le .
W hen K elly h a s p r e p a r e d the a u d ie n c e fo r an a lte r e d T o n y , h e
b r in g s h e r on s ta g e . A c c o r d in g to the p la y w r ig h t's s ta g e d ir e c t io n s ,
227
sh e is p a le , w an , and g e n e r a lly ch an ged in h e r a p p e a r a n c e . It is
not long b e fo r e F it le r p r o f e s s e s h is lo v e fo r T ony and w an ts to know
228
w h en th ey w ill be annou ncing th e ir e n g a g e m e n t. T he au d itor now
le a r n s th at T o n y 's m e e tin g w ith T r a in w as h e r m a jo r c o m p lic a tio n of
the p la y , c a u s in g h e r d e c lin e .
226
K e lly , B e h o ld , the B r i d e g r o o m - - , pp. 7 3 -7 4 .
2 2 7 Ibid. , p. 76.
228Ibid. , p. 81.
238
T ony t e l l s F it le r that sh e is in lo v e w ith T r a in but th at th e s i t u
ation b e tw e e n the two of th e m is h o p e le s s b e c a u s e , fo r th e f i r s t t im e ,
sh e h a s s e e n h e r s e l f a s ch ea p and w o r t h le s s .
F i t l e r . W hat did h e do, th at y o u s a y h e h e ld y o u c h e a p ?
T on y. He s im p ly lo o k e d at m e . And lis t e n e d to m y inane
c h a tte r .
F i t l e r . T h a t's the v e r i e s t in fa tu a tio n .
| T on y. T hat g o e s w ith it, I s u p p o s e . B u t h e lo o k e d at m e
in a w ay th at m a d e m e s e e m y s e l f th ro u g h h is j
e y e s . 229 j
j
T h is r e v e la tio n of s e e in g h e r s e l f th ro u g h th e e y e s of T r a in is an e m o - |
tio n a l tr a u m a of in te n s e s e v e r i t y fo r K e lly 's p r o t a g o n is t . She s e e s h e r
w illf u ln e s s , the m e a n in g l e s s n e s s and a b s u r d ity of h e r lif e , and m o s t
d e v a sta tin g to h e r , she s e e s h e r u n w o r th in e s s fo r any ty p e of r e la t io n
s h ip w ith T r a in . A s T ony s a y s , "I h a v e s e e n th e m a n , at w h o s e bidding
I m ig h t r is e to th e fu lfillm e n t of any w o r th th a t's in m e ." B ut sh e sa d ly
c o n fid e s in F i t l e r th at "that b id d in g w ill n ot be fo r th c o m in g ; so w hat
230
d o e s it m a tte r w hat I s a y , or d o - - o r thin k?" F r o m th e m o m e n t it is
d e c id e d in h e r m in d th at h e r life h a s b e e n to ta lly w a s te d and th at sh e is
c o m p le t e ly in a d eq u ate fo r any typ e of r e la t io n s h ip w ith T r a in , s h e g o e s
into a sta te of d e c lin e . A p e r u s a l of th e r e m a in d e r of the p lay sh o w s
th at s h e , a s the p r o ta g o n is t, ta k e s no m o r e c o n s c io u s a c tio n to do
229 230
Ibid. , pp. 8 8 -8 9 . Ibid.
anything. T on y h a s e x p e r ie n c e d the m a jo r c r i s i s of the p la y - - h e r
m e e tin g w ith T r a in - - a n d in h e r m in d she h as m ad e an u n a lte r a b le
d e c is io n of s e lf -c o n d e m n a t io n . F r o m a s tr u c tu r a l sta n d p o in t, the
m a jo r c lim a x of the p lay h a s b e e n c o n s u m m a te d . H er u n c o n s c io u s
d e c is io n to r e p in e is a r e s u lt of the m a jo r c r i s i s of the play; it c a u s e s j
a r e a lig n m e n t of the b a la n c e of f o r c e s , is a c o n c r e t e r e a liz a t io n of th e j
i
th e m e in t e r m s of an e v e n t, and is a r e s o lu t io n of the b a s ic c o n flic t.
S e le c tin g T o n y 's " m o m e n t of truth" a s the m a jo r c lim a x of the p la y ,
one find s that th is m o m e n t o c c u r r e d d u rin g the f o u r - w e e k p a s s a g e of
I
tim e b e tw e e n A c t s I and II. i
I
I
Jud gin g the m a jo r c r i s i s and c lim a x w h ic h o c c u r " o ffstage" in j
i
the lig h t of th e c r it e r i a , one fin d s the fo llo w in g to be tr u e in the c a s e |
of the c r is i s : (1) it is c e r t a in ly a r e s u lt of a c o m p lic a tio n and b uildin g
ten sio n ; (2) it le a d s into a d e c is iv e e v a s iv e action ; h o w e v e r , (3) on the
n e g a tiv e sid e it cannot be sa id th at K e lly a c h ie v e s the m a x im u m e m o
tio n a l e ffe c t f r o m th is s tr u c tu r a l e le m e n t , s in c e the au d itor s e e s the
r e s u lt of the c r i s i s but d o e s n ot s e e it o c c u r r in g to the p r o ta g o n ist.
A p p lyin g c r it e r i a to the m a jo r c lim a x the fo llo w in g is d is c o v e r e d : (1)
it w ould be e x p e c te d th at T r a in w ould h a v e s o m e e ff e c t on T on y, but
the a u d ie n c e i s h a r d ly p r e p a r e d fo r th e fa c t that sh e w ould go into
s e c lu s io n w ith a c a s e of " rep in in g" (a V ic to r ia n " lite r a r y d is e a s e "
w h ich often en d s in death); (2) th is c lim a x , o c c u r r in g o f fs t a g e , m a y be
the m o m e n t of the h ig h e s t t e n s io n fo r th e c h a r a c te r , but is n 't fo r the
240
a u d ie n c e ; (3) the c lim a x is the r e s u lt of the a c tio n of the p r in c ip a l
c h a r a c te r s ; and (4) it h a s m u ltip lie d and in te n s ifie d the e m o tio n s of the
p r in c ip a l c h a r a c te r , but n ot to the e x te n t that sh e ta k e s any p o s itiv e
a c tio n or is draw n into any c o n flic t situ a tio n . It a ffe c ts h e r e m o tio n s
to the e x te n t that sh e d e c lin e s and d ie s: a fa llin g a c tio n w h ich is m o r e j
la c h r y m o s e and m a u d lin than d r a m a tic . j
I
B e c a u s e th is p r o c e s s of r e p in in g w h ic h T ony u n d e r g o e s b eg in s j
j
at the m o m e n t of c lim a x o ffs ta g e and u n b ek n ow n st to the a u d ie n c e , A c ts
I
II and III a r e the d e n o u e m e n t of the p la y . C h a rtin g the d e m is e of the |
p r o ta g o n is t, one fin d s th at w ith the e x c e p tio n of on e e m o tio n a lly intensej
I
'm o m e n t in A c t III, th e r e m a in d e r of th e p lay is a stu d y in d e c lin e , j
| j
tr u ly a m a tte r of " fallin g a c tio n . " T o n y 's co n d itio n w o r s e n s as tim e j
p a s s e s - - s h e is fa r c lo s e r to a s ta te of c o lla p s e in A c t l l l t h a n in A c t II.
A nd w ith the e x c e p tio n of a r e la t iv e ly b r ie f s c e n e in the b eg in n in g of
A c t III, the p lay is c o n c e r n e d w ith T on y "tying up th e lo o s e en d s" of
h e r lif e . The fa llin g a c tio n in A c t II is s im u lta n e o u s w ith T o n y 's f a i l
ing co n d itio n . K elly c o n v e y s th is d e c lin e and w e a r in e s s aa A c t II p r o
g r e s s e s : e a c h p e r s o n who s e e s h e r c o m m e n ts on h e r a p p e a r a n c e . A
t y p ic a l r e m a r k is one m a d e by h e r fa th e r , "I d on 't thin k I've e v e r s e e n
231
you lo o k so bad, T o n y , - - y o u m u s t h a v e l o s t fifte e n poun ds."
^ ^ I b id . , p. 111.
241
The f o r c e s s t i l l in o p e r a tio n a r e th o s e that co n trib u te to the
g ra d u a l p h y s ic a l f a ilu r e of T o n y . F o r e x a m p le , K e lly u s e s the long
e p iso d e w ith G eh rin g F i t l e r and th en h is s u ic id e to h e ig h te n the g u ilt of
T on y, c a u s in g h e r r e p in in g p r o c e s s to g a in in s e v e r i t y . (And, of
c o u r s e , th is n e w s en d s h is s e c o n d a c t on an in te n s e e m o tio n a l n o te . )
The e p iso d e w ith F i t l e r is an e x a m p le of K e lly 's s k ill in fo r e s h a d o w in g .
A c t II, b e in g a p a r t of the d e n o u e m e n t of the p la y , h a s e le m e n ts
of d r a m a tic r e c a ll: (1) in the f i r s t a c t M r s . R id g e w a y to ld an in c r e d u
lou s T ony that th e r e w e r e q u a litie s of s a c r i f ic e w ith in h e r a l s o , and
that th ey w ou ld c o m e into e v id e n c e if T on y m e t the m a n . In A c t II,
T ony r e m in d s M r s . R id g e w a y of h e r r e m a r k s and t e l l s h e r th at now
232
she know s how M r s . R id g e w a y w a s ab le to s a c r i f ic e fo r h e r m an;
(2) the a u d ie n c e m e e t s th e c h a r a c te r of F i t l e r , and h e m a n if e s t s in h is
233
a c tio n s and thou gh ts a ll th a t had b e e n le a r n e d about h im p r e v io u sly ;
and (3) the a u d ie n c e m e e t s M r. L y le , and he m a n if e s t s th e w a r m th and
c o n c e r n fo r h is d a u g h ter w h ic h had b e e n h in ted at in A c t I.
P lot: A c t III
D e n o u e m e n t. - -A t th is p oin t the p la y w r ig h t s e e m s to f e e l it
n e c e s s a r y to e x p la in T o n y 's r a th e r e x o tic d i s e a s e in d e t a il, a s he
2 3 2 t1 . .. i nr in/
Ibid. , pp. 1 0 5 -1 0 6 .
233
Ibid. , pp. 7 6 -1 0 1 .
b e g in s A c t III w ith an e x p o s it o r y s c e n e . T he t im e is a m on th la te r ,
and h is p r o ta g o n is t is n ow c o n fin e d to h e r b e d r o o m . The a u d ie n c e ,
v ie w in g one d o c to r in c o n f e r e n c e w ith M r. L y le and an oth er p r o f e s
s io n a l p e r s o n c o m in g d o w n s ta ir s a fte r a lo n g in te r v ie w w ith T o n y ,
w ou ld s e n s e the s e r i o u s n e s s of the situ a tio n . It is a p p a ren t th at one j
d o c to r , a D r . H un tin gton , is a r e g u la r p h y s ic ia n , but the e x a c t p r o f e s
s io n a l c la s s i f i c a t i o n of th e o th e r , who is c a lle d D r . L o e b e ll, is n e v e r
j
m a d e quite c le a r to the a u d ie n c e . K e lly 's e x p o s ito r y m a te r ia l in th e j
j
b e g in n in g o f th is a c t f a ils to c le a r up the fo llo w in g ite m s : e x a c tly w hat |
I
I
is th e m a tte r w ith T ony and w hat is the fu n c tio n of D r . L o e b e ll? i
I
j
In s te a d of c la r ify in g th e s e p e r tin e n t q u e s t io n s , one fin d s an aw k w ard !
s c e n e w h ic h is n ot only red u n d an t but a ls o a w k w ard ly p la c e d , so n e a r j
to th e en d in g of the play:
H untington. M r. L y le s a y s he c a n h a v e one of the ch a u ffeu rs
go into tow n im m e d ia t e ly fo r th is d o c to r .
L o e b e ll. Is th a t the f i r s t p r e s c r ip t io n ?
H untington. Y e s; I've w r itte n N o r w o o d 's a d d r e s s a c r o s s the
b o tto m t h e r e .
L o e b e ll. Y e s , I s e e .
H untington. I can b r in g th e o th e r one out m y s e l f to m o r r o w .
L o e b e ll. T h a t'll be tim e en ou gh .
234
T he in v e s t ig a to r r e a l i z e s th at the d e n o u e m e n t of a p lay d o es
n ot u s u a lly co n ta in e le m e n t s of e x p o s itio n , but it m u s t be r e m e m b e r e d
th a t B e h o ld , the B r i d e g r o o m - - h a s its c lim a x b e fo r e the se c o n d a c t b e g in s .
243"
Is th a t r e a d y to be s e n t n ow , D o c to r ?
Y e s , it can go any t im e n ow , M r. L y le . I've
w r itte n the d r u g g is t's a d d r e s s at the b o tto m .
V e r y w e ll, D o c to r , I 'll t e l l h im .
It's at the c o r n e r of C a r ly le P la c e and S e v e n
te e n th S tr e e t.
T h is d i s c u s s i o n c o n tin u es f o r tw e lv e m o r e s p e e c h e s , d uring w h ic h the j
i
b u tle r a r r iv e s and a ll the d e ta ils m u s t th en be e x p la in e d to h im a g a in sb
h e can t e ll the ch a u ffeu r. j
T he p la y w r ig h t's e x p o s itio n w ith r e g a r d to D r . L o e b e ll, the j
|
c e n tr a l fig u r e in th e d ia g n o s is of T o n y , l e a v e s m u c h to be d e s ir e d . j
j
T he au d itor d o e s not r e a lly know the c r e d e n tia ls of the p e r s o n m a k in g j
th is a ll- im p o r t a n t a n a ly s is of the p r o ta g o n is t. B e c a u s e of h is r e m a r k s !
i
la te r in the s c r ip t , it is a s s u m e d h e is a p s y c h o lo g is t . D r . L o e b e ll,
w h en a s k e d if h e h a s had s im i la r c a s e s in the p a s t, s a y s :
I h a v e had about f iv e , . . . N ot r e c e n tly ; but y e a r s ago th ey w e r e
n ot at a ll u n c o m m o n - - e s p e c i a ll y a m o n g w o m e n . T h ey u s e d to be
know n in th o s e days a s c a s e s of r e p in in g , - - la c k of the w ill to liv e .
B u t th e y 'v e b e c o m e r a th e r r a r e t h e s e la te y e a r s : due, I h a v e no
doubt, to the m a n y c o m p e n sa tin g f a c t o r s in m o d e r n l i f e - - p e o p l e
a r e not apt to take any one e x p e r ie n c e too s e r io u s ly n o w a d a y s .
B ut th ey do o c c u r o c c a s i o n a l ly .236
N ot o n ly is th is s p e e c h c o n fu sin g (what is r e p in in g ? ), b u t a ls o it p oin ts
up the la c k of c la r ity th ro u g h o u t th e s c e n e . W hen a sk e d w hat is
M r. L y le .
H untington.
M r . L y l e .
H untington.
235
K elly, B ehold, the B r i d g r o o m - - , pp. 130-132.
tqZ .
I b id ., pp. 134-135.
244
s p e c if ic a lly w r o n g w ith T o n y , D r . L o e b e ll s a y s that th is q u e s tio n le a d s
into " c o n s id e r a tio n s of p sy c h o lo g y ; and the m e d ic a l p r o f e s s io n h as
237
p ro b a b ly thought it w i s e r to a v o id th o s e c o n s id e r a t io n s ." D r.
L o e b e ll h a s c l a s s i f i e d h e r c a s e as one of r e p in in g and h a s c o m m e n te d
th at sh e is lo v e s i c k and th at the c a s e h a s p s y c h o lo g ic a l o v e r to n e s . B ut
the a u d ito r, h a v in g lit tle k n o w led g e of r e p in in g or of the e x a c t n atu re of
l o v e s i c k n e s s , w ou ld s t i l l be c o n fu se d at th e end of the s c e n e w h ich w as
I
su p p o se d to c la r ify h e r p r o b le m .
W h ile the e x a c t n a tu r e of T o n y 's i l l n e s s m a y n ot be m ad e c le a r
to the a u d ie n c e , th e r e is no q u e s tio n a s to the s e v e r i t y of h e r condition.!
K elly s u p p lie s the fo llo w in g fo r e s h a d o w in g fo r the fin a l s c e n e and j
T o n y 's death: (1) the s e r i o u s n e s s and d e ta il w ith w h ich the han d lin g of
the p r e s c r ip t io n w a s m a n a g ed ; (2) the fo llo w in g c o m m e n ts by D r.
L o e b e ll: ". . . I w ill n o t d is g u is e f r o m y o u the fa c t, M r. L y le , that
y o u r d au gh ter is d e s p e r a t e ly ill" and ". . . I d on 't thin k you r dau gh ter
is in a c o n d itio n . . . to w ith sta n d any v e r y s e r io u s e m o tio n a l r e a c
tion"; and (3) the f a c t th at th e r e a r e tw o d o c to r s in a tten d an ce and a
p r iv a te n u r s e u p s t a ir s .
S p e n c e r T r a in is n o w b ro u g h t on s t a g e , h o p e fu lly to h e lp the
s itu a tio n by v is it in g T on y L y le . M r. L y le h a s to o r ie n t T r a in a s to the
s itu a tio n . T he p la y w r ig h t e n c o u n te r s a d iffic u lt s tr u c tu r a l p r o b le m at
245 '
th is point: th e a u d ie n c e a lr e a d y know s a lm o s t e v e r y th in g that L y le is
te llin g T r a in . And b e c a u s e both the c h a r a c te r s a r e r a th e r u n e m o tio n a l
and a c a d e m ic in th e ir a p p r o a c h to T o n y 's p r o b le m , the au d itor e x p e r i
e n c e s a n o th e r r a th e r d ry d is c o u r s e on the s u b je c t of s o lv in g T o n y 's
p r o b le m . !
i
T on y e n t e r s at th is p oin t, and K elly p la c e s h e r in a fin a l c o n
fr o n ta tio n s c e n e w ith T r a in . It is n e c e s s a r y for T on y to t e ll T r a in
I
w hat h a s t r a n s p ir e d d u rin g th e la s t two fa te fu l m o n th s. T he a u d ien ce
is s u b je c te d a g a in to in fo r m a tio n th ey a r e fa m ilia r w ith . T h en T on y,
w ith the a d m is s io n of b e c o m in g s e n tim e n ta l, a s k s to s e e T r a in h old in g :
238
the r o s e th at he g a v e h e r d u rin g th e ir f i r s t m e e t in g . (It had b een
I
p r e s s e d fo r p u r p o s e s of p r e s e r v a t io n . ) S e e in g h im w ith the r o s e in h is |
hand, sh e "d roop s h e a v ily a c r o s s the a r m of the c h a ir , w e e p in g b it t e r
ly . " T h is c a u s e s T r a in to take h e r in h is a r m s and c a ll h e r A n to in ette.
She r e s p o n d s r o m a n tic a lly by sm o o th in g h is h a ir , and c a llin g h im "My
239
B e lo v e d ." She th en sw o o n s aw ay into w h at s e e m s to be a fa in t, but
w hat is e v id e n tly s o m e ty p e of s h o c k w h ich is a n te c e d e n t to h er
a p p r o a c h in g d eath .
C o n sid e r in g the d e n o u e m e n t in lig h t of the c r it e r i a , one fin d s
the fo llo w in g : (1) the fu n ctio n of d r a m a tic r e c a ll is e ff e c tiv e ly fu lfilled ]
9 Q O
Ibid. , pp. 1 6 7 -1 6 8 .
2 3 d
Ibid. , p. 168.
246
and (2) if one a c c e p ts the m o r a l t h e s is of the w o r k , the r e p in in g and
death of T ony is a lo g ic a l s o lu tio n to the p r o b le m of the p lay.
C h a r a c te r iz a tio n
T ony L y l e .- - I n d e a lin g w ith th is c h a r a c te r , one m u s t r e a liz e
f r o m the o u ts e t that th e r e is a d iffe r e n t T on y L y le in A c t I than in A c ts
240
II or III. K e lly 's p r o ta g o n is t h a s a " c o n v e r s io n , " as A r c h e r s a y s .
O nce T ony h a s h e r m a jo r c r i s i s , d e c id e s a g a in s t any p e r s o n a l w o rth ,
and b e g in s h e r t h r e e - m o n th d e c lin e , sh e h a s a c o n v e r s io n in the s e n s e
th at h e r a ttitu d e s, p h ilo so p h y of lif e , e v e n h e r p h y s ic a l b e in g , change
r a d ic a lly , and a d iffe r e n t T on y e m e r g e s in th e s e c o n d a c t. j
i
In A c t I, b e c a u s e of h er r e b e llio u s a ttitu d e, h e r d is c o n te n t, and
h e r ou tsp o k en c a n d o r , T on y is a m o r e v ita l fig u r e than is v ie w e d in
A c t II. In A c t II, h e r fa llin g in lo v e ir o n ic a lly c a u s e s h e r to b e c o m e
lif e - w e a r y , f ille d w ith s e lf d is g u s t, and to r e g r e s s into a sta te of
p h y s ic a l d e c lin e . T ony is ir r ita b le and d is c o n te n t in A ct I, but due to
h e r s p ir ite d b la ta n c y , sh e d o m in a te s the s c e n e s sh e is in. T ony is
d i s s a t is f ie d w ith h e r c lo t h e s , the s e r v a n ts , h e r w o m e n f r ie n d s , h e r
m e n f r ie n d s , w h er e sh e h a s b e e n , and a lm o s t as so o n a s she a r r iv e s
241
h o m e , sh e w an ts to le a v e fo r s o m e w h e r e e l s e . A s s o o n a s she
240
W illia m A r c h e r , P la y -M a k in g (N ew York: D o v e r P u b lic a
tio n s , I n c ., 1912), pp. 1 1 9 -1 2 3 .
241
K elly, Behold, the B r i d e g r o o m - - , pp. 11-12.
247
le a r n s th e r e is a " g o r g e o u s m an " on the p r e m i s e s , sh e w an ts to m e e t
242
h im im m e d ia te ly ; s h e e v id e n tly d r in k s e x c e s s i v e l y and h a s a t e n -
24$
d en cy to be a ttr a c te d to m a r r i e d m e n (alth ou gh T r a in is not m a r r ie d ).
T h e s e c h a r a c te r t r a it s a r e not p a r t ic u la r ly c o m p lim e n ta r y , but they
g iv e h e r an i n t e r e s t and v ita lity w h en c o m p a r e d w ith th e c h a r a c te r s of
M r s . R id g e w a y and T r a in , who su p p ly h e r im m e d ia te m ilie u .
In A c ts II and III, a u n iq u e and ir o n ic ju x ta p o sitio n of f o r c e s
a ffe c t T o n y 's v i t a l n e s s . She b e c o m e s so c e n tr a l to the play th at e v e r y
m a jo r s tr u c tu r a l c o n s id e r a t io n is b a s e d upon h er m o tiv a tio n s and
a c tio n s: h e r p e r s o n a l c o n f lic t is th e p la y 's c o n flic t. T h e o r e t ic a lly ,
th is situ a tio n sh o u ld a ttr ib u te a g r e a t d e g r e e of v ita ln e s s to a c h a r a c
t e r , but b e c a u s e the r a is o n d 'e tr e of th is s tr u c tu r a l p r o m in e n c e is the
p r o c e s s of h e r s e lf -c o n d e m n a t io n , th e r e is a d e c lin e in the v it a ln e s s of
the c h a r a c te r a s th e r e i s a d e c lin e in h e r s p ir it and h e a lth . In A c ts II
and III, the a u d ie n c e s e e s a T on y who r e c o g n iz e s the u s e l e s s n e s s of
h e r p a s t life and th e a b su r d ity of h e r p r e s e n t situ a tio n , but w ho,
in s te a d of r e b e llin g in the m a n n e r of a P r o m e th e u s or a N o r a in A
D o ll's H o u s e , la p s e s into a sta te of m a u d lin m a r ty r d o m . T ony s a y s
,244
sh e w ould lik e to "run a w a y and h id e . In an in te r e s tin g c o n tr a s t,
N o ra th r o w s h e r s e l f into th e c e n te r of a d e v a s ta tin g e m o tio n a l w h ir l
p ool, w h ile T on y c o n s u m e s h e r s e l f w ith a d eath w ish .
2 4 2 2 4 3 2 4 4
Ibid. , pp. 1 9 -2 0 . I b id ., p. 60. Ibid. , p. 94.
248
W h ile T on y is n ot a s v ita l in A c ts II and III as in A c t I, th e r e
can be lit t le doubt about the s tr e n g th of h e r m o tiv a tio n th rou gh ou t the
p la y . In the op en in g a c t sh e is s tr o n g ly m o tiv a te d to r e lie v e h e r b o r e
dom ; thus the a u d ie n c e v ie w s a s a tia te d d ile tta n te of l e i s u r e in a c o n
sta n t sta te o f e n e r g iz e d f r u s t r a tio n . In A c ts II and III, h e r m o tiv a tio n
is to aton e fo r h e r life of p r o m is c u o u s s a t i a t io n - - a m o tiv e so str o n g it j
e v e n tu a lly c a u s e s h e r death.
One fin d s q u ite a p la u s ib le and c o n s is t e n t T ony in the f ir s t a c t. j
|
H o w e v e r , w ith the a d v en t of A c t II and the in c e p tio n of T o n y 's d e c lin e , j
p r o b le m s of p la u s ib ility and c o n s is t e n c y b e c o m e e v id e n t. T h is in v esti-j
g a tor w ill d e a l w ith two it e m s of in c o n s is t e n c y w h ich are of l e s s e r j
j
m a g n itu d e f i r s t . (1) T ony s a y s in a s p e e c h of s e lf - r e c r im in a t io n that
245
e v e r y o n e in h e r lif e had a lw a y s put up w ith h e r a r r o g a n c e , n e v e r
r e a lly to ld h e r the tru th a s th e y sh o u ld . And y e t the au d ien ce m e e t s
tw o c h a r a c te r s on s ta g e - -C o n n ie P e y to n and M r s . R id g e w a y --a n d a r e
to ld about a th ir d c h a r a c te r (the w o m a n who w en t to E u rop e w ith Tony)
who e v id e n tly h a v e no h e s it a t io n w h en it c o m e s to su p p ly in g Tony w ith
a d v ic e about h e r p r o b le m s . (2) T h e au d itor le a r n s that T ony " gets into
su c h t e m p e r s " if anyone s a y s an yth in g to h e r about h e r n ot ea tin g or
246
n ot s e e in g a n y o n e. In d is c u s s in g T o n y 's c a s e w ith a D r. L eo B.
F r o k e , a p s y c h ia t r is t who is f a m ilia r w ith the p lay, th is in v e s tig a to r
245 246
Ibid. Ibid. , p. 75.
249
w as told that an in d iv id u a l u n d er g o in g a s e v e r e p s y c h ic a l c o n v e r s io n
su c h as T on y is w ou ld b e so in v o lv e d in a c h ie v in g a m o r e p h ilo so p h ic a l
v iew p o in t that ap ath y, r a th e r than ir r ita tio n , w ould be a m o r e ty p ic a l
r e a c t io n to in s ig n ific a n t in d iv id u a ls and d e t a ils . I te m s w h ic h w e r e o n ce
a s o u r c e of ir r ita t io n w ou ld p a le in s ig n ific a n c e as T ony c o n te m p la te s i
i
247 !
q u e s tio n s of fa r g r e a te r im p o r ta n c e , a c c o r d in g to F r o k e . I
|
H o w e v e r , th e s e a fo r e m e n tio n e d i n c o n s is t e n c ie s a r e only m in o r I
I
ite m s w hen one c o n s id e r s K e lly 's a tte m p t to c o m b in e a p u r ita n ic a l j
I
|
m o r a l code and a V ic to r ia n lit e r a r y m a la d y , " r ep in in g , " w ith "m odern'!1
p s y c h o lo g y in the d e lin e a tio n of h is p r o ta g o n is t. T o n y 's r e a c tio n to the!
i
r e je c tio n of T r a in is one of c o m p le te m o r a l s e lf -c o n d e m n a t io n . One !
i
w ould e x p e c t T on y to h a v e s o m e typ e of r e lig io u s in d o c tr in a tio n a n d /o r j
s o m e ty p e of u n u su a l in flu e n c e in h e r p a s t, in o r d e r fo r h er to in te r p r e t
h e r p r o b le m in su c h a m o r a l i s t i c w ay. Y et s c r u tin iz in g K e lly 's e x p o
s itio n , one fin d s T on y h a s not b e e n su b je c te d to any p a r tic u la r in d o c
tr in a tio n . She h a s an u n d er sta n d in g and a ffe c tio n a te fa th e r , and sh e
s e e m s to h ave a v e r y w h o le s o m e fr ie n d in E le a n o r R id g e w a y . It s e e m s
s o m e w h a t im p la u s ib le th at sh e w ou ld b e c o m e so fu n d a m e n ta lis t ic a lly -
, , 2 4 8
o r ie n te d w hen a d v e r s it y s t r ik e s .
247
L e o B. F r o k e , M . D. , p r iv a te in te r v ie w , A r c a d ia , C a lifo r
n ia , O cto b er 9, 1971.
248
B e h o ld , the B r id e g r o o m - - is the p lay th at M r. K e lly lo o k s
upon w ith in te n s e p e r s o n a l a ffe c tio n . He is quite s e n s it iv e about the
w ork . T h e r e a r e c e r ta in a r e a s of the p lay w h ic h the in v e s tig a to r
250
W hile th e r e a r e p r o b le m s of im p la u s ib ility and in c o n s is t e n c y
in h e r e n t in T o n y 's r a th e r c o n tr iv e d a c q u is itio n of h e r s t r i c t p u r ita n ic a l
m o r a l c o d e , the m o s t s e v e r e p r o b le m s of c h a r a c te r iz a t io n d e r iv e fr o m
K e lly 's a tte m p t to c o m b in e the la tte r c o d e w ith a s p e c t s of r e p in in g and
the s c ie n c e of p s y c h o lo g y . In a s e c o n d in te r v ie w , D r . F r o k e o b se r v e d :
B e h o ld , the B r i d e g r o o m - - is a w e ll- w r it t e n p lay but it is not a
s c ie n t if ic t r e a t is e . M r. K e lly 's k n o w le d g e of p s y c h o lo g y is p a in
fu lly s u p e r f ic ia l, and he is e x t r e m e ly n a iv e w h en it c o m e s to p s y
c h ia tr y . If one e x a m in e s T ony L y le c l o s e l y , it is found sh e h a s
s y m p to m s of four d iffe r e n t m e n ta l p r o b le m s : (1) sh e h a s e x tr e m e
d e p r e s s io n and f e e lin g s of n i h i li s m ; (2) sh e h a s d e lu s io n s e v id e n tly
w ith r e g a r d to T r a in , s ig n if ic a n t of d e m e n tia p r a e c o x ; (3) she
s e e m s to h ave d e e p , o b je c tiv e in s ig h t into h e r p r o b le m s , y e t in
the p r e s e n c e of T r a in sh e s e e m s to b e c o m e a d o le s c e n t ly s e n t i
m e n ta l, s ig n ific a n t of s c h iz o p h r e n ia ; and (4) fin a lly sh e s t a r v e s
h e r s e l f and g o e s into s e c lu s io n w h ic h is s y m p to m a tic of a n o r e x ia
n e r v o s a .2"^
F r o k e w en t on to sa y that T o n y 's b e h a v io r and r e a c t io n s w e r e im p la u
sib le b e c a u s e th e s y m p to m s of h e r d i s e a s e did n ot f it any s y n d r o m e that
w a s id e n tifia b le . He sa id that it w a s a lm o s t as if K elly had c o n c e iv e d
s o m e s p e c ia l m e n ta l ill n e s s to fit the b e h a v io r h e d e s ir e d fo r h is p r o -
■ + 250
ta g o n is t.
h e s it a t e d to d is c u s s w ith the p la y w r ig h t. T o probe and to q u e s tio n too
e x t e n s iv e ly the m o r a lity of T on y L y le is to p ro b e and q u e s tio n the
m o r a lity of the d r a m a tis t.
249
F r o k e , p r iv a te in te r v ie w , O cto b e r 16, 1971.
250
D r. F r o k e did sa y that it w ou ld h a v e tak en an e x c e p tio n a l
p la y w r ig h t to a p p r o a c h the p r o b le m of p s y c h o lo g y w ith any s c ie n t if ic
v a lid ity d uring the 1 9 2 0 's. T h e p s y c h o a n a ly tic m o v e m e n t w a s only
tw e n ty -fiv e y e a r s old . In 1900 F r e u d had p u b lish e d h is t r e a t is e on
d r e a m s . A c c o r d in g to F r o k e , p h y s ic ia n s and la w y e r s had p r a c tic a lly
251
K e lly 's a tte m p t to h a v e T ony e x p e r ie n c e su ch th o ro u g h s e l f -
r e c o g n it io n b r in g s up s o m e q u e s tio n s of c o n s is t e n c y . If a w o m a n of
h e r c a p a c it ie s w e r e a b le to g a in su ch in s ig h t into h e r ow n p r o b le m s - -
sh e g o e s th ro u g h a l m o s t a th e r a p e u tic p r o c e s s - - w h y w ou ld sh e be so
lim it e d in h e r m o r a l o u tlo o k ? Why w ould anyone w ith h e r la c k of
r e lig io u s o r ie n ta tio n , h e r in t e llig e n c e , and h e r a b ility to b e n e fit f r o m |
i
i
h e r n e w ly a c q u ir e d o b je c tiv ity b e lie v e that any in d ivid u al is i r r e d e e m - j
ab le o n ce one h a s m o r a lly e r r e d ? T h e r e is n ot s u ffic ie n t f o r e s h a d o w - j
i
ing in the c h a r a c t e r iz a t io n to len d c r e d ib ility to the f a c t th at T on y j
i
i
w ou ld ju d ge h e r s e l f so s e v e r e l y . B e c a u s e K e lly h a s n ot e s t a b lis h e d i
!
th is n e c e s s a r y c r e d ib ilit y , h e s e e m s to be im p o s in g h is own m o r a lit y J
I
on the c h a r a c t e r . Why d o es T on y not s e e th at she is at l e a s t to an j
e x te n t, th e p r o d u c t of h e r s o c ie t a l m ilie u ?
T h is c o n s id e r a t io n of h e r n e w -fo u n d s e lf - o b j e c t iv it y le a d s one
to a n o th e r q u e s tio n of p la u s ib ility : gain in g su c h in s ig h t, why d o e s sh e
no k n o w le d g e of p s y c h o lo g y in the t w e n t ie s . An e x a m p le of th is w a s
the f a c t th at e v e r y s o ld ie r who c a m e b a ck f r o m E u rop e d u rin g W orld
W ar I w ith any type of n e u r o tic d is o r d e r w a s c la s s i f i e d a s " s h e ll
s h o c k e d , " and the A m e r ic a n M e d ic a l A s s o c ia t io n a c c e p te d th is t e r m .
F r o k e s a id d u rin g the tw e n tie s p s y c h o lo g y w a s "just g e ttin g u n d er w a y
as an a c c e p te d d is c ip lin e and the A m e r ic a n p o p u la ce w a s a v e r y n a iv e
one w h en it c a m e to th e r a m if ic a tio n s of th is s c ie n c e ." F r o k e a ls o sa ic
that " rep in in g " is a l it e r a r y t e r m of V ic to r ia n v in ta g e , and is d e fin itely
n ot a m e d ic a l t e r m . T h e m e d ic a l t e r m fo r a co n d itio n w h ich is v e r y
s im i la r to r e p in in g is a n o r e x ia n e r v o s a ; w ith th is m a la d y , the p a tie n t
b e c o m e s d e p r e s s e d , r e f u s e s to e a t, and in s o m e c a s e s d ie s b e c a u s e
of an a c tu a l la c k of d e s ir e to liv e . A n o r e x ia n e r v o s a h a s b e e n know n tc
o c c u r b e c a u s e of a f r u s t r a te d lo v e in t e r e s t .
252
m a in ta in su c h an a d o le s c e n t ly r o m a n tic fix a tio n on the c h a r a c te r of
I
T r a in ? S e e in g h e r s e l f so c le a r ly , why d o es sh e fa il to s e e h ow f o o lis h
it is to c o m m it " m en ta l su ic id e " o v e r a m a n a fte r su c h a b r ie f , s u p e r
f ic ia l a c q u a in ta n c e s h ip ? It s e e m s a s if sh e w ould a c q u ir e , alon g w ith
h e r n e w ly found o b je c tiv ity , an a b ility to judge w ith p e r s p e c t iv e the
j
s e lf - r ig h t e o u s fig u r e of T r a in , who ju d g e s h e r ju s t as h a s tily a s sh e I
d o e s h im . She m e e t s h im , he p in s a r o s e on h e r , she s e n s e s v ib r a -
|
I
tio n s of r e je c tio n , sh e s tu m b le s into h is a r m s , th ey lo o k at e a c h other,?
and he c o m e s out fo r d in n er th r e e or fou r t im e s with T o n y 's c o u s in . j
C e r ta in ly w o m e n h ave f a lle n in lo v e w ith fa r l e s s p r o v o c a tio n , but j
i
s e ld o m h a s lo v e so s u p e r f ic ia lly stim u la te d c a u s e d a w o m a n w ith the j
su p p o se d s ta tu r e of T on y L y le to r e p in e into the g r a v e at the ag e of :
i
I
t w e n t y - s ix .
A n e x a m p le of e x tr e m e in c o n s is t e n c y can be found in the fin a l
s c e n e b e tw e e n T ony and T r a in . Up u n til th is fin a l s c e n e , the c h a r a c te r
h a s c o n s is t e n tly h e ld the v ie w that h e r p r o m is c u o u s p a s t h a s c a u s e d
h e r to be ir r e v o c a b ly d a m n ed w ith no ch a n ce of s p ir itu a l r e h a b ilita tio n ,
and the e n tir e fa llin g a c tio n of the p l a y - - A c t s II and I I I --h a s d e a lt w ith
T o n y 's g ra d u a l d e c lin e , w h ic h is due to h e r fe e lin g of u n w o r th in e s s .
Y et in the fin a l s c e n e , th e r e a r e tw o in s ta n c e s su p p ly in g e v id e n c e that
T ony s e e m s to have a c h ie v e d s o m e s e n s e of p e r s o n a l r e d e m p tio n : (1)
she s a y s , r e f e r r in g to h e r r e a d in e s s fo r T r a in , "You co u ld n 't be
e x p e c te d to know that I w a s ca p a b le of this; I didn't know it m y s e lf .
253
251
And by the t im e I did know it, - - it w a s too late"; and (2) la te r in the
s c e n e she s a y s , "I w an t to s e e if y o u a r e the b r id e g r o o m I r e m e m b e r ;
for I f e e l s o m e w h a t b e tte r p r e p a r e d to m e e t h im n ow ." If T on y e v e r
f e e l s in the c o u r s e of the p lay that sh e is b e tte r p r e p a r e d to m e e t "her
b r id e g r o o m , " th en w hy d o es she co n tin u e to r e p in e w ith su c h s e v e r i t y ?
I
|
In o th er w o r d s , if th e r e is any s u s p ic io n w ith in the c h a r a c te r that j
j
s p ir itu a l r e ju v e n a tio n is p o s s ib le , why d o e s n 't it o c c u r ? E v id e n tly , j
! I
T ony h a s to die so th at K elly can m a k e h is m o r a l point. B ut the p la y -
I
w r ig h t m u s t h a v e f e lt h e n e e d e d a r o m a n tic e n d in g , so he s u p p lie s |
1
!
s p a r k s of hop e to T o n y 's f lic k e r in g ca n d le and c r e a t e s a m o r e e x c itin g j
! I
fin a l curtain; u n fo r tu n a te ly , he a ls o c r e a t e d a m o r e im p la u s ib le J
c h a r a c te r . j
|
T h e r e a r e c e r ta in in h e r e n t p r o b le m s in the s c r ip t w h ic h h in d er
a fu ll d im e n s io n a l d e lin e a tio n of the c h a r a c te r of T on y. T h e m a in one
i s - - a s a lr e a d y n o t e d - - t h e fa c t that the a u d ie n c e d o e s not v ie w the
p e r io d of tim e w hen sh e e x p e r ie n c e s h e r m o s t s e v e r e p e r s o n a l c r i s i s .
The au d itor s e e s the in d u lg en t, h e d o n is tic T ony in o p e r a tio n , but th ey
only h e a r f r o m the p r o ta g o n is t w hat s h e e x p e r ie n c e d during h e r " m o -
252
m e n t of truth" a fte r it h a s a lr e a d y p a s s e d .
25 1
K elly, B ehold, the B r i d e g r o o m - - , p. 166.
252
Ib id ., pp. 166-168.
254
T h e r e sh o u ld , h o w e v e r , be a m e a s u r e of e m p a th y e v o k e d f r o m
the a u d ie n c e w h en they h e a r T ony t e ll about h e r p h ilo s o p h ic a l c o n v e r
s io n and note the p e r s o n a lity c h a n g e s w ith in h e r . A w o m a n who is so
g r a v e ly a ffe c te d by lo v e th at sh e b e g in s to g ive up life i t s e l f w ou ld s tir
I
the im a g in a tio n of m an y an a u d ie n c e m e m b e r and e v o k e e m p a th y , p a r
tic u la r ly fr o m the f e m a le a u d ito r.
i
T o n y 's c h a r a c te r s e e m s s o m e w h a t lim it e d w h en one c o n s id e r s j
its p o te n tia l fo r u n iv e r s a l a p p e a l. T o n y 's te n a c ity to h e r s t r i c t p u r i- j
t a n ic a l id e a s m ig h t en th u se the m o r e c o n s e r v a t iv e m e m b e r s of the j
a u d ie n c e , but p ro b a b ly the m a jo r ity e ith e r w ould be " fran k ly b e w ild e r e d
253
by the a lm o s t m y s t ic a l tone of B e h o ld , the B r i d e g r o o m - - , " as
K ru tch s a y s , o r w ould be r e p u ls e d by the V ic to r ia n - p u r it a n s tr in g e n c y
of the code w h ich c o n tr o ls h e r .
E le a n o r R id g e w a y . - -K e lly w an ted the fo c u s of h is w o r k on the
c h a r a c te r of T ony L y le . He h e lp e d a c h ie v e th is fo c u s by c r e a tin g a
c h a r a c t e r , E le a n o r R id g e w a y , who is s ta id , m o d e s t , and r ig h te o u s ,
and th en p la c in g h e r in c o n tr a p o sitio n to h is p r o ta g o n is t. T h e au d itor
can n ot but h e lp c o n tr a s t E le a n o r and T on y. B e c a u s e h e r fu n c tio n in
the d r a m a is th at of a q u ie t c o u n s e lo r , M r s . R id g e w a y is n ot a p a r t ic u
la r ly v ita l c h a r a c te r . She is c a lm , q u iet, and h a p p ily m a r r ie d . Any
J o s e p h W ood K ru tch , A m e r ic a n D r a m a S in c e 1918 (London:
T h a m e s and H u d son , 1957), pp. 6 7 -6 8 .
255
str o n g m o tiv a tio n sh e w ould have w ould e m a n a te f r o m the d e s ir e to
p le a s e h e r husb and and to a d ju st h e r b e h a v io r to the c o n v e n tio n s and
m o r e s of the t im e s . E le a n o r , b e in g m o r a lly r ig h te o u s and " p e r fe c tly
a d ju ste d ," b e c o m e s a p e r fe c t f o il fo r K e lly 's p u r p o s e s of c o n tr a s t.
E le a n o r m a y be a p e r fe c t f o il fo r T o n y , but sh e i s not a lw a y s j
c o n s is t e n t a s a c h a r a c te r . The f i r s t tim e that the n a m e of G eh rin g j
i
F it le r is b rou gh t up, E le a n o r t r i e s to c o n v in c e T ony th at sh e sh o u ld j
I 2 5 4 |
jm arry h im . It is known that F i t l e r d rin k s e x c e s s i v e l y and th at j
i
T ony d o e s not lo v e h im , and it is r e c o g n iz e d th at he m a y be sa d ly
j
la c k in g in any d e g r e e of s ta tu r e , y e t E le a n o r i n s i s t s th at th ey sh ou ld j
i
)
m a r r y - - a s if th is w ou ld s o lv e a ll T o n y !s p r o b le m s . E le a n o r s e e m s to |
be an in te llig e n t, s e n s it iv e in d iv id u a l and w ould n e v e r think o f m a r r y in g
I
su c h a m a n h e r s e lf . She m u s t a ls o s e n s e that T o n y n e e d s a m a n of
str e n g th . C o n sid e r in g th is e v id e n c e , F i t l e r s e e m s lik e a lu d ic r o u s
c h o ic e fo r T on y, and it is im p la u s ib le th at E le a n o r w ou ld so i n s i s t on
su c h a m a r r ia g e .
In a c o n s id e r a tio n of m a r r ia g e fo r T o n y , why d o e s n 't E le a n o r
think of S p e n c e r T r a in ? T ony sh o w s an i n t e r e s t in T r a in the f i r s t t im e
255
he is m e n tio n e d by E le a n o r . One w ou ld a s s u m e th at a s e n s it iv e
fr ie n d w ould r e a liz e im m e d ia te ly that T r a in w ou ld be a h e a lth y in flu e n c e
K elly, Behold, the B r i d e g r o o m - - , pp. 2 1 -2 4 .
255
Ibid. , p. 10.
256
on T on y. E le a n o r is s e n s it iv e en ou gh to r e a li z e th a t T ony is a h e lp le s s
r o m a n tic , y e t sh e d o e s n 't r e a liz e w h at kind of m a n w ould be good fo r
h e r . It is p o s s ib le that E le a n o r f e e l s T ony i s so m o r a lly s c a r r e d that
she thin ks T r a in is too good fo r h e r . If th is is the c a s e , why d o e s
l
E le a n o r sp en d so m u c h tim e w ith T o n y ? In any c a s e , th e r e is an i n
c o n s is t e n c y h e r e .
F o r a c o n s e r v a t iv e in d iv id u a l who h a s m o r e than a n o r m a l c o n
c e r n fo r the s a n c tity of m a r r i a g e , E le a n o r s e e m s to be e x c e s s i v e l y
p r e o c c u p ie d w ith the c h a r a c te r of T rain : (1) sh e h a s b rou gh t h im out toj
j
s e e a r o s e g a r d e n on an e s ta t e w h e r e sh e e x p e c ts to be alon e w ith him ; I
I
(2) she d o es not w an t T ony to s e e him ; (3) s h e p r o t e s t s v e h e m e n tly wheip.
I
T ony w an ts h im to sta y fo r d in n er (E le a n o r w an ts h im to c o m e h o m e
and h ave din n er w ith h e r e v e n though it is p o s s ib le h e r husb and m ay
256
n ot be h om e); (4) th e r e a r e s ta g e d ir e c tio n s to the e f f e c t that
257
E le a n o r " p ow d ers h e r n o s e " ju s t b e fo r e T r a in e n te r s ; (5) Connie
258
P e y to n a s k s if E le a n o r is in t e r e s t e d in T ra in ; and (6) it s e e m s
str a n g e the w ay E le a n o r is c o n s ta n tly r e m in d in g e v e r y o n e how happy
h e r m a r r ia g e i s . W hile th is is a c o n je c tu r a l in c o n s is t e n c y d e r iv e d
f r o m in fe r e n tia l e v id e n c e , th e r e is s t ill an e le m e n t of im p la u s ib ilit y .
^ ^ Ibid. ( 40.
2 5 7 „ . ,
I b i d . , p. 29.
258Ibid. , pp. 5 8 -5 9 .
257
S p e n c e r T r a i n .- - T r a i n ' s s ta id , f o r m a l, r a th e r u n im p a s s io n e d
o b je c tiv ity s u b tr a c ts c o n s id e r a b ly f r o m h is e x c it e m e n t a s a c h a r a c te r .
T he a u d ie n c e is told that T r a in is a " g o r g e o u s m a n ," th at he lik e s r o s e s
259
and la n d s c a p in g , that he is an e x e c u tiv e , and th at h e is u n m a r r ie d ,
2 b 0 |
is s e lf - e d u c a t e d , w o r k s lik e a d og, and is a " w iz a r d ." H o w e v e r , j
!
w h en he a p p e a r s , he s e e m s c o m p la c e n t, u n in v o lv e d , and h u m o r l e s s - - j
j
in s h o r t, s o r t of s e lf - r ig h t e o u s ly a lo o f. T h e s e c h a r a c t e r is t ic s of
a u s te r ity and c o ld n e s s a r e n o t q u a litie s w h ic h m a k e h im v e r y v ita l n or j
!
t h e a tr ic a lly a p p e a lin g . H is m a tu r e , a u to m a to n -lik e fa c a d e s e e m s
!
^relatively im p r e g n a b le . j
j |
! T h e r e a r e in c o n s is t e n c ie s w ith in T r a in 's d e lin e a tio n . T he I
I !
i
m a jo r c lim a x of the p lay is c o n s u m m a te d b e c a u s e of w h at T on y s e n s e s i
!
to be a reb u k e f r o m T r a in . If one s c r u t in iz e s the s c e n e in w h ich the j
R e je c tio n is su p p o se d to ta k e p la c e , it is d iffic u lt to d e te r m in e any
s p e c if ic c o m m e n t, r e a c tio n , or in c id e n t w h ic h w ou ld c o n stitu te su c h an
o c c u r r e n c e . In the th ird a c t, T r a in is a s k e d if T o n y 's f e e lin g of r e j e c
tion w a s e x p e r ie n c e d b e c a u s e of s o m e s ile n t attitu d e on h is p a rt to w a rd
h e r . T r a in a n s w e r s , "I don't know that I w a s c o n s c io u s of any r e a lly
d e fin ite attitu d e at a ll to w a r d s h e r ." A fe w s p e e c h e s la te r w h en it is
e x p la in e d to T r a in that T on y quite o ften t r a v e le d in th e c o m p a n y of m e n
who w e r e not of the h ig h e s t m o r a l c a lib r e , and he is a s k e d if he
25Q 2b0
Ibid. , p. 9. Ibid. , pp. 2 0 -2 1 .
258
a s s u m e d s o m e a ttitu d e fo r " fea r of c la s s i f i c a t i o n w ith th o s e o th er
261
m en . " T r a in a n s w e r s , "N o, th at thought didn't o c c u r to m e ."
T r a in c o n tin u es to sa y th at if he had b e e n in t e r e s t e d in T o n y , c o n s id
e r a tio n s of th is type w ou ld n ot h a v e in flu e n c e d h im in the s lig h t e s t .
W ith the c o n c lu s io n of t h e s e s t a t e m e n t s , th e r e is c o n fu sio n as to
w h eth er T r a in r e a lly did r e j e c t T on y or not.
H o w e v e r , c o n fu s io n o v e r the v a lid ity of the r e je c tio n is not
n e a r ly a s s e r io u s a s the p r o b le m of a m b ig u ity in T r a in 's c h a r a c te r . It
is im p o s s ib le to d e te r m in e w h at h is attitu d e to w a rd T ony r e a lly i s .
T h e r e is the fo llo w in g e x c h a n g e of d ia lo g e only two p a g e s a fte r T r a in
h a s sa id that he w a s n ot c o n s c io u s of any p a r tic u la r attitu de tow ard
Tony:
T r a in . I h a v e liv e d in th is c ity te n y e a r s , M r. L y l e ; - -
y o u r d a u g h te r 's n a m e is v e r y f a m ilia r to m e .
M r. L y le . B y w ay of n e w s p a p e r g o s s ip , you m e a n ?
T r a in . P a r t ly .
M r. L y le . Do you think th a t's q u ite f a ir . . . c o n s id e r in g that
a g ir l in m y d a u g h te r 's p o s itio n w ould n e c e s s a r i l y
be s u b je c te d to a g r e a t d e a l of unfounded g o s s ip ?
T r a in . ( C a r e f u lly .) It's the n a tu r e of the g o s s ip - - t h a t
I a m c o n c e r n e d w ith c h ie f ly , M r. L yle; and
w h e th e r it's fou n d ed o r unfounded, it im p lie s an
id e a o f - - p e r s o n a l l ib e r t y - - t h a t I sh o u ld be r a th er
f e a r fu l about in c lu d in g in m y - - p r i v a t e lif e .
262
261Ibid. , p. 154. 262Ibid. , p. 157.
259
T he g r e a t e s t p r o b le m in the c h a r a c te r iz a t io n of T r a in is the
la c k of e m o tio n a l d im e n s io n . A s h a s b e e n n o te d , it is a lm o s t i m p o s
s ib le to t e l l w h at m o tiv a tin g f o r c e s a r e g o v e r n in g h im . The v a lid ity of
the b a s ic c o n flic t w ith in the p r o ta g o n is t d e p e n d s, to an e x te n t, on the
i
q u a lity of the in d iv id u a l w ho c a u s e s the c o n flic t. If. the c h a r a c te r of j
|
T r a in is not w o r th y of T o n y , if the a u d ie n c e w e r e to w on d er why sh e j
I
|
w ou ld e v e r go into a s ta te of d e c lin e b e c a u s e of h im , th is w ou ld greatlyj
j
w e a k e n T o n y 's s ta tu r e and, of c o u r s e , K e lly 's p la y . j
|
C o n s id e r in g th e p r o b le m s in h e r e n t in T r a in 's c h a r a c te r iz a t io n , j
it is doubtful th at th is c h a r a c te r w ou ld a r o u s e the f e e lin g s of r o m a n tic
i
em p a th y that he sh o u ld e v o k e in the f e m a le m e m b e r s of the a u d ie n c e , j
N ot on ly is the m a n a u s t e r e , r e la t iv e ly u n c o m m u n ic a tiv e , and a p p a r - j
e n tly s e l f - r i g h t e o u s , but a ls o he is an e n ig m a .
T h e m e
In the s e v e r i t y of h is b e lie f , K e lly is sa y in g : a w o m a n who is
m o r a lly c o r r u p t w ill n e v e r b e ab le to m a r r y a m a n w h om sh e b e lie v e s
to be h e r s p ir itu a l s u p e r io r .
T h e m e Should R e s u lt in U n ity . - - T h e r e can be little doubt that
the th e m e of B e h o ld , the B r i d e g r o o m - - w a s the o r ig in a l in s p ir a tio n for
the w o rk . T he m a jo r ity of the c r i t i c i s m d ir e c te d a t th is p lay d e r iv e s
f r o m the f a c t th a t K e lly 's m e s s a g e so d o m in a te s h is p lot and c h a r a c te r
th at the p la y , in r e a lit y , is a d id a c tic t r a c t e x p la in in g K e lly 's
260
h y p o th e s is about good and e v il. In ad d itio n to th is e v id e n c e , K e lly in
an in te r v ie w sa id that th is p lay w as "the c l o s e s t to h is h e a r t." He f e lt
th is w a s h is fa v o r ite p lay and in fe r r e d it s a id m o r e than any of h is
263
oth er w o r k s about lif e , w h ich w as im p o r ta n t to h im . A lb e r t M a is e l,
w r itin g in T h e a tr e A r ts M a g a z in e in 1947, s a id he f e l t that B eh o ld , the
264
B r i d e g r o o m - - w as the th e m a tic c e n te r of K e lly s w o rk .
If one e x a m in e s the s e c t io n s d i s c u s s i n g the plot fo r th is p la y ,
it w ill be found that the d r a m a tic a c tio n of B e h o ld , the B r i d e g r o o m - -
is a p r a c tic a l d e r iv a tiv e of the a b s t r a c t th e m e . In p e r u s in g th e s e c t io n
on c h a r a c te r iz a t io n , it is d is c o v e r e d th at T o n y 's fa te , r e g a r d le s s of
the p la u s ib ility a n d /o r c o n s is t e n c y of th e c h a r a c t e r , is d e te r m in e d by
K e lly 's d e s ir e to m a k e h is s ta te m e n t.
T h e m e Should B e C le a r , R e le v a n t, and U n i v e r s a l . - - T h e r e
s e e m e d to b e lit tle c o n fu sio n as to K e lly 's m e s s a g e . It sh ou ld be n oted
263
K e lly , p r iv a te in te r v ie w , Sun V a lle y , C a lifo r n ia , A p r il 7,
1971. Ju d gin g fr o m the in te r v ie w s w ith M r. K e lly , it is a p p a ren t that
the m o r a l c o d e s of a s o c ie t y a r e of p r im e in t e r e s t and c o n c e r n to h im .
In th is in te r v ie w , a r e c u r r e n t s u b je c t w h ic h w a s a s o u r c e of d is tu r b
an ce to h im w as the m o r a l la s s itu d e he f e l t r a m p a n t in our c o n te m p o
r a r y s o c ie t y . He sp ok e at g r e a t len g th on w h at is h ap p en in g to the
A m e r ic a n you th . W hen K e lly w r o te B e h o ld , the B r i d e g r o o m - - , th e re
w a s a n o th er m o r a l r e v o lu tio n o c c u r r in g at th a t t im e . T h is fla p p e r -a g e
th is n e w f r e e d o m , th is b r o a d e n e d attitu d e to w a r d s e x w a s , no doubt,
a s tr o n g m o tiv a tin g f o r c e in th e c r e a t io n of th e p la y . M r. K elly w a s
e x t r e m e ly proud of the f a c t that the n oted p r e a c h e r John H. H o m e s had
d e liv e r e d an e n tir e s e r m o n about the w o r th of K e lly 's p lay a s a m o r a l
le s son .
264
A lb e r t M a is e l, "The T h e a tr e of G e o r g e K e lly , " T h ea tr e Arts
M a g a z in e , 31 (F e b r u a r y , 1947), 3 9 - 4 2 .
261
th at the th e m e is c le a r and c o m m u n ic a te d to the auditor e v e n though it
is n o t s p e c if ic a l ly sta te d by any c h a r a c te r in the w ork.
T h e r e le v a n c y and u n iv e r s a lity of the th e m e w ou ld depend on the
m o r a l o r ie n ta tio n of the a u d itor b e c a u s e of K e lly 's th e m e h a v in g p u r i
t a n ic a l o v e r t o n e s . K e lly w a s th o r o u g h ly d istu r b e d w ith the " m o ra l j
|
r e v o lu tio n " w h ic h w a s o c c u r r in g at the tim e he w ro te B e h o ld , the j
|
B r id e g r o o m - -. A s K ru tch s a y s , "M r. K elly w ould not c o m p r o m is e j
h e r e w ith h is p u rita n c o n s c ie n c e or m a k e any e ffo r t to hide h is c o n -
265
te m p t fo r c o n te m p o r a r y m o r a lity ." H is to r ia n F r e d e r ic k A lle n
s u m m a r i z e s the m o r a l cod e of the e a r ly tw e n tie s ; it c o in c id e s w ith
K e lly 's b e l i e f s , a s e v id e n c e d in the plot and th e m e of the play in
q u estio n :
W o m en w e r e the g u a r d ia n s of m o r a lity ; th ey w e r e m ad e of fin e r
stu ff than m e n and w e r e e x p e c te d to a c t a c c o r d in g ly . Young g ir ls
m u s t lo o k fo r w a r d in in n o c e n c e to a r o m a n tic lo v e m a tc h w h ich
w o u ld le a d th e m to the a lta r and to liv in g - h a p p ily - e v e r - a f t e r ;
and u n til the 'rig h t m an ' c a m e alon g th ey m u s t a llo w no m a le to
k i s s th e m . It w a s e x p e c te d th at s o m e m e n w ould su c c u m b to the
te m p ta tio n s of s e x , but only w ith a s p e c ia l c la s s of ou tla w ed
w o m en ; g i r l s of r e s p e c t a b le f a m i li e s w e r e su p p o se d to h a v e no
su c h te m p ta tio n s . ^ 6
A lle n c o n tin u es to s a y th at th is cod e w a s b e in g s e v e r e ly c h a lle n g e d by
w h at he t e r m s a " m o r a l r e v o lu tio n ." T he c a u s e s of th is r e v o lu tio n , he
s a id , w e r e "the p o s t -w a r d is illu s io n , the n e w sta tu s of w o m e n , the
K ru tch , A m e r ic a n D r a m a , pp. 6 7 - 6 8 .
A lle n , Only Y e s t e r d a y , p. 88.
262
F r e u d ia n g o s p e l, the a u to m o b ile , p r o h ib itio n , the s e x and c o n f e s s io n
267
m a g a z in e s , and the m o v ie s . . . A c c o r d in g to A lle n , e a c h of
th e s e in flu e n c e s had its p a r t in b r in g in g about a chan gin g m o r a l a t t i
tude. H e f e lt that any one o f t h e s e a lo n e w ould not h a v e changed the
m o r a l o u tlook of A m e r ic a , but to g e th e r th e ir im p a c t w as in te n s e and
i
e ff e c tiv e .
It is d iffic u lt to d e te r m in e w h eth e r the m o r a l i s t i c s e v e r it y of
the th e m e , or o th er p r o b le m s in h e r e n t in the w o r k , c a u s e d it to be l e s s
j
than a p op u lar s u c c e s s on B r o a d w a y . T he play ran on ly e ig h ty - e ig h t j
p e r f o r m a n c e s , l e s s than any K elly w o rk b e fo r e 1928. W hile the len g th )
of the p la y 's run is not the sin e qua non of d e te r m in in g r e le v a n c y and i
u n iv e r s a lity , it is a fa c to r .
T h e p la y w r ig h t ta lk e d about a co u p le of fa c to r s that m a y h ave
Z 6 > 8
in flu e n c e d th e s h o r te r run of th is p la y . He sa id that f r o m the v e r y
b egin n in g of the r e h e a r s a ls fo r B e h o ld , th e B r i d e g r o o m - - , h is p r o
d u c e r w a n ted h im to chan ge the fin a l s c e n e in o r d e r to g iv e the p lay a
happy en d in g. K e lly sa id he r e fu s e d to ch an ge the ending and a fte r the
o p en in g of the p la y , he r e c e iv e d phone c a lls f r o m fr ie n d s and f r o m M r.
C ort, who ow n ed the th e a tr e w h er e the p lay w a s b e in g p r e s e n te d , to the
e ffe c t that the p la y 's p r o d u c e r had b egun to announce to the tic k e t a g e n -
2 6 7 Ibid. , p. 103.
Z 6 8
K elly, p rivate in terview , A pril 8, 1971.
263
c ie s and the p r e s s that the p lay w a s go in g to be w ith d ra w n so o n . T h is
d is c o v e r y p r e c ip ita te d p r o b le m s b e tw e e n K elly and the p r o d u c e r . T h is
f r ic t io n and the i ll - a d v is e d e a r ly - w ith d r a w a l n o tic e w e r e , v e r y c o n
c e iv a b ly , fa c t o r s in r e d u c in g th is p la y 's p o p u la r ity at the b ox o ffic e .
C e r ta in ly a lim itin g fa c to r in the a r e a of r e le v a n c y and u n i- j
|
v e r s a lit y is K e lly 's s im p l is t ic , fu n d a m e n ta lis tic a b s o lu tis m in the
p lay. K e lly 's a p p r o a c h is m o r e a c o n tr iv e d th e a tr ic a l p r e a c h m e n t
th an a p ic tu r e of life and its u n p r e d ie a ta b le in c o n s t a n c ie s . K e lly 's j
m o r a l p r e m i s e s g o v e r n a ll b e h a v io r of h is c h a r a c t e r s . A c c o r d in g to j
h im , the m o s t s e v e r e p r o b le m s of p e r s o n a lit y a d ju stm e n t a r e n a s c e n t j
in the s p ir itu a l b e in g of the in d iv id u a l. T h e r e a r e no e x ten u a tin g c i r - |
c u m s ta n c e s ; th e r e is no c o n s id e r a t io n fo r the s o c io - p s y c h o lo g ic a l
f a c t o r s in T o n y 's lif e . It is a lm o s t lik e s o m e m y s t ic a l b ligh t h a s b een
v is it e d upon the c h a r a c te r . T he p la y 's w o r ld is T o n y 's w o rld , and due
to th e m a tic d o m in a tio n , sh e s e e m s to liv e in a h a lf- f in is h e d w o r ld .
T h e m e Should B e an In te g r a l P a r t of the D r a m a tic M o v e m e n t. - -
A f e m a le c h a r a c te r is d is p la y e d in the f i r s t a c t as b e in g a r r o g a n t, i l l -
d is c ip lin e d , and p r o m is c u o u s . It is e v id e n t that sh e h a s le d a life of
w a s te and im m o r a lit y , a c c o r d in g to the sta n d a r d s of the p la y w r ig h t.
She h a s a ch a n ce m e e tin g w ith a m a n who is not of h e r " s e t - - n o t of the
id le r ic h . It is a p p a r e n t to h e r th at th is is th e m a n sh e w ould m a r r y ,
but cannot e v e r m a r r y b e c a u s e of h e r im m o r a l p a s t - - s h e is not r ea d y
264
fo r h e r b r id e g r o o m . In th e c o u r s e of the p la y , sh e r e p in e s and d ie s
b e c a u s e of h e r e v a lu a tio n o f h e r ow n m o r a l i t y - - s p i r it u a l ly sh e is
ir r e d e e m a b le in h e r own e y e s . T h u s, throu gh the d r a m a tic m o v e m e n t ,
the th e m e is sta te d .
A n E v a lu a tio n o f the C r itic s
V a lid but I n c o m p le te C r i t i c i s m . - -S o m e of the c r it ic s w e r e
o b v io u s ly c o n fu se d w ith the p lay. K en neth W hite, w r itin g a lo n g e s s a y
in T he Hound and the H o r n , w r ite s of a s p e c if ic in s ta n c e th at w a s j
i
a m b ig u o u s in the p lo t s tr u c t u r e . T h is in s ta n c e o c c u r s w h en T on y L y le j
i
■ !
f a lls in lo v e w ith S p e n c e r T r a in . A c c o r d in g to the p la y w r ig h t, "she j
sto p s and b e h o ld s the m y s t e r y . . . . " T h e r e is n oth in g m o r e to c o m
m u n ic a te to the a u d ie n c e th is c a t a c ly s m ic o c c u r r e n c e o th e r than h e r
p a n to m im ic r e a c tio n . W hite c o m m e n ts th at the p a n to m im e w a s e f f e c
tiv e w h en p e r fo r m e d by Judith A n d e r s o n in the o r ig in a l p r o d u c tio n , but
h e c o n tin u es:
. . . it is on ly h a lfw a y e ffe c tiv e ; the m e a n s of e x p r e s s i o n a r e
la c k in g , no m a tte r how good the a c t r e s s i s . T he a u d ie n c e is
u n c e r ta in of e x a c tly w hat h as h ap p en ed . T h e r e is no n e e d to
k e e p th e m in doubt. M is s L y le know s w e ll, and not v a g u e ly , a s
the a u d ie n c e d o e s . H er u n c e r ta in ty is one only of w o n d e r. But
M is s L y le 's f e e lin g s and th o u g h ts, at th is point in the p la y , a r e
the m o tiv a tin g f o r c e of the p lay. T h ey sh ou ld be c le a r and
d e fin ite .^69
K en n eth W h ite, " G eorge K elly and the D r a m a tic D e v ic e , "
The H ound and the H o rn , 4 (June, 1931), 3 8 4 -4 0 0 .
265
T h is o b s e r v a tio n by W hite is v a lid as fa r as it g o e s , but h is c r it ic i s m
is e x t r e m e ly in a d eq u a te. In addition to the ab o v e c r i t i c i s m , he f e e l s
t h e r e a r e s o m e la n g u a g e p r o b le m s in th is w o r k , but that th e r e a r e no
s e r io u s fla w s b e s id e s the o n es m e n tio n e d .
W h ile the m a jo r p o rtio n of B u rn s M a n tle 's r e v ie w of the p lay is j
fa v o r a b le to the w o r k , he d o e s b e g in by s a y in g , " T h e r e w ill be th o se j
who w ill q u a r r e l w ith G eo rg e K e lly , o r w an t to q u a r r e l w ith h im , o v e r |
I
270 !
the q u e s tio n of c r e d ib ility of sto r y in h is n e w p la y . . . ■ " S tr ik in g j
at one of the m a jo r fla w s of the w o rk it is u n fo rtu n a te th at M an tle did j
j
not p u r su e th is to p ic , but he c o n tin u es h is r e v ie w in an a ffir m a tiv e j
i
trib u te to the w o rk . j
i
T h e lon g a m b ig u o u s s c e n e b e tw e e n the tw o d o c to r s and M r.
L yle w h ic h is s u p p o se d to c la r ify T o n y 's "health" p r o b le m w a s found
c o n fu sin g by s e v e r a l w r i t e r s . T h e d r a m a c r it ic O liv e r S a y lo r of the
i
S atu rd ay R e v ie w of L ite r a tu r e c o m m e n ts on th is s c e n e : "Only a d r a m
a t is t who took h i m s e l f too s e r io u s ly or h is a u d ie n c e too lig h tly w ould
h ave d e c e iv e d h im s e lf into thinking th at he w as w r itin g d r a m a w h en he
c o m p o s e d the p s y c h o lo g ic a l c h a r t of th is co lo q u y b e tw e e n T o n y 's d o c -
27 1
t o r s ." E x c lu s iv e of th is p r o b le m , S a y lo r th ou gh t K e lly w r o te b old ly
and s k illfu lly in B e h o ld , the B r i d e g r o o m - - . T he c r it ic of O utlook
^ ^ B u r n s M a n tle , " 'B eh old , the B r id e g r o o m ' G rip p in gly
In te n se ," The N ew Y o rk D a ily N e w s , D e c e m b e r 2 7 , 1927, p. 16.
O liv e r M . S a y lo r , "The P la y of the W eek , " T he S atu rd ay
R e v ie w of L it e r a t u r e , 4 (January 28, 1928), 5 4 7 - 5 4 8 . ______________
266
n o te s a p r o b le m in th is s c e n e : "The p r e s e n t r e s u lt is m o r e lik e a p ie c e
of vood oo b u s in e s s - - a lm o s t a s if M r. K elly had 'gone' E u g en e O 'N e ill,
but had a s h is a b ility only S in c la ir L e w is ' s ta le n t fo r p h o to g ra p h ic .
272
r e a li s m ." E v e n though th is w r ite r s e n s it iv e ly n o te s an im p o r ta n t
p r o b le m in the p la y , he fin d s little e ls e of fa u lt. T he B o s to n T r a n s -
c r ip t o b s e r v e d in lig h t of th is p r o b le m s c e n e , "What sh o u ld be the
an x io u s talk of the tw o d o c to r s and the fa th e r b e c o m e s s ta te ly dis -
273
c o u r s e out of c a s e - b o o k s ."
It w a s found in th is stu dy that one of the m a jo r p lottin g p r o b
le m s w a s the " o ffstage" o c c u r r e n c e of a m a jo r c r i s i s and c lim a x of the
p la y . W hile th e r e w e r e no c r it ic s who n o ted s p e c if ic a lly th is s t r u c
tu r a l w e a k n e s s , two w r it e r s w e r e s e n s it iv e to the fa c t that im p o r ta n t
s e g m e n ts of the d r a m a tic a c tio n o c c u r r e d o ffs ta g e . C r itic C h a rle s
B r a c k e tt s t a t e s , "the p a r ts [ o f the p la y ] I w ou ld h a v e b e e n in te r e s te d in
274
M r. K e lly d idn't p e r m it m e to s e e ." A nd W h ite, w r itin g ag a in w ith
r e g a r d to th is p la y , o b s e r v e s th at "it i s s im p le and d ir e c t , the a c tio n
a lm o s t e n t ir e ly in te r n a l. I n te r n a l a c tio n n e e d s e x p r e s s io n , te m p e s tu o u s
272
" L igh ts D ow n, " O utlook, 148 (Ja n u a ry 18, 1928), 105.
273
" 'B eh o ld , the B r i d e g r o o m - - ; ' " B o s to n T r a n s c r ip t , M a r ch
20, 1928, p. 25.
274
C h a r le s B r a c k e tt, "The T h e a t r e ," T h e N ew Y o r k e r , 4
(January 7, 1928), 25.
267
e x p r e s s io n ." In lig h t of the fin d in g s , it co u ld n e v e r be sa id that the
p lay w as " sim p le and d ir e c t , " but it is c e r t a in ly a v a lid o b s e r v a tio n
th at the p lay n e e d s " te m p e stu o u s e x p r e s s io n ."
T h e r e w e r e a fe w w r ite r s who w e r e d is tu r b e d w ith the s e n t i
m e n ta lity and la c k of c r e d ib ility of the en d in g of th e w o r k . A lan
D o w n e r 's r e m a r k s a r e r e p r e s e n t a tiv e of the g e n e r a l f e e lin g s of d i s - j
a g r e e m e n t. He o b s e r v e s : i
i
Such an en d in g r e v e r t s to the w o r s t c o n v e n tio n s of r o m a n tic o p e r a i
and d o m e s t ic m e lo d r a m a . B y r ig h ts it sh o u ld be fo llo w e d by a j
te n o r a r ia , or an a n n o u n c em e n t f r o m the m a n a g e m e n t that n e x t ■
7 A
w e e k 's p lay w ill be E a s t L y n n e ." ^ ‘ ° ' ■
W hile D o w n er did n o tic e the im p la u s ib ility and a m b ig u ity of S p e n c e r :
|
T r a in , he w a s not c o g n iz a n t of s e v e r e p r o b le m s in h e r e n t w ith in the |
c h a r a c te r of T ony L y le .
W ith r e g a r d to the c h a r a c te r of T on y L y le , G e o r g e J e a n N athan
c o m m e n ts:
K elly n e v e r fo r a m o m e n t, a fte r h is p la y p a s s e s its e a r l i e s t
s t a g e s , m a k e s h is c h a r a c te r e v e n t r a n s ie n t ly p la u s ib le ; sh e is
a lw a y s an e m o tio n a l a c t r e s s s m e a r e d up w ith g r e a s e paint p layin g
a s to c k co m p a n y v e r s io n of life; sh e is n e v e r a u th e n tic , r e a l . 277
275
W h ite, "G eorge K elly and the D r a m a tic D e v ic e ," p. 395.
Z 7 6
A lan D o w n e r , F ifty Y e a r s of A m e r ic a n D r a m a (C hicago:
H en ry R e g n e r y Co. , 1951), p. 51.
277
G eo r g e J e a n N athan, "The T h e a t r e , " T he A m e r ic a n M e r -
c u r y , 13 (M a rch , 1928), 3 7 5 -3 7 6 .
268
It w a s found in th is stu d y th at th e m o s t s e r io u s p r o b le m s of c h a r a c t e r i
z a tio n , w ith r e g a r d to K e lly 's p r o ta g o n is t, b eg a n a fte r sh e " fell in
love" w ith T r a in . G ilb e r t G a b r ie l, s e n s in g th is im p la u s ib le t r a n s f o r
m a tio n , n o te s: " F r o m an unbound H ed da G a b le r , sh e su d d en ly b e c o m e s
a v e r y A lic e B e n B o lt, w e e p s h e r s e l f th in and w an and d ie s a death
w h ich none of the d o c to r s can q u ite e x p la in n or e v e n u n b lu sh in g grand
..278
o p e r a w ould v o u c h fo r .
S o m e of the w r i t e r s found a s m a n y or m o r e p r o b le m s in the
c h a r a c te r iz a t io n of T r a in . T h r e e ty p ic a l c r i t i c i s m s w e r e the fo llow in g!
!
D ow n er w r it e s , " U n fo r tu n a te ly , T o n y ’s you n g m a n . . . is so m e th in g j
l e s s than i m p r e s s i v e . A t the end of the p lay h is b e h a v io r is so a m b ig -
279
uous that he h a r d ly s e e m s w o r th dying fo r ." D a v id C arb, n o tic in g
w e a k n e s s in the d e lin e a tio n , s t a t e s , "and the c a u s e of h e a r tb r e a k is a
fig u r e that the author h a s not b o th e r e d to c h a r a c t e r iz e - - ju s t a w ood en
2 80
m a n , s a n d -p a p e r e d and p o lis h e d ." N athan o b s e r v e s that the m an
ras a c e r ta in p h y s ic a l c h a s tity w h ic h w ou ld r e c o m m e n d h im to the lad y,
lo w e v e r :
278
G ilb e r t G a b r ie l, " B eh o ld , the B r i d e g r o o m - - , " T he N ew Yorljc
Sun, D e c e m b e r 2 8 , 1927, p. 11.
279
D o w n e r , F ifty Y e a r s of A m e r ic a n D r a m a , p. 50.
280
D avid Carb, "Behold, the B r i d e g r o o m - - ," V o g u e , 71 ( F e b
ruary 15, 1928), 87.
269
In e v e r y o th e r w ay he is a p r o s a ic d olt, in s p e e c h and a c t, in
m in d and e m o tio n a lly . T he e ff e c t, t h e r e f o r e , of the young
w o m a n 's p s y c h ic a l d is tu r b a n c e s is as m u c h a s if D e s d e m o n a
w e r e to go into a m o r t a l d e c lin e o v e r O th e llo 's s e r v a n t or O p h elia
to die of a b r o k e n h e a r t o v e r the f i r s t g r a v e - d ig g e r .
G a b r ie l, s e n s in g that K e lly h a s m a n ip u la te d h is c h a r a c te r s in o r d e r to
k eep h is m e a n in g c le a r , n o te s:
. . . h e c r a m s e a c h one of th e m down lik e a J a c k - in - t h e - b o x ,
s o m e th in g to be sp ru n g w ith the c lim a x . D e s p e r a te young m e n
m a y go to th e ir clu b s and b low out th e ir b r a in s for lo v e of la d ie s .
And la d ie s , fo r a ll that D r . F r e u d or h is h u m b le s t r e a d e r m ay
d i s c o v e r , m a y s o m e t im e s r e a lly die of nothing m o r e p o s itiv e
than b r o k e n h e a r t s . But not by su c h c lo c k w o r k . And n ot to
su c h p r e tty tic k in g of talk.^®^
E v e n though the fou r c r it ic s ju s t m en tio n e d m ad e a stu te o b s e r v a tio n s
w ith r e g a r d to c h a r a c t e r , none of th e m s e e m e d s e n s it iv e to the s e v e r e I
s tr u c tu r a l p r o b le m s in the w ork .
In valid C r i t i c i s m . - -K e lly r e c e iv e d s o m e of h is m o s t e n t h u s i
a s tic p r a is e f r o m the c r it ic s w h en B e h o ld , the B r i d e g r o o m - - w a s p r o
d u ced . B r o o k s A tk in so n w r o te , "In 'B eh o ld , the B r i d e g r o o m - - ,' . . .
G e o r g e K e lly , who h a s w r itte n s e v e r a l good p la y s , a p p e a r s to have
Z 83
w r itte n h is f in e s t ." B u rn s M a n tle, in an op en in g n igh t r e v ie w
Z 81
N athan, "The T h e a t r e , " A m e r ic a n M e r c u r y , 13 (M arch ,
1928), 3 7 5 - 3 7 6 .
Z 8Z
G a b r ie l, "B e h o ld , the B r i d e g r o o m - - , " p. T jL .
Z 83
B r o o k s A tk in so n , "The P la y ," The N ew Y ork T i m e s ,
D e c e m b e r 2 7 , 1927, p. 15.
270
s t a t e s , " th ere w ill be fe w who w ill deny h im the e a r n e d p r a is e of having;
2 8 4
w r itte n an im p o r ta n t and s te a d ily in te r e s tin g p la y ." S ta r k Y oung,
w r itin g in The N ew R e p u b lic , f e lt th at th is p lay w a s a " ste p in h is
285
[K e lly 's ] p r o g r e s s ." Young in fe r s that th is w o rk is s u p e r io r to
e ith e r The S h o w -O ff or C r a ig 's W ife . W hite f e lt th a t the play w a r -
!
ran ted a t w e n t y - s ix page e s s a y in T he Hound and th e H o r n , and c o m - |
i
m e n ts , " 'B eh old , the B r i d e g r o o m - - ' h a s p r e c i s e l y the im p o r ta n c e of a
d r a m a w h o se th e m e is sp len d id and w h o se s ty le is in a d eq u a te to the
286 '
th e m e ." S a y lo r w r ite s on K e lly 's ta le n t fo r a c h ie v in g p la u s ib ility j
w ith a d iffic u lt th e m e . H e n o te s: "The m e a s u r e of h is s k ill l ie s in the
p la u s ib ility and p r e s e n t s ig n if ic a n c e w ith w h ic h h e h a s b e e n ab le to
in v e s t the p r o c e s s of dying fo r r o m a n tic lo v e by e n lis t in g the aid of the
287
s e c r e t k e y s of m o d e r n p s y c h ia tr y ." In lig h t of the fin d in g s of this
stu d y, a ll of th e s e c r i t i c i s m s a r e in v a lid .
S u m m a r y . - - T h e r e w e r e no c r it ic s who n o te d th e u n u su a l d r a
m a tic s tr u c tu r e nor the s e v e r e d e tr im e n ta l e f f e c t of K e lly 's m o r a l
o r ie n ta tio n in the p lay. O nly a fe w of the w r it e r s w e r e c o g n iz a n t of
284
M a n tle , " 'B eh o ld , the B r i d e g r o o m - - , ' " p. 16.
285
S ta r k Y oung, " M ig r a to r y S o u ls ," T h e N ew R e p u b lic , 53
(Jan u ary 18, 1928), 2 4 6 - 2 4 7 .
W hite, " G eo rg e K e lly and the D r a m a tic D e v ic e ," pp. 3 8 4 -4 0 0
287
Saylor, "The P lay of the W eek," pp. 5 4 7 -5 4 8 .
-------------------------------------------------------------------------------------------------------------------------- 271“
the s e v e r e p r o b le m s o f im p la u s ib ility and a m b ig u ity in the c h a r a c te r s
of T on y L y le and S p e n c e r T r a in .
B e h o ld , th e B r i d e g r o o m - - , lik e C r a ig 's W ife and D a is y M a y m e ,
w a s a p r im e e x a m p le of a K elly w o rk w h ic h w as found in th is study to
h a v e s e r io u s w e a k n e s s e s y e t a c h ie v e d n otab le c r it ic a l e n d o r s e m e n t.
H o w e v e r , s in c e the p r o b le m s of B e h o ld , the B r i d e g r o o m - - w e r e of
g r e a t e r m a g n itu d e than th o s e of e ith e r D a is y M a y m e or C r a ig 's W ife ,
th e c r i t i c i s m w a s e v e n m o r e in v a lid .
C H APTER V
T H E O R N A T E R H ET O R IC A N D A U T H E N T IC
R E A L IS M OF K E L L Y 'S LA N G U A G E
G e o r g e K elly h a s b e e n p r a is e d fo r h is r e a li s t i c d ia lo g u e and
c e n s u r e d fo r h is la p s e s into a type of o r n a te r h e to r ic . W hen h e is
!
w r itin g about the m ilie u h e know s th e b e s t , ie . , the m id d le - c l a s s
(T h e S h o w -O ff, T h e T o r c h - B e a r e r s , and D a is y M a y m e ), h is e a r for j
th e e s s e n c e of n a tiv e s p e e c h is u n e r r in g . H o w e v e r , h is d ialogu e
b e c o m e s u n n a tu ra l w hen h is c h a r a c te r s a r e of a h ig h e r c la s s a n d /o r
he d e s ir e s to c a s tig a te one of h is p r in c ip a ls fo r what he c o n s id e r s an
in e x c u s a b le t r a n s g r e s s io n ; h is d ia lo g u e a s s u m e s , th en , a typ e of
a c a d e m ic p r e c is io n , e.g., C r a ig 's W ife and B e h o ld , the B r i d e g r o o m - - .
A p p lic a tio n of the C r ite r ia
L an g u a g e Should B e A u th en tic
and D is tin c tiv e
A ty p ic a l e x a m p le of K e lly 's r e a li s t i c la n g u a g e - - o r as the
in v e s tig a to r w ou ld c a ll it, h is " m ilie u d ia lo g u e " - - is the fo llo w in g
s e le c t io n f r o m the op en in g s c e n e of T he S h o w -O ff. C la r a h a s ju s t g iv er
M r s . F is h e r a b ox of b on b on s.
272
273
M r s . F i s h e r .
C lara.
M r s . F i s h e r .
C lara.
M r s . F is h e r .
C la ra .
M r s . F is h e r .
C la ra .
M r s . F is h e r .
C la ra .
M r s . F i s h e r .
C la ra .
M r s . F i s h e r .
Oh, is n 't that lo v e ly ! L ook , C la r a -- d o n 't that
lo o k n ic e ?
Y e s , th ey do th e ir candy up n ic e .
(P ic k in g up the c o v e r of la c e p a p e r . ) T h at
lo o k s ju s t lik e I r is h p oin t l a c e , don't it? I
th in k I 'll put th at aw ay s o m e w h e r e , - -in a book
or s o m e th in g . M y, lo o k at a ll the c o lo r s - -
lo o k C la r a - - d id y o u e v e r s e e so m an y c o lo r s ?
It's p r e tty , is n 't it?
It's b e a u t if u l - - s e e m s a pity to s p o il it. Do you
w an t a bit of it, C la r a ?
N ot n o w , M om .
I th in k I 'll ta k e th is pink one h e r e . I lik e the
pink o n e s . M ind h ow th ey h a v e a ll th is fa n c y
p a p er around th e m . You'd w on d er th e y 'd b o th e r ,
w o u ld n 't y o u ? - - j u s t fo r a b it of can d y. (She
t a s t e s the candy and c h e w s c r it ic a lly . ) T h a t's
n ic e can d y, is n 't it?
Y e s , I lik e b on b o n s.
I d o, to o . I thin k I lik e th e m b e tte r than m o s t
an yth in g. I'm s o r r y t h e s e a r e not a ll b on b on s.
T h ey a r e a ll bonb ons - - T h e r e 's nothing e ls e in
t h e r e .
Oh, a r e th e y ! - - I thought on ly the pink o n es w e r e
the b o n b o n s .
N o, th e y 'r e a ll b on b on s.
W e ll, th a t's lo v e ly . I can ea t any one of th e m I
lik e , th en , c a n 't I? H ow is it y o u 'r e not h o m e
to n ig h t, C la r a ? 1
L ouis K r o n e n b e r g e r , ed. , C avalcade of C om edy (New York:
Sim on and S ch u ster, 1953), pp. 491 -492.___________ ___
274
T h is lon g e x c e r p t about the bonbons i s r e p r e s e n t a t iv e of both
K e lly 's str e n g th and w e a k n e s s in h is c r e a tio n of r e a l i s t i c la n g u a g e .
W ith lit t le e ffo r t the auditor can im a g in e h e is lis t e n in g to an a u th en tic
c o n v e r s a tio n b e tw e e n two w o m e n in an A m e r ic a n h o u s e . K e lly 's ab ility
j
to r e p r o d u c e the p r o s a ic in a n itie s of the m id d le - c l a s s m ilie u w a s neverj
I
m o r e s k illfu lly e x e c u te d than in th is e x c e r p t. If one n o te s the s u p e r - j
|
f ic ia lit y of the e x c h a n g e , M r s. F i s h e r ' s p r e o c c u p a tio n and d e lig h t withj
I
m in u tia , and the redundant gab b le of b o red in d iv id u a ls , on e m u s t apprej-
!
c ia te K e lly 's e a r for the au th en tic. H o w e v e r , K e lly s o m e t im e s accom -j
i
p lis h e s the ab ove at the s a c r if ic e of d r a m a tic in t e r e s t . M ille t c o m - j
m e n ts about the p r o b le m s in c r e a tin g r e a li s t i c d ialogu e: j
. . . two in ten tio n s of the d r a m a tis t a r e in co n flict: th e d e s ir e
to w r ite d ialogu e th at sounds r e a l, and the d e s ir e to w r ite d ia
lo gu e that s h a ll be e ffic ie n t and in te r e s tin g . T he a c c u r a te r e p r o
d u ctio n of c o n v e r s a tio n in th e d r a m a runs the n ot in c o n s id e r a b le
r is k of b o rin g the auditor w h ile it p r e s e r v e s its a u th e n tic ity , and
no d r a m a tis t can affo rd to b o r e h is a u d ie n c e fo r the sa k e of b e in g
lin g u is t ic a lly p r e c is e .
T h e u s e of K e lly 's red u n d an cy to g iv e the s c e n e a f e e lin g of au th en ticity
can be s e r io u s ly c h a lle n g e d . No doubt K elly is lin g u is t ic a lly p r e c is e
in h is lan gu age h e r e , but c o n s id e r in g the f a c t that th is d ia lo g u e on ly
s u p e r fic ia lly r e v e a ls c h a r a c te r , d o es nothing to fu r th e r the p lo t, and
u s e s th ir te e n sp e e che s to dis cus s a b ox of b o n b o n s , it is d e b a ta b le w h eth er
2
F r e d B . M ille t and G er a ld E . B e n tle y , T h e A r t of th e D r a m a
(N ew York: A p p le t o n - C e n t u r y -C r o ft s , I n c ., 1935), p. 221.
^ 275
it is d r a m a tic a lly e ff ic ie n t and in te r e s tin g en o u g h to w a r r a n t its
r e p e titio u s n e s s and p r o s a ic is m . No one w ould c h a lle n g e its a u th e n tic
ity , but it is n ot d is tin c tiv e d ialogu e nor p a r t ic u la r ly e ff ic ie n t in
a c c o m p lis h in g any s p e c if ic p u r p o se .
John M a so n B r o w n , in c r it ic iz in g P a t r ic k K e a r n e y 's la n g u a g e
!
in A M an 's a M an, to u c h e s on w hat the in v e s t ig a to r b e l ie v e s to be one
of K e lly 's m a in p r o b le m s in h is a tte m p t at a u th e n tic ity . B r o w n s a y s ,
"the d ia lo g u e s e e m s c lo s e r to a d ic ta g r a p h than to d r a m a . It h a s the j
3 !
e n d le s s r e p e titio n s of dull talk u n d er 'the E le v a te d ' and e ls e w h e r e ." |
T h e r e is a c e r ta in "dictaphone q u ality" th at b e c o m e s a p r o b le m if
i
K elly in s is t s on exten d in g h is m ilie u d ia lo g u e to m o r e s p e e c h e s than |
he sh ou ld . H o w e v e r , B row n g o e s on to c o m m e n t that the p r o b le m is
not so m u ch an in v o lv e m e n t in m in u tia and u n n e c e s s a r y r e p e titio n p er
s e , as it is a p r o b le m of s u p e r fic ia l m o tiv a tio n s . W hen a c h a r a c te r is
in v o lv e d on a m o r e s ig n ific a n t e m o tio n a l le v e l , and w h en h is w an ts are
th o s e that s tr ik e s o m e c o m m o n e m p a th ic r e s p o n s e in the a u d ie n c e ,
th en e v e n the m o s t c o m m o n p la c e , " d icta p h o n esq u e" d ia lo g u e a s s u m e s
a m o r e p oign an t p e n e tr a tio n and e x c it e m e n t as it su b tly r e v e a l s
n u a n ce s of c h a r a c te r . W ith t h e s e o b s e r v a t io n s , the in v e s t ig a to r
b e lie v e s that B ro w n s t r ik e s at one of the m a in p r o b le m s of K e lly 's
m ilie u d ia lo g u e . T oo often K e lly 's a p p r o a c h to h is p r in c ip a l characters;
3
John M a so n B ro w n , " R a m ific a tio n s of R e a l is m , " T h e a tr e A r ts
M on th ly, 9 ( D e c e m b e r 2 5, 1925), 7 7 9 -7 9 0 .
2 T 5 ~
is too s u p e r fic ia l; a s u b je c tiv e p ro b in g is n e e d e d . In len g th y s c e n e s of
au th en tic d ia lo g u e , the d e e p e r m o tiv a tio n s of h is c h a r a c te r s a r e too
s e ld o m r e v e a le d ; s o m e t im e s it s e e m s the p la y w r ig h t is in s e r t in g
r e a li s t i c d ia lo g u e fo r its ow n s a k e . C r itic s have a c c la im e d K e lly 's
tr e a t m e n t of the m in o r fig u r e s in h is p la y s (e. g. , O ily K ipax and F ilo o n
|
in D a is y M a y m e , M r. S p in d le r in T he T o r c h - B e a r e r s , the tw o m a id s j
l
in C r a ig 's W ife, and C onnie P e y to n in B e h o ld , the B r i d e g r o o m - - ) j
I
I
b e c a u s e a d r a m a tis t is n o t e x p e c te d to t r e a t m in o r c h a r a c te r s w ith any !
{
d e g r e e of depth; th u s K e lly 's s u p e r f ic ia l a p p r o a c h is p e r fe c t ly s u ite d toj
|
th e s e c h a r a c t e r s . O ily K ipax h a s the fo llo w in g s p e e c h in D a is y M a y m e :
Y e s , I had to s e e about g ettin g s o m e th in g fo r the B r id g e Club n e x t
T h u rsd a y ; it's m y tu rn to g iv e the p r iz e . Of c o u r s e , I c a n 't g o, j
but I h a v e to g iv e s o m e th in g . And I m ig h t ju s t a s w e ll have s ta y e d j
at h o m e , fo r I didn't s e e a s o lit a r y t h in g - - e x c e p t a co u p le of
n o v e lty b u r e a u d o lls , in a g ift sh o p th e r e in S u g d en 's R o w . B ut
th ey had a b s o lu te ly no e x p r e s s io n ; . . . ^
O ily c o n tin u e s fo r four m o r e l in e s . T he d ia lo g u e h e r e , w h en out of
c o n te x t, is not p a r tic u la r ly e x c itin g ; but w h en the au d itor v ie w s O ily in
the life of the p la y , w ith h e r p r o p e n s ity fo r e x c e s s v e r b ia g e , th is inane
c h a tte r ta k e s on m o r e m e a n in g and illu m in a te s the s u p e r fic ia lit y of the
c h a r a c te r a s m u c h th ro u g h its f o r m a s it d o es th rou gh its co n ten t. H is
lan gu age h e r e , u s e d by a m in o r c h a r a c t e r , is a u th en tic and d is tin c tiv e
w ithout th e p r o b le m of b e in g too s u p e r f ic ia l fo r a p r in c ip a l f ig u r e .
4
G eorge K elly, D a isy M aym e (N ew York: S a m u e l F r e n c h , 1926),
p. 13.
277
A n oth er a s p e c t of K e lly 's a b ility to c r e a te a u th e n tic ity is
r e v e a le d in h is s k ill of fe m in in e p o r tr a itu r e . The a lr e a d y n o te d s c e n e
f r o m The S h o w -O ff b e tw e e n C la r a and M r s . F is h e r is an e x a m p le of
th is K elly f a c ilit y w ith the d is ta ff s id e . A n oth er e x a m p le w ou ld be a
b r ie f s c e n e f r o m B e h o ld , the B r i d e g r o o m - - . T he m ilie u now is the
u p p e r - " m o n e y e d " - c la s s , and C onnie P e y to n and E le a n o r R id g e w a y a r e
ju s t d ep a rtin g fo r the d in in g r o o m :
M is s P e y to n . E le a n o r , D a r lin g , h ow do y o u e v e r g et y o u r
h a ir to lo o k so n ic e ?
M r s . R id g e w a y . N ow , sto p m a k in g fun of m e , Connie P e y to n .
M is s P e y to n . I'm n ot m a k in g fun of you at a ll, m y d ear; but
y o u a lw a y s lo o k so ir r ita t in g ly c o r r e c t w hen
e v e r y b o d y e ls e is a h o ly sh o w .
M r s . R id g e w a y . W e ll, m y d e a r , I found a p e r fe c tly m a r v e lo u s
b a r b e r . . .M y s i s t e r - i n - l a w told m e about h im .
M is s P e y to n . W e ll, m y d e a r , I have b e e n h avin g the m o s t
h a r r o w in g t im e w ith m y h a ir . You know how
it thin ned l a s t s u m m e r ; and e v e r s in c e I've
b e e n h a v in g the m o s t d e v a s ta tin g p ains in the
b a ck of m y h e a d . D o c to r O gden s a y s it's
s im p ly n e u r a lg ia . . . . ^
M is s P e y to n c o n tin u es w ith the t r ia ls and tr ib u la tio n s of h e r h a ir p r o b
l e m s . In th is s itu a tio n , K e lly know s h is f e m a le p a la v e r . A l s o , h is
j c h a r a c te r s a r e r e la t iv e ly s u p e r f ic ia l, and at th is p oin t in the p lay they
i
n e e d no in -d e p th illu m in a tio n . T h is c o n v e r s a t io n is a p a r tic u la r ly gooc
G eorge K elly, Behold, the B r i d e g r o o m - - (New York: Sam uel
F r e n c h , 1927), pp. 67 -6 8 .
278
ex a m p le of d ia lo g u e w h ic h is n ot on ly a u th en tic but a ls o d is tin c tiv e .
A n o th er e x c e lle n t e x a m p le of K e lly 's f e m a le m ilie u d ialogu e is
a b r ie f s c e n e b e tw e e n L a u r a F e n n e r and O ily K ipax in D a is y M a y m e :
O ily. . . . I k n ew th e m in u te e v e r yo u 'd s e e th is n e w su it and
h a t on m e y o u 'd s ta r t s o m e t h in g . (L a u r a la u gh s with
p a in ed a m u s e m e n t . ) You can laugh a ll you lik e , but
th a t's w h a t's the m a tte r w ith y o u - - I sa w it in y o u r fa ce
the m in u te y o u c a m e into the r o o m .
L a u ra . I didn't know y o u r hat and su it w e r e n e w .
O ily. D o n 't t e l l l i e s , d e a r .
L a u ra . H ow sh o u ld I k now ?
O ily. Y ou k n ew a ll rig h t.
L a u ra . I h a v e n 't s e e n y ou s in c e the fu n e r a l.
O ily. Y ou know it if I g et a n e w h a n d k e rc h ie f; and it's lik e a
r e d r a g to you .
L a u ra . Y ou g e t so m a n y th in gs I ca n 't k e e p tr a c k of th e m .
O ily. W e ll, if I do th e y 'r e paid fo r . And I w ou ld n 't get th em
if I d id n 't n e e d th e m .
L a u ra . I d on 't k now why y ou n e e d e d an oth er b la c k su it w hen you
g o t one o n ly a m on th ago for the fu n e r a l.
O ily. T h a t c o a t is too s h o r t. It m a k e s m e look too squat. It
h a s a b s o lu te ly no lin e fr o m the sh o u ld e r to the hip; and
I'm too d um py. T h at is the one lin e I m u s t h a v e ; and
if I d on 't h a v e it, I m ig h t as w e ll be s ittin g down.
H e r e K e lly fu r th e r d e m o n s tr a t e s h is in s ig h t r e g a r d in g the p s y c h e s of
tw o s i s t e r s who h a v e g r o w n up to g eth e r : the a w a r e n e s s of the o th e r 's
^K elly, D a is y M a y m e, pp. 8-9.
279
h o s tility , the f e e lin g of s u p e r io r ity b e c a u s e of n ew c lo t h e s , the en vy of
the n e w c lo t h e s , the a p p a r e n t s ib lin g r iv a lr y , and in O ily , a fe m in in e
van ity ju x ta p o se d w ith a d e g r e e of o b je c tiv ity . In th is e x c e r p t of d ia
lo g u e , K e lly a ls o d e lin e a te s the p etty , b ic k e r in g m o o d w h ic h d o m in a te s
the attitu d e of L a u r a who r e p r e s e n t s the a n ta g o n istic sid e of the b a s ic
c o n flic t in the p la y .
T h e d ia lo g u e w h ic h K elly w r ite s fo r d o m e s t ic h e lp sh ou ld be
n oted as an oth er e x a m p le of h is a u th en ticity of la n g u a g e . In an in t e r -
I
jview , K e lly to ld of h is m a n y v i s i t s to a d o m e s t ic h e lp h ir in g h a ll in
i
i
(New Y ork City w h e r e m a id s , c o o k s , b u t le r s , and c h a u ffe u r s w ould
i
Igather to in q u ir e a s to the la t e s t job a v a ila b ility . K elly sa id that
j
m in g lin g w ith t h e s e in d iv id u a ls h e lp e d h im to a c q u ir e an e a r for th is
7
g e n r e o f d ia lo g u e . T h e r e is an e x c e lle n t e x a m p le of th is type of
s p e e c h in C r a ig 's W ife. M r s . H a ro ld , the h o u s e k e e p e r , and M a z ie ,
! ------------------------------------------------------------
the m a id , a r e in v o lv e d in a c o n v e r s a tio n r e g a r d in g th e ir i r a s c i b le m i s
t r e s s , H a r r ie t C raig:
M r s . H a ro ld . . . . D id I t e ll you about h e r w an ting m e to d u st
| the l e a v e s off that little t r e e in fro n t of the d in
ing r o o m w in d ow la s t w e e k ?
; M a z ie . D u st the l e a v e s ?
i
l M r s . H a ro ld . T h a t's the h o n e s t to G od's fa c t. And m e w ith
' r h e u m a tis m at the t im e .
7
K elly, private in te r v iew at Sun City, California, July 2, 1971.
280
M a z ie . Can y o u im a g in e su c h a thin g ?
M r s. H a ro ld .
M a z ie .
M r s . H a ro ld .
M a z ie .
M r s . H a ro ld .
I to ld h e r r ig h t up. I s a id , "I'll d u st no tr e e
fo r nobod y."
You done r ig h t.
She s e z , "You m e a n y o u r e fu s e to d u st i t ? " - -
" Y e s , " I s e z , "I r e f u s e to d u st it, and, " I s e z ,
"w h at's m o r e , I'm go in g to s ta y r e fu s e ." "W ell,
s h e s e z "it n e e d s d u stin g , w h eth e r you d u st it
or n ot." "W ell, " I s e z , " let it n e e d it," I s e z .
I s e z , "A little d u st w o n 't p o is o n it." I s e z ,
" W e'll a ll be d u st o u r s e lv e s s o m e day, u n le s s
we g e t d row n d ed . "
You done r ig h t.
8
Oh, I to ld h e r .
A c h a r a c t e r is t ic ty p ic a l of K e lly 's w r itin g and found in a ll of
h is p la y s is the tech n iq u e of o v e r la p p in g d ia lo g u e . E x a m p le s fr o m
th r e e d iffe r e n t p la y s w ill s u ffic e fo r e x p la n a tio n and ty p ic a lity :
1. The T o r c h - B e a r e r s
( H o s s e f o s s e and M r s . P a m p in e lli sp e a k in g t o g e t h e r .)
H o s s e f o s s e . Y e s , I thin k I had.
M r s . P a m p in e lli. (Up and at the le ft a d d r e s s in g the
s ta g e m a n a g e r . ) A re you r e a d y ,
M r . S ta g e M a n a g e r ? (He con tin u es
to r e a d .)9
8
G e o r g e K e lly , C r a ig 's W ife (N ew York: S a m u e l F r e n c h , 1926)
p. 54.
G eorge K elly, The T or c h - B e a r e r s (New York: Sam uel F r e n c h
1922), p. 97.
281
2. D a is y M a y m e
(F ilo o n and M r s. F e n n e r sp e a k in g to g e th e r . )
F ilo o n . T w ic e e v e r y day, s ix m on th s of the y e a r .
10
M r s . F e n n e r . S h e 's out th e r e talk in g to old F ilo o n .
3. The S h o w -O ff
(M r s. F i s h e r and A u b rey sp e a k in g to g e th e r . )
M r s . F i s h e r . I think I sa w it on that s h e lf out t h e r e ,
o v e r the sin k . And n ow , don't go
u p se ttin ' e v e r y th in g out th e r e .
A u b r e y . T h ey 'd r a th e r go on p aying a m illio n
d o lla r s a y e a r (Joe g o e s out and A u b rey
fo llo w s h im to the d o o r ) - - t o paint th e ir
s t e e l and ir o n s tr u c tu r e s throughout
the c o u n tr y , than pay m e .- ^
M r . K elly n oted in an in te r v ie w that the o v e r la p p in g d ia lo g u e tech n iq u e
w as u s e d e ith e r to a c h ie v e s o m e s p e c ia l e ff e c t of r e la tio n sh ip or to
illu m in a te and en h an ce the s p a tia l r e la tio n s in a s c e n e , or to len d it a
12
c e r t a in r e a li s m . In the s e c o n d e x a m p le , o v e r la p p in g is fo r r e la t io n
sh ip e ffe c t: D a is y M a y m e is the one ta lk in g to "old F ilo o n ," and M r s .
I F e n n e r d o e s n ot ap p rove of e ith e r D a is y or F ilo o n , so M r s. F e n n e r 's
c o m m e n t is und oubtedly a s u r r e p titio u s r e m a r k sta te d in a " g o ssip y "
m a n n e r behind D a is y 's b ack . T he e x c e r p t in the th ird e x a m p le is a lso
^ K e l l y , D a is y M a y m e , p. 61.
^ K r o n e n b e r g e r , The C a v a lca d e of C o m e d y , p. 499.
12
K elly, private in te r v iew at Sun City, California, July 3, 1971
282
an e x a m p le of r e la tio n sh ip : not only is M r s . F is h e r e x t r e m e ly p e r
tu rb ed w ith the p r e s e n c e of A u b rey in h e r h o u s e , but a ls o it is d ifficu lt
to sa y anything on ce he h a s s ta r te d to sp e a k , so s h e s im p ly ta lk s at the
s a m e tim e he d o e s . N u m b er 2 above is a ls o a good e x a m p le of o v e r
lapping d ia lo g u e u se d b e c a u s e of the s p a tia l r e la tio n s of the sc e n e :
F ilo o n is o u ts id e , D a is y is n e a r a w indow y e llin g at h im , and L a u ra is
in the c e n te r of the r o o m ta lk in g to o th e r s w ithin the r o o m . It w ould be
quite n a tu r a l fo r both F ilo o n and M r s . F e n n e r to sp e a k at the s a m e
i
'tim e. N u m b er 1 above is an e x c e lle n t e x a m p le of r e a li s m b ein g
ia ch ie v e d th ro u g h o v e r la p p in g , b e c a u s e P a m p in e lli and H o s s e f o s s e are
jboth n e r v o u s ly a ttem p tin g to p r e p a r e th o s e around th e m and t h e m s e lv e s
I
jfor the im m in e n t r is e of the f i r s t a c t c u r ta in of the pi a y - w it h in - t h e -
play.
T he c r e a tio n of s p e c if ic r e a s o n s fo r e n tr a n c e s and e x it s is
! an oth er tech n iq u e u tiliz e d by the p la y w r ig h t to a c h ie v e r e a li s m . In an
in te r v ie w , K elly said:
W hen I u s e d to go to p la y s , I w as a lw a y s b o th e r ed by the f a c t that
quite o ften c h a r a c te r s w ould su d d en ly ju s t g et up and le a v e , or
th ey w ould ju s t e n te r fo r no a p p a ren t r e a s o n - - e x c e p t , of c o u r s e ,
the p la y w r ig h t n e e d e d th em on s ta g e . T h e r e m u s t be a r e a s o n
fo r th e ir e x its or e n tr a n c e s . If you n o tic e w hen p eo p le a r e l e a v
ing or w hen they c o m e to s e e y o u , th e r e is s o m e c o n v e r s a tio n
| c o n n e c te d w ith th is ev e n t. 13
283
In A c t III of B e h o ld , the B r i d e g r o o m - - , w hen D r. L o e b e ll e x it s , K elly
s u p p lie s d ia lo g u e w h ich is c o n s is t e n t w ith the c h a r a c te r s and len d s a
n a tu r a ln e s s to the e x it. L o e b e ll h a s ju s t m o v ed u p sta g e tow ard the
e x itin g d o o rs:
G o o d -b y , D o c to r .
G o o d -b y , M r. L y le .
M r. L y le .
L o e b e ll.
M r. L y le .
L o e b e ll.
H untington.
L o e b e ll.
M r. L y le .
L o e b e ll.
M r . L y l e .
L o e b e ll.
And I'm a th ou san d t im e s o b lig e d to you fo r
c o m in g out.
T h a t's noth in g at a ll, M r. L yle; I hope s o m e
thin g m a y c o m e of it. W hat did I do w ith m y
th in g s ?
T h e y 'r e o u ts id e , D o c to r .
Oh, y e s , y e s , so th ey a r e .
E d w a rd s w ill g e t th e m fo r y o u , D o c to r .
Y e s , y e s , and I'll k e e p in to u ch w ith D r.
H untington h e r e .
T hanks e v e r so m u c h , D o c to r .
D on 't m e n tio n it at a ll, M r. L y le . Good
aftern o o n .
14
! M r. L y le . Good a fte r n o o n , D o c to r . (L o e b e ll g o e s o u t.)
T he s c e n e w h ich is p ro b a b ly the b e s t e x a m p le of K e lly 's a tte m p
to len d n a tu r a ln e s s to the e n tr a n c e of a c h a r a c te r is one fr o m The
i
S h o w -O ff. A v e r y m in o r , u tility c h a r a c te r is m a d e to " fee l qu ite at
K elly, Behold, the B r i d e g r o o m - - , pp. 145-146.
284
h o m e" by both the p la y w r ig h t and A u b rey P ip e r w h en h e c o m e s to b r in g
M r. F i s h e r ' s b elo n g in g s back fr o m the f a c to r y w h e r e h e d ied .
G ill. (At the fro n t d oor. ) Good e v e n in '.
A u b r ey . Good e v e n in g , s ir .
G ill. Is th is w h er e M r. F i s h e r l i v e s ?
A u b rey . T h is is M r. F i s h e r ' s r e s i d e n c e , y e s , s ir . What
can I do fo r y o u ?
G ill. W hy, I got s o m e th in gs of h is h e r e th at the b o s s a s t
m e to le a v e .
A u b rey . Oh, ju s t ste p in s id e fo r a m in u te . G ettin g a little
c o ld e r I think.
G ill. W ell, we can look fo r it any tim e now .
A u b r ey . W ill you ju s t s te p in th is w a y , p l e a s e ? T h e r e 's a
g e n tle m a n h e r e , A m y , w ith s o m e th in g s b elo n g in g
to you r fa th e r . J u st c o m e r ig h t in .-^
E v e n though the p la y w r ig h t h a s c r e a te d M r. G ill to s e r v e a u tilita r ia n
and s u b s id ia r y fu n ctio n , he u s h e r s h im into h is d r a m a w ith the s a m e
c a r e he w ould g ive a p r in c ip a l. In th is w a y , a tte n tio n is n e v e r c a lle d
to the fa c t that G ill is only th e r e for e x p o s it o r y r e a s o n s and to s e r v e as
a f o il for A u b r ey .
K e lly 's a u th e n tic ity is im p a ir e d w h en h is o r n a te r h e to r ic i n t e r
c e d e s . T he tw o p la y s w h ich su ffe r m o s t f r o m th is d e fe c t w ou ld be
C r a ig 's W ife and B e h o ld , the B r i d e g r o o m - - . (T h e r e is a p r o b le m in
K r o n e n b e r g e r , The C avalcade of C om edy, p. 507.
285
A c t III of T h e T o r c h - B e a r e r s w h en F r e d R itte r e x c o r ia t e s P a m p in e lli,
but th is h a ra n g u e is not ty p ic a l of th e p la y . ) T h e r e a r e lo n g s p e e c h e s
in the b egin n in g of C r a ig 's W ife o f a r h e t o r ic a l n a tu re d u rin g w h ich the
aunt e x p la in s M r. K e lly 's t h e m e ^ and H a r r ie t e x p la in s h e r p h ilo so p h y
17
to w a rd m a r r ia g e , h e r m a te , and h e r h o u s e . H o w e v e r , the c h a r a c te r
m o s t often gu ilty of u n au th en tic r h e to r ic is W a lte r C ra ig w h en he
i
ja ss u m e s the s e lf - r ig h t e o u s r o le of a judge of h u m an b e h a v io r . He
|te lls H a r r ie t p e jo r a tiv e ly : "What h a v e y o u e v e r d on e, or a m illio n
o th e r s lik e y o u , that w ou ld w a r r a n t the a s s u m p tio n of su c h s u p e r io r ity
18
o v e r the m e n y o u 'r e m a r r ie d to."
M r. K e lly 's g r e a t e s t p r o b le m w ith a u th e n tic ity is e n c o u n te r e d
in a p e r u s a l of the p lay B e h o ld , the B r i d e g r o o m - - . L in e s lik e , "I have
s e e n the m a n , at w h o se bidding I m ig h t r is e to the f u lfillm e n t of any
19
w o rth th a t's in m e ," and "My la m p w a s not t r im m e d and burning
w h en the c r y w a s r a is e d ; and so I m u s tn 't w h ine if I a m not p e r m itte d
20
to go i n - - t o the m a r r ia g e su p p e r ," a r e h a r d ly a u th en tic and a r e not
p la u sib le in lig h t of w h at is know n about th e c h a r a c te r .
^ K e l l y , C r a ig 's W ife , p. 40.
17 18
I b i d ., pp. 1 7 -2 0 . Ibid. , p. 93.
19
K e lly , B e h o ld , the B r i d e g r o o m - - , p. 91.
20
Ib id ., pp. 165-166.
286
T h e r e a r e o th er in s ta n c e s in B e h o ld , the B r i d e g r o o m - - in w h ich
the la n g u a g e u s e d s e v e r e l y ta x e s the c r e d ib ility of the a u d ito r. One
e x a m p le is the op en in g s c e n e of A c t III b e tw e e n the tw o d o c to r s and
M r. L y le . N ot on ly is the f o r m of the s c e n e im p r o b a b le a s the d o c
t o r s ta lk i n f o r m a ll y - - a l m o s t c a s u a lly - - a b o u t a c a s e of life and d ea th ,
ibut a ls o th e con ten t is im p la u s ib le ; th ey d is c u s s th e ir p r o f e s s io n a l
j
jr e la tio n sh ip , h ow lit t le th ey know about th e c a s e , and h ow the p a tie n t
|m ay d ie . T h ey a ls o d i s c u s s p s y c h o lo g y a s if it w e r e s o m e u n m e n tio n -
!
lable, m y s t i c a l d is c ip lin e ; th is d is c u s s io n is doubly im p la u s ib le s in c e
i
i 21
|one of the d o c to r s is a p s y c h o lo g is t . H o w e v e r , K e lly p r o v id e s the
}
|coup de g r a c e of u n a u th en ticity w h en h e c o n c lu d e s the s c e n e w ith D r.
i
j
j L o e b e ll (the p s y c h o lo g is t) t e llin g an a n e c d o te about a g ir l who r e c o v
e r e d f r o m a c a s e of r e p in in g b e c a u s e h e r m a n c a m e b a ck and sh e th en
!
jeloped:
I
D r. L o e b e ll.
M r. L y le .
D r. L o e b e ll.
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , June 22, 1971.
22
K elly, Behold, the B r i d e g r o o m - - , p. 145.
. . . So le t us hope fo r s o m e th in g of the kind in
th is c a s e .
I a m a fr a id that is a ll w e can do.
I hop e s h e w ill o m it the e lo p e m e n t fe a tu r e of it,
th ou gh , - -fo r I think th is w ou ld be r a th e r an
id e a l p la c e fo r a w ed d in g . P le n ty of r o o m fo r
e v e r y b o d y .22
287
T h is b r ie f e x c e r p t is an e x c e lle n t e x a m p le of the im p la u s ib ility of fo r m
(the u n p r o f e s s io n a lis m of the d o c t o r s ) , and the im p r o b a b ility of c o n
ten t (the to p ic of c o n v e r s a t io n ), w h en one c o n s id e r s that M r. L y le 's
daugh ter is d yin g u p s t a ir s . W hat p e c u lia r r e m a r k s th e s e a r e - - d e v o id
of any a n x ie ty or in te n s ity , c o m in g f r o m a d o c to r who is in atten d an ce
|at su c h a s e r i o u s situ a tio n .
I
I
I K e lly 's d e s ir e to m a k e a m o r a l p oin t, h is u n fa m ilia r ity w ith the
|
ipeople he d e a lt w ith , and the e m o tio n a l a r e a s he e x p lo r e d a r e fa c to r s
i
jthat c o n trib u te d to s e v e r e p r o b le m s of a u th e n tic ity in h is lan gu age in
iB eh old , the B r i d e g r o o m - - .
j
T h e r e a r e c h a r a c t e r s in the K e lly r e p e to ir e who have q u ite d i s
tin c tiv e s p e e c h . M r s . P a m p in e lli in T he T o r c h - B e a r e r s is a good
jex a m p le . B e in g the s o c ie t y s c io n sh e i s , b e lie v in g she is an e m o tio n a l
j
" a r tis t, " and b e in g tr a in e d a s an e lo c u tio n t e a c h e r , she often sp e a k s in
a fla m b o y a n t m a n n e r . R h e to r ic and fla m b o y a n c e of s p e e c h s e e m p la u
sib le in the c a s e of P a m p in e lli w h o, u n lik e T ony L y le , is a s u p e r fic ia l
ic h a r a c te r . P a m p in e lli's s p e e c h is d is tin c tiv e in th at it is a p e r fe c t
e x te n s io n of th e c h a r a c te r . H e r e a r e s o m e e x a m p le s of ty p ic a l
v o c if e r a t i o n s :
I 23
W ell, I su p p o se I a m s t i l l the sh in in g e x a m p le of p u n ctu ality. . . .
So y o u w ill h a v e an o p p ortu n ity a fte r a ll of r e v e a lin g to h im what
g e m s of ta le n t the u n fa th o m ed c a v e s of m a tr im o n y b e a r . . . .^4
23 24
K e lly , T h e T o r c h - B e a r e r s , p. 30. Ibid. , p. 31.
288
B ut th en w e a r e not d ism a y e d ; we h a v e th e le s s o n s of h is to r y to
fo r tify us; fo r w h e n e v e r the e s s e n t i a l t o r c h of cu ltu re h a s b e e n
r a is e d th e r e h a s u n fa ilin g ly b e e n the c o n c o m ita n t e x a c tm e n t of a
h u m an lif e . . . .25 R e m e m b e r m y story: the a c t r e s s w ithout
h on or in h e r ow n h o m e . . . . ^ j u s t r e m e m b e r that a r t is the
7 7
h ig h e s t e x p r e s s i o n of tr u th --a n d you can n ot fa il.
A n oth er c h a r a c te r who cou ld be sa id to h ave quite d is tin c tiv e
d ia lo g u e is M r. F ilo o n in D a is y M a y m e . H is can d o r, h is unique p e r
s p e c t i v e - - a d e r iv a tiv e of h is a g e , h is a b ility to s e n s e the e m o tio n a l
|c lim a te of a s o c i a l g ro u p in g , and h is in d ep en d en ce a ll g ive h im a
| c h o ic e in d iv id u a lity . H is lan gu age is an id e a l e x te n s io n of the c h a r a c -
I
'te r . S o m e e x c e r p t s fr o m h is d ia lo g u e are:
F ilo o n .
D a is y .
F ilo o n .
L a u ra . D o n 't you go out m u c h , M r. F ilo o n ?
F ilo o n . C an't do it, the le g s w o n 't c a r r y m e .
Laur a . T h a t's too bad.
F ilo o n . Y e s , it's the le g s that g iv e s .
C liff.
W e ll, I su p p o se s o m e th in g h a s to g iv e out f ir s t .
B r o k e m y g l a s s e s y e s t e r d a y and I a m as blind as
a c a v e fis h . . . It w as the h o s e that done it. . . Got
aw ay f r o m m e fo r a m in u te and tw iste d in m y hand
. . . ! W histp ! - -to o k off c le a n as a tro u t and
s m a s h e d th e m on the f la g s . . .1 can 't sta y but a
m in u te , it's c lo s e to m y b e d tim e .
Y ou m u s t go to bed p r e tty e a r ly .
T h a t's r ig h t. . . e ig h t o 'c lo c k s u m m e r and w in te r.
25 26 27
Ibid. , p. 62. Ibid. , p. 173. Ibid. , p. 187.
289
F ilo o n . T h a t's r ig h t, s o m e th in g h a s to g iv e out s o m e t im e ,
or w e w ould be h e r e for e v e r . (He la u gh s a little
to h im s e lf .
F ilo o n , P a m p in e lli, and A u b rey P ip e r h a v e d ia lo g u e w h ich is
in d iv id u a lly e x p r e s s i v e and d is tin c tiv e to the point that the au d itor
could take a lm o s t any lin e out of c o n tex t and, th ro u g h e x a m in a tio n ,
t e l l that it is a s p e e c h of one of t h e s e th r e e c h a r a c t e r s . E a c h c h a r a c -
jter h as a f o r m of h is own.
j
L anguage Should B e E ffic ie n t,
T e r s e , and C lea r W hile Sup plying
In fo rm a tio n A bout P lo t, C h a r a c te r ,
E n v ir o n m e n t, and M ood
| C o n sid e r in g th is c r it e r io n , one fin d s K e lly an in te r e s tin g p a r a -
jdox. On the one hand he can w r ite s c e n e s w h ich a r e d r a m a tu r g ic a lly
i
I
sound and w h ich fo r w a r d the p lo t, illu m in a te c h a r a c te r , and en hance
jthe m o o d , and y e t he h a s a ls o w r itte n s c e n e s w h ic h a r e e x t r e m e ly
iredundant and a c c o m p lis h v e r y little d r a m a tic a lly . A s an e x a m p le of
one of K e lly 's w e ll- w r it t e n s c e n e s , a s c e n e f r o m T he T o r c h - B e a r e r s is
u tiliz e d . T he p la y -w it h in - th e - p la y is b e in g r e h e a r s e d and the d i r e c t
r e s s , M r s . P a m p in e lli, h a s g iv e n in s tr u c tio n s th at th ey should b egin
;with the la s t s c e n e in the p lay. M r. H o s s e f r o s s e , one of the p r in c ip a l
!c h a r a c te r s in the p la y -w ith in -th e p la y , d o es not u n d er sta n d and s ta r ts
w ith the op en in g s c e n e . T h e d i r e c t r e s s s te p s fo rw a rd :
28
K elly, D aisy M a y m e, pp. 108-114.
290
M r s . P a m p in e lli.
F e l l.
M r s . P a m p in e lli.
| (M r s . P a m p in e lli,
M r s . P a m p in e lli.
!
i
S M r s . F e l l.
I
I
j
i
j S p in d le r .
! T w ille r .
I
I
j M r s . P a m p in e lli.
|
In th is b r ie f e x c h a n g e of d ia lo g u e one can find a ty p ic a l e x a m p le of the
p r o b le m s w h ich b e s e t the com p an y d uring the r e h e a r s a l , fu r th e r i l l u
m in a tio n of c h a r a c te r , the te m p o r a r y e lim in a tio n of one c o m p lic a tio n
s lo w in g up the r e h e a r s a l, s ix d iffe r e n t c h a r a c te r s s k illfu lly in v o lv e d in
ia s c e n e w ith only ten l in e s , and a fo r e s h a d o w in g of the p r o b le m s to
j
c o m e r e g a r d in g H o s s e f r o s s e . T h is s c e n e is ty p ic a l of A c ts I and II of
W e 'r e tak in g the l a s t s c e n e f i r s t , M r. H o s s e
f r o s s e . T hat is the f i r s t s c e n e y o u a r e d oin g.
(Ju st ca tc h in g on. ) W ait a m in u te , w a it a
m in u te . S o m e b o d y 's off th e tr a c k . (T w ille r
and T ed d y both laugh at H o s s e f r o s s e . T w ille r
w a v e s h is hand at h im . R itte r b e g in s to
la u g h .)
I thought I had that p e r fe c t ly c le a r .
M r s . F e l l , S p in d ler and T w ille r t o g e t h e r .)
We a r e takin g the s c e n e at the f in is h b e tw e e n
you and M is s M e C r ic k e t.
( R is in g .) T h a t's the f i r s t s c e n e , H u x le y ,
and w e a r e takin g the la s t s c e n e , . . . (Show ing
h im w ith the book. ) S e e , r ig h t h e r e in the
book.
(T alk in g to T edd y. ) I hope he d o e s n 't pull
anything lik e that to m o r r o w n igh t.
D on 't w ea k en , H u x ley , you know w hat they
sa y about a bad r e h e a r s a l.
(T opping th e m a ll. ) P l e a s e , c h ild r e n , p le a s e .
29
K elly, The T o r c h - B e a r e r s , p. 69.
291
The T o r c h - B e a r e r s , during w h ich one p r o b le m a fte r a n o th er is i l l u m i
nated, d e m o n s tr a tin g the h u m o r o u s and b itin g s a t ir e .
A s c e n e fr o m C r a ig 's W ife p r o v id e s fu r th e r in s ig h t into K e lly 's
e ff ic ie n c y and s k ill in su p p lyin g n e c e s s a r y in fo r m a tio n . M r s . H a ro ld ,
H a r r ie t 's h o u s e k e e p e r , is ta lk in g to the m a id M a z ie :
M r s . H a ro ld .
M a z ie .
M r s . H arold .
M a z ie .
M r s . H a ro ld .
M a z ie .
M r s . H a ro ld .
M a z ie .
M r s . H arold .
M a z ie .
M r s . H a ro ld .
M a z ie .
I don't know w h e r e a ll th e r a in is c o m in g fr o m .
It is n 't v e r y n ic e w e a th e r fo r M r s . C r a ig , is
it?
You ca n 't t e l l , it m ig h t n ot b e r a in in ' in
A lbany. A r e n 't th o s e r o s e s b e a u tifu l?
(She s m e l ls the r o s e s . )
Y e s , th e y 'r e lo v e ly .
(C r o s s in g to th e fo o t of the s t a i r s . ) I h e a r d
h e r te llin g M is s A u ste n s h e 's got o v e r two
h undred r o s e s in h e r g a r d e n .
Is she s t ill u p s t a ir s ?
Yeh. I g u e s s s h e 's talk in ' p o o r M is s A u ste n
to death. (M a z ie lau gh s and r e s u m e s h er
p a p e r , and M r s . H a ro ld g iv e s an e y e around
the r o o m . ) B r in g that p a p er out w ith you w h en
y o u 'r e cornin', M a z ie ; d on 't le a v e it la y in '
around h e r e .
A ll righ t.
It'd be ju s t lik e the lad y to w a lk in on u s .
M r s. C r a ig , do you m e a n ?
She m ig h t, you ca n 't t e ll.
I thought you sa id sh e w o u ld n 't be b a ck b e fo r e
Sunday.
292
M r s . H a ro ld . T h a t's w hat sh e told told m e w h en sh e w as
goin' aw ay. B u t it's ju s t as w e ll to k e e p a
day or tw o ah ead of a w o m a n lik e M r s.
C r a ig , M a z ie ; (sh e f lic k s the du st f r o m the
ta b le w ith the d o ilie s ) if sh e g e ts an id e a up
t h e r e that t h e r e 's a pin out of p la c e around
h e r e , - - s h e ' l l take the f i r s t tr a in out of
A lb an y. (M a z ie m a k e s a sound of a m u s e
m e n t. ) Oh, t h e r e 's p len ty lik e h e r - - I ' v e
w o r k e d fo r t h r e e of th em ; y o u 'd think th e ir
30
h o u s e s w e r e God A lm ig h ty .
jKelly m ig h t be c e n s u r e d fo r u s in g the c lic h e tech n iq u e of tw o m a id s
i
su p p lyin g e x p o s ito r y in fo r m a tio n , but the s c e n e su b tly and s k illfu lly
|su p p lie s the fo llo w in g : K elly is a lr e a d y se ttin g the m o o d w ith the
i
iin c le m e n t w ea th er; th e r e is a fo r e s h a d o w in g of the r o s e s w h ich b e c o m e
im o re and m o r e im p o r ta n t as the p lay p r o c e e d s ; the a u d ie n c e is su p -
i
j
jplied w ith the lo c a tio n , fo r e s h a d o w in g , and c h a r a c te r e x p o s itio n r e -
j
ga rd in g M r s . F r a z i e r , w h o is r e s p o n s ib le fo r the r o s e s and who w ill
so o n en ter; M is s A u s te n , a v e r y im p o r ta n t c h a r a c te r , is lo c a te d and
i
!m en tio n ed ; the lo c a tio n and r a is o n d 'e tr e of the p r o ta g o n is t are i n t r o
duced; it is fo r e s h a d o w e d s h e m ig h t c o m e b a ck a n y t im e - - s h e d oes
;a r r iv e on the n e x t page; and the c e n tr a l c o n flic t of the p la y , H a r r ie t
C r a ig 's o b s e s s io n w ith h e r h o u s e , is in tr o d u c e d both th rou gh v e r b a l
; c o m m e n t and s ta g e b u s i n e s s .
T h e s e two s e c e n e s fr o m T h e T o r c h - B e a r e r s and C r a ig 's W ife
a r e ty p ic a l of K e lly 's e ff ic ie n c y and t e r s e n e s s in d e a lin g w ith the
30
K elly, C raig's Wife, pp. 9 -1 0 .
293
a s p e c ts of e x p o s itio n and p lot p r o g r e s s io n . If one tu rn s to D a is y
M a y m e , T h e S h o w -O ff, a n d /o r B e h o ld , th e B r i d e g r o o m - - , a m p le
e v id e n c e is found of s im i la r e x c e r p t s of d ia lo g u e w h ic h a c c o m p lis h a
31
g r e a t d ea l in a s u b tle , u n o b tr u s iv e , I b s e n e s q u e m a n n e r .
T h e r e a r e , h o w e v e r , s c e n e s in K e lly 's w o r k s w h ich a r e not
!
ie ffic ie n t or t e r s e in th e ir su p p ly in g of in fo r m a tio n . In T he S h o w -O ff
jfor e x a m p le , at the end of A c t I, it is 11:35 P .M . :
i
I
i M r s . F is h e r .
|
j
I
i J o e .
j M r s . F i s h e r .
1
I
I
I
I J o e .
I
|
! M r s . F is h e r .
J o e .
M r s . F is h e r .
T h is s c e n e c o n tin u es fo r s ix m o r e s p e e c h e s a fte r w h ic h M r s . F is h e r
K e lly , p r iv a te in te r v ie w , Sun C ity, C a lifo r n ia , A p r il 7, 1971.
K elly sa id he had rea d Ib se n and had a c q u ir e d a g r e a t a d m ir a tio n fo r
h im but did not f e e l that the N o r w e g ia n had in flu e n c e d h is w o rk .
32
K r o n e n b e r g e r , T h e C a v a lc a d e of C o m e d y , p. 501.
You'd b e tte r b r in g G yp sy Q u e en in and put
h e r in the lau n d ry th e r e ; sh e w as s h iv e r in '
w h en I o p en ed th e d oor th is m o r n in '. I
think it's too co ld fo r h e r on the b ack p o r c h .
C om e on in h e r e , G y p sy , c o m e on. (He
w h i s t l e s . )
(L ook in g to w a r d the door w h e r e J o e i s . )
A in 't sh e t h e r e ?
I d on 't s e e h e r .
(C a llin g in a h ig h v o ic e . ) W h ere a r e y o u ,
G ypsy ?
H er e sh e i s . C om e on in h e r e , G y p s y ! C om e
o n ! T h a t's the old g y p s y kid.
32
Go into the la u n d ry t h e r e , G yp sy.
294
h a s an e ig h t - lin e m o n o lo g u e in w h ic h sh e ta lk s to both J o e and the dog.
K e lly d e a ls w ith m in u tia in th is s c e n e w h ic h s u p p lie s no e x p o s itio n or
fo r e s h a d o w in g , d o e s little to illu m in a te c h a r a c te r , and d o e s n ot a s s i s t
the c o m ic c o n flic t b e tw e e n A u b rey and M r s. F i s h e r .
In B e h o ld , th e B r i d e g r o o m - - th e r e a r e tw o s c e n e s w h ich cou ld
be c o n s id e r e d o v e r w r it t e n and in e ffic ie n t. In A c t II, M r. L y le has
|ju st e n te r e d a s c e n e in w h ic h T ony and R id g e w a y a r e talking:
j
I M r. L y le . And how h a v e y o u b e e n , E le a n o r , p r e tty w e ll?
t
I
I'm a lw a y s p e r fe c t in the s u m m e r , U n cle R o b er t.
L ik e the hot w e a th e r , h e h ?
R id g e w a y .
M r . L y l e .
R id g e w a y . I a d o r e it; t h e r e 's n e v e r a thin g the m a tt e r w ith
m e fr o m the day it s ta r t s t ill it f in is h e s .
R id g e w a y . You look a w fu lly w e ll.
M r. L y le . Oh, I g u e s s I'll s u r v iv e .
R id g e w a y . I think so .
M r . L y le . . . . F e n to n w e ll, E le a n o r ?
R id g e w a y . Y e s , th an k s.
33
M r . L y le . And a ll the f o lk s ?
M r . L y le th en in q u ir e s as to the h e a lth of R id g e w a y 's m o th e r , and th ey
c o n c lu d e the e x c h a n g e , m a k in g jo k e s about R id g e w a y 's b irth d a y . T h is
e x c e r p t of s o c ia l a m e n it ie s c o n tin u es fo r th ir te e n m o r e s p e e c h e s . The
33
K elly , B ehold, the B r i d e g r o o m - - , pp. 113-115.
295
s c e n e c o n tr ib u te s nothing to the d r a m a tic a c tio n , illu m in a tio n of c h a r
a c te r is m in is c u le , and th e r e is no e n h a n c e m e n t of m o o d nor in f o r m a
tion about the e n v ir o n m e n t.
In A c t III of the s a m e p la y , th e r e is a s c e n e of tw e n ty -tw o
s p e e c h e s in v o lv in g both d o c t o r s , M r. L y le , and E d w a rd s the b u tler;
its con ten t is to ta lly d ev o ted to a d is c u s s io n of a p r e s c r ip t io n fo r T ony
34
L y le . T h e r e a r e fiv e r e f e r e n c e s to the a d d r e s s of the d r u g s to r e and
th e in s tr u c tio n s a r e r e p e a te d t w ic e . W ith the e x c e p tio n of the e s t a b
lis h m e n t of a m o o d of u r g e n c y , th is long e x c e r p t o f d ia lo g u e a c c o m -
|
jp lish es nothing in the c o n tex t of the p lay.
34Ibid. , pp. 130-132.
C H A PTER VI
SU M M A R Y A N D CO NCLUSIONS
A p ilo t stu dy r e v e a le d that G eo r g e K e lly 's m a jo r p la y s during
|the 1920's w e r e h ig h ly e n d o r s e d by lea d in g c r i t i c s . It w as a ls o d i s
c o v e r e d that the p la y w r ig h t n a r r o w ly m i s s e d r e c e iv in g the P u litz e r
iP r iz e fo r The S h o w -O ff in 1924, but th e fo llo w in g y e a r r e c e iv e d the
|
iaw ard fo r C r a ig 's W ife . D u e to th is aw ard and the c r it ic a l a c c la im
jthat K elly r e c e iv e d , he a c h ie v e d a c o n s id e r a b le e m in e n c e d uring the
I
1 9 2 0 's. One m ig h t w e ll a s s u m e th at su c h a rep u ta tio n w ould la s t for
Imany y e a r s to c o m e . H o w e v e r , h is t o r ic a l a c c o u n ts , e s s a y s , and
I
|
ja ca d em ic s tu d ie s w h ich s u r v e y the im p o r ta n t A m e r ic a n p la y w r ig h ts of
|the la s t fifty y e a r s g iv e K e lly a l e s s and l e s s s ig n ific a n t p la c e in
lA m e r ic a n d r a m a . T h is d im in u tio n of the d r a m a tis t's rep u ta tio n d oes
not c o r r e la t e w ith the a ffir m a tiv e c r it ic a l e n d o r s e m e n t the author
I r e c e iv e d in the t w e n tie s .
On the b a s is of the a b o v e , th e g e n e r a l p r o b le m of the study
w as to r e e v a lu a te th e m a jo r w o r k s of G e o r g e K elly w ith the v ie w of
id e te r m in in g to w hat e x te n t th is d im in u tio n of K e lly 's rep u ta tio n s in c e
the 1920's h a s b e e n ju s tifie d . T he r e la tiv e s tr e n g th s and w e a k n e s s e s
296
297
of K e lly 's p la y s had to be d e te r m in e d on the b a s is of sound c r it e r ia .
O nly th en cou ld th e r e la tiv e str e n g th s and w e a k n e s s e s of the c r it ic a l
c o m m e n t on K e lly 's p la y s in the 1 9 2 0 ’s be ju d ged .
C r it e r ia , or m e a n s of ju d gin g, w e r e a r r iv e d at by d e te r m in in g
w hat the le a d in g t h e o r is t s su c h as A r is t o t le , G u stav F r e y t a g , W illia m
■Archer, B r a n d e r M a tth e w s, John H ow ard L a w so n , G e o r g e P i e r c e
i
B a k e r , M a r ia n G a llaw ay, John G a s s n e r , and F r e d e r ic k B. M ille t
lagreed w e r e e s s e n t i a l in e ffe c tiv e p la y w r itin g , p a r tic u la r ly w ith
jr e s p e c t to p lo t, c h a r a c te r , la n g u a g e, and th e m e . T h e s e a u th o r itie s
a g r e e d th at e ffe c tiv e plot str u c tu r e m u s t h a v e the fo llo w in g : (1) e x p o
s i t i o n w h ic h u n o b tr u s iv e ly s u p p lie s the a n te c e d e n t a c tio n , w h ic h
I
q u ic k ly and c le a r ly in tr o d u c e s and e v o k e s in t e r e s t in the p r o b le m of the
I
I
play and the p r in c ip a l c h a r a c t e r s , and w h ich p r o v id e s n e c e s s a r y f o r e -
}
| shadow in g; (2) a r is in g a c tio n w h ich a c c e le r a t e s and in te n s ifie s - -m a d e
[p o ssib le only by a w e ll- p r e p a r e d fo r and s k illfu lly lo c a te d p o in t of
atta c k , m in o r c o n flic ts and c o m p lic a tio n s w h ich r e s u lt in c r i s i s s it u a
t io n s , and c r i s e s s k illfu lly lo c a te d and u tiliz e d fo r m a x im u m d r a m a tic
e ffe c t; (3) a m a jo r c lim a x w h ich is a d eq u a tely p r e p a r e d fo r , b e c o m e s
the e m o tio n a l h igh point of the w o rk , and c a u s e s a c o m p le te r e a lig n -
jm ent of the b a la n c e of f o r c e s ; and (4) a d e n o u e m e n t w h ic h is a lo g ic a l
s o lu tio n to the p r o b le m of the play and f u lfills the fu n c tio n of d r a m a tic
r e c a ll. In o r d e r to h a v e e ff e c tiv e c h a r a c te r iz a tio n , the above c r it ic s
a g reed : (1) that c h a r a c te r s m u s t be v ita l and str o n g ly m o tiv a te d ; (2)
298
that th ey m u s t be p la u s ib le and c o n s is te n t; and (3) th at in o r d e r to
e v o k e a d e s ir e d e m o tio n a l r e a c tio n , the c h a r a c te r s m u s t h a v e e m o
tio n a l d im e n s io n and be u n iv e r s a l. E f f e c t iv e u s e of la n gu age m a d e it
a r e q u is ite th at d ialogu e be a u th e n tic , d is tin c tiv e , e ff ic ie n t, t e r s e ,
c le a r , and f u r n is h in fo r m a tio n about p lo t, c h a r a c te r , e n v ir o n m e n t,
and m o o d . And fin a lly , th e m e w ould b e ju d ged e ff e c tiv e if it: (1) r e
su lte d in u n ity ; (2) w a s c le a r , r e le v a n t , and u n iv e r s a l; and (3) w a s an
jin tegral p a r t of the d r a m a tic a ctio n .
| T he c r it e r i a w e r e ap p lied to K e lly 's f iv e m a jo r w o r k s and th en
c o n te m p o r a r y and la te r c r it ic a l e v a lu a tio n s of the p la y s w e r e judged in
lig h t of the fin d in g s . A p p lic a tio n of th is c r it e r i a r e v e a le d that the
i
|
ip la y w r ig h t's m o s t c o n s is t e n t s k ill is in h is h a n d lin g of e x p o s itio n .
|
jWith v e r y fe w e x c e p tio n s , h is e x p o s itio n is c le a r , s u c c in c t , and su b tly
!
I r e v e a le d , a c c o m p lis h in g the g o a ls e s t a b lis h e d by the c r it e r ia . W hile
I
I c r it ic s s e ld o m c o m m e n te d s p e c if ic a lly on the s u b je c t of e x p o s itio n ,
r e m a r k s r e la tin g to th is a r e a of p la y w r itin g w e r e u s u a lly in the
a ffir m a tiv e .
W ith r e s p e c t to e ffe c tiv e d r a m a tic a c tio n , it w a s found that
| C r a ig 's W ife is the only p lay w h ich is r e la t iv e ly u n fla w ed . T he d r a -
I
m a tic a c tio n is s o m e w h a t h in d e r e d in A c ts II and III b e c a u s e the p la y
w r ig h t u s e s W a lter C raig as a r a is o n n e u r , e x c e s s i v e l y v e r b a liz in g h is
th e m e ; but w ith the e x c e p tio n of th is m in o r p r o b le m , the w ork h as a
299
d r a m a tic a c tio n w h ic h is a d e q u a te ly p r e p a r e d f o r , c le a r ly in itia te d ,
in te n s e ly h e ig h te n e d , and s k illfu lly r e s o lv e d . T he c r it ic s who c o m
m e n te d s p e c if ic a lly about K e lly 's p lo t s tr u c tu r e in th is p lay a c k n o w l
ed ged its s tr u c tu r a l p r o fic ie n c y . T h e S h o w -O ff h a s a b a s ic c o n flic t
w h ich is c o m e d ic in n a tu r e , c le a r ly d e lin e a te d , and h e ig h te n s in in te n
s ity , but it h a s an a m b ig u o u s m a jo r c r i s i s . A ls o its m a jo r c lim a x is
jp e cu lia r ly lo c a te d and h a s s o m e m in o r w e a k n e s s e s w h en ju d ged by the
i
ic r ite r ia . M o s t of the c r it ic s w e r e p r e o c c u p ie d w ith p r a is e w o r th y
|a c c o u n ts of K e lly 's s k ill of c h a r a c te r iz a t io n in The S h o w -O ff and did
inot c o m m e n t on the s tr u c tu r e of the w ork . Tw o c r it ic s who did c o m -
im ent on K e lly 's s tr u c tu r e in th is p lay w e r e in c o m p le te d is a g r e e m e n t.
|
jK e lly 's m ilie u stu d y, D a is y M a y m e , h a s an u n u su a l d r a m a tic a c tio n in
i
‘th at the p r o ta g o n is t, D a is y , is a l a i s s e z - f a i r e p a r tic ip a n t, r e la t iv e ly
u n c o m m itte d to any c o u r s e of a c tio n , w h ile the a n ta g o n ist, L a u ra
F e n n e r , is the a g g r e s s i v e fig u r e in the w o rk . It w as a ls o found that
the la tte r c h a r a c te r , lik e H a r r ie t C r a ig , is the o b je c t of K e lly 's p r o
p e n s ity to e x c o r ia t e and p u n ish . The p r o b le m s of the u n c o m m itte d
p r o ta g o n is t and K e lly 's c a s tig a tio n of the a n ta g o n ist w en t r e la t iv e ly
u n n o tic ed by th e c r it ic s .
I
I In ap p lyin g th e c r it e r ia fo r p lo t to The T o r c h - B e a r e r s and
B e h o ld , the B r i d e g r o o m - - , s e r io u s p r o b le m s w e r e d is c o v e r e d . The
f o r m e r p lay h a s a s e v e r e d isu n ity in its d r a m a tic a c tio n c a u s e d by
K e lly 's h o m il e c t i c s . A c ts I and II c o n s is t of one a c tio n w h ic h is
299
d r a m a tic a c tio n w h ic h is a d e q u a te ly p r e p a r e d f o r , c le a r ly in itia te d ,
in te n s e ly h e ig h te n e d , and s k illfu lly r e s o lv e d . T he c r it ic s who c o m
m e n te d s p e c if ic a lly about K e lly 's p lo t s tr u c tu r e in th is p lay a c k n o w l
ed ged its s tr u c tu r a l p r o f ic ie n c y . T h e S h o w -O ff h a s a b a s ic c o n flic t
w h ich is c o m e d ic in n a tu r e , c le a r ly d e lin e a te d , and h e ig h te n s in in te n -
jsity, but it h a s an a m b ig u o u s m a jo r c r i s i s . A ls o its m a jo r c lim a x is
jp e cu lia r ly lo c a te d and h a s s o m e m in o r w e a k n e s s e s w hen ju d ged by the
|
(c r ite r ia . M o s t of the c r it ic s w e r e p r e o c c u p ie d w ith p r a is e w o r th y
'accou n ts of K e lly 's s k ill of c h a r a c te r iz a t io n in T he S h o w -O ff and did
Inot c o m m e n t on the s tr u c tu r e of the w o rk . Tw o c r it ic s who did c o m -
im ent on K e lly 's s tr u c tu r e in th is p lay w e r e in c o m p le te d is a g r e e m e n t.
j
;K elly's m ilie u stu d y, D a is y M a y m e , h a s an u n u su a l d r a m a tic a c tio n in
th at the p r o ta g o n is t, D a is y , is a l a i s s e z - f a i r e p a r tic ip a n t, r e la t iv e ly
i
I
ju n co m m itted to any c o u r s e of a c tio n , w h ile the a n ta g o n ist, L a u ra
i
i
| F e n n e r , is the a g g r e s s i v e fig u r e in the w o r k . It w a s a ls o found that
the la tte r c h a r a c te r , lik e H a r r ie t C r a ig , is the o b je c t of K e lly 's p r o
p e n s ity to e x c o r ia te and p u n ish . The p r o b le m s of the u n c o m m itte d
p r o ta g o n is t and K e lly 's c a s tig a tio n of the a n ta g o n ist w en t r e la t iv e ly
u n n o ticed by the c r i t i c s .
; In ap p lyin g th e c r it e r i a fo r p lo t to The T o r c h - B e a r e r s and
B e h o ld , the B r i d e g r o o m - - , s e r io u s p r o b le m s w e r e d is c o v e r e d . The
fo r m e r play h a s a s e v e r e d isu n ity in its d r a m a tic a c tio n c a u s e d by
K e lly 's h o m il e c t i c s . A c ts I and II c o n s is t of one a c tio n w h ic h is
30o
d iffe r e n t in f o r m than the a c tio n of A c t III. S e v e r a l c r it ic s w e r e a w a re
of the in h e r e n t s tr u c t u r a l p r o b le m s in T he T o r c h - B e a r e r s , but none
c o m m e n te d s p e c if ic a lly on w hat th ey w e r e . B e h o ld , the B r i d e g r o o m - -
h a s both the m a jo r c r i s i s and c lim a x o c c u r r in g to the p r o ta g o n is t
b e tw e e n A c ts I and II, thus c a u s in g the w o rk to have two a c ts of fa llin g
in s te a d of r is in g a c tio n . W hile th e r e w e r e n e g a tiv e c r it ic a l c o m m e n ts
i
Iwith r e g a r d to th is p la y , none of the w r it e r s n o ted K e lly 's u n u su al
I
i
is t r u c t u r e .
I K e lly 's m o s t c o n s is t e n t s tr e n g th in c h a r a c te r iz a t io n ir o n ic a lly
|w as found to be h is r e a l i s t i c and c o lo r fu l d e p ic tio n of h is m in o r c h a r -
ja c te r s , i . e . , M r. F ilo o n , M r. S p in d le r , Connie P e y to n , e t a l . A p p ly
ing the c r it e r i a to the p la y w r ig h t's p r o t a g o n is t s , it w as d is c o v e r e d that
!
ionly A u b r e y P ip e r and M r s . F is h e r a r e w ith ou t w e a k n e s s . A u b rey w a s
found to be n ot on ly h ig h ly in d iv id u a liz e d but a ls o a u n iv e r s a l ty p e . He
g a v e the w o rk a unique d r a m a tic a c tio n , u n ity , and a th e m e w h ich w a s
both r e le v a n t and u n iv e r s a l. And M r s . F i s h e r , in ad d ition to being
ju d ged a f fir m a t iv e ly in lig h t of the c r it e r i a , w as found to b e a p e r fe c t
f o il f o r A u b r e y . H a r r ie t C ra ig , M r s . P a m p in e lli, and D a is y M a y m e
w e r e found to be v ita l and s tr o n g ly m o tiv a te d , but a ll th r e e la c k e d
I
jem o tio n a l d im e n s io n . B e c a u s e C r a ig 's W ife and D a is y M aym e a r e
m o r e s e r io u s w o r k s than T he T o r c h - B e a r e r s , th is la c k of e m o tio n a l
d im e n s io n p a r t ic u la r ly h a m p e r e d th e ir e f f e c t i v e n e s s . K elly w as
a c c la im e d in m o s t in s ta n c e s fo r h is d e lin e a tio n of A u b r ey , M r s.
301
F i s h e r , H a r r ie t , and P a m p in e lli; h o w e v e r , c r it ic s did n ot n o tic e the
la c k of e m o tio n a l d im e n s io n in H a r r ie t. T he c h a r a c te r of D a is y
e lic it e d m o s t ly n e g a tiv e r e a c t io n s .
K e lly 's g r e a t e s t w e a k n e s s in c h a r a c te r iz a t io n w a s e n c o u n te r e d
w h en the c r it e r i a w e r e ap p lied to th r e e of h is m a le p r in c ip a ls . W a lter
I
jC raig, C liff M e ttin g e r , and S p e n c e r T r a in w e r e found to be w ithout
|
j
v ita lity , in c o n s is t e n t, and e x t r e m e ly d e fic ie n t in e m o tio n a l d im e n s io n .
jA lso, K e lly , in h is d e s ir e to h a v e C ra ig fu n ctio n a s the p la y w r ig h t's
jr a is o n n e u r , only adds the e le m e n t of im p la u s ib ilit y . C raig and M e t-
iin g e r , in sp ite of the s e v e r e p r o b le m s in th e ir p o r tr a y a l, r e c e iv e d
jboth p ro and con r e a c t io n s fr o m the c r i t i c s . T r a in e v o k ed m o s t ly
n e g a tiv e c r it ic i s m .
| W hen K elly is w r itin g about the m ilie u he know s b e s t, i. e . , the
|
m i d d l e - c l a s s , h is la n g u a g e is d is tin c tiv e , a u th en tic, and e ffic ie n t. The
c r it ic s applauded the d r a m a tis t fo r h is s k ill w ith th is g e n r e of d ia lo g u e.
H o w e v e r , s e v e r e p r o b le m s of a u th e n tic ity w e r e e n c o u n te r e d w h en the
c r it e r i a w e r e ap p lied to s e c t io n s of d ialogu e in C r a ig 's W ife and B e h o ld ,
the B r i d e g r o o m - - . K e lly 's d ia lo g u e a s s u m e s a ty p e of o rn a te r h e to r ic
w h en h is c h a r a c te r s a r e of a h ig h e r c la s s a n d /o r he d e s ir e s to c a s t i -
jgate one of h is p r in c ip a l c h a r a c te r s fo r w hat he c o n s id e r s an i n e x c u s
ab le t r a n s g r e s s io n . T h e c r it ic s who r e c o g n iz e d th is r h e t o r ic a l p r o b
le m w e r e in the m in o r ity , and th e r e w e r e c r it ic s who w e r e a c tu a lly
i m p r e s s e d w ith the lit e r a r y q u a lity of the la n g u a g e , e v id e n tly h a v in g
302
little c o n c e r n fo r the a s p e c t of a u th e n tic ity .
T he th e m e of on ly T h e S h o w -O ff w as found to m e e t a ll the
r e q u ir e m e n ts o f the c r it e r ia . A s ig n ific a n t fa c to r in the e s ta b lis h m e n t
of the valu e of the th e m e o f th is p lay w as the fa c t that K elly d oes not
d id a c tic a lly in te r c e d e to judge a n d /o r e x c o r ia te one of h is p r in c ip a ls .
Only a f e w of the c r it ic s w e r e s e n s it iv e to the m o r e u n iv e r s a l im p li-
’c a tio n s of K e lly 's m e s s a g e in T h e S h o w -O ff, and none c o m m e n te d on
|
!the fa c t th at th is w a s the on ly K elly w o rk of the tw e n tie s in w h ich he
' r e p r e s s e d h is h o m il e c t i c s .
; C r a ig 's W ife h a s a th e m e w h ich r e s u lt s in u n ity, is c le a r ,
r e le v a n t , and u n iv e r s a l, and co u ld be an in te g r a l p a rt of the d r a m a tic
m o v e m e n t; h o w e v e r , the p la y w r ig h t v e r b a liz e s the th e m e u n n e c e s s a r ily
|and in te r c e d e s to m a k e v a lu e ju d g m en ts of h is p r o ta g o n ist. Only a fe w
I
I of the c r it ic s n o tic e d th is in h e r e n t th e m a tic p r o b le m .
i
! T h e r e a r e p r o b le m s of th e m a tic unity in D a is y M a y m e due to a
s c h is m a t ic e m p h a s is in th e d r a m a tic a c tio n . T h is p r o b le m is a r e s u lt
of K e lly 's d e s ir e to p u n ish h is a n ta g o n ist. It w as a ls o found that the
th e m e is s u p e r f ic ia l and h a s lit t le r e le v a n c e or u n iv e r s a lity . Tw o of !
the c r it ic s w e r e c o g n iz a n t of the s u p e r fic ia lit y of the t h e m e , but none
! of the c r it ic s n o te d the p r o b le m of d isu n ity .
T h e th e m e o f B e h o ld , the B r i d e g r o o m r e s u lt s in unity and is
an in te g r a l p a r t of th e d r a m a tic m o v e m e n t, but its u n m o d ish m o r a l
s tr in g e n c y s e v e r e l y lim it s its r e le v a n c e and u n iv e r s a lity . Only a few
303
of the c r it ic s n o ted the s e v e r e lim ita tio n of K e lly 's m e s s a g e . The data
r e v e a le d that th e r e is s o m e d e g r e e of r e le v a n c e in the th e m e of T he
T o r c h - B e a r e r s but th at t h e r e a r e s e r io u s p r o b le m s in lig h t of the o th er
tw o c r it e r ia . M o s t of the c r it ic s w e r e not c o g n iz a n t of the in h e r e n t
th e m a tic w e a k n e s s e s in th is p la y , and th ey d is a g r e e d as to the rele-r
v a n c e of the th e m e .
| A c o n s id e r a tio n of a ll the fin d in g s w ith r e g a r d to p lo t, c h a r a c -
i
Ite r iza tio n , la n g u a g e , and th e m e s e e m s to su p p ly adequate e v id e n c e that
|K elly is n ot w ith ou t s k ill a s a p la y w r ig h t. The T o r c h - B e a r e r s d e m o n
s t r a t e s h is s k ill fo r e ffe c tiv e s a tir e ; C r a ig 's W ife is e x c e p tio n a lly w e l l-
j
I c o n str u c te d ; D a is y M a y m e is an e x c e lle n t e x a m p le of m id d le - c l a s s
m ilie u d e lin e a tio n ; B e h o ld , the B r i d e g r o o m - - is p r a is e w o r th y in that
I
jK elly a tte m p te d to f r e e h i m s e l f f r o m the r e a li s t i c m old; and The S h ow -
|O ff is of s u p e r io r q u a lity . H o w e v e r , K e lly 's c o m p u ls io n to p u n ish
th o s e he b e lie v e s to be a b e r r a n t h a s r e s u lt e d in s e v e r e d isu n ity in The
T o r c h - B e a r e r s , a th e m a tic p r o b le m in C r a ig 's W ife , a q u e stio n a b le
e m p h a s is on p u n itive c a s tig a tio n in D a is y M a y m e , and in B e h o ld , the
B r i d e g r o o m - - it n ot only im p a ir s the c r e d ib ility of the p r o ta g o n is t but
ja ls o g iv e s the p lay a n a r r o w , u n m o d ish th e m e w h ich d e s tr o y s any
p o te n tia l the w o rk m ig h t h a v e had to a c h ie v e th e m a tic r e le v a n c e or
unive r s a l it y .
304
F o r e x a m p le , in The T o r c h - B e a r e r s , K e lly is n ot con ten t to le t
the a u d ie n c e in te r p r e t fo r t h e m s e lv e s the a b su r d ity of P a m p in e lli's
guidance; the p la y w r ig h t h a s h is r a is o n n e u r s te p in and e x c o r ia t e the
w e ll- m e a n in g but in c o m p e te n t d i r e c t r e s s , thus th r o w in g h is c o m e d y
out of b a la n c e . W ith C r a ig 's W ife , K elly h a s c r e a te d a w o r k in w h ich
the th e m e cou ld be an in te g r a l p a r t of the d r a m a tic action ; h o w e v e r ,
w hat he c o n s id e r s m o r a l tu rp itu d e m u s t n ot go u n n o tic e d , u n in t e r
p r e te d , and u n p u n ish ed , so a g a in a s e lf - r ig h t e o u s m a le in t e r c e d e s on
Ibehalf of the d r a m a tis t and d i s c u s s e s the b a s ic d is h o n e s ty of the p r o
ta g o n is t . In D a is y M a y m e , the s e lf is h n e s s of the c h a r a c te r of L a u ra
iF enner so u p s e ts the p la y w r ig h t that he not on ly m e t e s out c r u sh in g
I
jdefeat to h e r th rou gh the d r a m a tic a c tio n of th e p la y , but a ls o s u b je c ts
h e r to h u m ilia tin g d ia tr ib e s fr o m h e r n ie c e and the p r o ta g o n is t. In so
i
idoing, he im p a ir s the c o m e d ic e ff e c t of the w o r k . A c o n s id e r a tio n of
|
jB e h o ld , the B r i d e g r o o m - - fin d s K e lly 's s tr in g e n t m o r a l i t y - - a p u r i
ta n ic a l o r ie n t a t io n - - c o m e fu ll c y c le ; h is m o r a l cod e is the r a is o n
d 'e tr e of the p la y . T ony L y le d ie s b e c a u s e sh e h a s sin n e d and thus the
d r a m a tic a c tio n i t s e lf b e c o m e s a p u r ita n ic a l s ta te m e n t. In the w o rk of
jEugene O 'N e ill (D e s ir e U n d er the E l m s ), T e n n e s s e e W illia m s (A
i
(S treetca r N a m e d D e s i r e ) , and A rth u r M ille r (T he C r u c ib le ), p r o ta g o -
I -------------------------------------------- ------------------------
n is ts a r e r a v a g e d by g u ilt, w h ic h is the r e s u lt of a p u r ita n ic a l cod e in
c o n flic t w ith m a n 's s e n s u a l n atu re; but the v ie w p o in t of t h e s e p la y
w r ig h ts is one of d e t a c h m e n t -- t h e y s im p ly p r e s e n t the e f f e c ts of
JD 3_
P u r ita n ism and le t the a u d ien ce d e te r m in e the w orth o f the h u m a n a n d /
or the c o d e . In B e h o ld , the B r i d e g r o o m - - , K elly h as m a n ip u la te d
c h a r a c te r and situ a tio n to a r b itr a r ily e s t a b lis h the w o r th of a p u r i
ta n ic a l w ay of th in k in g. H e d o e s n ot p r e s e n t h is m o r a lity fo r i n t e r p r e
tation; he p r e s e n t s it a s the c o r r e c t m o r a lity : the w a g e s of s in a r e
jdeath.
| In h is d e s ir e to p u n ish the t r a n s g r e s s o r w ith the s e v e r it y that
h e d e e m s n e c e s s a r y , K elly o ften u p s e ts the d e s ir e d b a la n c e of s y m -
ipathy or tru e em p a th y fo r the p r o ta g o n is t and h o s t ilit y fo r the a n ta g o
n i s t . T h e d r a m a tis t d e s ir e s u n sy m p a th e tic v ib r a tio n s f r o m h is a u d i-
!ence fo r M r s . P a m p in e lli, H a r r ie t C r a ig , and L a u r a F e n n e r . H o w -
|
I
sever, e a c h of t h e s e c h a r a c te r s is so c r u e lly c a s tig a te d fo r b e h a v io r
jwhich s e e m s to be the r e s u lt of so m e n e u r o tic n e e d th at one c o m e s to
i
I
ife e l m o r e sy m p a th y fo r th e m than fo r the d r a m a tic fig u r e doing the
j
jjudging. (T he a r b ite r w ould be K e lly 's c h o ic e to in s p ir e e m p a th y a n d /
or sy m p a th y . )
K e lly 's m o r a l o r ie n ta tio n lim it s h is c a p a c ity fo r in te r p r e ta tio n
of h u m an b e h a v io r . W ith h is "puritan ey e " he in te r p r e ts m a n 's a c tio n s
in a s im p l is t ic m a n n e r . A m a n is e ith e r good or bad. F o r K e lly th e r e
!a r e no s h a d e s of g rey ; h is w o r ld is d ev o id of the e n ig m a t ic , m y s t ic a l
t
f o r c e s w h ich so o ften m o tiv a te the c h a r a c te r s of E u g en e O 'N e ill and
H e n r ik Ib se n . In K e lly 's p la y s the e v il - d o e r is su b je c te d to a p r e a c h
m e n t w h ic h a r tic u la te ly and e ffic ie n tly s u m s up h is p r o b le m s and
306
t r a n s g r e s s io n s w ith a p h ilo so p h ic a b s o lu tis m ; he is r e j e c t e d f r o m the
m ilie u of the r ig h te o u s and K e lly h a s s o lv e d the p r o b le m of the p lay.
With h is p r o p e n s ity to m e a s u r e a ll b e h a v io r w ith a m o r a l y a r d
s tic k , the p la y w r ig h t s e ld o m c o n s id e r s th e p s y c h o s o c io lo g ic a l f o r c e s
w h ich d e te r m in e h u m an b e h a v io r . T h e r e is little in fo r m a tio n that
w ould h e lp one u n d er sta n d the e g o m a n ia of M r s . P a m p in e lli, the
.n e u r o tic n e e d s of L a u ra F e n n e r o r H a r r ie t C r a ig , or the p e c u lia r
tr a n s fo r m a tio n of T on y L y le .
! T h e d e tr im e n ta l a s p e c t s o f K e lly 's m o r a l s tr in g e n c y b e c o m e
lev en m o r e e v id e n t w h en o n e c o n s id e r s the fa c t th at T he S h o w -O ff is the
only K elly w ork w ithout th is p r o b le m and, w ith the e x c e p tio n of s o m e
m in o r s tr u c tu r a l w e a k n e s s e s , th e only p la y of a ll-a r o u n d s u p e r io r
w orth . T h is is su p p o rte d by its u n a n im o u s c r it ic a l a c c la im and its
| i m p r e s s iv e p o p u la r ity --r u n n in g n e a r ly th r e e y e a r s on B r o a d w a y and
|
jhaving th r e e m a jo r p r o f e s s io n a l r e v iv a ls in N ew Y ork in 1932, 1950,
i
and 1967.
Of a ll K e lly 's w o r k s , T h e S h o w -O ff b e c o m e s an a ty p ic a l c r e a
tion s in c e it h a s n e ith e r p r e a c h m e n t n o r p u n ish m e n t in its d r a m a tic
a c tio n . A u b rey P ip e r , " c o n -m a n e x tr a o r d in a ir e ," b e c o m e s a c u r io u s
| and unique fig u r e a m o n g K e lly 's r e p e t o ir e of c h a r a c te r s w h en he not
only e s c a p e s m o r a l ju d g m e n t but is r e w a r d e d fo r h is d is h o n e s t b r a g
g a d o c io . H o w e v e r , o n c e T he S h o w -O ff w as on "the b o a r d s ," it w as as
if K elly a p p a ren tly had to c o m p e n s a te fo r r e w a r d in g th is p r o v o c a tiv e
307
lia r , so a s tr in g e n t a u s t e r ity e n v e lo p s h is a r t i s t i c v is io n lik e an i n im i
c a l fog b e c lo u d in g th e r e m a in d e r of h is w o r k . H o w e v e r , th is w a s not
s e e n v e r y c le a r ly by the c r it ic s of the 1 9 2 0 's. F o r s o m e r e a s o n ,
K e lly 's a c q u is itio n of th e P u lit z e r P r i z e , h is s e r i o u s n e s s of in ten t, h is
p e r s o n a l a lo o fn e s s a s a h u m a n b e in g , and h is s e e m in g d e s ir e to w r ite
iwith no c o n s id e r a tio n fo r p op u la r ta s t e in D a is y M a y m e and B e h o ld , the
[B r i d e g r o o m - - c a u s e d the c r it ic s to h o ld h im in aw e and g iv e h im a
i
's p e c ia l O ly m p ia n n ic h e . It is a s if h is e x tr e m e a u s t e r ity w a s m is ta k e n
|for a r t is t ic in te n s ity . B e c a u s e he w ould n o t bow to the popu lar n e e d s
[of B ro a d w a y and w ou ld n ot r e tu r n to th e o b je c tiv e and s a t ir ic a l fo r m of
! T he T o r c h - B e a r e r s and T he S h o w -O ff, he w as a d m ir e d a s a p la y w r ig h t
i - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
i
| " trying o th e r f o r m s " and r e fu s in g to be " lim ite d in c l a s s i f i c a t i o n ."
The fa c t th at tw o of K e lly 's m o s t in e ffe c tiv e p la y s , D a is y M a y m e and
j B e h o ld , the B r i d e g r o o m - - , r e c e i v e d s o m e of the m o s t e n th u s ia s tic
I
i p r a is e f r o m the c r it ic s s e e m s to s u g g e s t that t h e s e c r it ic s w e r e b ein g
in flu e n c e d by s o m e th in g o th e r than the r e la tiv e w orth of the p la y s in
q u e stio n . N e a r ly a ll of t h e s e r e v ie w s w e r e found to be e ith e r in c o m
p le te or in v a lid . M o s t of the c r i t i c i s m c la s s i f i e d a s in v a lid w a s found
to be so b e c a u s e it w a s i n c o r r e c t ly a ffir m a tiv e - -in s o m e c a s e s im -
^ m o d e r a te ly s o . T h e r e i s , in fa c t, a c o r r e la tio n b e tw e e n the d e g r e e of
in v a lid ity of the c r i t i c i s m and the d e g r e e of a f f ir m a t io n - - t h e m o r e
in o r d in a te ly p r a is e w o r th y the c r i t i c i s m , the m o r e in v a lid it w a s found
to b e. W hen put to the t e s t of the c r it e r i a s e le c t e d fo r th is stu d y,_____
308
th e r e is little ju s tific a tio n fo r the la u d a to ry c r it ic a l e n d o r s e m e n t
a ffo rd ed K elly at the peak of h is c a r e e r d u rin g the 1 9 2 0 's and a m p le
ju s tific a tio n fo r the la c k of c r it ic a l a tte n tio n and a c c la im f r o m w r ite r s
s in c e the 1 9 2 0 's. Thus the d im in u tio n of the p la y w r ig h t's rep u ta tio n
d uring the la s t f o r t y - s o m e y e a r s s e e m s to be ju s tifie d .
B I B L I O G R A P H Y
I
309
BIB L IO G R A PH Y
P r im a r y S o u r c e s
P u b lis h e d P l a y s , O n e -A c t s ,
by G eo r g e K elly
" F in d e r s - K e e p e r s , " in The A p p leto n B ook of S h o r t P l a y s ,
e d ite d by K en yon N ic h e ls o n . N ew York: D. A p p le to n , 1926.
C o p yrigh ted in 1916 und er the t it le , "The L e s s o n ."
"The F la tt e r in g W ord, " in T he F la tt e r in g W ord and O th er Q ne-
A c t P l a y s , N ew York: L it tle , B r o w n , 1927.
"One of T h o se T h in g s , " in O n e -A c t P la y s fo r Stage and Study.
N ew York: S a m u e l F r e n c h , 1927.
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" D ram a.
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"Dram a.
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!
!
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j
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i
i"The N ew P la y . " T h e a tr e M a g a z in e , 36 (N o v e m b e r , 1922), 298.
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i
iT a y lo r , O tis C h a tfield . "The T h e a tr e . " O utlook and In d ep en d en t, 157
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j '
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I
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i
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I
I
I
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Asset Metadata

Creator Henderson, Peter Wood (author)

Core Title A Re-Evaluation Of The Major Works Of George Kelly

Degree Doctor of Philosophy

Degree Program Communication (Drama)

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag literature, American,OAI-PMH Harvest,Theater

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Stahl, Herbert M. (committee chair), Butler, James H. (committee member), Dickens, Milton (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-671122

Unique identifier UC11363132

Identifier 7411689.pdf (filename),usctheses-c18-671122 (legacy record id)

Legacy Identifier 7411689

Dmrecord 671122

Document Type Dissertation

Rights Henderson, Peter Wood

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA