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A critical analysis of the society comedies of Henry Churchill De Mille and their contribution to the American theater
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A critical analysis of the society comedies of Henry Churchill De Mille and their contribution to the American theater
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Content
A CRITICAL ANALYSIS OP THE SOCIETY COMEDIES OP
11
HENRY CHURCHILL DE MILLE AND THEIR CONTRIBUTION
f
TO THE AMERICAN THEATER
"by
Fred C h a rles M artin
"i
A D i s s e r t a t i o n P r e se n te d t o th e
FACULTY OP THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In P a r t i a l F u l f il l m e n t o f th e
R equirem ents f o r th e D egree
DOCTOR OP PHILOSOPHY
( C ommunic a t i on— Drama)
January 1970
UMI Number: DP22314
All rights reserved
INFORMATION TO ALL USERS
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a note will indicate the deletion.
Dissertation Publishing
UMI DP22314
Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author.
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© Copyright by
FRED CHARLES MARTIN
1970
UNIVERSITY O F SO U T H E R N CA LIFO RN IA
T H E G R A D U A T E SC H O O L.
U N IV E R S IT Y PA R K
L O S A N G E L E S , C A L IF O R N IA . 9 0 0 0 7
Pk-T>.
CM
7 0
This dissertation, written by ^
....................... F r e d _ C _h a r 1 e s _ M a rtin .......................
under the direction of h i 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 for the degree of
D O C T O R OF P H IL O S O P H Y
Dean
Date. J a n u a ry 19 7 0
DISJ TIQN COMMITTEE
TABLE OF CONTENTS
C hapter Page
I . INTRODUCTION.................................................................... 1
S i g n if i c a n c e o f th e Study
S tatem en t o f th e Problem
L im ita tio n o f t h e Study
D e f i n i t i o n s o f Terms
Methods and P roced u res
Review o f th e L it e r a t u r e
I I . ANTECEDENT FACTORS W HICH INFLUENCED THE
W ORKS OF HENRY CHURCHILL DE M I L L E ..................... l4
Summary
I I I . BACKGROUND MATERIAL REGARDING THE LIFE f
OF HENRY CHURCHILL DE M I L L E 4 l ,
Summary
IV. ANALYSIS OF THE PLAYS OF HENRY
CHURCHILL DE M ILLE.............................................................. 63
John D elm er's D au gh ters; o r , Duty
The Main L in e; o r , Rawson.1 s Y
The W ife
Lord Chumley
The C h a rity B a ll
Men and Women
The L ost P a r a d is e
V. SUM M ARY AND CONCLUSIONS.....................................................166
APPENDIX.............................................. 175
BIBLIOGRAPHY............................................................. 180
CHAPTER I
INTRODUCTION
Henry C h u r c h ill De M ille was th e author., adapter.,
or c o -a u th o r of' se v e n p la y s produced In th e com m ercial
New York C ity p la y h o u se s betw een th e y e a r s 1883 and 1 8 9 1 .
One o f th e p la y s was w r it t e n by De M ille alone., one was an
a d a p ta tio n , and f i v e were c o l l a b o r a t i o n s . The most s u c
c e s s f u l o f h i s p la y s were th e fo u r s o c i e t y com edies w r it t e n
in c o ll a b o r a t io n w ith David B e la s c o — th e y had th e lo n g e s t
ru n sj th e y o c c u p ie d an alm ost permanent p o s i t i o n in th e
s to c k com panies o f t h e p e r io d j th e y r e c e iv e d th e g r e a t e s t
c r i t i c a l p r a i s e ; and t h i s d i s s e r t a t i o n has a ttem p ted to
show t h a t from t h e s e p la y s one can s e e a c l e a r r e f l e c t i o n
o f th e t h e a t e r o f th e 1 8 8 0 1s i n New York C ity as i t r e l a t e s
t o Am erican t h e a t e r h i s t o r y . An a n a l y s is o f De M i l l e 1s-
p la y s was c o n s id e r e d v i t a l i n d e ter m in in g t h e d i s t i n c t i v e
and un iqu e c h a r a c t e r i s t i c s which p la c e d h i s s o c i e t y come
d i e s i n a p o s i t i o n o f prom inence and i n f l u e n c e i n th e h i s
t o r y o f American t h e a t e r .
S i g n i f i c a n c e o f th e Study
So much d oes i t count t o be th e f i r s t i n a f r e s h
f i e l d o f a r t i s t i c e n t e r p r i s e , th a t i t i s not absurd to
1
2
presum e t h a t Henry C. De M ille m ight h o ld a p la c e o f l a s t
in g d i s t i n c t i o n i n th e r e c o r d s o f th e American s t a g e . In
f a c t , i t may be argued t h a t De M i l l e ' s p o s i t i o n and c o n t r i
b u tio n as a s i g n i f i c a n t d r a m a tist o f h i s p e r io d h as not
been em phasized s t r o n g ly enough. Some c r i t i c s have su g
g e s t e d th a t had he not w r i t t e n h i s s o c i e t y c o m e d ie s, a p o r
t i o n o f American t h e a t e r h i s t o r y m ight have been l o s t . Ac
c o r d in g to The I l l u s t r a t e d Am erican, March 4 , 1893 j w r itt e n
one month a f t e r De M i l l e ' s d e a th ; "It i s th e g e n e r a l o p in
io n t h a t Mr. De M ille was th e o r ig i n a t o r o f a p a r t i c u la r
and p e c u lia r s c h o o l o f plays."'*'
C raig T im berlake commented th a t "the c o ll a b o r a t io n
o f De M ille and B e la s c o produced fo u r o f th e m ost s u c c e s s -
2
f u l p la y s o f t h e p e r io d ." Even t h e i r f i r s t play* The
W ife, d e s p i t e i t s f a u l t s., was a p o p u la r accom plish m en t and
w e l l r e c e iv e d t o su ch an e x te n t t h a t th e p r e s s , p a r t i c u
l a r l y The New York Times and The H erald w ere i n c l i n e d to
view i t as an. im p o rta n t American p la y and a s i g n i f i c a n t
c o n t r ib u t io n to th e s t a g e ;
The v i t a l f o r c e o f th e new p la y i s in i t s t h i r d a c t .
As a w hole i t i s p r e t t y , c o h e r e n t, w holesom e, and
s e n s i b l e . 3
^"About a C e r ta in S ch o o l o f P la y s , " The I l l u s t r a t e d
American (March 4 , 1 8 9 3)* p. 11.
p
C raig T im b erlak e, The L if e and Work o f David
B e la s c o , th e B ish op o f Broadway, p. 131.
^The New York T im es, November 5* 1 8 8 7 .
3
A good, p la y o f American l i f e w hich i s s e r io u s i n pur
p o s e , y e t w ith i t s e m o tio n a l s c e n e s r e l i e v e d by p l e a s
ant comedy . . . w e l l w r it t e n and q u ick i n a c t i o n ,
c h a r a c te r s are w e l l drawn and i t s atm osphere i s t h o r
o u g h ly Am erican. .. » „ There i s l i t t l e o r n o th in g th a t
i s im p rob ab le in. i t s i n t e r e s t i n g s t o r y and i t i s w e ll
c o n s t r u c t e d .4
The s o c i e t y com ed ies w r it t e n by Henry C. De M ille
brought a handsome reward t o t h e i r a u th o r i n term s o f f i
n a n c ia l s u c c e s s , th e p la y s gave e n te r ta in m e n t to a la r g e
body o f t h e a t e r g o e r s , and th e m a jo r ity o f r e v ie w e r s a c
c e p te d th e p la y s as p o lis h e d exam ples o f s k i l l and f i n i s h .
In. s h o r t , th e y f u l f i l l e d e v e r y pu rp ose o f s u c c e s s .
S o c ie t y comedy o r "teacup comedy" was not unknown
i n Am erica b e fo r e t h e advent o f th e s c h o o l o f w hich De
M ille was a c h i e f exp on en t; but "in com p arison w ith th e
r e a l l y m ild e f f u s i o n s th a t R ob ertso n , P in e r o , G ilb e r t , and
Howard had in l i g h t e r moments s p r in k le d on th e b o a rd s, th e
p la y s o f De M il l e proved str o n g d r in k .
A ccordin g t o The I l l u s t r a t e d A m erican, March 4 ,
1893:
He was t h e f i r s t t o c o n v e n t io n a liz e t o th e n eed s o f
s c e n ic r e p r e s e n t a t io n , c e r t a i n p h a se s and c h a r a c t e r
i s t i c s o f American s o c i e t y whose t h e a t r i c e f f e c t i v e
n e s s , i n g iv e n c ir c u m s ta n c e s , had e sca p ed p r e v io u s
w r i t e r s f o r th e s t a g e . Mr. De M il l e d is c o v e r e d th e
p o s s i b i l i t i e s f o r e n te r ta in m e n t i n t h e u t t e r common
p la c e n e s s and p u e r i l i t y o f th e humors, s e n t im e n t s , and
^The New York H era ld , November 5* 1 8 8 7 .
^"About a C e r ta in S ch o o l o f P l a y s , " The I l l u s t r a t e d
American., p . 10.
4
m o tiv e s t h a t dom inate t h e s o c i a l l i f e o f h e r e and
t o - d a y . 6
Statem en t o f th e Problem V C
I t i s t h e p u rp ose o f . t h i s stu d y to a n a ly z e Henry
C. De M i l l e ' s most s u c c e s s f u l and r e p r e s e n t a t iv e com ed ies
t o d e ter m in e h i s s i g n i f i c a n c e as a p la y w r ig h t. I t was b e
l i e v e d th a t De M i l l e ' s u n iq u e c o n t r ib u t io n was h i s d e v e lo p
ment o f c h a r a c te r s w hich w ere a d i s t i n c t r e f l e c t i o n o f th e
a u d ien ce o f h i s t im e s . T h e r e fo r e , i n o rd er t o g u id e th e
stu d y , c e r t a i n q u e s tio n s were d e v e lo p e d p e r t a in in g to De
M i l l e ' s u s e o f c h a r a c t e r i z a t i o n !
1. How was th e c h a r a c t e r i z a t i o n a c h ie v e d ?
2. What p a r t i c u l a r and u n iq u e q u a l i t i e s do th e
c h a r a c t e r s d is p la y ?
3 . Are th e c h a r a c t e r s p r e s e n te d i n a c l e a r manner,
and d e v e lo p e d f u l l y ?
4 . Are th e p r i n c i p a l c h a r a c t e r s c o n s i s t e n t w ith
th e a c t io n o f th e p la y ?
5 . Are t h e p r i n c i p a l c h a r a c t e r s c o n s i s t e n t w ith
th e m s e lv e s , t h e i r s i t u a t i o n s , and t h e i r s o c i a l
and econom ic l e v e l s ?
T h is stu d y was u n d erta k en i n an attem p t to answer
t h e s e q u e s t io n s by an e x a m in a tio n o f th e s c r i p t s o f Henry
6
I b i d .
C, De M ille and by an. e v a lu a t io n o f th e c r i t i c a l comments
concerning, th e p la y s .
L im ita tio n , o f t h e Study
The p u rp ose o f t h i s stu d y was to a n a ly z e t h e most
s u c c e s s f u l and r e p r e s e n t a t iv e p la y s o f Henry C. De M ille to
d eterm in e what made him a s i g n i f i c a n t p la y w r ig h t . T h er e-
f o r e j prim ary co n c er n was c e n te r e d on t h e te c h n iq u e s which
r e c u r r e d th rou gh ou t De M i l l e ' s p la y s t h a t made them u n iq u e.
S e v e r a l n o n t y p ic a l p la y s w i l l be c o n s id e r e d o n ly as r e f e r
en ce p o in t s t o compare w ith th e more r e p r e s e n t a t iv e come
d i e s De M ille w rote in c o lla b o r a tio n , w ith D avid B e la s c o .
John D elm er's D a u g h te r s; o r , Duty (M adison Square T h ea tr e,
New York, December 10, 1 8 8 3 ) w r it t e n s o l e l y by De M ille ,
d e a l t w ith th e d o m e stic i n f e l i c i t y c a u sed by a m o th e r -in -
law and h e r fa m ily o f s o c i a l c lim b e r s who a re humbled when
f e l i c i t y i s r e s t o r e d . The p la y was not l ik e d by e i t h e r
a u d ien ce or c r i t i c s and was withdraw n a f t e r a w e e k 's run—
a f a i l u r e . The Main Line* o r , Raw son's Y (Lyceum T h e a tr e ,
New York, Septem ber 18, 1886) was w r it t e n by De M ille and
C h a rles Barnard, lo n g c o n n e c te d w ith S c r ib n e r 's M onthly and
now b e s t remembered as t h e au th or o f The County F a ir w ith
N e i l B u rg e ss. The p la y , a s t r a i g h t melodrama o f a f a m i li a r
and f a v o r i t e v a r i e t y , was a s u c c e s s n o t o n ly in. New York
but a ls o on t h e road . However, th e drama c o u ld not be con
s id e r e d a s t y p i c a l o f De M i l l e ' s p la y s f o r two r ea so n s? th e
X
c h a r a c t e r s were not o f th e h i g h e r - s o c i e t y l e v e l o f h i s l a t e r
p la y s,, and th e major a t t r a c t i o n o f th e melodrama was a s c e n
i c e f f e c t d e a lin g w ith th e wreck o f a tr a in .. F i n a l l y , The
L ost P a r a d is e , adap ted from Ludwig F u ld a 's Das v e r lo r e n e
P a r a d ie s (Colum bia T h e a tr e , C h icago, August 17, 1 8 9 1 ) , a
s e r io u s s o c i a l drama, was co n cern ed w ith th e problem s o f
c a p i t a l and la b o r ; a lth o u g h i t was a d e c id e d s u c c e s s both
f i n a n c i a l l y and c r i t i c a l l y , t h e p la y was a s te p toward
s e r io u s r e a lis m and was a marked d e p a r tu r e from De M i l l e ' s
w r it in g s t y l e i n h i s e a r l i e r com ed ies w r it t e n in c o ll a b o r a
t i o n w ith David" B e la s c o .
The rem ain in g com ed ies were con cern ed w ith s i m i la r
c h a r a c t e r s and th em es, and many em ployed a s i m i la r s t r u c
t u r e . For th e p u rp o se o f t h i s stu d y , a l l o f t h e s e com ed ies
w r i t t e n in c o ll a b o r a t io n w ith B e la s c o w i l l be c o n s id e r e d i n
l i g h t o f what th e y r e v e a l o f De M i l l e ' s comedy method and
te c h n iq u e . The W ife (Lyceum T h e a tr e , New York, November 1,
1 8 8 7 ) e n c o u n te re d some c r i t i c a l d i f f e r e n c e s o f o p in io n but
was a r eso u n d in g f i n a n c i a l s u c c e s s . Then Lord Chumley
(Lyceum T h e a tr e , New York, August 20, 1 8 8 8 ), w hich was
d e sig n e d as a v e h i c l e f o r E. H. S o th ern , was both a c r i t i
c a l and f i n a n c i a l s u c c e s s . The C h a r ity B a l l (Lyceum Thea
t r e , New York, November 1 9 , 1 8 8 9 ) and Men and Women (P r o c
t o r ' s T w e n ty -th ir d S t r e e t T h e a tr e , New York, O ctober 21,
1 8 9 0 ) were b oth e x tr e m e ly s u c c e s s f u l com ed ies and t y p i c a l
o f De M i l l e ' s w r it in g s t y l e . With t h e c o m p le tio n o f Men
7
and Women, th e s u c c e s s f u l c o lla b o r a t io n o f De M ille and
B e la s c o came t o an end. De M ille w rote one more play., an
a d a p ta tio n ., The L ost P a r a d is e ( 1 8 9 1 )* b e fo r e h i s d ea th on
F ebruary 10, 1893.
Prim ary em phasis i n t h i s stu d y w i l l be p la c e d upon
t h e more s u c c e s s f u l com ed ies w r it t e n by Henry C. De M ille
i n c o l l a b o r a t io n w ith D avid B e la s c o : The W ife, Lord Chum-
l e y , The C h a r ity B a l l , and Men, and Women.. Furtherm ore,
t h i s stu d y w i l l be l im i t e d to e x a m in a tio n o f th e p la y
s c r i p t s and e v a lu a t io n o f c r i t i c a l commentary. There w i l l
be no attem p t t o d i s c u s s De M i l l e ' s p e r s o n a l p h ilo s o p h y ,
w h ile th e them es u t i l i z e d in t h e com ed ies w i l l be d is c u s s e d
o n ly when i t i s p e r t in e n t t o th e a n a l y s i s o f th e p l a y s .
There w i l l be no a ttem p t t o e s t a b l i s h De M i l l e ' s
p la c e or i n f lu e n c e i n th e Am erican t h e a t e r e x c e p t t o un der
sta n d what he a c c o m p lis h e d •i n th e f i e l d o f s o c i e t y comedy
p la y w r it in g w ith h i s d evelop m en t o f c h a r a c te r s w hich were
a d i s t i n c t r e f l e c t i o n , o f th e a u d ie n c e o f h i s tim e . T h is
stu d y w i l l be o f a s s i s t a n c e t o fu tu r e r e s e a r c h e r s i n t e r e s t e d
i n tr e n d s and r e l a t i v e p o s i t i o n s among p la y w r ig h ts in Ameri
can t h e a t e r h i s t o r y .
D e f i n i t i o n s o f Terms
There i s some c o n fu s io n r e g a r d in g t h e meaning o f
th e term s s o c i e t y comedy, s o c i a l comedy, " tea-cu p " comedy,
h ig h comedy, comedy o f manners or m eaning, and p o l i t e
8
comedy. Some a u t h o r i t i e s u s e t h e words synonym ously w h ile
o t h e r s a ttem p t a r b it r a r y d e f i n i t i o n s f o r each term . For
t h e p u rp ose o f t h i s * s t u d y i t was n e c e s s a r y t o e s t a b l i s h a
d e f i n i t i o n o f s o c i e t y comedy .based on a c o n se n su s o f o p in
io n from v a r io u s a u t h o r i t i e s who v o ic e d agreem ent on s u f f i
c i e n t p o i n t s w hich s e t w ork ab le l i m i t s .
A s o c i e t y comedy was d e f in e d as a p la y w hich p r e
s e n t s s o c i e t y th rou gh c h a r a c t e r s who may n o t be f u l l y d e
v e lo p e d i n d iv i d u a l s but who a r e more apt t o be p e r so n s who
have c e r t a i n q u a l i t i e s which o ccu r i n each s o c i e t y : s t e r e o
t y p e s . A s o c i e t y comedy was f u r t h e r d e fin e d a s a p la y
w hich i s p e o p le d by c h a r a c t e r s whose b e h a v io r a l p a t t e r n s
e s t a b l i s h them as b e in g o f th e smart s e t w ith a c o r r e s
pon d in g v e r b a l sm a rtn ess or w it som etim es at th e e x p en se
of n a t u r a ln e s s . T hese c h a r a c t e r s are g e n e r a l ly f r e e from
m a t e r ia l concerns., have a c e r t a i n d e g r e e o f p e r s o n a l f r e e
dom., and m a in ta in good t a s t e and good humor i n t h e i r pu r
s u i t o f h a p p in e s s and p le a s u r e . The b e h a v io r r e f l e c t s th e
p r a c t ic e d u r b a n ity o f an e s t a b l i s h e d s o c i a l group., in.
w hich or a g a in s t w hich t h e main c h a r a c te r s move.
Methods and P roced u res
The method u sed f o r t h i s stu d y c o n s i s t e d o f a d e
t a i l e d e x a m in a tio n o f th e s c r i p t s i n term s o f th e d e f i n i
t i o n s and th e q u e s t io n s p o sed under S tatem en t o f th e Prob
lem .
9
The sp e c ific ? p ro ced u re - fo llo w e d f o r each p la y was:
(1 ) r e a d in g o f t h e p la y f o r theme and g e n e r a l im p r e s sio n ;
(2) n o tin g th e manner u sed to c h a r a c t e r iz e th e p r i n c i p a l
p e r so n s and t e s t i n g th e c h a r a c t e r i z a t i o n s a g a in s t th e q u es
t i o n s about c h a r a c te r ; ( 3 ) exam in in g t h e c r i t i c a l commen
t a r i e s on each o f th e p la y s and a tte m p tin g t o r e l a t e them
w ith th e p r e c e d in g o b s e r v a t io n s ; and (4 ) comparing De M ille’ s
u se o f c h a r a c t e r i z a t i o n w ith t h e a u d ie n c e o f h i s tim e to
t e s t ' i f - i t was a t r u e r e f l e c t i o n .
Review o f th e L it e r a t u r e
A ll o f th e p la y s w r it t e n by Henry C, De M il l e have
been p u b lis h e d i n a t l e a s t one e d i t i o n . The Main L ine
( l 8 8 6 ) , The W ife ( 1 8 8 7 ),, Lord Chumley (1888),, The C h a rity
.B all ( 1 8 8 9 )> and Men and Women ( 1 8 9 0 ) are a l l a v a i l a b l e i n .
A m erica 's L o st P la y s , volum e XVII., e d it e d by R obert H a m il- .
to n B a l l f o r P r in c e to n U n iv e r s it y P r e s s , P rin ceto n ., New
J e r s e y , 1940. De M i l l e ' s o th e r p l a y s , John D elm er's
D a u g h te r s. , ( 1 8 8 3 ) , and The L ost P a r a d is e ( 1 8 9 1 ) can be ob
t a in e d a t The New York P u b lic L ib r a ry (R esea rch L ib rary
o f th e P erform in g A r ts , L in c o ln C e n t e r ) . In a d d it io n , a
copy o f The L ost P a r a d is e i s a v a i l a b l e a t The Harvard U n i
v e r s i t y L ib r a ry (W idener L ib r a r y ).
I t sh o u ld be n o te d t h a t w ith th e e x c e p tio n o f th e
c o l l e c t i o n o f f i v e o f De M i l l e ' s p la y s i n A m erica 's L ost
P la y s , t h e r e has b een no co m p lete stu d y made on Henry ,Cr f
10
De M il l e , h i s l i f e or h i s work. H is name and a c c o m p lish
m ents were u s u a l l y m en tio n ed , i f a t a l l , i n th e e a r ly d e
velop m en t o f th e c a r e e r o f D avid B e la s c o . However, when
m en tion was d is c o v e r e d i n d ep th , i t was o f a d m ir a tio n
co u p le d w ith o b j e c t i v e c r i t i c i s m :
The wisdom and sh rew d n ess o f h i s n o v e l p o l i c y o f p u r
i t y and r ig h t e o u s n e s s p rom p tly a s s e r t e d i t s e l f . Not
o n ly d id t h e r e s p r in g i n t o f l o u r i s h i n g e x i s t e n c e a new
s c h o o l o f dramas, but a new body o f t h e a t r e p a tr o n s
was c r e a te d as w e l l , A l i t t l e army o f p e r so n s who had
h i t h e r t o lo o k ed upon th e t h e a t r e as a p o r t a l t o p e r d i
t i o n , an a l l u r i n g d e v ic e o f th e d e v i l , f lo c k e d to th e
t i n y p la y h o u se where C h a s t it y alw ays wore gowns t h a t
b u tto n ed behin d and where V ir tu e had th e a d s c i t i t i o u s
a t t r a c t i o n o f a d o u b le s t a g e , 7
The m a jo r ity o f t h e g e n e r a l s o u r c e s exam ined i n
c lu d e d some r e f e r e n c e t o Henry C, De M il l e w h ile s e v e r a l
in d ic a t e d t h a t i n h i s c o l l a b o r a t io n w ith B e la s c o , Be M ille
r e a l l y was r e s p o n s ib le f o r w r it in g t h e p la y s :
B e la s c o would occu p y th e s t a g e o f th e t h e a t r e , a lo n e ,
but im p e r so n a tin g th e e n t i r e company, w h ile De M ille
would s i t a t a t a b l e i n th e f r o n t row. . . , De M ille
would w r it e a few l i n e s o f d ia lo g u e , th e n B e la s c o
would a c t o u t each p a r t . . . , °
A ls o , on th e same s u b j e c t , A rthur Hobson Quinn
s t a t e d t h a t com paring B e l a s c o ' s -playw riting,, a f t e r h i s
p a r t in g w ith De M ille " in d ic a t e s t h e la r g e sh a r e w hich
D eM ille must have had i n th e v e r b a l e x p r e s s io n o f th e p la y s
7I b id .
O
D a n ie l Frohman., D a n ie l Frohman P r e s e n t s , pp . 7 0 -7 1 .
11
i n which he c o lla b o r a t e d w ith B e la s c o .
As n o te d e a r lie r ., C raig T im b e r la k e 1 s acco u n t o f
De M i l l e ' s c a r e e r was b r i e f ^ w h ile M ontrose J . M oses in
The Am erican D ra m a tist d e v o te d l e s s th an sev en p a g es to
De M i l l e . 11
Only th e m ost meager m en tion was made o f De M ille
12
i n A H is t o r y o f t h e New York S ta g e by T. A l l s t o n Brown,
w h ile George C. D. O d e ll in c lu d e d o n ly th e most g e n e r a l o f
in fo r m a tio n c o n c e r n in g De M ille in. Annals o f th e New York
S t a g e . 1^
Of th e many books w r it t e n about D avid B e la s c o , o n ly
The L if e o f D avid B e la s c o by W illia m W inter in c lu d e d more
th an a s c a n t m en tion o f De M i l l e , W in te r 's o b s e r v a t io n s o f
De M ille w ere p e r t i n e n t and to th e p o in t i n r e g a r d s t o th e
c o ll a b o r a t io n : "The w r it in g i n t h a t c o -p a r t n e r s h ip was
i ll
l a r g e l y done by De M i l l e , . . . " I n B e l a s c o ' s own book,
15
The T h eatre th ro u g h t h e S ta g e Door, ^ t h e name o f Henry
C. De M ille was n ot m en tioned o n c e .
Q
-^Arthur Hobson Quinn, A H is t o r y o f t h e American
Drama, from th e C i v i l War t o th e P r e se n t Day, p7 17-^•
■^Tim berlake, l o c . c l t .
11
M ontrose J . M oses, The American D r a m a tis t.
l 2
T. A l l s t o n Brown, A H is to r y o f t h e New York S t a g e .
■^George C. D. O d e ll, Annals o f th e New York S t a g e .
1 ii
W illia m W in ter, The L if e o f D avid B e la s c o , v o l . 1.
________^ D a v id B e la s c o , The T h eatre th rou gh th e S ta g e Door.
12
Even th e w r i t i n g s of Henry C. De M i l l e ' s sons.,
C e c i l B. De M ille and W illia m C. De M ille,, w ere n o t f i l l e d
w ith many r e f e r e n c e s t o e x p la in th e f a t h e r . H owever, t h i s
was somewhat u n d e r s ta n d a b le s i n c e C e c il was 12 y e a r s o ld
and W illia m was 15 y e a r s . o l d . when th e f a t h e r d ie d . In The
16
A u tob iograp h y o f C e c i l B. De M ille b r i e f r e f e r e n c e s were
made t o Henry C. De M ille j w h ile in Y es, Mr. De M ille by
17
P h il A. Koury, an in f o r m a tiv e tw e lv e p a g e s w ere d e v o te d
to an in t e r v ie w w ith C e c il B, De M il l e I n w hich he answ ered
q u e s t io n s c o n c e r n in g h i s f a t h e r . However, W illiam . C.
18
De M ille i n h i s a u to b io g r a p h y , H ollyw ood Saga, d id n o t
d i s c u s s h i s f a t h e r a t a l l .
Of th e s c h o l a r ly r e s e a r c h d e v o te d to D avid B e la s c o ,
no s i n g l e work m en tioned Henry C. De M ille w ith more th a n
a s e n te n c e o r tw o . I n f a c t , s e v e r a l o f t h e s e s o u r c e s
(Hartman, B a t c h e l l e r , M o d is e tt, D a v is, P a t t e r s o n )
i f.
C e c i l B. De M i l l e , ed. by Donald H ayne, The Auto
b io g r a p h y o f C e c il B. De M i l l e .
^ P h i l A. Koury, Y es, Mr. De M i l l e .
"^W illiam C. De M i l l e , H ollyw ood S a g a .
■^John. G. Hartman, "The D evelopm ent o f American So
c i a l Comedy from 1787 t o 193.6" (u n p u b lish e d Ph.D. d i s s e r
t a t i o n , U n iv e r s i t y o f P e n n sy lv a n ia , 1 9 3 9 ).
J o sep h B a t c h e l l e r , "David B e la sc o " (u n p u b lish e d
Ph.D . d i s s e r t a t i o n , U n iv e r s i t y o f M in n eso ta , 1 9 ^ 2 ).
Noah F. M o d is e tt, "A H i s t o r i c a l Stu dy o f th e S ta g e
D ir e c t i n g Theory and P r a c t ic e o f David B e la sc o " (unpub
n o t d i s c u s s Henry C. De M ille a t a l l . The b ib lio g r a p h y o f
t h i s stu d y in c lu d e s th e v a r io u s t h e s e s and d i s s e r t a t i o n s
w hich lin k e d De M il l e t o B e la s c o .
An e x a m in a tio n o f t h e e x i s t i n g m a t e r ia l brought
w ith i t a r e a l i z a t i o n t h a t l i t t l e had been w r i t t e n about
Henry C. De M i l l e . I t was., th e r e fo r e ., d eterm in ed a f t e r a
c a r e f u l r e v ie w o f th e l i t e r a t u r e to u n d erta k e t h i s c u r r e n t
stu d y .
l i s h e d Ph.D. d i s s e r t a t i o n , U n iv e r s it y o f S o u th ern C a l i f o r
n i a , 1 9 6 3 .
Sara M argaret D a v is , "An. A n a ly s is and E v a lu a tio n o f
th e Theory and P r a c t ic e o f David B e la s c o as a D ir e c to r "
(u n p u b lish e d M a s te r 's t h e s i s , C o r n e ll U n iv e r s i t y , 1 9 5 ^ ).
A. D. P a t te r s o n , "Modern T h e o r ie s and M ethods o f
D ir e c t in g upon, a Study o f B e la s c o , C ra ig , R e in h a r d t, S ta n
i s l a v s k y , Sim onson, and Robert E. Jon es" (u n p u b lish e d Mas
t e r ' s t h e s i s , U n iv e r s it y o f Sou th ern C a l i f o r n ia , 1 9 3 2 ).
CHAPTER I I
ANTECEDENT FACTORS WHICH INFLUENCED THE
W ORKS OF HENRY CHURCHILL DE MILLE
Henry C h u r c h ill De M il l e and t h e New York C ity
t h e a t e r o f th e 1 8 8 0 !s were p e r f e c t l y s u i t e d f o r each o t h e r .
D uring th e r e l a t i v e l y b r i e f p e r io d when De M ille was w r i t
in g p la y s ( 1 8 8 3- 1 8 9 1 )., h i s t a l e n t s com bined n i c e l y w ith th e
tem per o f th e t im e s .
The n in e t e e n t h - c e n t u r y Am erican t h e a t e r h as been
h a n d led c u r io u s l y by most h i s t o r i a n s ; i t h a s g e n e r a l l y been
t r e a t e d w ith e i t h e r i n d i f f e r e n c e or co n tem p t. One cannot
h e a r t i l y c h e e r th e n e g l e c t . T h is c h a p te r w i l l be d e v o te d to;
t h o s e a s p e c t s o f American, h i s t o r y and Am erican t h e a t e r h i s
tory., s p e c i f i c a l l y p e r t a in in g to th e New York C ity t h e a t e r ,
w h ich in f lu e n c e d th e works o f Henry C. De M i l l e .
The d evelop m en t o f th e Am erican t h e a t e r was e x t r a
o r d in a r y d u rin g th e p e r io d t h a t De M ille was w r it in g h i s
s o c i e t y co m e d ie s. Many r e a so n s were in v o lv e d , but t h e p r i
mary f a c t o r s w ere t h e e x t e n s io n o f r a ilw a y s th rou gh ou t th e
w e ste r n p o r t io n s o f th e U n ite d S t a t e s , t h e enormous p o p u la
t i o n grow th , and th e a p p l i c a t i o n o f b i g - b u s i n e s s te c h n iq u e s
t o a l l form s o f p u b lic e n te r ta in m e n t.
14
15
P r io r t o th e tim e when De M ille began w r it in g h i s
s o c i e t y com edies., a number o f e a r l i e r tr e n d s had combined
t o d e v e lo p a form w hich was u s u a l l y c a l l e d r o m a n ticism . As
w ith most movements, many o f th e t r a i t s o f r o m a n ticism can
be d is c o v e r e d i n o th e r p erio d s., most n o t a b ly i n Shake
s p e a r e ' s a g e . However, th e w r i t e r s o f th e Romantic move
ment ( 18OO-I8 5 0 ) saw i n th e works o f S h ak esp eare o n ly a
freedom from r e s t r a i n t , and a s a r e s u l t th e y began t o i g
nore t h e u n i t i e s and d e v e lo p e d a l o o s e d ram atic s t r u c t u r e .
Many o f t h e s e new works were d i f f i c u l t t o s ta g e b eca u se o f
t h e i r i m p r a c t i c a l i t y , but t o t h e i r c r e d i t , i t can be s a id
t h a t t h e new id e a s l i b e r a t e d th e w r i t e r s from th e demands
o f n e o c la s s i c i s m .
In a d d it io n t o th e r e v o l t a g a in s t th e o ld id e a s o f
form, th e s u b j e c t m a tte r changed from a n c ie n t myths t o s t o r
i e s about f o l k h e r o e s or r e b e l l i o n s a g a in s t s o c i a l and
m oral c o d e s . The s u b j e c t m a tter was u sed t o i l l u s t r a t e
them es c o n c e r n in g m an's a tte m p ts t o a c h ie v e freedom o f
i d e a l s or b e h a v io r , and t o f in d h i s p e r s o n a l p ea ce o f mind.
The new form , s u b j e c t m a tte r , and them es com bined t o . c r e a t e
a drama d i f f e r e n t from th a t o f th e n e o c l a s s i c a l p e r io d .
The m a j o r it y o f th e c o n c e p ts w hich formed th e b a s i s
o f ro m a n ticism w ere f i r s t s e t f o r t h i n E ngland, but s in c e
th e p h i lo s o p h ic a l fo u n d a tio n s and d ram atic form s e v o lv e d
s lo w ly th rou gh ou t th e e ig h t e e n t h c e n tu r y , i t i s d i f f i c u l t
t o speak o f a Rom antic r e v o l u t i o n i n England b e c a u se th e
16
n e o c l a s s i c a l i d e a l was not so e n tr e n c h e d as i t was e l s e
w here and th e t r a n s i t i o n t o r o m a n ticism was more e a s i l y a c
c o m p lish e d . S h ak esp eare was E n g la n d 's f i r s t - r a t e Rom anti
c i s t w r ite r * and a lth o u g h the. m ajor E n g lish Romantic p o ets*
C o lerid g e* Wordsworth* Byron* K eats* and S h e lle y w rote p la y s
w hich w ere produced* t h e i r works made l i t t l e im pact i n th e
t h e a t e r when compared w ith S h a k esp ea re. Even th e most s u c
c e s s f u l E n g lis h p la y w r ig h t o f th e Rom antic p eriod * James
S h erid a n K nowles (1 7 8 4 -1 8 6 2 )* w ro te p la y s which combined
p seu d o -S h a k esp e a re a n v e r s e and te c h n iq u e s w ith m elodram atic
s t o r i e s .
In Germany a Romantic movement was under way by 18OQ
which was t o p ro v e more p r o d u c tiv e th a n i t s c o u n te r p a r ts
e ls e w h e r e i n E urope. The two m ost im p ortan t d r a m a tis ts o f
t h i s p e r io d were Johann W olfgang von G oethe and F r ie d r ic h
von S c h i l l e r . Both men d e n ie d th e y w ere R o m a n tic ists* but
each h e lp e d t o e s t a b l i s h th e new drama. Many s c h o la r s
c r e d i t G o e th e 's F au st as e p ito m iz in g th e Romantic v ie w
p o i n t . S c h i l l e r c o u p le d th e sweep o f h i s t o r i c a l m a t e r ia l
w ith t h e a t r i c a l power t o c r e a t e M arla S t u a r t * The Maid o f
O rleans* and W illia m T e l l ., However* b e g in n in g about 1815*
d i s il l u s i o n m e n t w ith r o m a n ticism began t o I n c r e a s e s t e a d i l y .
S e v e r a l e v e n t s i n h i s t o r y w ere r e s p o n s ib l e ! th e e x c e s s e s
o f th e French R e v o lu tio n c a l l e d I n to doubt many o f th e s o
c i a l and p o l i t i c a l id e a s o f th e movement* w h ile N apoleon
changed from a h ero t o a v i l l a i n when he became as d e s p o t ic
IT
a r u l e r as t h o s e he r e p la c e d . In. Germany* Georg B u ch n er's
D a n to n 's D eath r e f l e c t e d t h e s h i f t from op tim ism t o p e s s i
mism as h i s h e r o began t o q u e s t io n th e v a l i d i t y o f h i s
i d e a l i s t i c b e l i e f s .
The Romantic movements i n b oth England and Germany
w ere a lr e a d y d e c l i n i n g b e fo r e ro m a n ticism was a c c e p te d in
F ra n ce. I n 1804* N ap oleon r e i n s t i t u t e d c e n s o r s h ip and
o p e n ly fa v o r e d n e o c l a s s i c a l drama. T herefore,, u n t i l l8 l4 *
when N ap oleon was overthrow n* French drama was c o n t r o l l e d ;
I t was n o t u n t i l V ic t o r Hugo p u b lis h e d t h e P r e fa c e to h i s
p la y Cromwell in 1827 t h a t th e aim s and id e a s o f th e French
R o m a n tic is ts w ere e s t a b l i s h e d . Furthermore*, i t was a s l a t e
as I 8 3O b e fo r e r o m a n ticism trium phed i n F rance when H ugo's
H ernanl was produ ced a t th e Corned!e F r a n c a is e . I t sh o u ld
be n o te d t h a t th e F rench p la y s d i f f e r e d from t h e i r German
c o u n te r p a r ts and were more c l o s e l y r e l a t e d to th e m elo
dramas o f t h e day. Most F rench Rom antic dramas made u s e o f
d is g u is e s * s e c r e t p a n els* h id d e n s t a i r c a s e s * and narrow
e s c a p e s . They w ere u n lik e melodrama o n ly i n g r e a t e r depth
o f c h a r a c t e r iz a t io n * t h e u s e o f v erse* th e f i v e - a c t form*
and a p r e f e r e n c e f o r unhappy e n d in g s .
At th e same tim e t h a t Romantic drama was d e v e lo p
ing* melodrama was em erg in g. I t was e v e n t u a l ly t o become
t h e most p o p u la r form o f t h e n in e t e e n t h c e n tu r y . I t ap
p e a le d t o a much w id er a u d ien ce than, d id Romantic drama
and c o n tin u e d t o d e v e lo p and to h o ld th e s ta g e lo n g a f t e r
18
th e Romantic movement had ended. De M i l l e ' s e a r ly p la y s
were m elodram asj h i s l a t e r p la y s have m elod ram atic c h a r a c
t e r i s t i c s .
P erhaps t h e m ost im p o rta n t f e a t u r e o f melodrama i s
t h e s t r i c t o b ser v a n c e o f m oral j u s t i c e . No m a tter how aw
f u l t h e t r i a l s o f th e v ir t u o u s c h a r a c t e r s or how p o w er fu l
t h e v i l l a i n o u s , th e good a re rewarded and th e e v i l are
p u n is h e d . C h a ra c ter s and d eed s a r e s e p a r a te d by c l e a r - c u t
m oral d i s t i n c t i o n s . The e m o tio n a l a p p ea l t o th e a u d ie n c e
i s b a s ic : t h e a r o u s a l o f p i t y and in d ig n a t io n a t th e op
p r e s s i o n o f good c h a r a c t e r s p lu s i n t e n s e d i s l i k e f o r th e
w ick ed o p p r e s s o r s . A melodrama would a l s o in c lu d e comic
r e l i e f th ro u g h a m inor c h a r a c t e r . The a c t i o n i s g e n e r a l ly
sim p le i n o u t l i n e b e c a u se to o many s u b t l e t i e s would c o n fu s e
t h e m oral d i s t i n c t i o n s . G e n e r a lly , th e p l o t l i n e i s con
c ern ed w ith a s e r i e s o f i n c i d e n t s w hich show t h e h ero or
h e r o in e u n d erg o in g superhuman t r i a l s at th e hands o f one o r
more u n sc ru p u lo u s c h a r a c t e r s . S u sp en se i s em p h asized , and
th e r e v e r s a l o f c ir c u m s ta n c e s a t t h e end o f th e p la y i s
e x trem e. The i n t e r e s t o f th e a u d ien ce i s p r im a r ily c e n
t e r e d upon th e m a n ip u la tio n o f e v e n t s . The melodrama o f
t h e n in e t e e n t h c e n tu r y d e v e lo p e d a. s e t o f s t o c k c h a r a c t e r s
w hich app eared in a lm o st e v e r y p la y : h e r o , h e r o in e , com ic
c h a r a c t e r s , and th e v i l l a i n .
Most o f th e c h a r a c t e r i s t i c f e a t u r e s o f melodrama
were p r e s e n t i n such e ig h t e e n t h - c e n t u r y form s as s e n t i -
19
m en tal comedy, drama., and pantomime, a lth o u g h t h e y had not
y e t been S y n th e s iz e d . I t rem ained f o r e le m e n ts t o be r e
com bined i n a d i s t i n c t way t o c r e a t e a new form . I t i s g e n
e r a l l y b e l ie v e d t h a t Rene C h a rles G -uilbert de P ix e r e c o u r t
was one o f th e f i r s t who c o n s c i o u s l y fa s h io n e d h i s p la y s
a lo n g l i n e s w hich have become th e a c c e p te d marks o f m elo
drama. H is f i r s t f u l l - l e n g t h p la y , V i c t o r , or The C h ild o f
th e F o r e s t , i n 1798 e s t a b l i s h e d b oth h i s s u c c e s s i n th e
t h e a t e r and melodrama a s a t y p e .
Melodrama soon su r p a sse d a l l o th e r form s i n box
o f f i c e a p p e a l. U n t i l th e l 8 2 0 ’s , t h e m a j o r it y o f m elo
dramas were e x o t i c b e c a u se th e y were s e t in. a rem ote tim e ,
p la c e , o r fe a t u r e d th e s u p e r n a tu r a l. In t h e 1 8 2 0 's , th e
em phasis was changed w ith th e in t r o d u c t io n o f f a m i l i a r b ack
ground s and s u b j e c t m a tte r . Soon, d o m e stic them es and
ev ery d a y e v e n ts w ere u sed as a b a s i s f o r t h e a c t i o n . In
1830, th e melodrama began t o a c q u ir e a more e le v a t e d to n e
as e s t a b l i s h e d w r i t e r s o f n o te were a t t r a c t e d t o th e t h e a
t e r . Prom about 1840, m elodram a began t o ap p eal t o p l a y
g o e r s o f a l l r a n k s. In t h e l 8 6 0 ' s , D ion B o u c ic a u lt com
b in ed s e n tim e n t, w i t , and l o c a l c o lo r w ith s e n s a t i o n a l and
s p e c t a c u la r e n d in g s w hich ta x e d th e f u l l r e s o u r c e s o f th e
t h e a t e r . I t was d u rin g t h i s p e r io d and w ith t h e s e i n f l u
e n c e s t h a t De M ille came f o r t h t o w r ite h i s s u c c e s s f u l s o
c i e t y c o m e d ie s.
20
In a d d it io n t o th e melodramas o f th e tim e , o f which
U n cle Toni's Cabin was t h e most famous and s u c c e s s f u l , th e
American t h e a t e r a u d ie n c e o f De M i l l e ' s p e r io d a l s o view ed
v a r i e t y - v a u d e v i l l e , b u r le s q u e , m in s t r e l show s, and t h e c i r
c u s . These e n te r ta in m e n ts were c o n s id e r e d o u t s id e th e
sta n d a r d , l e g i t i m a t e drama but were d e f i n i t e l y e n jo y ed and
a tte n d e d by a m ajor p o r t io n o f th e Am erican t h e a t e r a u d i
ence d u rin g De M i l l e ' s tim e .
There w ere v a r i e t y t h e a t e r s in. New York as e a r ly as
1 8 5 0, but i t was n ot u n t i l 1880 t h a t th e f i r s t c h a in o f
su ch t h e a t e r s was e s t a b l i s h e d . In t h e e a r l y days o f v a r i -
e t y - v a u d e v i l l e , t h e a u d ie n c e s were m o s tly m alej how ever,
i n l 8 8 l , Tony P a s to r in tr o d u c e d a program w hich he c la im ed
was s u i t a b l e f o r t h e fa m ily . Soon, v a u d e v i l l e c i r c u i t s were
d e v e lo p e d , and t o u r in g shows c a p tu r ed th e fa n c y o f th e
American p u b lic and made m i l l i o n s o f d o l l a r s b e f o r e th e
d e c l i n e i n p o p u la r it y marked th e end o f th e e r a in 1 9 3 2
w ith th e c l o s i n g o f t h e h i s t o r i c P a la c e T h ea tre in New York
C it y .
During th e 1 8 4 0 's and l 8 5 0 ' s , Am erica i n h e r it e d
from England th e b a s ic c o n c e p ts o f what was t o d e v e lo p i n t o
a n o th er p o p u la r form o f e n te r ta in m e n t d u rin g De M i l l e ' s
age: b u r le s q u e . A l i g h t - h e a r t e d s a t i r e o f c l a s s i c p la y s
o r s e r i o u s p e r s o n a l i t i e s and e v e n ts gave way in. l 8 6 l t o Ada
I s a a c s Menken i n Mazeppa who d is p la y e d h e r s e l f in t i g h t s
w h ile str a p p ed t o th e back o f a h o r s e . In, th e i 8 6 0 ' s The
21
B lack Crooks and an Import from England., L yd ia Thompson and
t h e B r i t i s h B lo n d e s, began t h e l e g show o f so n g s, d a n c e s,
g a g s , and im p e r s o n a tio n s w hich was c a l l e d b u r le s q u e .
A ls o , i n Am erica i n 1843, th e famous B ig F our—
Emmett, Brower, Pelham, and W h itlo ck — o f f e r e d what h i s t o r i
ans a c c e p t as th e f i r s t m in s t r e l show. The group l a b e le d
th e m s e lv e s as th e V i r g i n i a M in s t r e ls and th e r e b y in tr o d u c e d
th e word m in s t r e l t o th e s t a g e . The m in s t r e l show co n
s i s t e d o f two p a r ts w ith o l i o a c ts , p la y e d i n fr o n t o f a
drop c u r t a in d u rin g a change o f sc e n e r y : P art I was a
p a t t e r n o f d ia lo g u e and so n g s w ith th e b la c k f a c e ch oru s
s e a t e d i n a s e m i - c i r c l e and th e d ia lo g u e betw een th e two
end men, Mr. Tambo and Mr. B ones; P art I I was composed o f
v a r i e t y a c t s , e x tr a v a g a n z a s , or p a r o d ie s o f p l a y s .
The c ir c u s in Am erica grew t o v a s t p r o p o r tio n s dur
in g De M i l l e ' s e r a when i n l 8 8 l , James A. B a ile y j o in e d
w ith P. T. Barnum to form t h e g r e a t e s t c ir c u s th e c o u n tr y
had e v e r known. T h is p o p u la r e n te r ta in m e n t was d e s ig n e d
to p r o v id e c le a n , m o ra l, and h e a l t h f u l r e c r e a t io n f o r th e
e n t i r e f a m ily .
Not o n ly t h e c i r c u s , but th e m in s t r e l show, v a r i -
e t y - v a u d e v i l l e , and b u r le sq u e w ere a l l t h e m ajor form s o f
amusement w hich e x i s t e d i n New York C ity d u rin g th e l 8 8 0 ' s
when De M ille began w r it in g h i s s o c i e t y co m ed ies f o r t h e
l e g i t i m a t e t h e a t e r .
22
New York C ity i n th e m id -n in e te e n th c e n tu r y was an
in fo r m a l comm unity. C ity a u t h o r i t i e s o f t e n d i d n ' t ta k e th e
t r o u b le t o g i v e names t o a l l i t s s t r e e t s * c e d in g t h i s p r i v i
l e g e t o t h e p e o p le who d w elt or worked a lo n g them . I t o f
te n happened t h a t v a r io u s downtown . a l l e y s t h a t wound in anc.
o u t among th e. lo p s id e d ten em en ts and s t o r e s w ere c h r is t e n e d
by n eigh b orh ood gangs* whose w is h e s in th e m a tte r were not
t o be ig n o r e d . There were two dowdy t h o r o u g h f a r e s 'in th e
B lood y S ix t h Ward c a lle d * w ith some j u s t i f i c a t i o n * Murder
e r s 1 A lle y . The b e h a v io r p a t t e r n s o f th e human r e s i d e n t s
were not to o d i s s i m i l a r from th e h a b i t s o f th e p ig s t h a t
to o k c a r e o f garb age d i s p o s a l in t h e a r e a . M is c e g e n a tio n
and i n c e s t f l o u r i s h e d to su ch an e x te n t i n t h i s a r ea th a t
i t was d i f f i c u l t t o a s c e r t a i n j u s t where any r e s i d e n t fam -
1
i l y * or race* began or ended.
U n t i l th e end o f th e cen tu ry* t h e r e were few F ed
e r a l law s g o v e r n in g im m ig r a tio n . Most o f th e m easures t h a t
had been e n a c te d d e a l t w ith q u e s t io n s o f h e a lth * and n ot
even t h e s e w ere s t r i c t l y e n fo r c e d . Up t o 1855* i t was p o s
s i b l e f o r im m igrants t o s t e p o f f a s h ip a t th e B a tt e r y and
at once become ab sorb ed i n t o t h e new w orld w ith o u t any f u s s
e x c e p t p erh a p s a c u r s o r y ex a m in a tio n a t Q u a ra n tin e. In
t h a t year* C a s t le Garden* where f i v e y e a r s e a r l i e r one e x
c e p t i o n a l a lie n * Jenny Lind* had sc o r e d a triumph* was
^Robert .Shaekleton* The Book o f New York* p. 124.
23
c o n v e r te d i n t o a r e c e p t io n c e n t e r f o r a l l a l i e n s , and i t
fu n c t io n e d as such f o r th e n ex t t h r e e d e c a d e s, - f o llo w in g
w hich t h e F e d e r a l Government tu r n e d i t o v e r t o th e c i t y
f o r e v e n tu a l u s e a s an aquarium.. Incom ing s h ip s would an
ch o r o f f th e B a tt e r y and t r a n s f e r t h e i r p a s s e n g e r s t o
b a rg es f o r th e l a s t la p to C a s t le Garden. There th e y would
be met by a random v a r i e t y o f w e l l - and i ll- w is h e r s ^ — d o c
t o r s t o ch eck them f o r th e plague., i n t e r p r e t e r s t o t e l l
them w here th e y w ere, r e l a t i v e s to ta k e them by th e hand,
money ch a n g e r s t o c o n v e r t t h e i r fu n d s i n t o American c u r
r en cy o r , i n n ot a few i n s t a n c e s , c o u n t e r f e i t Am erican c u r
r e n c y , and th e la n d lo r d s o f nearby b o a r d in g h o u se s t o
t h r u s t c i r c u l a r s upon them a t t e s t i n g t o t h e sp le n d o r o f
2
t h e i r h o s p i t a l i t y .
The Army was a l s o r e p r e s e n te d a t C a s t le Garden, by
la r g e r e c r u i t i n g p o s t e r s i n s e v e r a l la n g u a g e s , o f f e r i n g
$200 b on u ses t o anyone who would s i g n up on th e s p o t , and
by s e r g e a n t s l a d l i n g out lem onade as an added in d u cem en t.
L a d ie s from uptown New York p a t r o l l e d t h e a r e a on th e prow l
f o r low -w age s e r v a n t s . The h o u se w iv e s had t o com pete w ith
a g e n ts from some o f th e d is r e p u t a b le dance h a l l s who t r i e d
to p e r su a d e a t t r a c t i v e young g i r l s t o come d i r e c t l y to
work. A ll t h e s e r e c r u i t e r s had t o com pete in. tu r n , a t
l e a s t from 1880 on, w ith th e S a lv a t io n Army, w hich began
L loyd M o rris, I n c r e d ib le New York, pp. 58-59*
2k
i t s Am erican c a r e e r a t C a s t le Garden th a t y e a r when i t was
r e p r e s e n te d by a team c o n s i s t i n g o f one man, se v e n women,
and a tam b ou rin e.
Once p a s t C a s t le Garden, m ost im m igrants headed
s t r a i g h t f o r th e lo w er E a st S id e and sq u eezed i n t o i t s t e n e
ment h o u se s: a ty p e o f accom m odation t h a t had been d esig n ee,
p r im a r ily t o cram th e l a r g e s t number o f a l i e n s i n t o th e
l e a s t amount o f s p a c e . The im m igrants found th e m s e lv e s in
an environm ent n e i t h e r much more c o m fo r ta b le nor much more
Am erican th an t h a t w hich t h e y had gon e t o c o n s id e r a b le
p a in s t o e s c a p e . Some o f t h e newcomers t r i e d r e s o l u t e l y t o
be a s s i m i l a t e d i n t o Am erican l i f e .
Among th e im m igrant g r o u p s, th e I r i s h had a s l i g h t
a d v a n ta g e. D e s p it e t h e to u c h e s o f brogue t h a t pepp ered
t h e i r d i a l e c t , th e y c o u ld make th e m s e lv e s f a i r l y w e l l
u n d e r sto o d i n E n g lis h -s p e a k in g c i r c l e s . I t may be p o in te d
out t h a t th e I r i s h were p r o m in e n tly d is p la y e d on th e mid
n in e t e e n t h c e n tu r y s t a g e . I n th e im p o rted works o f E n g lis h
d r a m a tis t s t h a t were produced i n New York, p r a c t i c a l l y a l l
th e I r i s h c h a r a c te r s were b la c k g u a rd s o r i d i o t s , but t h i s
a p p r a is a l was b a la n ce d somewhat by t h e f a c t t h a t a p r i n c i
p a l American d r a m a tist o f m id -c e n tu r y , D ion B o u c ic a u lt ,
was an em igrant from D u b lin who p o r tr a y e d h i s f e l l o w C e lt s
more s y m p a t h e t ic a lly .
25
Labor c o n d i t i o n s i n New York C ity d u rin g th e e a r ly
e i g h t i e s were e x tr e m e ly bad. The la r g e i n f l u x o f im m igrants
p r o v id e d g r e e d y em p lo y ers an o p p o r tu n ity f o r g r e a t e r p rod u c
t i o n by e x p l o i t i n g th e needy.. Where u n io n s e x i s t e d , th e
wage s c a l e s in m ost o f th e i n d u s t r i e s w ere o n e - te n th o f
what th e y a r e to d a y . I n th e u n o rg a n ize d t r a d e s , wages ran
from one d o l l a r t o two d o l l a r s a day f o r a work-week o f
f i f t y - f o u r t o s i x t y h o u r s . In t h e n e e d le in d u s t r y most o f
th e work was done i n t h e sw eat sh op s o f sm a ll c o n t r a c t o r s
who d i s t r i b u t e d th e work to men and women l i v i n g and work
in g i n th e te n e m e n ts . Young c h ild r e n sewed on b u tto n s and
p u lle d out b a s t i n g s . O ften a c o n t r a c t o r would abscond
l e a v in g th e w orkers w ith o u t th e wages due them .
In c o n t r a s t t o th e p l i g h t o f th e im m igran ts o f t h i s
p e r io d , th e w e a lth y New Y orkers r e tu r n in g from lo n g h o l i
days In London, P a r is , or Rome c o n s id e r e d M anhattan as
s c a r c e l y m e t r o p o lit a n . They were d e p r e sse d by i t s a r c h i
t e c t u r a l u g l i n e s s , i t s u n ten d ed s t r e e t s , and i t s e n d le s s
b lo c k s o f i d e n t i c a l narrow h o u se s so la c k in g i n e x t e r n a l
d i g n i t y and s p le n d o r . Yet t h e r ic h r e s i d e n t s o f New York
C it y who had v i s i t e d f o r e i g n c a p i t a l s , and were p resum ab ly
f r e e t o rem ain t h e r e , o f t e n i n th e end r e tu r n e d t o New York.
They may h av e d e p lo r e d th e cramped h o r i z o n t a l g r id ir o n o f
a town w ith o u t to w e r s , f o u n t a in s , or p e r s p e c t i v e s , but th e y
s e t t l e d down b etw een W ashington Square and F o r ty -s e c o n d
26
S t r e e t to endure a n o s t a l g i a f o r more b e a u t i f u l c i t i e s where:
th e y f e l t even l e s s at home.
The p a r t i c u l a r f a s c i n a t i o n o f New York C ity d u rin g '
th e l 8 8 0 's had l i t t l e t o do w ith what t h e w e a lth y c l a s s
c o n c e iv e d t o be b e a u ty . New York was t i t a n i c , a c i t y o f
v i o l e n t , b e w ild e r in g c o n t r a s t s . I t hu ngered f o r e v e r
g r e a t e r power and w e a lth . I t b u i l t o n ly to abandon i t s
b u i l d i n g s , o b l i t e r a t e them and b u ild a g a in i n a d i f f e r e n t
way f o r a n o th e r p u r p o se . The c i t y had succumbed to t h e
m ost r e s t l e s s and i n s a t i a b l e o f p a s s i o n s , and th e r e s u l t s
o f i t s e x o r b it a n c e c o u ld be se e n e v e ry w h e re . Only i n New
York was i t im p o s s ib le t o d i s t i n g u i s h t h e i l l u s i o n o f
permanence from th e c o n v i c t i o n o f t r a n s i e n c y . C o n s ta n tly
s h i f t i n g , c h a n g in g , grow in g, t h e r e was no o th e r c i t y l i k e
i t i n th e w o rld .
The g e n e r a t io n s from 1870 t o 1900 saw th e ad ven t
o f p r e s e n t day New York C ity . I t s c e n su s o f 1879 l i s t e d
9 4 2 ,2 9 2 r e s i d e n t s , w hich a huge i n f l u x o f im m igran ts r a is e d
to more th a n 1 ,5 0 0 ,0 0 0 by 1880. T h is s u p e r im p o s it io n o f
European c u l t u r e s r e s u l t e d i n i d e n t i f i a b l e e th n ic grou p s:
L i t t l e I t a l y , b la c k H arlem, t h e low er E ast S id e Hebrew
q u a r te r , and t h e O r ie n t a ls c l u s t e r e d i n th e a r e a su rroun d
in g Mott and P e l l S t r e e t s .
Commentators o f t h e e a r l y 1 8 8 0 's began t o n o te th e
"upward ten d en cy " o f th e c i t y ' s a r c h i t e c t u r e and th e in n o -
27
v a t io n o f e l e c t r i c i t y w hich illu m in a t e d Broadway., from
U nion Square to T h ir t y - f o u r t h S t r e e t .
V i s i t o r s t o t h e c i t y found i t co m p a ctly b u i l t f o r
more than f i v e m ile s t o th e n o r th from th e B a t t e r y , but t h e
a r e a s t i l l had an u n f in is h e d lo o k f o r some d i s t a n c e so u th
o f C e n tr a l P ark, However, by th e end o f t h e c e n tu r y n e a r ly
a l l th e empty sp a ce so u th o f t h e Park had been o c c u p ie d
w h ile t h e p o p u la t io n , pushed by th e p r e s s u r e o f im m igrants
i n th e low er c i t y , was c o n tin u in g t o sp rea d b oth t o th e
north and a c r o s s t h e r i v e r s i n t o th e su b u rb s.
A m ania f o r h ig h b u ild in g s began th e tr a n s fo r m a tio n
o f th e h o r i z o n t a l c i t y o f 1870 i n t o th e skyward t h r u s t in g
community o f l a t e r y e a r s . Most v i s i t o r s w ere im p r essed
w ith th e t a l l s p i r e s w hich began to appear in th e l 8 7 0 's
i n s p i t e o f t h e f a c t t h a t th e y th r e a te n e d to sh u t out th e
sk yj but t o o t h e r s th e fo r e b o d in g s t r u c t u r e s were h id e o u s ,
to p -h e a v y n ig h tm a r e s. By 1900, t h e a r c h i t e c t u r a l r e v o lu
tio n . had been c a r r ie d t o such ex trem es t h a t i n th e o p in io n
o f f o r e i g n v i s i t o r s , th e A m ericans had p r a c t i c a l l y added a
new d im e n sio n t o s p a c e . "They move alm ost a s much on t h e
p e r p e n d ic u la r as on th e h o r i z o n t a l p la n e ," r e p o r te d a B r i t
i s h j o u r n a l i s t i n 1 8 9 9 . "When th e y f i n d t h e m s e lv e s a l i t
t l e crow ded, th e y sim p ly t i l t a s t r e e t on end and c a l l i t
Q
a s k y s c r a p e r ,
• 3
W illia m A rch er, Am erica Today, p . 2 1.
28
The p o l i t i c a l a s p e c t o f New York C ity i n th e e a r ly
1 8 8 0 's was c o m p le te ly c o n t r o l l e d by Tammany H a ll . Prom th e
h ig h e s t o f f i c i a l t o th e lo w e s t d i s t r i c t c a p t a in , le a d e r s h ip
was c o r r u p t. S a lo o n -k e e p e r s and p r o f i t e e r s o f v i c e f ig u r e d
p r o m in e n tly i n Tammany's c o u n c i l s . B a l l o t - s t u f f i n g and
stro n g -a rm m ethods appeared t o be w id e sp re a d p r a c t i c e s on
e l e c t i o n d a y s . The R e p u b lic a n s, reg a rd ed as th e o r g a n iz a
t i o n o f t h e w e a lth y and i n t e l l e c t u a l , ' form ed a m in o r ity
p a r ty w hich o c c a s i o n a l l y w ith t h e h e lp o f th e c o u n ty Demo
c r a t i c m achine c o u ld win a few c i t y o f f i c e s . There w ere
sp o r a d ic a tte m p ts t o e l e c t in d ep en d en t la b o r t i c k e t s , but
i n m ost c a s e s th e y f a i l e d to win. th e u n io n v o t e . The So
c i a l i s t s alw ays had t h e i r own t i c k e t , but t h e i r v o te was
4
t h e n q u it e n e g l i g i b l e .
The s o r d id s t a t e o f New Y o r k 's m u n ic ip a l p o l i t i c s
in t h e 1 8 8 0 ' s prom pted c r i t i c a l comment from th e em inent
p h ilo s o p h e r R obert S p en cer who t r a v e l e d i n c o g n i t o i n t h e
U n ite d S t a t e s i n 1882. At t h e tim e o f S p e n c e r 's v i s i t ,
Tammany, w h ich had run New York C ity s i n c e th e e a r l y l 8 6 0 ' s
v i r t u a l l y un op p osed , had j u s t r e c o v e r e d from a minor s e t
back ca u sed by t h e e x p o su r e , i n th e e a r l y s e v e n t i e s , o f t h e
n o t o r io u s Tweed R in g. "Honest" John K e lly now was i n co n
t r o l o f Tammany. He made t h e m achine a g r e a t v o te -s p e w in g
ju g g e r n a u t, s tr e n g th e n e d th rou gh c o n t r o l o f th e im m igrant
4
G regory W e in s te in , The Ardent E i g h t i e s , p. 133.
29
v o te and s u b s id iz e d by s p e c i a l - i n t e r e s t g ro u p s, p o l i t i c a l
n om in ees, and p e r so n s d e s i r i n g or fo r c e d t o se e k p r o t e c t i o n ,
K e l l y ' s dom inance l a s t e d from 1872 to 1886. S p en cer r e
l a t e d i
The e x t e n t , w e a lth , and m a g n ific e n c e o f you r
c i t i e s , and e s p e c i a l l y th e s p le n d o r o f New York, have
a l t o g e t h e r a s t o n is h e d me . , . i f a lo n g w ith you r ma
t e r i a l p r o g r e s s t h e r e were e q u a l p r o g r e s s o f a n o th e r
k in d , t h e r e would rem ain n o th in g t o be w ish ed . , .
l o c a l t a x a t i o n i s c r u s h in g ly h e a v y , and so i n e q u it a b ly
a s s e s s e d th a t t h e m i l l i o n a i r e s pay l e a s t , and th e p o o r
m o st. The p a v in g o f th e s t r e e t s i s so rough as t o r e
c a l l B e lg r a d e or P e te r sb u r g ; th e g a s i s as bad a s t h e
pavem ent; and i t i s o n ly i n Broadway and p o r t io n s o f
F i f t h Avenue th a t any u n s y s te m a tic u s e o f th e e l e c t r i c
l i g h t c r e a t e s a b r i l l i a n c y w hich but h e ig h t e n s th e
c o n t r a s t w ith th e gloom e ls e w h e r e , . * t h e p o l i c e i s
i n e f f i c i e n t , a r b it r a r y , and c o r r u p t. At i t s head a re
f o u r C om m ission ers, who a re p o l i t i c i a n s i n th e Am erican
s e n s e , and n o th in g more. They a r e v i r t u a l l y a p p o in te d
by th e Alderm en, who have a u t h o r it y to co n firm or r e
j e c t t h e M ayor's n o m in a tio n o f h ea d s o f d e p a r t m e n t s , , . .
Even th e e le v e n p o l i c e ju d g e s , who sh o u ld be th e in d e
pend en t expoun ders and e n f o r c e r s o f t h e c r im in a l law ,
ane a p p o in te d by th e same a g en cy , so th a t i f t h e i r o r
i g i n be tr a c e d t o i t s f i r s t c a u s e , th e y a re t h e nom i
n e e s o f th e c r im in a l c l a s s e s th e y have t o t r y and pun
i s h , The r e s u l t i s t h a t i t i s im p o s s ib le t o p ro cu re
th e ad eq u a te punishm ent o f any o f f i c i a l , how ever crim
i n a l , s i n c e he was a p p o in te d as a p o l i t i c a l p a r t i s a n , 5
I n c o n t r a s t t o t h e b e d r a g g le d slum a r e a s o f New
York C ity d u rin g th e l 8 8 0 ' s was th e p r e t e n t i o u s s e c t i o n o f
F i f t h Avenue from F o r t y - s i x t h S t r e e t t o S e v e n ty -s e c o n d
alo n g C e n tr a l Park w hich was e m b e llis h e d w ith t h e r e s i d e n
t i a l p a la c e s o f t h e c i t y ' s m i l l i o n a i r e s . The a r c h i t e c t s o f
t h e s e p a l a t i a l d w e llin g s a v o id e d th e m onotonous b row n ston e
^H erbert S p en ce r , "The A m ericans, 1 1 E ss a y s , S c i e n
t i f i c , P o l i t i c a l , and S p e c u l a t i v e , v o l . III^ p p . 4 7 2 -7 ^ .
30
d i g n i t y o f th e e a r l i e r p e r io d and tu r n e d t o Europe f o r
t h e i r m o d e ls. The r e s u l t was an a r c h i t e c t u r a l p o tp o u r r i
w hich a lm o st r i v a l e d th e Rue d es N a tio n s a t th e P a r is Ex
h i b i t i o n o f 1900. A ccord in g t o F r e d e r ic k H a r r is o n i
F a cin g t h e C e n tr a l Park., each m i l l i o n a i r e seem s to
h ave com m issioned h i s a r c h i t e c t t o b u ild him a m ansion
o f any a n c ie n t s t y l e from B y z a n tin e t o t h e l a s t F ren ch
Em pire, p r o v id e d o n ly i t was i n c o n t r a s t t o t h e s t y l e
o f h i s n e ig h b o u r s. So com m ission ed , th e a r t i s t has
l a v is h e d s k i l f u l c a r v in g , s i n g u l a r in g e n u it y , and no
b l e m a t e r ia l i n s t o n e , m arb le, and m o sa ic . Many . . .
a r e i n t e r e s t i n g . „ . and some . . . b e a u t i f u l , but
th e g e n e r a l e f f e c t o f su ch rampant e c l e c t i c i s m i s
r a th e r b e w ild e r in g , 6
M adison Avenue w ith i t s m a g n ific e n t T if f a n y r e s i
dence had an au ra o f m a te r ia lis m s i m i la r to F i f t h Avenue,.
And t o f u r t h e r u n d e r sc o r e t h e j u x t a p o s i t i o n o f w e a lth and
p o v e r ty , Bayrd S t i l l compared M adison Avenue and F i f t h
Avenue w ith S ix t h Avenue 1
. , . t h e p e d e s t r ia n is m o f S ix t h Avenue sy m b o liz e d ,
by c o n t r a s t , th e e v e r h e ig h t e n in g s o c i a l d i v e r s i t y i n
th e m e t r o p o lit a n s c e n e . Opposed to th e a r i s t o c r a c y ,
w e a lth , and e le g a n c e o f F i f t h Avenue w ere th e p le b e ia n
s i g h t s and sounds o f i t s more m en ia l n e ig h b o r t o th e
w e s t — th e c a r t s and v a n s , th e f i v e - c e n t c a r s , th e work
m en's t r a i n s , th e s t r e e t - s t a l l s and la g e r - b e e r s a lo o n s ,
t h e odor o f f i s h , ca b b a g e, and s t a l e to b a c c o , th e b a r s ,
t h e b u tc h e r s , th e dem ocracy o f S ix t h A ven u e./
I t was c l e a r t o o b s e r v e r s o f th e p o s t - C i v i l War
c i t y t h a t V ic t o r ia n New York b o a ste d a s e l f - c o n s c i o u s "So
c i e t y . " In th e y e a r s from 1872 t o 1897 . > t h e " P a tr ia r c h s , "
6
F r e d e r ic k H a r r is o n , " Im p ressio n s o f A m e r ic a ," The
N in e t e e n t h C entu ry, XLIX, p. 91 3.
^Bayrd S t i l l , M irror f o r Gotham, p. 211.
31
a s m a ll group o f th e c i t y ' s u n t i t l e d a r i s t o c r a c y e p ito m iz e d
t h e e x c l u s i v e n e s s o f th e upper s o c i a l c i r c l e . The P a t r i
a r c h s ' famous b a l l s w ere th e most b r i l l i a n t e v e n ts o f th e
s o c i a l c a le n d e r .
New York had been, a v i t a l c e n te r o f a r t from t h e
b e g in n in g o f th e cen tu ry., but now i t app eared t o be in c u
b a tin g an Am erican r e n a is s a n c e . N ever b e fo r e had th e
c o lo n y o f a r t i s t s in c lu d e d so many men o f rem arkable t a l e n t
com bined w ith a v ig o r o u s c r e a t i v e fe r m e n t. A s p i r i t o f
r e v o l u t i o n was i n t h e a i r a g a in s t academ ic t r a d it io n ., p r e
v a i l i n g sta n d a r d s o f t a s t e , and t h e a n c ie n t Am erican d e f e r
en ce t o Europe i n m a tte r s o f a r t . Now t h a t Am erica had
come o f a g e , a new day had dawned, and o n ly new form s o f
a r t c o u ld g i v e i t ad eq u ate e x p r e s s io n . E x citem en t ran h ig h
i n th e s t r e e t s around W ashington Square w here t h e a r t i s t s
had s e t t l e d . Young p a i n t e r s who were r e t u r n in g from P a r is
spoke o f t h e r e v o l u t i o n a r i e s who w ere o r g a n iz in g t h e i r own
e x h i b i t i o n s i n d e f ia n c e o f th e o f f i c i a l S a lo n . In New York
th e c o u n te r p a r t o f t h e S a lo n was t h e ann ual e x h i b i t i o n o f
t h e N a t io n a l Academy o f D e s ig n . The Academy was a u n iq u e
and p o w e r fu l body w ith enormous p r e s t i g e and im p o rta n t s o
c i a l i n f l u e n c e . I t was dom inated by a group o f e l d e r l y
members who f o r many y e a r s had bought t h e i r w ork s, sou gh t
t h e i r c o u n s e l, and p r iz e d t h e i r f r i e n d s h i p . The Academ i
c ia n s p r o f e s s e d to r e p r e s e n t American a r t when i n a c t u a l i t y
th e y r u le d i t w ith an ir o n hand. T h eir e x h i b i t i o n s were
32
t h e o n ly s t a g e on w hich r i s i n g t a l e n t c o u ld r e a c h t h e p u b
lic ,, y e t t h e p a i n t e r s who dom in ated t h e Academy w ere I n
t o l e r a n t o f y o u th and h o s t i l e t o I n n o v a t i o n . The new g e n
e r a t i o n o f p a i n t e r s d e c l a r e d t h a t a t Academy e x h i b i t i o n s
l i t t l e was d i s p l a y e d b u t t h e same s t i l l l i f e s , l a n d s c a p e s ,
and p o r t r a i t s . The q u e s t i o n a p p e a re d t o be t h e a g e - o l d one
o f w h e th e r t h e e s t a b l i s h m e n t was lo o k in g t o th e f u t u r e o r
m e re ly l i v i n g i n t h e p a s t .
I n th e sp r in g o f 1875., th e N a tio n a l Academy e x
c lu d e d from i t s e x h i b i t i o n m ost o f th e fo r w a r d -lo o k in g
p a i n t e r s . In th e g a l l e r y o f a prom inent d e a le r t h e r e
j e c t e d p a i n t e r s arra n g ed a show w hich was a c c la im e d by th e
p r e s s . Two y e a r s l a t e r when t h e Academy r e j e c t e d a s c u l p
t u r e by A ugustus S a in t — G-audens, th e r e b e l l i o u s a r t i s t s
form ed t h e S o c i e t y o f American A r t i s t s . The new o r g a n iz a
tio n . would n o t o n ly h o ld e x h i b i t i o n s , but i t would e s t a b
l i s h a s c h o o l, t h e Art S tu d e n ts ' League, i n d i r e c t o p p o s i
t i o n to t h e one c o n d u cted by th e Academy. Over t h e n e x t
d eca d e, th e in s u r g e n t group in c r e a s e d i t s membership from
tw e n ty — two t o more th a n one hundred. O ld -fa s h io n e d New
Y orkers w it h a t a s t e f o r a r t p r o t e s t e d t h a t a r e v o l u t i o n
was d e s t r o y in g b e a u ty . But i n t h i s c la s h betw een th e o ld
and t h e new, a you n ger g e n e r a t io n th o u g h t t h a t t h e y were
!
s e e in g th e l i g h t o f dawn and th e p rom ise o f a g l o r i o u s f u
t u r e .
The same s t i r of e x c ite m e n t t h a t p r e v a i l e d i n th e
33
a r t i s t s 1 q u a r te r c o u ld be f e l t among th e w r i t e r s and j o u r
n a l i s t s d u rin g th e p e r io d o f Henry C. De M i l l e ' s p rom in en ce.
P r io r t o t h i s p eriod .. New Y ork ers had lo n g acknow ledged t h e
l i t e r a r y suprem acy o f B o sto n and i t s su b u rb s. T h erefore.,
i t was g r e a t l y to t h e i r s u r p r i s e t h a t New Y ork ers le a r n e d
th e i n t e l l e c t u a l c a p i t a l o f t h e n a t io n had b een t r a n s f e r r e d
to M anhattan. A p p a r en tly t h i s was n ot news t o th e r e s t o f
t
t h e c o u n tr y , f o r i t was about New York th a t young Am ericans
were dream ing i f th e y w anted c a r e e r s i n l i t e r a t u r e or j o u r
n a lis m . The most im p o r ta n t p u b lis h e r s w ere l o c a t e d i n
New York as w ere th e m ost w id e ly read m a g a z in e s. Even i n
r u r a l a r e a s t h e l i t e r a r y l i f e o f th e m e t r o p o lis was acknow
le d g e d : t h e c lu b s where a u th o r s m et, th e homes where c e
l e b r i t i e s g a th e r e d , and th e b an q u ets g iv e n i n honor- o f d i s
t in g u is h e d E n g lis h men o f l e t t e r s who w ere in v a d in g th e
U n ite d S t a t e s . A uthors w ere b e in g l i o n i z e d , and t h e compe
t i t i o n t o s e c u r e t h e i r p r e s e n c e was so g r e a t t h a t t h e y w ere
even, ask ed out i n th e m orning.
In l i t e r a r y New York, l i f e g l i t t e r e d w ith tem p tin g
s o c i a l plum s. The i n v i t a t i o n s were numerous a s t h e c e r e
m on ial f u n c t io n s in c r e a s e d . D om inating t h e l i t e r a r y sc en e
was t h e C entury Club w hich was founded i n 1847 and had been
r u le d by W illia m C u lle n B ry a n t. The C entury had a c q u ir e d
p r e s t i g e as th e most a c t i v e c e n t e r o f c u l t u r e i n t h e c i t y .
A m a jo r ity o f i t s members had a c h ie v e d em inence by p e r s i s
t e n t l o n g e v i t y : th e y w ere g e n tle m e n , c o n s e r v a t i v e s , and
34
d isa p p r o v e d o f th e s p i r i t o f th e tim e s w hich was e n c o u r a g
in g a new k in d o f l i t e r a t u r e c a l l e d r e a lis m .
The L otos Club was composed o f members o f t h e oppo
s i t e campt j o u r n a l i s t s , a u t h o r s ,. a r t i s t s , a c t o r s , m usi^
c l a n s , a l l o f whom fa v o r e d a more l i b e r a l p o in t o f v ie w .
I t was a t t h e L o to s Club in fo r m a l g a t h e r in g s t h a t J o sep h
J e f f e r s o n , Mark Twain, W , S. G il b e r t , S ir A rthur S u l l i v a n ,
O scar W ild e, and Henry I r v in g would sp ea k .
The r i v a l l i t e r a r y f a c t i o n s would meet on n e u t r a l
ground a t th e home o f R ich ard W atson G ild e r where t h e d e
b a te was a lw a y s co n d u cted on a h ig h l e v e l o f c o u r t e s y . The
w r i t e r s o f b o th s c h o o ls w ere g e n tle m e n who d id not f in d
l i t e r a r y h o s t i l i t y in c o m p a tib le w ith p e r s o n a l f r i e n d s h i p .
During t h i s p eriod , i t was O scar W ilde who ca u sed
th e g r e a t e s t com m otion i n New York l i t e r a r y c i r c l e s . I n
1 8 8 2 , he embarked on an American t o u r w hich b e c a u se o f ad
van ce p u b l i c i t y was an enormous s u c c e s s c o m m e r c ia lly . How
e v e r , t h e r u l in g f i g u r e o f t h e C entury C lub, Edmund C larence
Stedm an, d e c id e d t h a t New York l i t e r a r y s o c i e t y must o s t r a
c i z e W ild e. Stedman p u b l i c l y s t a t e d t h a t any g e n u in e w r i t
e r sh o u ld a v o id W ilde and d is c o u r a g e th e I r is h m a n 's p o s
s i b l e i n f l u e n c e on Am erican l i t e r a t u r e . The W ilde i n c id e n t
em p hasized t h e d i v i s i o n b etw een t r a d i t i o n a l i s t s and i n s u r
g e n t s w h ile f u r t h e r h a rd en in g th e d e te r m in a tio n o f you n ger
w r i t e r s t o c o n t e s t t h e a u t h o r it y v e s t e d in Stedman and h i s
grou p . E xclu d ed from t h e l i t e r a r y h ie r a r c h y r u le d by S t e d -
35
man,, or a d m itted o n ly t o p r o b a tio n a r y ran k , youn ger men ob
j e c t e d t o t h e dead hand o f t h e p a s t and th e p ru d ery b e in g
im posed on t h e n a t i o n ' s r e a d e r s . An a t t a c k on a u t h o r it y
was lau n ch ed from s e v e r a l q u a r te r s . I t p r o g r e s s e d i n t o w ar
fa r e , and a f t e r a d ecad e o f b a t t l e s , th e r e b e l l i o n gave Amer
i c a a new l i t e r a t u r e .
.The v i s i t o r t o New York C ity d u rin g t h e l 8 8 0 ' s i n
e v i t a b l y went t o t h e t h e a t e r . S e r io u s drama now had th e
h i g h e s t m oral s a n c t io n ; i t was a w id e ly c i r c u l a t e d f a c t
t h a t one o f t h e m ost s u c c e s s f u l t h e a t e r s i n New York, t h e
M adison Square, was owned by t h e b r o th e r s M a llo r y , one o f
whom was p u b lis h e r o f The Churchman and t h e o th e r a c l e r g y
man. ' U nion Square had a lr e a d y been d ep osed as t h e t h e a t r i
c a l c e n t e r . The R i a l t o , t h a t s t r e t c h o f Broadway betw een
M adison Square and F o r ty -s e c o n d S t r e e t , was a s t r e e t o f
le g e n d , and i t had a rom an tic a t t r a c t i o n f o r a l l Am ericans
a c r o s s th e c o n t i n e n t .
T h is s e c t i o n o f t h e w ide s t r e e t was l i n e d w ith
l u x u r i o u s h o t e l s , s p a r k l i n g b a r s , and t h e c i t y ' s p r i n c i p a l
t h e a t e r s . At n i g h t t h e l o b b i e s o f t h e h o t e l s and m arquees
o f t h e t h e a t e r s w ere b e g in n in g t o be b r i g h t l y l i g h t e d by
E d i s o n 's new i n c a n d e s c e n t lam ps. Long b e f o r e e i g h t o 'c l o c k
t h e s id e w a lk s o f t h e R i a l t o w ere jammed w ith crowds h e ad ed
f o r t h e t h e a t e r s . The M adison Squ are T h e a t e r , j u s t w e st o f
Broadway on T w e n ty - f o u r th S t r e e t , was renow ned f o r i t s
d o u b le s t a g e , e l e v a t e d and lo w e re d by h y d r a u l i c p r e s s u r e ;
36
i t was h e r e t h a t De M i l l e ' s f i r s t p la y , John D e lm e r's Daugh
t e r s ; or., D uty, was p r e s e n t e d . A lso n ear T w e n ty -fo u rth
S t r e e t on. F ou rth Avenue, s to o d th e f a s h io n a b ly b r ig h t Ly
ceum T h ea te r where De M ille s c o r e d t h e - m a j o r it y o f h i s
s u c c e s s e s . At t h e n o r th w e st c o r n e r o f T w e n ty -e ig h th S t r e e t
w a s -th e F i f t h Avenue T h e a te r where th e g r e a t s t a r s brought
t h e i r com panies f o r l i m i t e d en gagem en ts. On o p p o s it e s i d e s
o f t h e R i a l t o a t T h i r t i e t h S t r e e t were th e new W a lla c k 's
and D a ly 's t h e a t e r s . At T h ir t y - t h i r d S t r e e t t h e r e was th e
Standard T h e a te r , famous f o r i t s p r e s e n t a t io n s o f G ilb e r t
and S u l l i v a n o p e r e t t a s . At T h ir t y - n in t h S t r e e t t h e M etro
p o l i t a n Opera House r o s e , and d i a g o n a ll y a c r o s s Broadway
was th e C a s in o , t h e c e n t e r o f l i g h t o p e r a . The n o r th e r n
m ost t h e a t e r on t h e R i a l t o was th e Broadway, a t F o r t y - f i r s t
S t r e e t j v e t e r a n New Y ork ers p r e d ic t e d t h a t i t w ould not
p r o s p e r b e c a u se i t was to o f a r uptow n.
I t can be assumed from th e above t h a t New York o f
t h e l a t e n in e t e e n t h c e n tu r y o f f e r e d p le a s u r e s e e k e r s r i c h
and v a r ie d e n te r ta in m e n t . The number o f i t s t h e a t e r s t o
t a l e d some t w e n t y - f o u r in 1879 but had r ea c h e d f o r t y - f i v e
by 1 9 0 0 . Some o f t h e most famous a c t o r s and s in g e r s o f th e
day appeared i n New York d u rin g t h i s p e r io d . P erfo rm ers o f
s e r i o u s drama l i k e Sarah B ern h a rd t, E lle n T erry, Edwin
B ooth , and Henry I r v in g com peted f o r p u b lic a tte n tio n .' w ith
such p o p u la r e n t e r t a i n e r s as L i l y L an gtry and L i l l i a n Rus
s e l l . James B u rn le y , an. E n g lis h t r a v e l e r o f th e l a t e
37
s e v e n t ie s ., p r a is e d t h e handsome ap p earan ce o f New Y o r k 's
t h e a t e r s and th e f r e e d i s t r i b u t i o n o f program s w hich had to
be p u rch a sed i n London p la y h o u s e s . T ic k e t s c a lp in g was a
common p r a c tic e ., he-- noted., and Henry I r v in g was asto u n d ed
to s e e h i s f i r s t - n i g h t a u d ie n c e "mobbed by a band o f t i c k e t
s p e c u l a t o r s , " w ith s a t c h e l s str a p p e d t o t h e i r s h o u ld e r s ,
and ann oun cin g i n h o a r se t o n e s d i r e c t l y b e s id e th e b o x -
o f f i c e r "I have s e a t s i n th e f i r s t row . . . I have th e
8
b e s t s e a t s i n t h e o r c h e s t r a , "
The s tr o n g i n f l u e n c e o f Sarah B ernhardt and th e
F rench d r a m a t is ts a f f e c t e d t h e Am erican t h e a t e r a t t h i s
tim e . In f a c t , i t app eared t h a t t h e p a r t i a l i t y o f F rench
d r a m a tis t s f o r th e theme o f s e x u a l Im m o ra lity was ta k e n f o r
g r a n te d . B u t, a c c o r d in g t o L loyd M o rr is, i t was s u r p r i s i n g
t o f i n d t h i s them e, and o t h e r s no l e s s n o v e l, b e in g e x
p l o i t e d by Am erican p la y w r ig h ts i n dramas t h a t p u rp o rted to
d e a l w ith l i f e as i t was a c t u a l l y b e in g l i v e d i n New York:
R e a l i s t i c p la y s had su d d e n ly come i n t o v o g u e, and
t h e most s u c c e s s f u l p la y w r ig h t s — A u g u stin D a ly , B ronson
Howard and th e c o ll a b o r a t o r s Henry C. De M ilie and
D avid B e la s c o — w ere p u t t in g on t h e s t a g e p i c t u r e s o f
th e m orals and manners o f th e w e a lth y w hich s t a r t l e d
o l d - f a s h i o n e d p la y g o e r s . For t h e i r p la y s r e v e a le d
t h a t , among New Y o rk 's b e s t p e o p le , t r a d i t i o n a l m oral
i t y was b e in g o p e n ly f l o u t e d and lo n g e s t a b l i s h e d c o n
v e n t io n s had l o s t t h e i r b in d in g f o r c e . Husbands and
w iv e s w ere d r i f t i n g a p a r tj men w ere immersed i n b u s i
n e s s , women and s o c i a l c o m p e t it io n . M a r ita l i n f i d e l i t y
O
J o sep h H a tto n , Henry I r v i n g ' s Im p r e ss io n s o f Amer
i c a N a r ra te d i n a S e r ie s o f S k e t c h e s , C h r o n ic le s , and
C o n v ersa tio n s^ p3 124,
/
38
was. in c r e a s i n g ; s e d u c t io n and b e t r a y a l w ere b e in g con
doned; t h e p r e v a le n c e o f d iv o r c e was becom ing a s o c i a l
m enace.9
The c i t y ' s most f a s h io n a b le p la y h o u s e s , D a ly 's and
t h e Lyceum., had i n e f f e c t become n a t i o n a l i n s t i t u t i o n s a s a
r e s u l t o f th e m ajor p r e m ie r e s h e ld t h e r e . T h ese two t h e a
t e r s w ere t h e o n es f o r w hich an a u d ie n c e d r e s s e d i n fo rm a l
a t t i r e i f th e y in te n d e d t o s i t i n t h e o r c h e s tr a , o r b o x e s.
At h i s t h e a t e r , A u g u stin D aly had o r g a n iz e d a perm anent
s t o c k company whose members w ere t h e le a d e r s o f s t y l e and
dep ortm en t most e a g e r ly im it a t e d by th e you n ger g e n e r a t io n .
Going t o D a ly 's was s i m i l a r t o a t te n d in g a s o c i a l fu n c -
10
t i o n . The Lyceum T h e a te r was p o p u la r ly c a l l e d th e draw
in g -roo m home o f . t h e drama. I t was a sm a ll p la y h o u s e ,
d e c o r a te d by L o u is T if f a n y , where D a n ie l Frohman had o r
g a n iz e d a r e s i d e n t s to c k company. However, u n l ik e D a ly 's ,
t h e Lyceum d id n ot i n c lu d e t h e c l a s s i c s i n i t s r e p e r to r y ,
but th e s p e c i a l i z a t i o n was in modern r e a l i s t i c dramas and
co m ed ies o f New York s o c i a l l i f e . The New York s o c i e t y
a u d ie n c e had t r a n s f e r r e d t o t h e Lyceum i t s form er l o y a l t y
t o W a lla c k 's . The s o - c a l l e d Four Hundred went to t h e Ly
ceum t o le a r n from t h e a c t o r s and a c t r e s s e s how th e y ought
t o b eh a v e, how th e y ough t t o f u r n is h t h e i r home, and how
^M orris, op. c i t . , p . 188.
10
Marvin. F e lh e im , The T h e a te r o f A u g u stin D a ly ,
P . 145.
39
t o wear t h e i r c l o t h e s . ' 1 ''1 "
I n t h e rea lm o f e n t e r ta in m e n t , New York o f t h e p e
r io d m ight have b een a n o th er P aris., but m ost f o r e ig n ob
s e r v e r s were o f th e o p in io n t h a t f o r accom plish m en t i n th e
a r t i s t i c p r o f e s s io n s ,. th e c i t y had n o t y e t m atched th e a t
ta in m e n t o f London., P a r is , B e r l in , o r V ien n a. E. C a th e r in e
B a te s , an Englishwom an who t r a v e l e d i n t h e U n ite d S t a t e s i n
th e m i d - e i g h t i e s , e x p r e s s e d th e o p in io n o f m ost o f th e
c i t y ' s v i s i t o r s when sh e w r o te:
New York i s p r e -e m in e n t ly a c i t y o f good fo o d , good
t h e a t r e s , f i n e h o r s e s and p r e t t y women. . . . I b e l i e v e
t h e r e i s some v e r y good l i t e r a r y and a r t i s t i c s o c i e t y
t o be found i n th e Am erican c a p i t a l , but you must d ig
d ee p e r f o r i t h e r e th a n i n B o sto n , and I t h in k th e more
s u p e r f i c i a l s o c i a l l i f e o f b a l l and o p e r a , b r ig h t flo w
e r s and charm ing t o i l e t t e s , w e ll-g r o o m e d h o r s e s and
j i n g l i n g s l e i g h b e l l s i s th e more c h a r a c t e r i s t i c v ie w .
A nother E n glish m an who v i s i t e d New York, G eorge
S a la , d e s c r ib e d th e s o c i a l sc e n e w hich was r e f l e c t e d in t h e
w r i t i n g s o f De M il i e :
Why sh o u ld I n o t be c o n te n t to rem ain i n b l i s s f u l
ig n o r a n c e o f t h e "seamy" s i d e o f th e p o v e r t y , and v i c e ,
and crim e o f New York? Why c o u ld I n o t l e t w e l l enough
a lo n e ? To th e t o u r i s t w e l l - s u p p l i e d w ith l e t t e r s o f
i n t r o d u c t i o n , and w ith p le n t y o f money i n h i s p o c k e t,
M anhattan i s , a t t h e p r e s e n t moment, p erh ap s w ith one
e x c e p t io n , as e n jo y a b le a m e t r o p o lis as c o u ld be found
i n th e w h ole w orld o v e rj th e e x c e p t io n o f w h ich I speak
i s t h e p o t e n t i a l o c c u r r e n c e when th e f r o s t i s ap p ar
e n t l y a t i t s h a r d e s t , and p r o m ise s to l a s t some weeks
11
John Ranken Towse, S ix t y Y ears o f th e T h e a te r ,
P. 3 7 7 .
1 P
E. C a th e r in e B a te s , A Year i n t h e G reat R e p u b lic ,
v o l . I , pp. 2 5 1 -5 2 .
4q
lo n g e r , o f a thaw . Then e v e r y t h in g , i n an o u t - o f - d o o r s
s e n s e , g o e s t o w rack. S lu sh i s triu m p h an t; c r o s s in g
F if t h - a v e n u e i s wading th ro u g h a M a le b o lg ia n m ire, and
p e r a m b u la tio n i s , t o a la d y , n e x t door t o t h e im p o s s i
b l e . B u t, i f you can a f f o r d t o keep a c a r r ia g e or to
h i r e a hack co u p e, you w i l l f in d New York b etw een th e
end o f November and th e b e g in n in g o f March, g a y e r th a n
.P a r is , and alm ost as gay a s S t . P e te r sb u r g was b e fo r e
t h e N i h i l i s t r e v o l t s .
The f a s h io n a b le se a so n i s b e g in n in g , and s o c i e t y i s
b r i l l i a n t , m erry, c o s m o p o lita n , r e f i n e d , i n t e l l i g e n t ,
and a lm o st t o t a l l y f r e e from p r e ju d ic e .J -3
The manner i n which De M il l e r e f l e c t e d t h i s b r i l
l i a n t , m erry, c o s m o p o lita n , r e f i n e d , and i n t e l l i g e n t s o c i
e t y as c h a r a c t e r s i n h i s p la y s w i l l be d is c u s s e d i n th e
s u c c e e d in g c h a p te r s o f t h i s s tu d y .
Summary
The New York C ity t h e a t e r and a u d ie n c e o f th e
1 8 8 0 's were p e r f e c t l y s u i t e d t o t h e t a l e n t s o f Henry C.
De M i l l e . A r e s i d e n t o f New York d u rin g t h i s p e r io d c o u ld
n o t be unaware o f th e econ om ic, p o l i t i c a l , and c u l t u r a l
grow in g p a in s w h ich th e c i t y was e x p e r ie n c in g . At t h i s
p o in t i n h i s t o r y , New York C it y was d e v e lo p in g a s o - c a l l e d
s o c i e t y w hich e n jo y e d th e t h e a t e r and was in f lu e n c e d by it -.
The f a s h io n a b le a u d ie n c e w h ich a tte n d e d th e Lyceum T h e a te r ,
where De M ille had th e m a j o r it y o f h i s s u c c e s s e s , le a r n e d
from th e a c t o r s t h e "h igh— c l a s s ” deportm ent w hich i n tu r n
made t h e p la y s a t r u e r e f l e c t i o n o f th e t im e s .
IS
-^George S a la , A m erica R e v i s i t e d , p. 32.
CHAPTER I I I
BACKGROUND MATERIAL REGARDING THE LIFE OF
HENRY CHURCHILL DE MILLE
Henry C h u r c h ill De M i l l e , th e son o f W illia m Edward
and M argaret B lo u n t (H oyt) De M i l l e , was born i n W ashington,
N orth C a r o lin a , on Septem ber 17, 1853. He sp e n t h i s b oy
hood on a farm, i n I 8 7 I h e e n te r e d Colum bia C o lle g e a id e d by
a g r a n t o f $175 from t h e S o c i e t y o f New York f o r th e Promo
t i o n o f R e l ig i o n and L ea rn in g . A ccord in g to h i s so n , C e c i l !
B. De M ille x
F a th e r d id n o t have money f o r much e x p e n s iv e fu n ,
but somehow h e managed t o hoard p e n n ie s enough f o r th e
S atu rd ay m a tin e e s a t Barnum's Museum. He dreamed o f
b e in g an a c t o r ; but I t was a p p a r e n tly a h o p e le s s dream.
Boys from n i c e so u th e r n f a m i l i e s , w ith s tr o n g r e l i g i o u s
le a n in g s , d id n o t go on t h e s ta g e in th e l 8 7 0 ' s . Once 1
he s a id t o h i s m other, l i g h t l y but w ith h i s h e a r t i n
h i s mouth, "What would you sa y t o my becom ing an a c
to r ? " "It w ould break my h e a r t" was h e r r e p ly . That
answ er n e v e r l e f t f a t h e r ' s mind i n t h o s e young y e a r s ;
but n e i t h e r d id t h e hope t h a t answer seemed t o c r u s h .1
In th e m eantim e, t h e r e were c o l l e g e program s a t t h e
Academy o f M usic, and t h e r e were am ateur t h e a t r i c a l s w hich
even t h e m ost s t r i c t E p is c o p a lia n c o u ld e n jo y .
When De M ille r e c e iv e d h i s B.A. d e g r e e a t Colum bia
i n 1875, h e was a good s c h o la r , a d evou t churchman, an
^ C e c il B. De M i l l e , ed. by Donald Hayne, The A uto
b io g r a p h y o f C e c i l B. De M i l l e , p. 11.
41
42
u n u s u a lly s e r io u s -m in d e d young man, whose two most ard en t
a m b itio n s w ere a s fa r removed from e v e r y th in g i n h i s b ack
ground. He w anted t o become an a c t o r and c o u ld n o t; and he
was i n lo v e w ith a g i r l whose fa m ily opp osed t h e i r m a rria g e.
Both De M ille and h i s f u t u r e b r id e , M a th ild e Be
a t r i c e Sam u els, ta u g h t at Lockw ood's Academy, B ro o k ly n , in
1875 and were d eterm in ed to be m a rr ied . A fte r c o n s id e r a b le
p la n n in g and w ith th e u tm ost o f d e t e r m in a t io n , th e y e x
changed vows on J u ly 1 , 1 8 7 6 , a t S t . L u k e' s Church, Brook
ly n . Then, i n t h e f a l l o f 1 8 7 6 , th e y r e tu r n e d t o t h e i r
t e a c h in g p o s t s and began h o u se k e e p in g in r e n te d rooms on
M adison S t r e e t , n ea r Tompkins Avenue, i n B ro o k ly n .
The y e a r 1878 was one o f ch an ges and d e c i s i o n s fo r
De M i l l e . He was t w e n t y - f i v e when h i s f i r s t so n , W illia m
C h u r c h ill, was born on J u ly 25, 1 8 7 8 . De M ille l e f t L ock
w o o d 's Academy and moved t o New York C ity t o t e a c h i n t h e
Colum bia Grammar S c h o o l w ith an i n c r e a s e o f s a l a r y to $900
a y e a r . I t was a l s o i n t h i s same y e a r on May 27, t h a t he
was a c c e p te d by th e S ta n d in g Com m ittee o f th e E p is c o p a l
D io c e s e o f Long I s la n d as a c a n d id a te f o r H oly O rd ers. I t
app eared t o be a n a t u r a l d e c i s i o n w hich must have p le a s e d
h i s f a m ily more th an h i s n o tio n o f becom ing an a c t o r . How
e v e r , he was n e v e r o r d a in e d . He s t u d ie d t h e o lo g y and
Church h i s t o r y d i l i g e n t l y , but he n e v e r p r e s e n t e d h im s e lf
t o th e Board o f Exam ining C h a p la in s to q u a l i f y f o r o r d in a
t i o n . The Long I s la n d D io c e sa n J o u r n a ls l i s t him as a
43
c a n d id a te f o r t h e p r ie s t h o o d f o r e ig h t y e a r s , from 1878 to
1 8 8 5 . In e x p la n a t io n o f why h i s f a t h e r d id not become a
m i n i s t e r , C e c il B. De M ille r e l a t e d :
. . , my m other . . .. p ersu a d ed him , a t l e a s t sh e
t o l d him, t h a t he would have a much l a r g e r c o n g r e g a tio n
t o w h ich he c o u ld d e l i v e r h i s m essage i f he tu r n e d t o
t h e t h e a t e r in s t e a d o f t h e ch u rch — t h a t in t h e church
he m ight be a b le t o sp eak t o th o u sa n d s— th rou gh th e
t h e a t e r h e m ight be a b le t o speak t o hundreds o f
th o u sa n d s . . . .2
De M i l l e ' s t r a n s i t i o n from t e a c h e r t o p la y w r ig h t
was g r a d u a l. H is $900 a y e a r s a l a r y from t h e Colum bia Gram
mar S c h o o l and th e s m a ll f e e s from h i s p r i v a t e p u p i l s were
n o t enough t o pay th e b i l l s in th e months a f t e r W illia m was
b orn . A n. e ig h t e e n - p a r t s e r i a l s t o r y p u b lis h e d in L e s l i e ' s .
W eekly brough t $400 more, but t h i s and an in c r e a s e o f
a n o th e r $100 a y e a r from th e s c h o o l was n ot enough when on
August 12, l 8 8 l , h i s seco n d so n , C e c i l B lo u n t, was b orn .
I n March o f 1 8 8 2 , De M ille se c u r e d an in t r o d u c t i o n
and an ap p oin tm en t w ith th e Rev. Dr. George S. M a llo ry ,
e d i t o r o f The Churchman, an E p is c o p a l clergym an and a
shrewd b u sin essm a n , who w ith h i s b r o th e r , M a rsh a ll H. M al
l o r y , had ta k en o v e r th e M adison Square T h ea tr e i n J u ly ,
l879.> a f t e r S t e e l e MacKaye was fo r c e d t o c l o s e i t in May
f o r la c k o f fu n d s. De M ille o b ta in e d a c o n t r a c t from th e
b r o th e r s M a llo ry to j o i n t h e s t a f f o f th e M adison Square as
p la y r e a d e r at $1500 a y e a r , p lu s an a d d i t i o n a l $1000 f o r
2P h il A. Koury, Y e s, Mr. De M il l e , p. 4 9 .
4 4
any o r i g i n a l p la y he w r o te , p r o v id e d i t ran 200 n ig h ts .. He
began h i s d u t i e s i n A p r il, 18 82.
One o f th e aims o f t h e M a llo r y s was t o en cou rage
Am erican p la y w r ig h t s . They l e t i t be known t h a t t h e y would
c o n s id e r o r i g i n a l m a n u sc r ip ts from any s o u r c e , th e r e b y s e t
t i n g am ateur p en s m oving a c r o s s pap er a l l o v e r th e U n ite d
S t a t e s . In one p e r io d o f t h r e e m onths, De M ille rea d 200
m a n u scrip t p l a y s .
M eanw hile, t h e Frohmans had been engaged as to u r in g
and b u s in e s s m anagers, and in 1882, D avid B e la s c o became
s t a g e m anager. Somehow, De M ille found tim e t o w r it e h i s
f i r s t p la y f o r t h e p r o f e s s i o n a l t h e a t e r s John D elm er! s
D a u g h tersj o r , D uty, a comedy in t h r e e a c t s , w h ich he began
w r it in g i n O ctob er, 1882, and com p leted a f t e r many in t e r r u p
t i o n s in F eb ru ary o f t h e f o l lo w in g y e a r . I t was produced
under B e l a s c o ' s d i r e c t i o n on December 10, 1 8 8 3 . The p la y ,
w hich d e a ls w ith th e d o m e stic u n h a p p in ess c a u se d by a
m o th e r -in -la w and h e r f a m ily o f s o c i a l c lim b e r s who a re
humbled a s f e l i c i t y i s r e s t o r e d , was n o t l i k e d by e i t h e r
a u d ie n c e or c r i t i c s and was w ithdraw n a f t e r a run o f s i x
n i g h t s , a f a i l u r e somewhat c o n sp ic u o u s i n a t h e a t e r which
had e x p e r ie n c e d so many s u c c e s s e s . In h i s a u to b io g r a p h y ,
C e c i l B. De M ille n o te d t h a t h i s f a t h e r w ro te i n h i s d ia r y :
"The f a i l u r e was w orth h a v in g t o know th e number o f f r i e n d s
-^Arthur Hobson Quinn, A H is t o r y o f t h e American
Drama from th e C i v i l War t o th e P r e se n t Dayj pT 1 6 9 .
45
t h e a u th o r had. ,,J + To Henry C. De M i l l e , h i s f i r s t f a i l u r e
in th e p r o f e s s i o n a l t h e a t e r was t h e o n ly one f o r th e r e s t
o f h i s c a r e e r .
I t was s h o r t l y a f t e r t h i s e v e n t t h a t th e Frohmans
l e f t t h e Madison. Square t o j o i n S t e e l e MacKaye a t th e new
Lyceum T h e a tr e , th e f i r s t New York p la y h o u se to be com
p l e t e l y eq u ip p ed w ith e l e c t r i c i t y . B e la s c o soon f o llo w e d
t h e Frohmans. To c o u n te r a c t t h e s e d e f e c t i o n s , th e M a llo r y s
brought A. M. Palm er t o th e M adison Square as d i r e c t o r w ith
a h a l f - i n t e r e s t i n th e h o u se .
De M ille c o n tin u e d t o r e a d , d o c to r p l a y s , and do
some a c t in g a t t h e M adison Square and on th e road u n t i l h i s
c o n t r a c t e x p ir e d i n th e summer o f 1885. Mr. P alm er, th e n
i n c o m p lete c o n t r o l , d id n o t renew i t . T h e r e fo r e , d u rin g
a summer o f b e in g "at l i b e r t y " and a f t e r a c t i n g in a lo n g
road t o u r , De M ille f i n i s h e d work on a n o th er p la y , The Main
L in e] o r , R aw son's Y, w r i t t e n i n c o ll a b o r a t io n w ith C h a rle s
B arnard, who was c o n n e c te d w ith S c r ib n e r 1s M onthly and b e s t
remembered to d a y as th e a u th o r o f The County F a ir w ith N e i l
B u r g e s s . P erhaps u n co m fo r ta b ly aware o f h i s p r e v io u s f a i l
u r e i n s e r i o u s comedy, De M ille f a s h io n e d a s t r a i g h t m elo
drama o f a f a m i l i a r and f a v o r i t e v a r i e t y . The Main L in e
w ith w hich Frohman reop en ed t h e Lyceum T h ea tre on. Septem ber
1 8 , 188 6 , was under th e d i r e c t i o n o f B e la s c o . The m a jo r ity
4 C. B. De M i l l e , op. c i t . , p. 17.
46
o f th e r e v ie w e r s pronounced i t a s u c c e s s , and a l l w ere en
t h u s i a s t i c ov er th e r a il r o a d e f f e c t s . To many i t r e p r e
s e n te d a r e v o lu t io n a r y advance i n r e a lis m . The s u b j e c t
a lo n e was c a u se f o r comment; .some c r i t i c s sc o rn ed t h e id e a
t h a t any romance c o u ld be found i n so p r o s a ic a s u b j e c t as
r a i l r o a d i n g . I t app eared t h a t t h e r e would n ot have been
such a volum e o f comment over th e r e a l i s t i c r a i l r o a d e f
f e c t s i n The Main L in e i f t h e y had n ot been r eg a r d e d as
5
c o m p a r a tiv e ly new.
De M l l l e ' s new melodrama p la y e d a t th e Lyceum w it h
o u t i n t e r r u p t io n u n t i l O ctob er 16., and th e n i t went on th e
r o a d . C h ica go, P h i la d e l p h i a , B o sto n , and o th e r c i t i e s saw
i t i n th e months t h a t f o llo w e d . I t was r e v iv e d i n New York
on A p r il 25, 1 8 8 7, f o r a w e e k 's run at th e P e o p le 's T h eatre,
and i t was p erform ed a t t h e W indsor T h ea tr e a y e a r l a t e r .
Then f o r a tim e i t was a lm o st ev ery w h ere: C h icago, a s an
exam p le, had fo u r p r o d u c tio n s a t fo u r d i f f e r e n t t h e a t e r s
w it h in t h e n e x t two y e a r s . I n 1 8 9 1 , Be M i l l e r ew r o te t h e
p la y under t h e t i t l e , The Danger S i g n a l , and i t opened a
s u c c e s s f u l run a t th e P e o p le 's T h ea tre on Septem ber 7 .
In th e m eantim e, d u rin g th e e a r l y summer o f 1 8 8 7 *
D a n ie l Frohman g a th e r e d a perm anent company f o r th e f i r s t
r e g u la r s t o c k se a s o n a t th e Lyceum T h e a tr e . He was s e a r c h
in g f o r a modern s o c i e t y p la y w hich w ould e x h i b i t th e
^The P la y s o f Henry C. De M i l l e , ed . by R obert
H am ilton B a l l , p. x i . _________________________________________________
47
t a l e n t s o f h i s company; he s u g g e s te d t o t h e two d r a m a t i s t s
who w ere a l r e a d y a s s o c i a t e d w ith him t h a t t h e y c o l l a b o r a t e .
De M i l le and B e la s c o e a g e r l y agreed., and t h a t was t h e b e
g in n in g o f a lo n g and s u c c e s s f u l a s s o c i a t i o n . , The c o
w o rk e rs r e t i r e d t o De M i l l e 1s summer home a t Echo Lake, New
J e r s e y , and began work on a p l a y w hich a t f i r s t t h e y c a l l e d
The M a rria g e T ie b u t w hich e v e n t u a l l y was named The W ife .
The p l a y was d e f i n i t e l y w r i t t e n w ith th e s t o c k company l e d
by H e r b e r t K e lc e y and G e o rg ia Cayvan i n m in d .^ The c e n t r a l
i d e a was t h a t R o b e rt Grey and H e len Freem an, th o u g h l o v e r s ,
h av e p a r t e d b e c a u s e L u c i le F e r r a n t , who had been j i l t e d by
R o b e rt, t e l l s H e le n o f t h e i r e a r l i e r r e l a t i o n . H elen m ar
r i e s , o u t o f r e s e n t m e n t , t h e Hon. John R u t h e r f o r d , who i n
due tim e becomes aw are o f t h e s i t u a t i o n . At t h i s p o i n t ,
t h e c o l l a b o r a t o r s d e c id e d t h a t R u t h e r f o r d , i n s t e a d o f b e
h a v in g a s t h e s t a g e hu sb an d u s u a l l y d i d u n d e r th o s e c i r
c u m s ta n c e s , s h o u ld e n d e a v o r t o w in h i s w i f e ' s lo v e , h a v in g
to o much p r i d e t o acknow ledge t h a t an e a r l y g i r l i s h p a s s i o n
must n e c e s s a r i l y be more p o w e r fu l t h a n h e r r e a c t i o n t o h i s
own lo v e and c o n f i d e n c e . R u th e r f o r d f i n a l l y s u c c e e d s , n o t
7
w ith o u t some i n n e r s t r u g g l e s .
The W ife was f i r s t p r e s e n t e d a t th e Lyceum T h e a tr e
on November 1, 1 8 8 7 . The r e v i e w e r s w ere unanim ous i n
^ W illia m W in te r, The L i f e o f D avid B e la s c o , v o l . I ,
P. 327.
7I b i d . , p . 328 .
48
p r a i s e o f th e company, th e a c t i n g , th e s t a g i n g , t h e s c e n e r y ,
and t h e p la y i t s e l f . H owever, i n s p i t e o f t h i s , t h e f a t e
o f th e p la y hung f o r some tim e i n th e b a la n c e . A tten d a n ce
was p oor and grew s t e a d i l y w o r se . Each day th e a n x io u s
a u th o r s s t a l k e d Frohman i n h i s o f f i c e w ith f r e s h e n t r e a t i e s
t o keep t h e p la y open f o r a few more d a y s . Frohman coun
t e r e d w ith a le d g e r o.f m ounting d e b t s . A f t e r th e seco n d
week he prom ised' t o k eep i t open one more w eek, c o n t in u in g
i t from t h a t p o in t o n ly i f i t made e x p e n s e s . The two w r i t
e r s began p ru n in g and t i g h t e n i n g th e d ia lo g u e and a c t i o n .
A tten d a n ce p ic k e d up but mot enough t o s a t i s f y Frohman.
One day he s e n t word to t h e a u th o r s t h a t The W ife was in
i t s f i n a l week. De M ille and B e la s c o ru sh ed t o h i s o f f i c e
to beg and p le a d . Frohman s a t s i l e n t l y a t h i s d esk when
su d d en ly B e la s c o s e i z e d him by th e t h r o a t . The s i g h t o f
th e p r i e s t l i k e f i g u r e o f B e la s c o d r a g g in g Frohman from h i s
c h a ir and p in n in g him down on th e f l o o r f i l l e d th e m ild -
8
mannered De M ille w ith t e r r o r . Egged on by h i s p a r tn e r ,
De M il l e grabbed a r u l e r and th r e a te n e d t o k i l l Frohman i f
he d i d n ' t keep th e p la y g o in g ,^
Soon th e r e c e i p t s began t o i n c r e a s e u n t i l t h e r e
was no p o s s i b l e doubt t h a t The W ife was s u c c e s s . I t was
g iv e n two hundred and t h i r t y - n i n e c o n s e c u t iv e p erfo rm a n ces
O
D a n ie l Frohman, D a n ie l Frohman P r e s e n t s , p. 72.
9 g . B. De M i l l e , op. c i t . , p . 23.
49
en d in g i t s run on June 16, 1 8 8 8 . The d e b ts o f th e t h e a t e r
were p a id in f u l l , and De M ille and B e la s c o w ere commis
s io n e d t o w r it e a new p la y f o r th e f o l lo w in g s e a s o n .
I n d i c a t i o n o f th e p o p u la r it y o f The W ife can be
ju d ged by i t s s t a g e h i s t o r y . The n e x t se a s o n t h e Lyceum
T h ea tr e Company to o k i t on to u r th ro u g h t h e m ajor t h e a t r i
c a l c e n t e r s . I t was back i n New York f o r a week b e g in n in g
December 1 0, and f o r a n o th er week o f F eb ru ary 4 , l889»
W ith t h e o r i g i n a l company th e p la y was r e v iv e d at t h e Ly
ceum on A p r il 29, where i t ran u n t i l May 1 8 , . when th e t h e a
t e r c lo s e d f o r th e s e a s o n . The n e x t Septem ber, a f t e r p e r
form an ces i n C h ica g o , th e Iyceum company opened th e new
Harlem Opera H ouse w ith a w e e k 's run b e f o r e c o n tin u in g on
th e road w ith r e p e t i t i o n s i n B o sto n . The r e g u la r Lyceum
company was s t i l l a c t i n g i t on to u r i n th e f a l l o f 1 8 9 1 , a t
w h ich tim e t h e p la y became a p o p u la r v e h i c l e f o r many
s t o c k com p an ies. A u d ien ces i n New York C ity c o u ld s e e th e
p la y i n 1 8 9 0 , 1 8 9 1 , 1 8 9 3 * 1 9 0 0 , and a s l a t e as 1915* w h ile
C hicago w it n e s s e d p erfo rm a n ces i n 1 8 9 1 , 1 8 9 2 , 1893* 1895*
1 8 9 6 , 1897* 1899* 1 9 0 0 , 1902, 1904, 1906, and 1 9 0 7 .10
The r e l a t i v e s h a r e s o f B e la s c o and De M ille were
b e s t i n d ic a t e d by a d e s c r i p t i o n o f t h e i r m ethods o f c o l l a b
o r a t io n . The comments c o n c e r n in g t h e i r u n orth od ox approach
t o p la y w r it in g i n d i c a t e d B e l a s c o ' s c o n t r i b u t i o n may have
10G eorge C. D. O d e ll, A nnals o f th e New York S ta g e ,
v o l s . X, X I, X II, X I I I , XIV.
50
b een l e s s th an De M i l l e ' s . A ccordin g t o D a n ie l Frohman.,
De M ille w rote most o f th e p l a y s . A fte r th e d ia lo g u e had
b een d e v e lo p e d to a c e r t a i n p o i n t , th e y brough t i t t o th e
Lyceum T h e a tr e , De M ille s a t a t a d esk i n t h e a u d ie n c e
n e a r t h e empty s t a g e , and B e la s c o a c te d upon th e s t a g e th e
s c e n e s o f t h e drama. I f th e r e s u l t was n ot s a t i s f a c t o r y ,
De M i l l e changed l i n e s , c u t o u t or added s c e n e s and o t h e r
w is e m o d ifie d t h e p la y a lw a y s w ith a v iew t o s t a g e e f f e c
t i v e n e s s . I f th e h e r o in e had b een in tr o d u c e d upon t h e l e f t
s i d e o f th e s t a g e when h e r e n tr a n c e w ould have b een more
t e l l i n g upon t h e r i g h t , and th e s c r i p t f o r b id th e change
o f p o s i t i o n , th e n t h e s c r i p t had to be a l t e r e d . When th e
a u th o r s handed o v e r t h e m a n u sc r ip t, th e la b o r was o n ly h a l f
don e. E very sc e n e had t o be a d ju s te d t o th e s t o c k company
whose v e r y e x c e l l e n c e s i n some c a s e s proved e m b a rr a ssin g .
Grace H enderson, who p la y e d L u c ile F e r r a n t, th e ad v en tu ress;
had a p e c u l i a r l y sy m p a th e tic v o i c e . A ccordin g t o th e p la y
sh e was t o i n d i c a t e by h e r i n t o n a t i o n t h a t sh e was l y i n g
t o H elen i n h e r r e v e l a t i o n o f th e e a r l i e r r e l a t i o n s h i p b e
tw een R obert Grey and h e r s e l f . But M iss H en d e rso n 's v o i c e
was so a p p e a lin g t h a t th e a u d ie n c e r e f u s e d t o sy m p a th ize
w ith anyone but h e r . So th e l i n e , "Robert Grey, I ' l l b r in g
you back to me, no m a tte r what was th e c o s t , " was i n s e r t e d ,
11
and sh e s a id t h i s t o th e a u d ie n c e as an a s i d e .
■^Craig T im b erla k e, The L if e and Work o f D avid
B e la s c o , t h e B ish op o f Broadway, p p . 1 3 2 -3 3 .
51
T h is i n c id e n t i s i ll u m i n a t i n g i n i t s r e v e l a t i o n o f
th e d i f f i c u l t y o f a p p r a is in g j u s t l y th e work o f p la y w r ig h ts
o f t h i s p e r io d . The l i n e i n q u e s t io n was added a t th e i n
s t i g a t i o n o f D a n ie l Frohman, . There can be no q u e s t io n t h a t
t h i s was o n ly one o f hund reds o f c a s e s where t h e n e c e s s i
t i e s o f a s t o c k company r a th e r than th e w i l l o f a p l a y
w r ig h t d eterm in ed t h e f i n a l form o f a p la y .
The new p la y upon w hich De M il l e and B e la s c o were
t o c o l l a b o r a t e was c r e a t e d f o r E. H. S o th e r n . S in c e h i s
f a t h e r ' s most fam ous c h a r a c t e r had been D undreary, th e p la y
w r ig h ts d e c id e d a lm o st a t once t o d e v e lo p th e h ero as an
E n g lis h lo r d , but a t t h e same tim e th e y a l s o w ere d e t e r
mined to a v o id th e pompous and s u p e r c i l i o u s t r a i t s so
c h a r a c t e r i s t i c o f th e manner i n w hich an E nglishm an was
d e p ic t e d on th e s t a g e i n Am erica a t t h i s tim e . H is name
was t o be C holm ondeley, pronounced and f i n a l l y s p e l l e d , e x
c e p t i n th e d ra m a tis p e r s o n a e , "C hum ley," From th e c h a r
a c t e r were t o d e v e lo p , as B e la s c o put i t , ''e c c e n tr ic s i t u a
t i o n s , w ith lo v e s c e n e s and b r ig h t l i n e s . Our r e a l t a s k
12
was t o e x p l o i t a c o m e d ia n ." For some tim e t h e y worked
t h e i r pow ers o f i n v e n t i o n t o no a v a i l ; f i n a l l y , a sim p le
i n c i d e n t gave them th e n e c e s s a r y im p e tu s. I n th e v i l l a g e
n e a r Echo Lake, B e la s c o had bought a p i s t o l c i g a r e t t e -
h o ld e r in te n d in g t o g i v e i t t o De M i l l e ' s c h i l d r e n . On a
- j Q
M ontrose J . M oses, The American. D r a m a tis t, p . 240.
5 2
w alk w ith De M i l l e , he p l a y f u l l y p u lle d i t from h i s p o c k e t
w ith th e w ords, "Stand and d e l i v e r , " and w ith t h i s s t a t e
l y
m ent, th e f i r s t p a r t o f Act I was c o n c e iv e d . J
By J u l y , 1888, th e p r e lim in a r y work was c o m p le te ,
but S o th e r n , who had o r i g i n a l l y approved o f th e p r o j e c t ,
now was wary o f t h e c h a r a c t e r and d id n o t want t o p la y i t .
De M i l l e and B e la s c o w ere h o r r i f i e d , f o r th e y saw a l l t h e i r
work f o r n o u g h t, s i n c e Chumley had b een c r e a t e d f o r S oth ern
and would f i t no one e l s e . F o r t u n a t e ly , S o th ern was f i
n a l l y c o n v in c e d and j o in e d B e la s c o on t h e s t a g e , w ith De
M ille a t h i s u s u a l d esk i n th e a u d ie n c e to put th e p la y i n
c o m p lete form . The f e a t h e r d u s te r b u s in e s s in Act I I grew
ou t o f an a c c id e n t a t r e h e a r s a l when S o th e r n was u n ex p ected
l y amused and s t a r t e d w ith a sh o u t o f alarm ; t h i s i n c id e n t
ju x ta p o se d w ith Lady A d e lin e 's p r a i s e o f C hum ley's b r a v e r y
made a humorous and e f f e c t i v e s c e n e . Lord Chumley opened
at th e Lyceum T h e a tr e on August 20, 188 8 , B ecau se o f th e
v e r y n a tu r e o f th e p la y and th e manner i n w hich t h e t i t l e
r o l e had been, em p h a sized , S o th er n dw arfed th e r e s t o f th e
c a s t .
The r e v ie w s f o r Lord Chumley w ere i n unanim ous
agreem en t w ith t h e New York M ail and E x p r e s s : "T here i s
no d oub t t h a t t h i s p r o d u c t i o n o f e x t r a o r d i n a r y m e r i t w i l l
draw l a r g e and m erry a u d ie n c e s t o t h e Lyceum f o r m o n th s."
■^W inter, op. c i t . , p . 3^-3.
53
The comedy c lo s e d a t th e Lyceum on November 1 0 th t o a llo w
t h e r e tu r n o f th e r e g u la r s to c k company, and th e n I t began
a n a t i o n a l to u r i n B o sto n two days l a t e r . L a te r on August
20, 188 9 , th e Lyceum g r e e te d S o t h e r n 1s now famous c h a r a c t e r
a g a in a t t h e o p e n in g o f th e n e x t t h e a t r i c a l s e a s o n . The
p la y ran f o r a month b e fo r e i t began s t i l l a n o th e r road
t o u r . But t h e Lyceum was n ot f i n i s h e d w ith i t y e t , f o r
t w ic e more S o th er n app eared t h e r e as Chumley f o r sh o r t runs
b e g in n in g O ctob er 29> 1 8 9 4 , and O ctob er 25, 1 8 9 7 . There
w ere r e v i v a l s i n New York C it y i n 1895 and 1 8 9 8 , u n t i l f i
n a l l y i n 1 8 9 8 , S o th e r n sto p p e d a p p ea r in g in. t h e r o l e a f t e r
p la y in g i t f o r t e n y e a r s a l l o v e r th e c o u n tr y . A fte r
S o th er n r e l in q u i s h e d th e r o l e , t h e p la y was p erform ed by
s t o c k com panies and was s e e n i n b oth C h icago and New York
a s l a t e as 1906.
W ith t h e s u c c e s s of Lord Chumley, i t was a f o r e
gone c o n c l u s i o n t h a t De M i l le and B e la sc o would c o n ti n u e
t h e i r c o l l a b o r a t i o n and p r o v i d e a new p l a y f o r t h e Lyceum
T h e a tr e f o r t h e t h i r d tim e i n t h r e e s u c c e s s i v e y e a r s .
O th e r p r o j e c t s a t t h i s tim e a l s o added t o De M i l l e ' s grow
in g s u c c e s s . One o f S t e e l e MacKaye 1s dream s had b een a
p r o f e s s i o n a l s c h o o l f o r a c t o r s . T o g e th e r w ith F r a n k l i n H.
S a r g e n t and o t h e r s , MacKaye had fo u n d ed t h e Lyceum T h e a tr e
Sch ool i n 1 8 8 4 . S a r g e n t c o n tin u e d i t u n d e r t h e name of
t h e New York S c h o o l o f A c tin g a f t e r MacKaye had l e f t t h e
Lyceum. De M i l l e became i t s a s s o c i a t e d i r e c t o r i n 1888,
54
and gave i t i t s p r e s e n t name: th e Am erican A c a d e m y o f Dra
m a tic A r ts.
One o f th e Academy p r o j e c t s w hich o c c u p ie d De M ille
was th e f i r s t Am erican p r o d u c tio n o f S o p h o c le s 1 E l e c t r a i n
March, 1 8 8 9 . B e la s c o s ta g e d t h e p la y from a t e x t arran ged
by De M ille from th e o r i g i n a l Greek and v a r io u s t r a n s l a
t i o n s . A f t e r i t s Lyceum run, E l e c t r a was ta k e n t o B o sto n
and p la y e d by i n v i t a t i o n a t H arvard U n iv e r s i t y .
In t h e meantime., a summer o f work a t Echo Lake had
r e s u l t e d i n a s c r i p t d i s t i n c t l y f o r th e s to c k company r a t h
er th an a s t a r : The C h a r ity B a l l . As i n The W ife , De
M il l e began w ith a s o c i a l them e. The p l o t was b u i l t around
th e s tr o n g s i t u a t i o n i n th e t h i r d a c t i n w hich a clergym an
m arried to h i s s e l f - i n d u l g e n t b r o th e r th e g i r l w ith whom he
h i m s e l f h a s f a l l e n i n l o v e . I t ap p eared t h a t th e t r e a t -
•ment o f human in f ir m it y ., made more e f f e c t i v e by r e l a t i n g i t
t o g e n e r a l s o c i a l b e n e v o le n c e , le d t o th e id e a o f th e c h a r
i t y b a l l and t h e sc e n e i n t h e M e tr o p o lita n Opera H ouse.
The p la y opened a t th e Lyceum T h ea tre on. November
1 9 j 1 8 8 9 j and f o r t h e t h i r d tim e t h e r e was no doubt w h at
e v e r t h a t t h e c o l l a b o r a t o r s had p r o v id e d th e t h e a t e r w ith
a n o th e r h i t . The r e v ie w s w ere unanim ous in p r a i s e o f th e
p la y and a s s u r e d i t s s u c c e s s .
The C h a r ity B a l l ran u n t i l May 24, I.8 9 O, c l o s i n g
a t t h e Lyceum a f t e r i t s tw o -h u n d red th p erfo rm a n ce. By t h e
end o f th e c e n tu r y i t had been p r e s e n te d i n s e v e n o th e r
55
New York C it y t h e a t e r s and th e n l a t e r T oy o th e r s t o c k compa
n i e s .
B e fo r e th e f i r s t run o f The C h a r ity B a l l was com
p l e t e d D avid B e la s c o s e v e r e d h i s co n n ectio n , w ith th e Lyceum
o v e r d i f f e r e n c e s w it h th e s t o c k h o ld e r s r e g a r d in g h i s a s s o
c i a t i o n w ith Mrs. L e s l i e C a r te r . M eanw hile, F. F. P r o c to r
had to r n down a church on 23rd S t r e e t and e r e c t e d a t h e a t e r .
C h a r le s Frohman, who was e a g e r f o r h i s own sto c k company,
l e a s e d th e t h e a t e r and ask ed h i s o ld a s s o c i a t e , B e la s c o , t o
p r o v id e a p l a y . B e la s c o r e l a t e d :
N a t u r a lly , my th o u g h ts tu r n e d t o Henry De M i l l e . . . .
W e had alw ays b een s u c c e s s f u l b e c a u se our way o f
th o u g h t was s i m i l a r and we were fra n k i n our c r i t i c i s m
o f each o t h e r ' s work. He e x c e l l e d i n n a r r a t iv e and had
a q u ick w i t . The e m o tio n a l s c e n e s w ere more t o my l i k
i n g . . . . I t was f i v e o ' c l o c k i n t h e m orning when I.
was s e i z e d w ith th e id e a o f a sk in g De M ille and I h a s
te n e d a t o n ce t o h i s h o u se . I knocked on t h e door w ith
t h e v i g o r o f a watchman sou n d in g a f i r e alarm , and
when De M il l e a t l a s t app eared he was armed w it h a
c a n e , rea d y t o d e fen d h i s h e a r th and home. I t o l d him
o f t h e n e c e s s i t y o f a p la y f o r C . F . ' s o p en in g and he
a g reed t o work w ith me. In th e p r o f e s s i o n De M ille
and I w ere th o u g h t t o be v e r y lu c k y a s t h e a t e r op en
e r s . . . . H ere we were a g a i n ,. . . t a l k i n g o v e r th e
b i r t h and b a p tism o f y e t a n o th e r New York m a n a g er.14
As a m a tte r o f f a c t , t h e t h e a t e r had opened a y e a r
e a r l i e r , and C h a r le s Frohman had a lr e a d y p rod u ced t h e r e ,
b ut i t was t o be t h e f i r s t p la y f o r t h e s to c k company o r
g a n iz e d a t th e t h e a t e r .
The l a s t p la y i n w hich De M ille and B e la s c o c o l l a b
o r a te d , Men and Women, grew out o f a c u r r e n t bank s c a n d a l.
l4I b ld ., pp. 373-7^♦
56
A young man had s p e c u l a t e d w ith bank fu n d s t o which,, as an
employee., he had a c c e s s ; h i s f a t h e r ' s d e t e r m i n a t i o n t o r e
s t o r e t h e money and sa v e t h e bank and h i s son r e c e i v e d c o n
s i d e r a b l e p u b l i c i t y . The t i t l e was s e l e c t e d t o i n d i c a t e
u n i v e r s a l a p p e a l and b r e a d t h o f th em e. I n o r d e r t o a c h ie v e
t h i s end., more s e t s o f l o v e r s t h a n u s u a l were i n c l u d e d i n
t h e p l o t . The p a r t o f D ora was c r e a t e d f o r Maude Adams i n
whom C h a r le s Frohman saw p o s s i b i l i t i e s . She had b r i e f l y
a p p e a re d e a r l i e r f o r D a n i e l Frohman i n Lord Chum ley.
I f De M i l le and B e la s c o w ere c o n s i d e r e d lu c k y t h e a
t e r o p e n e r s , Men and Women d id n o th in g to i n v a l i d a t e t h a t
c la im . The p l a y opened a t P r o c t o r ' s T w e n t y - t h ir d S t r e e t
T h e a tr e on O c to b e r 21, 1 8 9 0 , and r a n two h u n d re d and f o u r
c o n s e c u t i v e p e rf o r m a n c e s , c l o s i n g on March 28, 1 8 9 1 . The
r e v ie w s , a g a i n , p r a i s e d t h e p l a y . The J o u r n a l , t h e P r e s s ,
and t h e Com m ercial A d v e r t i s e r a g re e d t h a t i t ra n k e d among
t h e b e s t o f r e c e n t A m erican p l a y s .
Men, and Women was e q u a l l y s u c c e s s f u l on t h e t o u r s
w hich f o llo w e d t h e o p e n in g . I t had two r u n s I n C h icag o , a
s t a y i n B o sto n f o r a m onth, and was p ro d u c e d i n San F r a n
c i s c o b e f o r e t h e y e a r was f i n i s h e d . I t a p p e a re d i n New
York C i t y i n 1891 a t two d i f f e r e n t t h e a t e r s an d r e p e a t e d
a g a i n i n 1893 and 189^ . I t p la y e d i n C hicago w ith t e n o n e -
week s ta n d s from 1892 t o 1 9 0 6 , I n 1925, t h e p l a y w r i g h t 's
so n , W illia m C. De M i l l e , d i r e c t e d a m o tio n p i c t u r e v e r
s i o n .
57
I n 18 91, B e la s c o was p r im a r ily o c c u p ie d w ith t h e
p r e s e n t a t io n o f Mrs, L e s l i e C a r te r and was more i n t e r e s t e d
i n w r it in g p la y s f o r s t a r s th a n f o r s t o c k co m p a n ies. De
M il l e w r o te in. h i s d ia r y : " It was d u rin g th e l a s t few
d ays o f t h i s y e a r [ 1 8 9 0 ] t h a t I found t h a t D a v id 's i n t e r e s t
and mine no lo n g e r l a y t o g e t h e r , and i n p e r f e c t am ity and
w ith m utual r e g a r d f o r each o th e r we d eterm in ed n o t t o work
t o g e t h e r f o r th e p r e s e n t." * ^
The New York new spap ers s u g g e s te d t h a t Mrs. C a r ter
m ight be t h e c a u se o f th e break i n t h e s u c c e s s f u l p a r t n e r
s h i p . In an i n t e r v i e w w ith th e D a ily C o n tin e n t, De M ille
s t a t e d t h a t r a t h e r than, w r it in g f o r an i n d i v i d u a l s t a r , he
p r e fe r r e d c r e a t i n g p la y s f o r a s to c k company. He r e p e a te d
t h e f a c t t h a t h i s p e r s o n a l r e l a t i o n s w ith B e la s c o rem ained
f r i e n d l y . ^
I t seem ed n a t u r a l t h a t w ith t h e s u c c e s s o f Men and
Women, C h a rle s Frohman would ask De M ille a lo n e t o w r it e a
new p la y f o r h i s s t o c k company. I n December o f 1 8 9 0 , De
M ille w it n e s s e d t h e p r e s e n t a t io n i n German. o f Ludwig
F u ld a 's Das v e r lo r e n e P a r a d ie s a t t h e Amberg T h ea tre i n
New York C it y . F u ld a 's p la y had been f i r s t . p r e s e n te d on
November 1 , 1 8 9 0 , i n B e r l in , but i t was not p u b lis h e d u n t i l
two y e a r s l a t e r . A ft e r n e g o t i a t i o n w ith t h e a u th o r,
15C. B. De M i l l e , op, c i t . , p . 27.
l 6I b i d .
58
De M ille began an a d a p ta tio n , o f t h i s p la y . H owever, a f t e r
two months o f work, De M i l l e w rote i n h i s d ia r y : "I soon
found t h a t an a d a p ta t io n was n o t s u f f i c i e n t , I drew out a
s c e n a r io o f a new p l a y , u sin g , w h a tev er I found good i n th e
German.
I t was w h ile De M ille was w orking on The L o st P ara
d i s e t h a t h i s d a u g h te r , Agnes B e a t r i c e , was born on A p r il
2 3 , 1 8 9 1 .18
The C h a rle s Frohman S to ck Company was on i t s way
back from t h e c o a s t when De M ille j o in e d i t i n D enver t o
b e g in r e h e a r s a l s o f The L o st P a r a d is e . The p la y was f i r s t
p erform ed a t t h e C olum bia T h e a tr e , C h ica go, on August 17,
1 8 9 1 , where i t ran f o r two w eek s. The a u d ie n c e was e n th u
s i a s t i c and c a l l e d De M il l e o u t f o r c u r t a in sp e e c h e s a f t e r
th e secon d a c t and a t th e end o f th e p l a y . He came out i n
h i s s h i r t s l e e v e s a t t h e f i r s t c u r t a in c a l l w hich c a u se d
The C hicago I n te r -O c e a n to remark on t h e ap p ea ra n ce o f a
workman among th e workmen w hose l i v e s and s t r u g g l e s h i s
p l a y d e p ic t e d .
The L ost P a r a d is e opened i n New York a t P r o c t o r 's
^ Ibid. , p . 29.
1 R
Henry C. De M i l l e ' s so n s a c h ie v e d m ajor s u c c e s s
d u rin g t h e i r l i v e s . C e c i l B. was a m otion p i c t u r e d i r e c
t o r ; W illia m C. was a m otion p i c t u r e d i r e c t o r , p la y w r ig h t ,
and fo u n d er o f t h e U n iv e r s i t y o f S ou th ern C a l i f o r n i a ' s
Drama D epartm ent i n 1 941. Agn.es B e a t r i c e d ie d on F eb ru ary
12, 1895* Agnes G eorge De M i l l e , c t h e n o te d d a n cer and
c h o r e o g r a p h e r , was th e d a u g h ter o f W illia m C. De M i l l e .
5 9
T w e n ty -th ir d S t r e e t T h ea tr e on November 16 , 1 8 9 1 , p la y e d i t s
o n e-h u n d red th perform an ce on F eb ru ary 2, and c lo s e d i t s run
on March 5 . The c r i t i c s p r a is e d De M i l l e ' s work and su g
g e s t e d t h a t t h e p l a y d e se r v e d a lo n g and p r o sp e r o u s c a r e e r .
The p la y , opened i n B o sto n i n 1892., and th e n p la y e d n in e
New York t h e a t e r s b e f o r e th e end o f th e c e n tu r y , s e v e r a l
more i n th e n e x t d e c a d e . I t was p rod u ced i n London i n
December, l8 9 2 j i t was perform ed in. C hicago and in s m a lle r
c i t i e s as l a t e as 1909.
De M ille began work on a n o th e r p l a y . The P rom ised
Land, w hose t i t l e s u g g e s t e d t h a t h e m ight h a v e meant i t to
be an answ er t o t h e problem s h e had p ro p o sed i n The L ost
P a r a d is e . I n A p r il, 1 8 9 1 , Be M ille p u rch a sed a s i t e o f
s e v e n t y - s i x a c r e s on a h i l l above Pompton Lake, New J e r s e y .
Such was h i s m a t e r ia l s u c c e s s t h a t on December 29, 1 8 9 2 ,
he was a b le t o pay o f f t h e l a s t o f th e m ortgage on th e prop
e r t y and ta k e ou t a new l i f e in s u r a n c e p o l i c y . He con
t in u e d work on h i s new p la y but jo u r n e y ed tolN ew York C ity
on January 25, 1893, to a tte n d th e o p en in g o f t h e Empire
T h ea tre and w it n e s s The G-irl I L e ft B ehind Me by B e la s c o
and F r a n k lin F y l e s . The f o l lo w in g day he l e c t u r e d a t th e
Am erican Academy o f D ram atic A rts and a few days l a t e r r e
tu rn ed t o Pompton Lake c o m p la in in g o f f e e l i n g i l l . What
was a t f i r s t th o u g h t t o be o n ly i n d i g e s t i o n was d ia g n o se d
l a t e r as ty p h o id f e v e r .
6o
Henry C h u r c h ill De M ille d ie d a t 4 o ' c l o c k on th e
m orning o f F eb ru ary 10, 1 8 9 3 j &t t h e age o f t h i r t y - n i n e
y e a r s .
The f u n e r a l was, h e ld a t Pompton Lake and was a t
te n d e d by s e v e r a l m anagers and p r o f e s s i o n a l s , as w e l l as
d e l e g a t i o n s from t h e D ram atic A u th o rs' S o c i e t y and t h e
P la y e r s ' Club o f w hich De M ille was a member. The American
Academy ••of D ram atic A r ts was r e p r e s e n t e d , and t h e r e w ere
s e v e r a l Masons p r e s e n t . The Lyceum T h ea tr e Company s e n t a
w reath o f l a u r e l in t e r t w in e d w it h v i o l e t s and i n s c r i b e d w ith
t h e names o f p la y s w r i t t e n by De M il l e i n w h ich t h e company
had a c t e d . E. H. S o th er n s e n t a f l o r a l s c r o l l i n s c r ib e d
w ith t h e name o f Lord Chumley.. The body was crem ated at
F resh Pond, Long I s l a n d .
Summary
D uring h i s b r i e f l i f e t i m e , Henry C h u r c h ill De M i l l e
was a s s o c i a t e d w ith t h e major f i g u r e s o f th e t h e a t e r i n th e
U n ite d S t a t e s . Born i n W ash ington, N orth C a r o lin a , on
Septem ber 17, 1853, he was g r a d u a te d from Colum bia C o lle g e
i n 18 75. A lthou gh h e c o n s id e r e d a v o c a t io n i n th e c l e r g y
f o r som etim e, h i s a m b itio n s w ere i n th e t h e a t e r w o r ld .
A f te r t e a c h in g at L ockw ood's Academy, Brooklyn,, f o r two
y e a r s , he o b ta in e d a p o s i t i o n i n th e Colum bia C o lle g e Gram
mar S c h o o l, where he rem ained u n t i l 1882.
61
In A p r il o f 1882,, De M il l e j o in e d th e s t a f f o f t h e
M adison Square T h ea tr e as a p la y r e a d e r . H is f i r s t play*
John D e lm e r's Daughters.; or,, D u ty, was s ta g e d a t th e M adison
Square by D avid B e la s c o on December 1 0 , 1883- However, th e
p la y was w ithdraw n a s a f a i l u r e a f t e r a run o f s i x n i g h t s .
De M i l l e ' s f i r s t t h e a t r i c a l s u c c e s s was a t th e new
Lyceum T h ea tre w ith h i s p la y , The Main L in e: o r , R aw son's Y,
w hich was d i r e c t e d by B e la s c o and opened on Septem ber 18,
18 8 6 . The p la y was a melodrama w r i t t e n w it h C h a rle s Bar
nard .
A fte r t h i s , De M ille form ed a p a r t n e r s h ip w ith Davie.
B e la s c o w h ich r e s u l t e d i n a rem ark ably s u c c e s s f u l s e r i e s o f
p la y s : The W ife, Lord Chumley, The C h a r ity B a l l , and Men
and Women. A ll o f th e p la y s e x c e p t t h e l a t t e r w ere p r o
duced f o r D a n ie l Frohm an's Lyceum T h ea tre Company. B e la s c o
d i r e c t e d a l l fo u r o f th e s o c i e t y co m ed ies in c lu d in g Men and
Women w hich d eb u ted a t P r o c t o r ' s T w e n ty -th ir d S t r e e t Thea
t r e on O ctob er 21, 1 8 9 0 .
I n l891> De M il l e ended h i s c o l l a b o r a t i o n w ith Be
l a s c o i n p e r f e c t a m ity and w ith m utual r e g a r d f o r each
o t h e r . Then, i n C h icago on August 17, 1 8 9 1 , t h e C h a rle s
Frohman S to ck Company p r e s e n te d The L ost P a r a d is e w r i t t e n
by De M il l e from a German p la y o f Ludwig F u ld a . De M i l l e ' s
p la y r e c e iv e d i t s f i r s t New York p r o d u c tio n a t P r o c t o r 's
T w e n ty -th ir d S t r e e t T h ea tre on. November 1 6, 1 8 9 1 , where i t
was e n t h u s i a s t i c a l l y r e c e iv e d by c r i t i c s and p u b lic a l i k e .
62
At t h e tim e o f h i s d e a th De M ille was a t work on a
p la y c o n c e r n in g th e s i n g l e - t a x p ro b lem . He was s u r v iv e d by
h i s w if e and t h r e e c h i ld r e n , W illia m C h u r c h ill, C e c i l Blount,
and Agnes B e a t r i c e . H is d a u g h te r d ie d i n c h ild h o o d , but
b o th h i s so n s l i v e d t o a c h ie v e m ajor s u c c e s s i n t h e t h e a t e r .
Henry C. De M il l e d ie d u n e x p e c t e d ly from ty p h o id
f e v e r a t th e a g e o f t h i r t y - n i n e y e a r s i n Pompton Lake, New
J e r s e y , on F eb ru ary 10, 1 89 3.
A s e n t im e n t a l but b r i e f sum m ation o f De M i l l e ' s
c a r e e r o c c u r r e d on t h e o c c a s io n o f t h e f i n a l p erform an ce a t
t h e Lyceum T h e a tr e on. March 22, 1 9 0 2 , p r i o r t o t h e d e m o li
t i o n o f th e b u i ld in g , A nnie R u s s e l l read a poem by A. E.
L a n c a ste r w h ich r e c a l l e d th e g l o r i e s o f th e Lyceum s to c k
company, i t s p la y s and p la y w r ig h t s , and c o n ta in e d t h i s e p i
tap h :
The d r a m a t is t s , so v a r i o u s l y dow ered,
Were le d by one a l l h on or— B ronson Howard,
Who w ie ld e d such a sy m p a th e tic brush
That r a p t u r e ' s p l a u d i t s f o llo w e d r a p t u r e 's h u sh .
Nor sh o u ld i t be f o r g o t t h a t no f i a s c o
E x is t e d f o r De M il l e o r f o r B e l a s c o . 3-9
^ T im b e r la k e , op. c i t . , p . 138 .
CHAPTER IV
ANALYSIS OP THE PLAYS OF
HENRY CHURCHILL DE MILLE
I t s h o u ld be n o te d t h a t a t t h e b e g in n in g o f H enry
C. De M i l l e ' s t h e a t r i c a l e x p e r i e n c e s , he was em ployed as a
r e a d e r o f p l a y s i n a t h e a t e r t h a t th r o u g h t h e c h a n c e s o f
b u s i n e s s was c o n t r o l l e d by two g e n tle m e n who w ere commer
c i a l l y c o n c e rn e d w ith v i r t u e and p i e t y ; men who had p ro v e d
beyond d o u b t t h e m a t e r i a l v a lu e o f good w orks p e rfo rm e d
e i t h e r th r o u g h t h e medium o f t h e p u l p i t o r o f r e l i g i o u s
p u b l i c a t i o n s w ith a s u b s t a n t i a l a d v e r t i s i n g p a t r o n a g e .
C onvinced t h a t e a r t h l y and im m ed iate p r o f i t , a s w e l l as
re m o te and c e l e s t i a l a d v a n ta g e , l a y i n c a t e r i n g t o t h e d i
v e r s i o n o f a num erous e le m e n t i n t h e comm unity whose f a n
c i e s and p r e j u d i c e s had g e n e r a l l y b een d i s r e g a r d e d by th o s e
e ng ag ed i n t h e c o n d u c t o f t h e a t e r s , De M i l l e saw t h a t h i s
e m p lo y e rs , t h e M a llo r y s , s e t o u t t o f i n d i n d r a m a tic form
t h e s e n t i m e n t a l p l a t i t u d e s and t h e in n o c u o u s j o c u l a r i t i e s
whose charm and a t t r a c t i v e n e s s had b ro u g h t p r o s p e r i t y t o
t h e i r r e l i g i o u s p e r i o d i c a l s .
The wisdom and sh re w d n e ss o f t h i s n o v e l p o l i c y of
p u r i t y and r i g h t e o u s n e s s p r o m p tly a s s e r t e d i t s e l f . Not
o n ly d i d t h e r e s p r i n g i n t o f l o u r i s h i n g e x i s t e n c e a new
63
64
s c h o o l o f d ram a s, h u t a new body o f t h e a t e r p a t r o n s was
c r e a t e d a s w e l l . A l i t t l e army o f p e rs o n s who had lo o k e d
upon t h e t h e a t e r as a p o r t a l t o p e r d i t i o n , an a l l u r i n g d e
v i c e of t h e d e v i l , f l o c k e d t o t h e t i n y p la y h o u s e w here
C h a s t i t y alw ay s wore gowns t h a t b u tto n e d b e h in d . I t was a
c l i e n t a g e n o t d i f f i c u l t t o d e l i g h t o r s u r p r i s e . P r o p e r a p
p r e c i a t i o n o f t h i s n a i v e t e and in g e n u o u s n e s s m arked e v e r y
d e t a i l o f t h e p r o d u c t i o n s c a l c u l a t e d t o w in t h e i r fa n c y
and p a t r o n a g e . I t was common know ledge t o b o th p l a y
w r i g h t s and d i r e c t o r s engaged in. t h e t h e a t e r i n q u e s t i o n
t h a t c e r t a i n d e v ic e s n e v e r f a i l e d t o a c h i e v e t h e d e s i r e d
e f f e c t .
A c co rd in g t o The I l l u s t r a t e d A m erican on t h i s su b
j e c t :
Who c a n m o t r e c a l l , f o r exam ple, th e h i l a r i t y ,
f r a n k and u n r e s t r a i n e d , t h a t was i n v a r i a b l y evoked
by t h e t i m i d , h a l t i n g u t t e r a n c e o f a DamnJ What a
p l e a s i n g s u g g e s t i o n o f d e v i l t r y and l i c e n s e t h a t one
e x p l e t i v e b ro u g h t home t o t h e s c r u p u l o u s , sq u eam ish
boys and v i r g i n s , f o r whose d e l e c t a t i o n Mr. De M ille
em ployed h i s t a l e n t and s k i l l . 1
P r o p e r c a r e was t a k e n t h a t t h e p r o f a n i t y would be
e n t r u s t e d t o some p l a y e r whose p e r s o n a l p u r i t y and whose
m anner o f p e rfo rm a n c e would remove e v e ry h i n t o f v i o l e n c e
o r v u l g a r i t y from t h e s i t u a t i o n .
But t h e "Damn.1" became one o f t h e d i s t i n c t c h a r
a c t e r i s t i c s o f t h e s c h o o l — o r , r a t h e r , k i n d e r g a r t e n —
^"A bout a C e r t a i n S choo l o f P l a y s , " The I l l u s t r a t e d
A m erican (March 4 , 1 8 9 3), pp. 1 0 -1 1 .
65
o f w hich Mr. De M i l l e 1s c o m p o s itio n s r e p r e s e n t e d t h e
h i g h e s t d e v e lo p m e n t.2
T h ere were o t h e r h a ll m a r k s t h a t p u t t h e stam p of
s u c c e ss * f i n a n c i a l and c r i t i c a l * upon t h e p l a y s w h ich De
M i l le c r e a t e d . ' No m a t t e r o f what i n t e n t t h e s e dram as m ight
he* no m a t t e r how s e r i o u s t h e i r s to ry * how p r e t e n t i o u s
t h e i r m oral* t h e y would n o t p a s s f o r g e n u in e u n l e s s t h e y
w ere p r o v id e d w ith an e le m e n t o f f a r c e . The body o f t h e a
t e r p a t r o n s c r e a t e d by t h e e m p lo y ers o f De M i l l e . i n s i s t e d
on g e t t i n g a g i g g l e f o r t h e i r money. The m a c h in e ry employed
t o s a t i s f y t h e i r demand was n e i t h e r e l a b o r a t e n o r v a r i e d .
A k i t t e n i s h in g e n u e and a c o l l e g e fre sh m a n s u f f i c e d
f o r t h e work a t h a n d . A ll t h a t was r e q u i r e d was t o g iv e
them t h e f o rw a rd n e s s o f n u r s e r y t o t s and an i n c l i n a t i o n to
hug and k i s s t h a t i n t h e i r e l d e r s w ould h a v e b e en l a b e l e d
a s u n s u i t a b l e and r e p r e h e n s i b l e . T hese c h a r a c t e r s had v e ry
l i t t l e t o do w ith t h e main, a c t i o n o f t h e p l a y ; b u t w henever
t h e s t o r y t h r e a t e n e d t o become to o sev ere* o r t o c r e a t e an
i m p r e s s i o n on t h e a u d ie n c e t h a t m ight p o s s i b l y be so s e r i
ous a s t o be l a s t i n g * t h e s t a g e was c l e a r e d f o r t h e in g e n u e
and h e r mate* who p lu n g e d i n t o a n t i c s and c a p e r s o f a f f e c
t i o n t h a t i n r e a l l i f e w ould c e r t a i n l y h a v e b ro u g h t f o r t h
s t e r n and d r a s t i c p a t e r n a l i n t e r f e r e n c e .
Love was t h e o n ly t h i n g dream ed o f i n t h e p h i l o s o
phy of De M i l l e 'and h i s s c h o o l o f p l a y w r i g h t s . From t h e
2I b i d .* p. 11.
66
c a l f - l o v e o f t h e y o u n g s t e r s t o t h e s e n i l e amours o f a widow
e r and s p i n s t e r , th r o u g h a l l t h e g r a d a t i o n s o f c h ild h o o d ,
y o u th , m id d le ag e, and r i p e m a t u r i t y , De M i l l e m i r r o r e d
lo v e i n a l l i t s p h a s e s , forms., and c o n d i t i o n s e x c e p t th o s e
o f a c t u a l i t y . Love was n e v e r p a s s i o n a t e , o r p ro u d , o r w i l l
f u l , o r j e a l o u s , o r e x a c t i n g , o r c r u e l , o r v e n g e f u l . A
hom ely, p r o s a i c , p o l i t e , and p r u d e n t em o tio n was t h a t w hich
De M i l l e p o r t r a y e d ; lo v e as e x p r e s s e d by De M i l le came
w i t h i n t h e know ledge and co m p re h en sio n o f th e a u d ie n c e f o r
w hich he w r o te ; a lo v e whose n o se r e d d e n e d u n d e r t h e s t i n g
o f a s l i g h t o r a lo v e t h a t i f j i l t e d , went t o S e a t t l e o r
C o n g r e s s ,
N a t u r a l l y , t h e v i l l a i n y i n De M i l l e ' s p l a y s was o f
a q u a l i t y p r o p o r t i o n a t e t o t h e m ild n e s s o f t h e o t h e r emo
t i o n s i n v o l v e d . De M i l l e n e v e r a llo w e d h i s r o g u e s t o do
a n y th i n g o f e v i l t h a t c o u ld n o t be a to n e d f o r by a t e a r f u l
c o n f e s s i o n o r an a t t a c k o f f e v e r . P l a y w r i g h ts o f t h e
s t e r n , more v i n d i c t i v e s c h o o l h a d a lm o st alw ays d i s p o s e d o f
t h e i r v i l l a i n s , j u s t b e f o r e t h e f a l l o f th e f i n a l c u r t a i n ,
t o t h e p o l i c e ; b u t De M i l l e and h i s sy ste m o f t h e a t r i c
m o rale was c o n t e n t w ith a s s i g n i n g t h e r a s c a l t o a h o s p i t a l
a t t h e v e r y w o r s t.
U n d o u b te d ly , t h e r e was a p ro n o u n c e d demand f o r
d r a m a tic c o m p o s itio n s o f th e s o r t e x e c u te d by De M i l l e .
The v a s t s u c c e s s t h a t a t t e n d e d h i s e f f o r t s was s u f f i c i e n t
and c o n v in c in g p r o o f o f t h i s f a c t . F o r s e v e r a l s e a s o n s he
67
spread, upon th e b oards o f t h e a t e r s o f th e h i g h e s t f a s h io n
and p a tr o n a g e , th e m ilk o f b la n d s e n tim e n t, humor, and m ild
e m o tio n . • S i l l i n e s s , i n s i p i d i t y , and b a th o s w ere u s e d to
e x c e s s i f Judged by sta n d a r d s o th e r th a n t h o s e o f De
M i l l e ' s own tim e .
I t sh o u ld a lw a y s be remembered t h a t De M i l l e w rote
f o r an a u d ie n c e w hich had t a s t e and i n t e l l i g e n c e . He d id
not w r it e f o r th e g a l l e r y . I n f a c t , th e t h e a t e r s em ployed
f o r h i s works w ere n o t s u p p lie d w ith v a s t accom m odations
f o r th e s o - c a l l e d g e n e r a l p u b l i c . Perhaps i t m ight be
r e g r e t t e d t h a t t h e y w ere n o t . I t would h ave b een i n t e r e s t
in g to n o te how th e q u ick and p i t i l e s s w i t s o f th e topm ost
t i e r would have r eg a r d e d t h e p la y s t h a t d e l i g h t e d th e d i s
c r im in a t io n s o f th e a u d ie n c e w hich o c c u p ie d th e box and
p a rq u et s e c t i o n s .
Jo h n D e lm e r 's D a u g h te rs ] o r , Duty
I t can be argu ed t h a t De M il l e was o n ly le a r n in g
h i s c r a f t when Duty was p r e s e n t e d a t th e M adison Square
T h ea tr e on December 10., 1 8 8 3 . T h is comedy i n t h r e e a c t s
was d i r e c t e d by B e la s c o bu t won t h e d u b io u s d i s t i n c t i o n o f
b e in g th e f i r s t f a i l u r e a t th e M adison Square un der th e
M a llo r y r e g im e . .The p la y was i n t e r e s t i n g m er ely a s a f i r s t
work and as a g u id e by w hich t o c o n t r a s t h i s l a t e r e f f o r t s .
The p l o t o f Duty was rem ark ably s t r a ig h t f o r w a r d
and u n c o m p lic a te d i n com p a rison t o De M i l l e ' s s u c c e s s f u l
68
s o c i e t y c o m e d ie s; Mr.. and Mrs. Delmer a r e a r i c h and some
w hat v u l g a r c o u p le who have two d a u g h t e r s . One,, E s t h e r ,
i s t h e w if e o f a p o o r h u t p ro u d p h y s ic ia n ,, and M a r g a r e t,
t h e o t h e r d a u g h te r , i s a s p i n s t e r . Dr. W est, a man. o f com
mon s e n s e and i n t e l l i g e n c e , who p u l l e d M a rg a re t from u n d e r
a M i s s i s s i p p i ste a m b o a t some y e a r s b e f o r e t h e p l a y beg an
and who lo v e s h e r , c o u n s e l s E s t h e r ' s h u sb a n d , Dr. Van Arnem,
to f r e e h i m s e l f from h i s d ep enden ce on h i s w i f e ' s p a r e n t s .
Dr. Van Arnem r e n t s a h o u se and a t t e m p t s t o move h i s w if e ,
b u t she p r e f e r s t o re m a in w ith h e r p a r e n t s and r e f u s e s t o
go. L a t e r , sh e r e l e n t s ; t h e p a r e n t s a r e ' t r a n s f o r m e d i n t o
m i n i s t e r i n g a n g e l s by D r. W e s t's d i s c o v e r y t h a t he and Van
Arnem a r e e n t i t l e d t o a l l t h e i r money. M a rg a re t r e a l i z e s
an a f f e c t i o n f o r West w h i c h - p o i n t s to w a rd a m a r r i a g e . Two
m inor c h a r a c t e r s who p r o v i d e th e weak comic r e l i e f , P a le y
Pomeroy and Rhoda, a l s o r e c o g n i z e t h e i r lo v e and a r e m ated.
Even i n t h i s e a r l y , u n s u c c e s s f u l p l a y , De M i l l e
f o llo w e d a p l o t f o r m u la w hich would re m a in b a s i c t o a l l o f
h i s f u t u r e w o rk s; t h e p u r s u i t o f a t r u e and h appy lo v e b e
tw e en t h e h e r o and h e r o i n e would be u n d u ly c o m p lic a te d ,
u s u a l l y by t h e a c t i o n s o f t h e h e r o i n e , u n t i l j u s t b e f o r e
t h e f i n a l c u r t a i n , when t h e d i f f e r e n c e s o f t h e l o v e r s
w ould be r e c o n c i l e d . The u n d e r l y i n g them e would change
f o r each p l a y , b u t t h e b a s i c p l o t l i n e was u n ch an g ed .
A lso , b e g in n in g w i t h D uty, De M ille i n c l u d e d comic r e l i e f
w i t h a p a i r o f young, f r i s k y , a d o le s c e n t l o v e r s who would
6 9
p r o v i d e t h e l i g h t e r moments i n c o n t r a s t t o t h e s e r i o u s n e s s
o f t h e h e ro and h e r o i n e . L a t e r , he would add t h e o l d e r
c o u p le and t h e i r lo v e p ro b lem s w hich would be r e s o l v e d a t
t h e f i n a l c u r t a i n , t o o .
Each c h a r a c t e r c r e a t e d by De M i l le r e p r e s e n t e d a
s i n g l e t r a i t r a t h e r t h a n a com plex of t r a i t s . T hat dom i
n a n t t r a i t was e s t a b l i s h e d t o work o u t t h e them e; i f a
c h a r a c t e r n e ed e d t o be p u l l e d two w a y s ,th e was g iv e n a
s e c o n d a ry t r a i t , b u t each c h a r a c t e r s e r v e d a s p e c i f i c p u r
p o se in ' th e p l o t t i n g o f t h e them e, and t h e r e f o r e , t h e r e was
l i t t l e c h a r a c t e r d evelo p m en t o r c h a r a c t e r s t u d y as s u c h .
Many o f t h e co m p lim e n ts a s w e l l a s t h e c o m p la in ts evoked by
De M i l l e ' s c h a r a c t e r s a r e i n v a l i d : t h e co m p lim en ts b e c a u s e
t h e a b s t r a c t i o n was s u c c e s s f u l enough a s a symbol t o evoke
t h e im age o f t h e w hole p e r s o n , and t h e c o m p la in ts b e c a u se
t h e c r i t i c c a l l e d f o r t h e c h a r a c t e r i z a t i o n i n d e p th found
i n t r a g e d y .
G ra n te d t h a t t h e c h a r a c t e r s u t i l i z e d by De M i l le
i n Duty w ere p r o t o t y p e s o f s o c i e t y f i g u r e s , t h e y w ere i n
c o n s i s t e n t w ith t h e i r s o c i a l s t a n d i n g , i n t e l l i g e n c e , b r e e d
i n g , and e d u c a t i o n . What man o f any s e n s e , su ch a s Dr.
West i s su p p o sed t o b e , w ould b o t h e r f o r a moment a b o u t a
woman whose l i f e he had sa v e d b u t y e t who t r e a t s him , w ith-^
o u t p r o v o c a t i o n , a s t h e lo w e s t form o f h u m a n ity . The M ir r o r
c o n firm e d t h e f a c t t h a t t h e c h a r a c t e r o f t h e g i r l was drawn
70
a s a s i l l y and c a p r i c i o u s c h i l d who e s t a b l i s h e d no a u d ie n c e
sym pathy and t h a t Dr. West made a g r e a t m is ta k e i n r e s c u i n g
h e r from d row nin g.
The young wife,, E sth er,, i s an u n w o rth y g i r l whose
a c t i o n s a r e more l i k e t h o s e of a n u r s e r y s c h o o l c h i l d t h a n
a b r i d e . The H e ra ld n o te d t h a t " t h e r e w ould be few er m ar
r i a g e s w ere a l l young women as u t t e r l y u n i n t e r e s t i n g and
d e f i c i e n t i n o r d i n a r y i n t e l l i g e n c e a s t h i s s im p e r in g l i t t l e
„4
E s t h e r . Also., De M i l le e r r e d w ith t h e d ev elo p m e n t of
Dr. Van Arnem. I f t h e young d o c to r d id n o t m arry E s t h e r
f o r h e r f a t h e r ' s money—and t h i s p o i n t i s n e v e r c l e a r — why
d i d he make such an a l l i a n c e ? He c o u ld n o t have m a r r ie d
h e r f o r h e r i n t e l l e c t u a l q u a l i t i e s o r charm s o f p e r s o n a l
ity ,, f o r she p o s s e s s e s n e i t h e r . Even th e p a re n ts ., Mr. and
M rs. D elm er, a r e i n c o n s i s t e n t and im p ro b a b le i n t h e i r a c
t i o n s : t h e y m e re ly t o l e r a t e Dr. W est, t h e y e n c o u ra g e
E s t h e r ' s r e b e l l i o n a g a i n s t Dr. Van Arnem, and o n ly a f t e r
Dr. W e s t's d i s c o v e r y t h a t he and Van Arnem a r e e n t i t l e d t o
a l l t h e i r money, do th e D e lm e r's t u r n m ir a c u l o u s l y i n t o
d o t i n g , o b e d ie n t p a r e n t s i n o r d e r t o accommodate a happy
e n d i n g .
De M i l l e was s u c c e s s f u l i n d e v e lo p in g t h e c o l t i s h
c o u p le , P a l e y Pomeroy and Rhoda Manly, f o r t h e i r a c t i o n s
^The New York D ram atic M i r r o r , December 15, 1883^
p. 2.
^The New York H e r a ld , December 15, 1883.
71
w ere c o n s i s t e n t l y am using and t h e i r words p r o p e r l y w i t t y
and i n k e e p in g w i t h t h e s o c i e t y im age. T h is was t h e f i r s t
i n d i c a t i o n t h a t De M i l l e was a b l e t o c r e a t e comic r e l i e f
w ith h i s m in o r c h a r a c t e r s w hich became a c h a r a c t e r i s t i c o f
h i s l a t e r w orks.
A lth o u g h De M i l l e was weak i n c r e a t i n g c o n s i s t e n t
s o c i e t y f i g u r e s w ith h i s m a jo r c h a r a c t e r s ., he was a b l e t o
show a f l a i r f o r la n g u a g e w hich would be one of h i s s t r o n g
e s t a s s e t s i n d e v e lo p in g t h e c h a r a c t e r s i n h i s l a t e r s u c
c e s s f u l c o m e d ie s. T h is was e s p e c i a l l y t r u e w i t h P a le y
Pomeroy and Rhoda M anly. De M i l le showed h i s f i r s t i n d i
c a t i o n o f comic s p a r k l e w ith t h e humorous and b r i g h t l i n e s
he w r o te f o r t h e s e two c h a r a c t e r s . A lth o u g h a t tim e s t h e
v e r b a l p l a y o f P a le y and Rhoda d id l i t t l e t o ad v an ce t h e
p l o t , i t s h o u ld n o t be d o u b te d t h a t De M i l l e w a s . a b l e t o
c r e a t e c l e v e r l i n e s . G ra n te d t h a t t h e l i n e s w ere i s o l a t e d
exam ples o f an a l t e r e d c l i c h e o r a p a ro d y o f what m ight be
s a i d i n t h e s i t u a t i o n , t h e la n g u a g e f r e q u e n t l y b u i l t i n t o
l o n g e r p a s s a g e s o f b r i g h t b a n t e r . Ju d g ed o u t o f c o n t e x t ,
t h e l i n e s would n o t s ta n d c o m p a ris o n t o O sca r W ilde, b u t
s u f f i c e i t t o say t h a t De M i l le was i l l u s t r a t i n g h i s a b i l
i t y t o c r e a t e comic r e l i e f w i t h i n h i s b a s i c p l o t s t r u c t u r e
w hich w ould become a m ajo r c h a r a c t e r i s t i c o f h i s l a t e r
p l a y s .
The p o s i t i o n and w e a lth o f t h e c h a r a c t e r s was
c l e a r l y i n d i c a t e d by t h e s e t t i n g and r e i n f o r c e d t h e a p p e a r -
72
ance by d i a l o g u e w hich made r e f e r e n c e s t o p o s s e s s i o n s ,
t r i p s , s e r v a n t s , and by t h e s e r v a n t s t h e m s e lv e s . The c h a r
a c t e r s w ere made t o a p p e a r accu sto m ed t o p o s i t i o n and
p r i v i l e g e s by a s i g n a l t o a s e r v a n t t o p a ck a bag o r s e t a
few e x t r a p l a c e s f o r d i n n e r . The s e t t i n g s f o r Duty were
t y p i c a l o f De M i l l e ’ s s o c i e t y co m e d ie s: a l u x u r i o u s a p a r t
ment w ith r i c h d e c o r a t i o n s and a r t i s t i c f u r n i t u r e , which
a c c o r d i n g t o one r e v ie w was "w orthy of i l l u s t r a t i o n i n a
m agazine d e v o te d t o h o u s e h o ld a r t , a n d a p l u s h c o n s e r v a
t o r y w ith a w i n t e r l a n d s c a p e s e e n t h r o u g h t h e l a r g e window.
I t was o p e n ly c o n firm e d t h a t De M i l l e , i n a t t e m p t
in g t o w r i t e a p l a y f o r th e M adison S quare a u d ie n c e , was
g o v e rn e d by e x a c t i n g l i m i t a t i o n s :
He must n o t u s e t h e o r d i n a r y d r a m a tic m a t e r i a l s j
and y e t , w i t h t h e s l e n d e r e s t s t u f f t o work w i t h , h e
must a v o id t r i v i a l i t y and w is h y - w a s h in e s s i f he would
s u i t Mr. M a l l o r y ’s p e c u l i a r c l i e n t a g e . . . . However,
t h e a u d ie n c e i s s t r o n g i n l o y a l t y t o t h e i r f a v o r i t e
t h e a t r e , and t h e y a r e o f c o u rs e p l e a s e d w ith a p r o d u c
t i o n t h a t w ould n o t g r a t i f y t h e o r d i n a r y mass o f t h e a
t r e g o e r s . °
I f De M i l l e ' s f i r s t c r e a t i v e e f f o r t p ro v e d t o be an
u n s u c c e s s f u l co m m erc ial v e n t u r e , he was v i c t o r i o u s i n d e
l i g h t i n g and am using h i s c o n te m p o ra ry a u d ie n c e :
T h ere was a n i c e , good-hum ored a u d ie n c e i n a t
t e n d a n c e . They w ere a s e a s i l y amused as a p a r c e l
o f y o u n g s t e r s a t a Sunday s c h o o l e n t e r t a i n m e n t , f o r
^The New York D ra m a tic M i r r o r , December 15, l883,»
p. 2.
6I b id .
73
t h e y la u g h ed and c la p p e d t h e i r hands w ith g l e e on th e
s l i g h t e s t p r o v o c a t i o n .7
And a lth o u g h he f a i l e d t o im p r e ss t h e c r i t i c s o f
h i s day w ith h i s comedy, h e was d e v e lo p in g a b a s ic p l o t
l i n e w h ich h e would u se t o b e t t e r a d v a n ta g e i n h i s f u t u r e
p l a y s : v a r io u s p a i r s o f c o u p le s s e t about to f i n d a t r u e
and l a s t i n g lo v e r e l a t i o n s h i p amid c o m p lic a t io n s , u s u a l l y
i n s p i r e d by t h e fe m a le , w hich a r e r e s o lv e d t o a jo y o u s c o n
c l u s i o n by t h e f i n a l c u r t a i n . Duty was a f i r s t s te p i n t h e
d i r e c t i o n o f s u c c e s s f u l c o m p le tio n w h ich De M il l e would
a c h ie v e i n th e p la y s h e w ro te n e x t . And a lth o u g h h i s c h a r
a c t e r s i n D uty w ere i n c o n s i s t e n t and somewhat im probable.,
t h e y w ere o f th e s o c i e t y - t y p e w hich h e w ould r e f i n e and
u s e t o h i s a d van tag e l a t e r .
The Main. L in e; o r , R aw son's Y
P erhap s De M il l e was u n c o m fo r ta b ly aware o f h i s
p r e v io u s f a i l u r e i n s e r i o u s comedy when, w ith C h a rle s B ar
nard., he c o n c o c te d a s t r a i g h t melodrama o f th e p e r io d w h ich
opened a t th e Lyceum T h e a tr e on Septem ber 18, 1886. The
c r i t i c s p r a is e d The Main L in e , and De M i l l e a c h ie v e d h i s
f i r s t s u c c e s s .
T h is " p u rely Am erican p la y . . . p la y e d b e f o r e a
g
la r g e a u d ie n c e , and made a s u c c e s s ." The Sun was ev en
^The New York H e r a ld , December 15, 1 8 8 3 .
8The New York H er a ld , Septem ber 1 9 , 1886.______________
more s p e c i f i c : . t h e s u c c e s s was em phatic., and th e
p l a y w i l l pay b ig d i v i d e n d s , The m a j o r i t y o p i n i o n was
e x p r e s s e d by t h e W orld who c a l l e d The Main L in e "a p r e t t y
and p i c t u r e s q u e play., p l e n t e o u s l y a d o rn e d w i t h c h a r a c t e r
p a in tin g ., a b o u n d in g i n c l e v e r d ia lo g u e ., and a s e r i e s of
s t r o n g d r a m a tic p i c t u r e s ., a l l c a r e f u l l y c o l o r e d and s k i l
f u l l y a r r a n g e d t o i n c r e a s e and i n t e n s i f y t h e i n t e r e s t a s
t h e s t o r y p r o g r e s s e s , " 10
The s t o r y o f t h e p l a y t a k e s p l a c e a t R aw so n's Y, a
C o lo ra d o s t a t i o n on t h e G re a t W estern and P a c i f i c A i r Line
R a i l r o a d . A young a r t i s t , , Law rence H a tto n h a s t a k e n t h e
p r e t t y W este rn U nion o p e r a t o r , P o s i t i v e B u rro u g h s, "P ossy"
f o r s h o r t , a s a m odel, w i t h th e r e s u l t t h a t sh e f a l l s i n
lo v e w ith h im . A p a r t y o f r a i l r o a d s to c k m a n i p u l a t o r s a r e
b r o u g h t i n j one o f them i s C o l. J a c k H a tto n , t h e p a i n t e r ' s
c o u s i n . J a c k , w is h in g to p r o t e c t Law rence from a p o s s i b l e
m i s a l l i a n c e , p e r s u a d e s t h e a r t i s t t o go home t o h i s m o ther
who i s i l l . M eantim e, Lawrence h a s h ad t r o u b l e w ith Jim
B l a k e ly , a brakem an, who h a s known P o ssy s i n c e she was a
c h i l d , lo v e s h e r , and w a n ts t o m a rry h e r . He s e e s t h a t
s h e h a s g iv e n h e r a f f e c t i o n t o Law rence, and he t h r e a t e n s
t h e a r t i s t . Jim r u n s t h e f r e i g h t t r a i n t h a t i s t o t a k e
Lawrence as a p a s s e n g e r o v e r a b ra n c h r o a d . P o s s y , when
^The New York Sun, Septem ber 20, 1886.
10The New York W orld, S ep tem ber 19, 1 88 6 ,
75
sh e l e a r n s t h a t Jim I n t e n d s t o k i l l t h e a r t i s t by p u sh in g
him o f f t h e -train ., a g r e e s t o m arry Jim i f h e w i l l t a k e
Lawrence s a f e l y t o h i s d e s t i n a t i o n . Jim a g r e e s , and t h e
t r a i n s t a r t s o f f up a s t e e p g r a d e . As t h e t r a i n makes i t s
way i n t o t h e m o u n ta in s , t h e l a s t c a r , w here Lawrence i s
r i d i n g , b r e a k s l o o s e and p lu n g e s back down t h e s t e e p g r a d e
o f t h e b ra n c h r o a d . The b r a k e f a i l s , and a s w itc h above
t h e s t a t i o n i s open so t h a t t h e c a r w i l l r u n o n to a s i d i n g
and be sm ashed t o p i e c e s a g a i n s t t h e m o u n ta i n s i d e . P o ssy ,
t a k i n g q u ic k s t o c k of t h e s i t u a t i o n and s u p p ly in g t h e a u d i
ence w ith a r u n n in g com m entary on t h e e v e n t s o c c u r r i n g o f f
s t a g e , th ro w s t h e s w itc h t h a t w i l l se n d t h e c a r p a s t t h e
s i d i n g and sa v e h e r l o v e r ' s l i f e . She t h e n m a n ip u la te s
a n o th e r l e v e r w hich w i l l t r a n s f e r t h e c a r t o th e m ain l i n e
w here i t w i l l r u n o u t on t h e l e v e l and s t o p unharm ed. At
t h a t v e r y moment t h e w h i s t l e of t h e n i g h t e x p r e s s i s h e a r d
i n t h e d i s t a n c e . T h at h a s t o be s w itc h e d , t o o , i n o r d e r t o
sa v e t h e p a s s e n g e r s from d e s t r u c t i o n . P o s sy i s p r e s e n t e d
w i t h a f r i g h t e n i n g dilem m a w hich she r e s o l v e s i n t h e k n ic k
o f tim e t o sa v e t h e l i v e s of h u n d re d s o f p a s s e n g e r s i n t h e
a p p ro a c h in g e x p r e s s . Duty tr iu m p h s o v e r lo v e , and sh e d e
c i d e s t o s w itc h back t h e f r e i g h t c a r and l e t i t smash r a t h
e r t h a n s a c r i f i c e t h e p a s s e n g e r s on t h e e x p r e s s . U nder t h e
w reckage o f t h e s o l i t a r y f r e i g h t c a r she s e e s t h e w h ite
c o a t o f h e r l o v e r and f a i n t s on t h e t r a c k s a s t h e c u r t a i n
f a l l s . I n t h e l a s t a c t t h e a u d ie n c e l e a r n s t h a t Lawrence
7 6
had g i v e n h i s c o a t t o Jim and gone fo rw a rd i n t h e t r a i n
j u s t b e f o r e t h e a c c i d e n t o c c u r r e d . And a f t e r e x p l a i n i n g
away c e r t a i n m is ta k e s and m is u n d e r s ta n d in g s t h a t h av e a r i s e n
be tw ee n them., t h e l o v e r s a r e r e u n i t e d .
As can be s e e n from t h e a b o v e , De M i l l e u s e d h i s
b a s i c p l o t f o rm u la c o n c e r n in g t h e p u r s u i t o f t r u e lo v e by
t h e h e ro and h e r o i n e , w h i l e h e a l s o i n c l u d e d two o t h e r
c o u p le s who w ere h a p p i l y m ated a t t h e f i n a l c u r t a i n ? C o l.
J a c k H a tto n was u n i t e d w ith t h e w i t t y and a d v e n tu r o u s a c
t r e s s , D ora; w h ile t h e o b e se and i l l i t e r a t e h o u s e k e e p e r ,
L i t t l e P r a i r i e F lo w e r, fou nd h a p p in e s s w ith Z e ru b b a b e l
Puddychump, t h e a s s i s t a n t p a s s e n g e r a g e n t . I n f a c t , w ith
t h e e x c e p t i o n o f J im , who i s p u n is h e d by d e a t h f o r h i s
v i l l a n y , De M i l l e s e c u re d h a p p in e s s f o r a l l t h e o t h e r c h a r
a c t e r s a s w e l l : Sam, t h e s t a t i o n m a s te r a t R aw so n's Y,
l e a r n s t h a t t h e man whom h e th o u g h t h e had k i l l e d y e a r s
ago i s a l i v e i n j a i l ; and a t t h e f i n a l c u r t a i n , D o r a 's
f r i e n d and s o l i c i t o r , A d d le to n B o lin g b ro k e S p l i n e , i s l o o k
i n g f o rw a rd t o a happ y r e u n i o n w ith h i s s w e e t h e a r t , M iss
P a t t y P e r k i n s .
A ltho ugh t h e c h a r a c t e r s i n The Main L ine w ere n o t
o f th e h i g h s o c i e t y l e v e l w hich De M i l le would U t i l i z e i n
h i s most t y p i c a l and s u c c e s s f u l p l a y s , he was a b le t o m ain
t a i n a c o n s i s t e n c y w i t h h i s c h a r a c t e r s w hich was an i n d i c a
t i o n o f t h e g ro w th o f h i s t a l e n t and a b i l i t i e s . He alw ay s
was a b l e t o draw c l e a r - c u t comic r e l i e f from his,- m inor
77
c h a r a c t e r s , -and t h i s melodrama was no e x c e p t io n . But i t
was i n t h e a r e a o f th e d evelop m en t o f t h e h e r o and h e r o in e
where De M il l e made th e g r e a t e s t s t r i d e s forw ard s i n c e D u ty.
As was i n d i c a t e d e a r l i e r , De M il l e te n d e d t o c r e a t e
c h a r a c t e r s who r e p r e s e n t e d a s i n g l e t r a i t . T h e r e fo r e , when
P o ssy was f i r s t d e s c r ib e d by P r a i r i e F low er as " J e st as
c h ip p e r a s when she k i t e d 'round b a r e fo o t i n th e H ollow ,
and h e r v o i c e more l i k e a b o b o lin k a la u g h in ' i n a l a y lo c k
bush" (A ct I ) , De M ille c o n tin u e d h e r c h a r a c t e r a s su ch a
b u b b ly i n d i v i d u a l f o r t h e e n t i r e p la y in s p i t e o f t h e many
c o m p lic a t io n s w hich P o ssy e n c o u n te r e d . Her o n ly fla w was
in tr o d u c e d b e fo r e h e r f i r s t ap p earan ce when P r a i r i e F low er
s c o l d s Sam and Jim : "To t h in k o f you two t r y i n g to tra in ,
up a young g a l . F u st t h in g you ta u g h t h e r was to p la y
cards*—n i c e b u s in e s s f o r a young t h in g l i k e t h a t . Ohi I
d e s s a y s h e ' s a ca n a ry b ir d , but even ca n a ry b ir d s need
mothers," (A ct I ) L a te r i n th e p l a y , P o ssy a tte m p ts t o w in
money from A d d leto n i n an in n o c e n t card gamej th e w in n in g s
would be u sed to p u rc h a se a s t u d i o f o r L aw rence. H owever,
w ith o u t P o s s y ' s k n ow led ge, Lawrence h a s c o n fid e d t o h i s
c o u s in . J a c k , t h a t when h i s f a t h e r d ie d i n W all S t r e e t :
"From t h a t tim e I sw ore I would have n o th in g t o do w ith
gam b lers or g a m b lin g . I h a te i t i n any form i n any bod y."
(A ct I I ) A ll t h i s a c t i o n was c o n s i s t e n t w ith b o th c h a r a c
t e r i z a t i o n s o f P o ssy and L aw rence. She was d e ter m in e d i n
h e r n a i v e t e t o a s s i s t Lawrence t o h a p p in e s s i n w h a tev e r way
78
sh e p o s s i b l y c o u ld j j u s t as he., i n s p i t e o f h i s deep lo v e
f o r P o ssy , was hon or-b oun d t o r e t u r n t o h i s s i c k m other
im m e d ia te ly and c o n s c ie n c e s t r i c k e n t o a v o id g a m b le r s.
S in c e De M il l e seldom w rote d e s c r i p t i o n s o f h i s c h a r a c t e r s
i n h i s e a r l y p la y t e x t s , any kn ow led ge g a in e d about them
was t r a n s m it t e d by t h e d ia lo g u e th e y sp ok e o r by what was
s a id about them by o t h e r c h a r a c t e r s .
I t sh o u ld be p o in t e d o u t t h a t i n s p i t e o f i t s r u r a l
s e t t i n g , De M ille r e f l e c t e d t h e mood o f h i s tim e in. The
Main L in e by p r o v id in g h i s h ero and h e r o in e w ith h o n o r a b le
c h a r a c t e r s o f t h e h i g h e s t q u a l i t y and u n q u e s tio n a b le v i r
t u e . T h is was e s p e c i a l l y t r u e o f h i s h ero i n t h i s m elo
drama a s w e l l a s a l l o f h i s l a t e r p l a y s . An i n d i c a t i o n o f
t h i s m oral to n e and a t t i t u d e as a r e f l e c t i o n o f th e tim e s
was i n d i c a t e d i n c r i t i c i s m a s to th e p r o p r ie t y o f Puddy-
chum p's " s p i r i t u a l p a r a p h r a se s m ixed w ith v e r y u n w o r ld ly
a c t io n s " ^ ’ * ' and t h e S p i r i t o f t h e Tim es c o u n s e le d De M ille
1 O
t o " le t th e B ib le a lo n e on t h e s t a g e ." S t i l l f u r t h e r
comment was added: " E x cep tio n must be ta k e n t o th e s a c r i
l e g i o u s n a tu r e o f some o f t h e l i n e s Puddychump i s made t o
u t t e r .
Puddychump was a l i k e a b l e con-m an who p o sed as a
^ The New York H e r a ld , Septem ber 19* 1886.
~ * ~ 2The S p i r i t o f th e T im es, Septem ber 22, 188 6 .
^ The New York D ram atic M irro r, Septem ber 25, 1886,
p . 2.
79
l a y clergym an who ad ap ted th e S c r ip t u r e s t o th e o c c a s io n a t
hand: s p e c u l a t i o n i n t h e s t o c k m arket, f l i r t i n g w ith L i t
t l e P r a i r i e F lo w er, and n ot t e l l i n g th e t r u t h w h ile s t e a l
in g sa n d w ic h e s. I t sh o u ld be em p hasized t h a t Puddychump
r e p e n ts h i s ways b e f o r e t h e f i n a l c u r t a in , but a p p a r e n tly
t h i s was n o t enough f o r t h e c r i t i c s o f De M i l l e ' s d a y .
P erhap s i f t h e s e l i n e s or c h a r a c t e r i z a t i o n had been g iv e n
t o t h e v i l l a i n , i t w ould have been con d on ed .
I t may be p o in t e d ou t h e r e t h a t w ith v e r y few e x
c e p t i o n s , De M ille - i n t h e s e e a r l y p la y s u sed t h e m inor
c h a r a c t e r s f o r two f u n c t i o n s o n ly : ( l ) t o d e l i v e r t h e e x -
p o s i t i o n a l m a t e r ia l, and ( 2 ) t o p r o v id e f o r com ic r e l i e f .
H is se c o n d a r y c h a r a c t e r s d id n o t h e lp advance th e p l o t un
t i l l a t e r i n h i s p la y w r if ln g .c a r e e r . Thus, i n The Main
L in e , Puddychump, A d d leto n S p l in e , Dora Van Tyne, and f o r
th e m ost p a r t , L i t t l e P r a i r i e F lo w er , te n d e d t o slo w th e
a c t i o n r a th e r th a n t o pu sh i t fo rw a rd . I t must be g r a n te d
t h a t th e c h a r a c t e r i z a t i o n s o f t h e s e m inor c h a r a c t e r s w ere
becom ing more c o n s i s t e n t , h ow ever.
As i n D uty, t h e c h a r a c t e r s i n The Main L in e o c c u
p ie d th e s t a g e i n a s e r i e s o f s c e n e s w r i t t e n f o r o n ly two
c h a r a c t e r s . T h is was a d e v ic e upon w hich De M ille would
depend l e s s and l e s s w it h h i s su b seq u en t p l a y s . Thus,
P r a i r i e F lo w er and Sam b e g in t h e p la y w it h e x p o s i t i o n u n t i l
sh e l e a v e s , a t w hich tim e Jim and Sam g i v e more e x p o s i t i o n
u n t i l J im 's e x i t . P o ssy e n t e r s and sp ea k s w it h Sam u n t i l
80
he d e p a r ts j P o ssy is, a lo n e b r i e f l y on s t a g e u n t i l Lawrence
e n t e r s f o r a s c e n e w ith h e r . T h is te c h n iq u e was broadened
i n De M i l l e ' s l a t e r p la y s t o in c lu d e s e v e r a l c h a r a c t e r s on
s t a g e a t th e same tim e w hich n ot o n ly h e lp e d th e d ram atic
flo w o f h i s p la y s but added t o th e i l l u s i o n o f t h e s o c i a l
g a t h e r in g s w hich would have b een so p rom in en t i n t h e s o c i
e t y l e v e l o f h i s m ost t y p i c a l p l a y s .
As was n o te d e a r l i e r a s a r e f l e c t i o n o f De M i l l e t s
■time1 i n t h i s melodrama when th e c r i t i c s commented u n fa v o r
a b ly on Puddychump's s p i r i t u a l p a r a p h r a se s m ixed w ith u n
w o r ld ly a c t i o n s , i t sh o u ld n o t be o v e r lo o k e d t h a t L aw ren ce's
r e v u l s i o n t o P o s s y 's card p la y in g was c o n s id e r e d p e r f e c t l y
p r o p e r t o t h e a u d ie n c e o f t h i s p e r io d . I t was n o t a c c e p t a
b le f o r women t o gam ble, no m a tter how i n n o c e n t l y . T h ere
f o r e , i t was r i g h t f o r Lawrence t o rebuke h e r f o r h er a c
t i o n s , a s i t was e q u a lly h o n o r a b le f o r him t o f o r g i v e h e r
e r r in g w ays, p r o v id e d sh e n e v e r d id i t a g a i n , ’ i n tim e f o r
a happy em brace a t th e f i n a l c u r t a i n . De M i l l e 1s a u d ie n c e
r e a l i z e d t h a t P o ssy was a n a iv e c h i l d who d id not u n d e r
sta n d t h a t card p la y in g was n o t p a r t o f a woman's s o c i a l
e t i q u e t t e i f sh e was t o be c o n s id e r e d o f h ig h m oral c h a r a c
t e r d u rin g t h i s p e r io d o f h i s t o r y . H owever, De M ille knew
h i s a u d ie n c e w e l l enough t o be c o n f id e n t t h a t th e y would
f o r g i v e P o ssy i f sh e w ere a c h a r a c t e r o f in n o c e n c e who
th ro u g h many good d eed s redeem ed h e r s e l f . Thus, P o ssy
g i v e s back th e money s h e w in s i n th e card game, a g r e e s to
81
marry th e v i l l a i n In o r d e r t o g u a r a n te e a s a f e p a s s a g e fo r
h e r t r u e love., a c t s as g o -b e tw e e n f o r th e se c o n d a r y lo v e
i n t e r e s t s ., s a c r i f i c e s h e r lo v e i n o r d e r t o sa v e hundreds o f
p e r so n s on th e e x p r e s s , rem ain s c o u r te o u s t o D o r a 's v e r b a l
a t t a c k s o f j e a l o u s y , and s a v e s Dora from f i n a n c i a l embar
rassm en t by g i v in g h e r th e p u rse c o n t a in in g t h e o n ly money
P o ssy h as e v e r been a b le t o s a v e . In d e ed , i t would have
b een i n c r e d i b l e f o r De M i l l e ' s a u d ie n c e t o not g r a n t f o r
g i v e n e s s f o r a woman's in n o c e n t card p la y in g when fa c e d
w ith P o s s y 's many n o b le s a c r i f i c e s .
A lth ou gh De M i l l e ' s c h a r a c t e r s i n The Main L ine
were n o t on t h e same s o c i a l l e v e l as t h o s e in D uty, he
c r e a te d c o n s i s t e n t c h a r a c t e r s whose la n g u a g e was b r ig h t and
hum orous. De M ille had i n d ic a t e d h i s a b i l i t y t o w r ite
c l e v e r l i n e s in h i s f i r s t p la y ; he c o n tin u e d t o r e v e a l h i s
t a l e n t f o r d r o l l e r y i n The Main L in e . As was t o become h i s
custom i n h i s s o c i e t y c o m e d ie s, De M ille d e s ig n e d th e com
edy l i n e s and s i t u a t i o n s f o r h i s se co n d a r y c h a r a c t e r s :
Puddychump, A d d leto n S p l in e , Dora Van Tyne, and L i t t l e
P r a i r i e F lo w er .
De M i l l e ' s a u d ie n c e appeared d e l ig h t e d and amused
by l i n e s w h ich c o n s id e r e d out o f c o n te x t and jud ged by c o n
tem porary sta n d a r d s do not provok e th e r e a d e r to h ig h h i
l a r i t y . However, when th e l i n e s a r e a s s e s s e d i n t h e l i g h t
o f De M i l l e ' s tim e and w ith th e a t t i t u d e o f th e l 8 8 0 ' s , i t
can be se e n t h a t th e la n g u a g e was am using and la u g h p ro d u c-
82
In g . Thus, when C o lo n e l Jack H a tto n a sk s Puddychumps
"Won't you s t e p I n s i d e w ith me and t r y some c o u n tr y food?"
Puddychump r e p l i e s : "0 Joyi The s p i r i t in d e e d i s w i l l i n g ,
but th e f l e s h i s weak— t h r e e tim e s a d a y ." (A ct I ) The
a u d ie n c e was l i k e l y t o s m i l i n g l y approve o f Puddychump' s
a d m iss io n o f g e n u in e hu n ger r e g u l a r l y t h r e e tim e s a day.
De M i l l e ! s t o n g u e - in - c h e e k a t t i t u d e tow ard f in a n c e and v i r
tu e was i n d ic a t e d as th e d ia lo g u e c o n tin u e d b etw een th e
C o lo n e l and Puddychump:
PUDDYCHUMP. I w i l l hang my ch u rch p o s t e r i n t h e
s t a t i o n , and i f any p oor lamb s e e s i t , he can f l y from
th e w rath t o come, and th e n I ' l l f in d out who i s h o l d
in g t h e r a il r o a d s t o c k .
COLONEL. B u s in e s s and p i e t y alw ays com bined.
PUDDYCHUMP. You know, my p la n i s t o f a l l on th e
A m a le k ite s and th e H i t t i t e s o f t h i s d i s t r i c t and t o
d e s p o i l them o f any s t o c k c e r t i f i c a t e s th e y a r e w i l l
in g t o s e l l ch ea p . M eanwhile I w i l l h o ld f o r t h i n
ch u rch ; I la b o r i n th e v in e y a r d .
COLONEL. And on th e s t r e e t . S to c k s o r s i n n e r s ,
i t ' s a l l one t o y o u .
PUDDYCHUMP. Come, s i n n e r s , come. (N a tu r a l t o n e s )
I s t h i s th e lu n ch room?
COLONEL. Y es, th e s in n e r s w i l l w a i t .
PUDDYCHUMP. The la b o r e r i s w orth y o f h i s h i r e ,
but he must h u s t l e to g e t i t ; I w o n 't w a it .
COLONEL. By no m eans. (A ct I )
In Act I I , De M ille u s e s a b i t o f w o r d -p la y w hich
m ight be c o n s id e r e d h o a ry to t h e con tem p orary s c h o la r , but
w h ich p la y e d a m u sin g ly f o r th e a u d ie n c e o f th e l 8 8 0 ' s .
Dora h a s made a d e c i s i o n t o j o i n a to u r in g t h e a t r i c a l
83
company, and much t o h e r dism ay h e r f a t ad m irer, A d d leto n ,
announces h i s i n t e n t t o j o i n i n h e r v e n tu r e :
DORA. A lrea d y I h e a r th e m u sic, s e e th e l i g h t s
d a n cin g b e f o r e me, f e e l t h e g a z e o f a th o u sa n d e y e s —
a m om ent's p a u s e — a s t i l l n e s s teem in g w ith p e n t-u p
l i f e — one grand b u r s t o f a p p la u s e , "and I am queen o f
t h e h o u r. My mind i s made up.
ADDLETON. (W ith sudden e n th u sia sm ) So i s m ine,
Dora* I , t o o , w i l l become an a c t o r . I w i l l n e v e r
le a v e you .
DORA. (A s id e ) What a p r o s p e c t t o lo o k forw ard
t o i (A loud) Thank y o u , A d d leto n .
ADDLETON. D o n 't c a l l me A d d leto n .
DORA. Mr. S p lin e ,
ADDLETON. Use my c e n t r a l name.
DORA* B o lin g b r o k e ?
ADDLETON. Too f r i g i d s t i l l . C a ll me B o ly .
DORA. H elp me t o c a r r y out th e dream o f my l i f e
and I ' l l c a l l you B o ly , R o ly , P o ly —
ADDLETON. No, n o t R oly P o ly . I'm n ot g o in g to
be you r ja c k p u d d in g. I want t o be y o u r Romeo.
COLONEL. (E n t e r s , t o A d d leto n ) The l a d i e s want
you .
ADDLETON. They a lw a y s d o, b l e s s 'em. (A ct I I )
The above exam p les o f la n g u a g e may n o t be c o n s id
ered k n e e - s la p p e r s t o a contem p orary c r i t i c o f humor, but
De M i l l e ' s a u d ie n c e was p le a s e d to a s u f f i c i e n t d e g r e e t o
e s t a b l i s h The Main L in e as a com m ercial s u c c e s s . As has
been i n d ic a t e d e a r l i e r , th e c r i t i c s o f De M i l l e ' s tim e a ls o
p r o c la im e d th e p la y a s a s u c c e s s . De M i l l e ' s trium ph was
84
b a sed on a s k i l f u l c o m b in a tio n o f p l o t , c h a r a c t e r i z a t i o n ,
and la n g u a g e .
D( e M il l e had d e v e lo p e d h i s c h a r a c t e r s in The Main
L in e so th a t a u d ie n c e sym pathy was d e f i n i t e l y p o s s i b l e .
With h i s n e x t p la y s he was a b le t o a l s o e s t a b l i s h a u d ie n c e
empathy as w e l l by c r e a t in g c h a r a c t e r s from t h e same s o c i a l
l e v e l as h i s v ie w e r s . Thus, he was com ing c l o s e r t o h i s
u n iq u e c o n t r i b u t i o n o f r e f l e c t i n g Am erican s o c i e t y l i f e on
th e New York s t a g e w h ich was a c c u r a te and c o n s i s t e n t enough
t o th e fram e o f r e f e r e n c e o f h i s s o c i e t y a u d ie n c e s t o be
a c c e p t a b le as v a l i d .
The W ife
When The W ife opened a t th e Lyceum T h ea tre on
November 1, 1 8 8 7 , i t marked t h e b e g in n in g o f De M i l l e ' s
s u c c e s s f u l c o l l a b o r a t i o n w ith D avid B e la s c o w h ich w ould p r o -
duce fo u r s o c i e t y co m ed ies upon w hich t h e major p o r t io n o f
De M i l l e ' s fame would r e s t . A ccord in g t o C raig T im b erlak ej
The c o l l a b o r a t i o n o f De M ille and B e la s c o was
s u r e ly one o f th e s t r a n g e s t i n th e Am erican t h e a t e r
a s t o method and workm anship, and y e t i t produ ced
fo u r o f th e m ost s u c c e s s f u l p la y s o f t h e p e r i o d . 14
The W ife, a c c o r d in g t o T im b e r la k e ,. e s t a b l i s h e d th e
p a t t e r n and th e n a tu r e o f t h e c o l l a b o r a t i o n . The c h a r a c
t e r s a lr e a d y e x i s t e d in th e members o f t h e s t o c k company,
14
C raig T im b erla k e, The L i f e and Work o f D avid B e la s
c o , th e B ish op o f Broadway, p . 1 31.
85 !
i
and i t rem ained f o r De M ille to f i n d t h e p l o t and s i t u a t i o n s
on w h ich t o hang t h e r e q u i s i t e amount o f d ia lo g u e . De M ille
was acknow ledged as t h e " l i t e r a r y member o f th e team" who
18
was r e s p o n s ib l e fo r t h e a c t u a l w r i t i n g o f th e p l a y s . ^
M ontrose J . M oses i n d ic a t e d t h a t t h e a s s o c i a t i o n o f
De M i l l e w it h B e la s c o r e s u l t e d i n fo u r p l a y s , a l l marked
w ith c e r t a i n c o n v e n tio n s t h a t c h a r a c t e r iz e d De M ille a t h i s
b e s t : " s i t u a t i o n s t h a t b a la n c e t h r e e s e t s o f o p p o s it e c h a r
a c t e r s : th e in g e n u e r o l e , t h e rom an tic h e r o and h e r o in e , and
t h e m id d le -a g e d c o u p le around whom comedy s c e n e s , b o r d e r in g
l6
n ig h on t o f a r c e , w ere w o v e n ."
R egard in g h i s c o l l a b o r a t i o n w ith De M il l e and th e
p la y s w hich r e s u l t e d , B e la s c o commented:
Our p r o d u c tio n s a t th e Lyceum w ere marked by g r e a t
s i m p l i c i t y o f t r e a tm e n t. There was no a ttem p t t o be
t h e a t r i c a l . We u sed t o d e p ic t l i f e a s th e men and wom
en who came t o s e e u s e x p e r ie n c e d i t . There was no cu t
and d r ie d s t a g i n e s s . . . . W e on F ourth Avenue gave an
a l l e g i a n c e t o t h e s o - c a l l e d " s o c ie t y " drama. I n t h i s
l i n e we su r p a ss e d a l l o th e r t h e a t e r s i n t h e c i t y . -* -7
D e s p it e some m inor f a u l t s w hich w ere c o r r e c t e d a f t e r
th e o p e n in g , The W ife was so w e l l s ta g e d and a c te d th a t th e
:p r e s s , p a r t i c u l a r l y The New York Times and The H erald were
i n c l i n e d t o v iew i t a s an im p o r ta n t Am erican p la y and a s i g -
15I b i d . , p . 1 3 2 .
16
M ontrose J . M oses, The Am erican D r a m a tis t, p . 239-
■^W illiam W in ter, The L if e o f David B e la s c o , v o l . I ,
P . 3 3 2 .
18
n i f l e a n t c o n t r i b u t i o n t o t h e l i t e r a t u r e o f t h e s t a g e .
I
B oth The Sun and H erald th o u g h t t h e comedy was " w ell w r i t
ten"**'^ and " en cou ra gin g f o r A m erican d ram atic l i t e r a t u r e . " ^
A good p la y o f A m erican l i f e . . , s e r io u s i n i t s
p u r p o se , y e t w ith i t s e m o tio n a l s c e n e s r e l i e v e d by
p le a s a n t comedy , . . w e l l w r i t t e n and q u ick i n a c t i o n ,
th e i n t e r e s t n e v e r b e in g a llo w e d t o f l a g . I t s c h a r a c
t e r s a r e w e l l drawn and i t s atm osp here i s th o r o u g h ly
A m erican. . . . T here i s l i t t l e or n o th in g t h a t i s im
p r o b a b le i n i t s i n t e r e s t i n g s t o r y and i t i s w e l l c o n
s t r u c t e d . 21
The s t o r y o f The W ife c o n c e r n s H elen Truman, who i s
lo v e d by R obert Grey and S e n a to r John R u th e r fo r d . G r e y 's
m ista k e was In e n c o u r a g in g th e d e v o t io n o f a S o u th ern g i r l ,
.L u c ile F e r r a n t, b e c a u se H elen i n a moment o f a n g er a c c e p t s
t
S e n a to r R u th e rfo r d and m a r r ie s him . Matthew C u lver i s
■Grey's r i v a l f o r an ap p oin tm en t a s U .S . D i s t r i c t A tto r n e y ,
and b o th men d e s i r e R u th e r fo r d 's su p p o r t. C u lv er and L u c ile
c o n s p ir e i n o r d e r t o tu r n R u th e rfo r d a g a in s t Grey by show ing
e v e r y o n e t h a t Grey s t i l l l o v e s H e le n . C u lv er sp r e a d s a
s t o r y a t a b a l l in W ashington c o n n e c tin g t h e w i f e ' s name
w ith t h e l o v e r ' s , R u th e rfo r d h e a r s th e rumor, t a k e s th e
'm a tter i n hand, and p r o v e s t h a t th e s t o r y o r ig i n a t e d w ith
i
'C u lv e r , Then t h e S e n a to r e l i c i t s from Grey th e f a c t t h a t
t h e l a t t e r lo v e s h i s w i f e . H elen c o n f e s s e s h e r form er lo v e
- 1 Q
T im b erla k e, op. c i t , , p . 133.
~^The New York Sun, November 5j 1 8 8 7 .
^ The New York H er a ld , November 2, 1 8 8 7 .
21
I b i d .
87 i
i
f o r G rey. However., she r e a l i z e s a t t h e end o f t h e p la y
t h a t h e r r e s p e c t f o r th e S e n a to r h a s grown i n t o a more
p o w e r fu l and deep lo v e th a n sh e f e l t f o r G rey. H elen c o n
fir m s t h i s lo v e t o t h e S e n a to r who h a s n e v e r f a l t e r e d i n
h i s a d o r a t io n f o r h e r .
De M i l l e p a r a l l e l e d h i s major lo v e i n t e r e s t w ith
■what was. becom ing h i s t y p i c a l s e t s o f se co n d a r y l o v e r s :
t h e young couple., K i t t y and J a c k , and t h e m id d le -a g e d
.couple., M ajor Putnam and K i t t y ' s m o th er, t h e widow, Mrs.
I v e s . Both c o u p le s c o n t r ib u t e d t h e n e c e s s a r y comedy r e l i e f
s c e n e s w ith t h e i r c o u r t s h i p s .
. With t h i s p la y i t was becom ing more e v id e n t th a t
De M i l l e was a b le t o c r e a t e c o n s i s t e n t , b e l i e v a b l e c h a r a c -
■ters w hich w ere a r e f l e c t i o n o f th e s o c i e t y a u d ie n c e s o f
h i s t im e , A s i g n i f i c a n t p a r t o f ' t h e c o n t e x t o f t h e c h a r a c -
; t e r s was e s t a b l i s h e d b e f o r e any d ia lo g u e i s sp o k en . The
i
f i r s t a c t i s s e t i n Mrs. I v e s ' f a s h io n a b le v i l l a i n Newport
w hich i n d i c a t e s w e a lth . At r i s e , a maid e n t e r s w h ile o f f
s t a g e a re h ea rd th e sou nd s o f v o i c e s p a r t i c i p a t i n g i n a
9
b e n e f i t t h e a t r i c a l w h ich i s a f u r t h e r e v id e n c e o f w e a lth .
The o p en in g e x p o s i t i o n i n d i c a t e s t h e c o s t o f th e c o stu m e s,
c u r r e n t s to c k m arket q u o t a t io n s f o r w h ea t, prom inent p e r s o n s
who h a v e b o a te d t o th e p r i v a t e b e n e f i t t h e a t r i c a l f o r o r
p h a n s, and th e h ig h c o s t o f p u r c h a s in g a h o r s e . A ll o f
t h e s e t h i n g s p o in t t o th e f a c t t h a t t h e c h a r a c t e r s a r e s o
c i e t y f i g u r e s who come from an u p p er-in co m e f a m ily b a c k -
88 ;
i
ground. Thus, w i t h i n l e s s th a n two m in u te s, De M il l e has
.s e t t h e s c e n e f o r H e le n 's en tra n ce.. She e n t e r s i n ' a f lo o d
o f g id d y e x c ite m e n t and h a p p in e s s b e c a u se h e r f a t h e r m is ta k
in g h e r s t a g e f a i n t a s g e n u in e had ru sh ed t o t h e s t a g e w ith
'a, g l a s s o f w a te r w h ich c o m p le te ly d is r u p t e d th e p erfo rm a n ce,
iH elen i s t h e p e r s o n i f i c a t i o n o f De M i l l e 1s t y p i c a l h e r o in e r
1 v i t a l ., e n e r g e tic ., good-hum ored, i n t e l l i g e n t , f u l l o f e x
c it e m e n t , H elen i s p a r t i c u l a r l y happy on h e r f i r s t a p p ea r
ance b e c a u se sh e i s i n lo v e w ith Robert Grey who i s p la y in g
h e r lo v e r in t h e am ateur t h e a t r i c a l w h ich i s ta k in g p la c e
when t h e comedy b e g i n s . Then, i n a warm and a f f e c t i o n a t e
s c e n e , H e le n 's f a t h e r t e l l s h e r t h a t S e n a to r R u th e rfo r d i s
■in lo v e w ith h e r and w i l l . a s k h e r t o marry him . H elen i s
p le a s e d , but when h e r f a t h e r l e a v e s , R obert Grey e n t e r s and
t h e y c o n f e s s t h e i r lo v e f o r each o t h e r .
W ith in f i v e rp in u tes, H e le n 's c h a r a c t e r i z a t i o n i s
a lm o st c o m p le te , and t h e c o n t e x t h a s been s i g n i f i c a n t l y
f i l l e d i n . A ft e r Grey l e a v e s t h e room, H e le n 's manners w ith
th e maid show th a t sh e i s accu stom ed t o h a v in g s e r v a n t s ;
ish e h a s a f f e c t i o n f o r and i s c o n s id e r a t e o f t h e m aid, and
■both e a s i l y m a in ta in t h e m i s t r e s s - s e r v a n t r e l a t i o n s h i p ,
H elen i s a l s o shown to be s e n t im e n t a l, hum orous, and p l a y
f u l when K i t t y e n t e r s and th e d i s c u s s i o n c e n t e r s on t h e i r
r e s p e c t i v e s w e e t h e a r t s . Thus, when H elen i s c a l l e d back
on s t a g e by t h e m aid, t h e a u d ie n c e knows t h a t sh e i s young,
. a t t r a c t i v e , and w e l l - p o s i t i o n e d w ith some s e n s i t i v i t y ,
8 9 ;
i
charm j w it., k in d n e s s , g r a c e , t a l e n t , and t h e p o i s e and s e l f -
c o n f id e n c e t h o s e q u a l i t i e s g i v e . There i s no n eed f o r
o t h e r s t o add a n y th in g , and th e y do no more th a n c o n firm
th e v i e w e r 's f i r s t ju d g m en t,
When L u c ile c o n f r o n t s H e le n w ith t h e f a c t th a t
jGrey had a sk ed h e r t o he h i s w i f e , H e le n 's s e n s e o f hon or
i s p r e s e n t e d as a f u r t h e r a s p e c t o f h e r c h a r a c t e r . She w i l l
n ot a llo w Grey t o n e g l e c t h i s p ro m ise to L u c i l e . A l l t h i s
i s c l e a r l y i n d ic a t e d i n th e f o l lo w in g few l i n e s :
HELM. Were you engaged t o be m arried t o L u c ile
P e r r a n t?
GREY. She h a s t o l d y o u - -
I
| HELEN. Of t h e p rom ise you h ave n e v e r k e p t .
!
1 GREY. An i n f a t u a t i o n t h a t f o r a tim e darkened my
l i f e , o n ly t o show me t h e v a lu e o f a t r u e woman's l o v e .
That lo v e you brough t i n t o my l i f e .
HELEN. Can. you deny what L u c ile h a s t o l d me?
GREY. I c a n n o t, but l i s t e n t o me—
HELEN. What r i g h t have 1 i n you r h e a r t b e s id e th e
memory o f you r broken vow s. You l e f t h e r w ith words a
woman n e v e r f o r g e t s .
GREY. She was unw orthy—
HELEN. For shameJ I t o n ly n eed ed t h a t word t o
make me d e s p i s e you .
GREY. You mean t o t e l l me we must p a r t?
HELEN. Y es. (A ct I )
H e le n ’s p o i s e and s e l f - c o n t r o l , b e f i t t i n g a p e r so n
o f h e r s t a t i o n , a r e e v id e n c e d not o n ly i n t h e sc e n e ab ove,
but f o r t h e r e s t o f t h e A ct. R u th e rfo r d ap p roach es h er
90 !
and a sk s h e r t o marry him . She i s u n a b le t o make a r a sh d e - 1
c i s i o n and a sk s him t o a l lo w h er tim e to answ er when h e r
h e a r t i s f r e e .
L a te r , i n Act I I , a f t e r H elen and R u th e rfo r d are
m a rr ied , Grey c o n f r o n t s h e r w ith th e f a c t t h a t L u c i le was
fly in g , H elen r e a l i z e s t h a t i n s p i t e o f a s i x months la p s e
j i
'of tim e s i n c e sh e l a s t saw G rey, she i s s t i l l i n lo v e w ith
him . B u t, t r u e t o h e r c h a r a c t e r , sh e in fo r m s him t h a t th e y
must n o t e v e r meet a g a in . The se e d i s th e n sown i n R u th er
f o r d ’ s mind t h a t h i s w if e m arried him t o g r a t i f y h e r am bi
t i o n : "She h as in f l u e n c e d h e r husband i n b e h a lf o f t h e
,man sh e r e a l l y l o v e s . " (A ct I I )
H e le n 's c h a r a c t e r rem ain s c o n s i s t e n t and h o n e s t
I
when R u th e rfo r d a s k s h e r i f sh e was i n lo v e w ith Grey when
.th e y w ere m a r r ie d . He rem ind s h e r t h a t he had ask ed h e r to
c o n s id e r t h e m arriag e p r o p o s a l w e l l ,
HELEN. I d id c o n s id e r w e l l . I th o u g h t o f t h e man
I had adm ired from c h ild h o o d . Whose s t r o n g y e t g e n t l e
n a tu r e won from my woman’ s h e a r t t h a t r e v e r e n c e t h a t
f i n a l l y drew me t o him . I knew t h a t he c o u ld n e v e r
ch a n g e, t h a t y e a r s h en ce I c o u ld t h in k o f him as on th e
day I f i r s t gave m y s e lf t o him— w ith even g r e a t e r a d -
! m ir a t io n , as I knew him m ore; g r e a t e r a f f e c t i o n , a s
day by day he f i l l e d my l i f e w ith co n ten tm en t and
p e a c e , (A ct I I I )
A fte r c o n f e s s i n g h e r lo v e o f G rey, sh e a sk s R u th e r - ■
'fo r d what sh e sh o u ld d o, t o whom s h a l l sh e tu r n ? He i n d i
c a t e s t h a t sh e sh o u ld tu r n t o him as th e one who p rom ised
t o p r o t e c t h e r . He r e a f f ir m s h i s lo v e by r e c i t i n g t h e mar
r i a g e vows t o h e r .
i _ ______
91 !
1
Two m onths l a t e r when R u th e rfo r d must le a v e f o r
I
'Europe on a d ip lo m a tic , m is s io n , H elen r e a l i z i n g t h a t h e r
r e s p e c t f o r him h a s deepened i n t o love., a sk s i f sh e can a c
company him . Her c h a r a c te r h as m atured , f o r sh e shows s i n
c e r e c o n c e r n f o r him and h i s a b i l i t y and w i l l i n g n e s s t o h ave
p a t i e n c e w ith h e r . De M il l e r e v e a l s h e r change o f c h a r a c te r
'in a s c e n e w ith K i t t y when H elen a d v is e s th e young g i r l , o f
th e p e r i l s o f f i r s t lo v e*
I s a y , l i t t l e g i r l , when we are young., we a re apt
t o be m is ta k e n — t o c a l l t h a t lo v e w hich i s o n ly th e
i n f a t u a t i o n o f our g i r l i s h h e a r t s . But put e v e r y hope
o f h a p p in e s s f o r y o u r m a rried l i f e upon t h o s e q u a l i t i e s
i n y o u r husband t h a t n e v e r c h a n g e, t h a t y e a r s h en ce you
may t h in k o f him a s on t h e day you f i r s t gave y o u r s e l f
t o him , w ith even g r e a t e r a d m ir a tio n a s you know him
more; g r e a t e r a f f e c t i o n , a s day by day h e f i l l s you r
l i f e w ith co n ten tm en t and w ith p e a c e . And th e im p etu
o u s, t h o u g h t l e s s l o v e o f t h e g i r l w i l l grow i n t o th e
calm , p e a c e f u l e t e r n a l lo v e o f t h e w i f e . (A ct IV)
H e le n 's change o f h e a r t i s m o tiv a te d p r o p e r ly so
t h a t a t th e end o f th e p la y When sh e c o n fir m s h e r lo v e t o
R u th e r fo r d , t h e a u d ie n c e i s a b le t o a c c e p t i t c o m p le t e ly .
H elen Truman i s De M i l l e ' s f i r s t s u c c e s s f u l and most
c o m p le te c h a r a c t e r iz a t io n .. Her c h a r a c t e r i s d e v e lo p e d and
th e n r e v e a le d t o t h e a u d ie n c e in an e f f o r t l e s s manner.
P r io r t o h e r f i r s t e n tr a n c e t h e a u d ie n c e e x p e c t s H elen t o
be e v e r y th in g a member o f De M i l l e ' s s o c i e t y a u d ie n c e was:
charm ing, i n t e l l i g e n t , w i t t y , warm, p e r s o n a b le , g o o d -
humored, v i t a l , and e x c i t i n g . They a r e le d t o b e l i e v e t h i s
about H e le n e n t i r e l y by th e e x p o s i t i o n a l m a t e r i a l. However,
De M il l e d o es n ot d is a p p o in t h i s a u d ie n c e : H e le n 's d ia lo g u e
i
r e v e a l s h e r t o be e x a c t l y as sh e has been, d e s c r ib e d .
S in c e v i r t u e was th e c o r n e r s t o n e f o r De M i l l e ' s
h e r o in e s., H e le n i s a lw a y s c o n s i s t e n t w ith t h i s q u a l i t y .
De M ille n e v e r a llo w s th e a u d ie n c e t o q u e s t i o n any of. h e r
i
'a c t io n s j sh e alw ays p erfo rm s th e a c t i o n w h ich De M i l l e t s
s o c i e t y ' a u d ie n c e w ould be honor bound t o do. She k e e p s h e r
'promise., t e l l s t h e t r u t h , and h o n o rs h e r husband.
De M i l l e ' s a u d ie n c e demanded a happy e n d in g w ith
lo v e triu m p h a n t. In The W ife th e y a r e rew arded by H e le n ’s
change o f h e a r t w hich c o n fir m s h e r lo v e f o r h e r husband.
T h is i s a c o n s i s t e n t a c t i o n w it h in h e r c h a r a c t e r , s i t u a t i o n , ,
:and s o c i a l l e v e l .
De M i l l e 1s a b i l i t y t o draw c o n s i s t e n t c h a r a c t e r s
a p p r o p r ia te t o s o c i e t y comedy was commented on by many
c r i t i c s . W illia m W inter e x p r e s s e d t h e m a j o r it y o p in io n :
. . . [De M i l l e ' s ] d ia lo g u e i s w r i t t e n i n t h a t
s t r a i n o f commonplace c o llo q u y w hich i s g e n e r a l l y
' c h a r a c t e r i s t i c .of f a s h io n a b le s o c i e t y i n i t s mood
' and h a b it . , . t h a t w r i t e r ' s p la n h a s b een s u c c e s s f u l ,
o f c a tc h in g and r e f l e c t i n g t h e g e n e r a l to n e and manner
o f ev er y d a y l i f e and everyday, p e r so n s* . . . To copy
com m onplaces i n su ch a manner i s deemed t h e r i g h t and
su r e way t o p l e a s e t h e p u b l i c . That method d o es s u e -
i c e e d , s i n c e , g e n e r a l l y , p e o p le l i k e to s e e t h e m s e lv e s .
i
j As a r e f l e c t i o n o f h i s t im e , De M il l e p r e s e n te d a
t w i s t t o th e cu stom ary fo rm u la : u s u a l l y th e husband o f th e
s o c i e t y p la y s o f th e p e r io d w hose w if e was e i t h e r g u i l t y o f
u n f a i t h f u l n e s s or had com m itted an i n d i s c r e t i o n , would
22
W in ter, op. c i t . , pp. 3 2 9 -3 0 .
storm a g a in s t t h e w i f e and demand a d iv o rce,, but f o r th e
i
i
isake o f s o c i e t y , th e c o u p le would c o n tin u e t o d w e ll under
th e same r o o f f o r a w h il e . I n s t e a d , i n T h e ■ W ife, De M ille
u s e d what B e la s c o c a l l e d "a com m on-sense hu sb an d .
;Winter went so f a r as t o s u g g e s t t h a t t h e p la y sh o u ld have
:been c a l l e d The Husband r a th e r th a n The W ife b e c a u se i t i s
(R utherford i n whom t h e i n t e r e s t c e n t e r s . "The b e s t scen e
I
i n i t i s t h e one o f e x p la n a t io n and r e c o n c ile m e n t betw een
th e husband and w i f e , and , „ . t h i s was th e in v e n t io n
around w h ich and f o r t h e sak e o f w h ich th e p la y was w r i t t e n .
I t c o n t a in s a s t r a i n o f r a t i o n a l , f i n e m a n lin e s s t h a t w in s
24
jand h o ld s a t t e n t i v e sym pathy.
i
j The c h a r a c t e r o f S e n a to r John R u th e rfo r d may be
'scorn ed by a contem p orary a u d ie n c e as o n e -d im e n s io n a l, but
i
when c o n s id e r e d i n l i g h t o f t h e s o c i e t y a u d ie n c e o f De
i M i l ie 's t im e , R u th e rfo r d i s se e n t o be an e x a c t r e f l e c t i o n
!
o f a l l t h o s e q u a l i t i e s an u n d e r s ta n d in g husband o f th e p e
r io d sh o u ld b e . De M ille app eared t o f a s h io n th e i d e a l
mate by w h ich t h e members o f t h e a u d ie n c e m ight m easure
| t h e m s e lv e s ,
i
• N a t u r a l l y , R u th e rfo r d i s v i r t u o u s ; De M i l l e ' s h e r o e s
w ere, w ith few e x c e p t i o n s , a lw a y s s t r o n g e r th a n h i s h e r o -
' in e s . H is h o n e s t y and i n t e g r i t y a r e u n q u e s tio n e d , and
i
De M ille e m p h a t ic a lly s u g g e s t e d t h a t R u th e r fo r d 's co m p a ssio n
24
•^Daniel Frohman, D a n ie l Frohman P r e s e n t s , p. 7 0 .
' 24 ,
| _____________ Wint e r , op. c i t . , pp . 3 3 3 -3 4 . __
94 |
i
make him g r e a t e r th a n t h e a v e ra g e man s i n c e he i s a b le t o
'f o r g iv e and a id h i s w if e when sh e n eed s h i s h e lp r a t h e r th a n
s e n d in g h e r away from him . The a u d ie n c e can n o t m iss t h e
.p o in t t h a t De M ille was r e f l e c t i n g a c h a n g in g a t t i t u d e i n
i
; d e v e lo p in g R u th e rfo r d as an u n d ersta n d in g ,, lo v in g husband;
|th e w i f e may e r r , but t h e husb and , who i s s t r o n g e r th a n
.she,, can f o r g i v e h e r and i n so d o in g h e w i l l become a b ig g e r
and b e t t e r man. I t sh o u ld n o t be o v e r lo o k e d t h a t De M i l l e ' s
r e l i g i o u s background c o in c id e d p e r f e c t l y w ith h i s a u d ie n c e 's
d e s i r e t o v iew v ir t u o u s c h a r a c t e r s i n h o n o r a b le s i t u a t i o n s .
I f De M ille was now a b le to c r e a t e a p r o b a b le and
c o n s i s t e n t s o c i e t y h e r o and h e r o in e who e x i s t e d a s b e l i e v -
'a b le c h a r a c te r s,, he d id n ot n e g l e c t t h e d evelop m en t o f h i s
m inor c h a r a c t e r s , a l l o f whom e s t a b l i s h e d th e im age o f
.w e a lth and p o s i t i o n . K i t t y I n d i c a t e s t h a t i t i s im proper
,to m eet a man f o r th e f i r s t tim e i n t h e s u r f when a p a r lo r
i ;
I i s th e a c c e p t a b le p l a c e ; Jack s t a t e s t h a t t h e r e i s no r e a s o n
i
why h e and K i t t y c a n ' t be f r i e n d s J u st b e c a u se t h e i r m others
a r e s o c i a l r i v a l s who s p e c i a l i z e i n c h a r i t i e s ; Mrs. I v e s
■ l i s t s th e many f r i l l y e x p e n se s o f t h e t h e a t r i c a l and I s n ot ;
th e l e a s t u p s e t when t h e t o t a l i s o n ly $ 1 8 0 6 ,3 7 a g a in s t a
p r o f i t o f $ 2 7 3 -6 3 f o r h e r orp h an s; Major Putnam b id s $300
i n o r d e r t o be a b le t o s i n g i n t h e t h e a t r i c a l ; L u c ile a c
c e p t s an i n v i t a t i o n t o spend t h e e n t i r e w in te r w ith Major
P utnam 's fa m ily i n New port; and R u th e rfo r d c a s u a l l y d i s
m is s e s a l l t h e s e r v a n t s b e f o r e h i s c o n f r o n t a t io n w ith
95
C u lv e r . T hese a r e I n c lu d e d a s random sam p les o f De M i l l e ' s
method in e s t a b l i s h i n g a background f o r h i s s o c i e t y c h a r a c
t e r s .
Now t h a t De M i l l e had p roven h i s a b i l i t y t o c r e a t e
c o n s i s t e n t s o c i e t y f i g u r e s who e x i s t e d on a h ig h s o c i a l
■ le v e l., h e was a b le to u s e h i s t a l e n t w ith la n g u a g e t o n ot
; o n ly e s t a b l i s h h i s c h a r a c t e r s and t h e i r background but t o
r e f l e c t t h e b r ig h t humor o f t h e p e r io d w ith w hich h i s a u d i
e n c e would i d e n t i f y . Many o f De M i l l e ' s a u d ie n c e members
may have found th e m s e lv e s i n a s i t u a t i o n s i m i l a r to C u lv e r 's
when h e i s tr a p p e d a t a b o r in g p r i v a t e t h e a t r i c a l :
CULVER. I su p p ose I must s e e t h e r e s t o f t h i s
damned p l a y .
MRS. IVES. (E n te r s ) 0., Mr. C u lv er] What i s t h a t
about t h e p la y ?
CULVER. I was j u s t rem ark ing t o m y s e lf t h a t th e
p a r lo r s a r e jammed w it h p e o p le t o s e e t h e p l a y . How
lo n g b e f o r e th e c u r t a in g o e s up?
MRS. IVES. Only f i v e m in u te s.
CULVER. That means h a l f an h o u r.
MRS. IVES. Oh] Mr. C u lv er]
CULVER. Oh., I 've a tte n d e d p r i v a t e t h e a t r i c a l s
b e f o r e .
MRS. IVES. So l i k e you .
CULVER, Y o u ' l l e x c u se me. (A s id e ) That was a
narrow e s c a p e . ( E x it ) (A ct I )
De M i l l e ' s u s e o f w o r d -p la y was i n d ic a t e d i n th e
b id d in g by S i l a s and M ajor Putnam i n o r d e r t o b e n e f i t th e
orp h an s. S i l a s i s a s d e ter m in e d t o p r e v e n t Putnam from
96*
s in g in g a t t h e t h e a t r i c a l as Putnam i s r e s o lv e d t o im p r ess
Mrs. I v e s w ith h i s r e s o u r c e s :
SILAS. One hundred and t w e n t y - f i v e d o l l a r s , madam.,
and i f y o u ' l l a g r e e t o om it P utnam 's song., I ' l l make i t
a hundred and f i f t y .
PUTNAM. One hundred and s e v e n t y - f i v e , and Putnam
s i n g s . (A s id e ) I ' l l n o t be b e a te n by yo u , i f I have
t o go i n t o p a r t n e r s h ip w ith an I t a l i a n and r o a s t c h e s t
n u ts on some s t r e e t c o r n e r .
When th e b id d in g r e a c h e s two hundred and s e v e n t y -
f i v e d o lla r s ., t h e M ajor tu r n s t o S i l a s :
PUTNAM. (C r o ss in g to him., p u l l s down h i s b id d in g
hand) Oh, l e t up.' Let upj D o n 't f o r g e t y o u 'r e on th e
Produce E xchange. I'm o n ly on a p e n s io n , I'm b id d in g
t o c a tc h t h e widow, and I ' l l do i t i f i t t a k e s e v e r y
penny I ' v e g o t . D o n 't t r y t o r u in me.
SILAS. Ha, h a , hai Why th e d e v i l d id you not
sa y so b e f o r e t
PUTNAM. (T u rn s, f a c e r e d ) T w e n ty -fiv e d o l l a r s
more, Mrs. I v e s . ( S i l a s about t o sp e a k . Q u ic k ly ,
a s i d e ) I f you open you r mouth, I ' l l p u t my f o o t i n i t .
SILAS. I g i v e u p . The m a jo r 's l a s t o f f e r i s more
th a n I can sw a llo w . (A ct l )
L a te r i n th e p la y De M il l e u s e s an exam ple o f u n d e r
sta te m e n t to e s t a b l i s h t h e urbane humor o f C u lv er when he
r e l a t e s how he r e c o v e r e d from h i s lo v e f o r H elen Truman:
"I lo v e d M iss Truman p a s s i o n a t e l y w ith a l l my h e a r t . The
day sh e m arried R u th e r fo r d , I to o k brandy and so d a , l i t a
c i g a r , and a f t e r a s p in around t h e p a rk , th e w h o le th in g
was o v e r ." (A ct I I )
U n lik e t h e u n s u c c e s s f u l D u ty, De M il l e was a b le i n
The W ife t o f a s h io n h i s la n g u a g e t o s o c i e t y c h a r a c t e r s i n
an i n t e r e s t i n g and s e r v i c e a b l e p l o t . The c r i t i c s and a u d i-
i
■ence o f h i s tim e e s t a b l i s h e d t h e p la y a s a m ajor s u c c e s s .
The W ife was th e f i r s t i n a s t r i n g o f s u c c e s s f u l s o
c i e t y co m ed ies i n w h ich De M ille would c a p tu r e and a c t a s a
m ir r o r f o r h i s a u d ie n c e . O d e ll sum m arized th e e f f e c t o f De
M i l l e ' s p la y :
The W ife e x a c t l y s u i t e d th e t a s t e o f 1887— 8 8 , and
e n jo y e d t h e r a r e d i s t i n c t i o n o f two hundred and t h i r t y -
n in e p er fo r m a n c es b e f o r e Frohman ended h i s s e a s o n . To
t h i s outcom e c o n t r ib u t e d t h e b e a u ty and com fort o f t h e
l i t t l e a u d ito r iu m , t o w hich f a s h io n wended i t s way., t h e
charm ing s t a g e - s e t s and th e e x c e l l e n c e o f th e a c t i n g .
W e w ere happy i n 1 8 8 7- 8 8 ., and d id n o t e x p e c t our p la y s
to be m oral and s o c i o l o g i c a l t r e a t i s e s j we m e r e ly ask ed
t h a t t h e y be c le a n and I n t e r e s t i n g . 25
T h e r e . can be no doubt t h a t The W ife was c le a n and
' i n t e r e s t i n g t o De M i l l e 1s a u d ie n c e and t h a t t h e c h a r a c t e r s
1
d is p la y e d t h e b e s t v i r t u e s w hich t h e s o c i e t y a u d ie n c e sh o u ld
e x e m p lify : th e l o v i n g , u n d e r s ta n d in g husband who f o r g i v e s
,h is e q u a lly l o v i n g , charm ing w if e h e r one y o u t h f u l m ista k e
and by :so d o in g e s t a b l i s h e s a l i f e o f l a s t i n g h a p p in e s s f o r 1
b o th o f them,
Lord Chumley
The new p la y upon w hich De M ille and B e la s c o w ere
t o c o l l a b o r a t e was t o be d e s ig n e d f o r E. H. S o th e r n . S in c e
h i s f a t h e r ' s most famous c h a r a c t e r had b een D undreary, i t
was d e c id e d a lm o st im m e d ia te ly t o make th e h e r o an E n g lis h
^ G e o r g e C. D, O d e ll, A nnals o f th e New York S t a g e ,
v o l . X I I I , p . 4 2 7 .
98
l o r d , and a t th e same tim e to a v o id "the s i l l y a s s t r a i t s
26
so c h a r a c t e r i s t i c o f t h e s t a g e E nglishm an in A m e r ic a ."
When t h e p la y opened a t t h e Lyceum T h ea tr e on August 20.,
188 8 , th e a u th o r s d u p lic a t e d t h e i r p r e v io u s s u c c e s s .
The c r i t i c s w ere a l l i n agreem ent w ith p r a i s e f o r
S o th ern and h i s p erfo rm a n ce, but th e p la y i t s e l f g a r n e re d
more l a u r e l s th a n The W ife . The m a j o r it y o p in io n was e x
p r e s s e d :
Lord Chumley i s a c a p i t a l p i e c e , a f f o r d in g more
enjoym ent t o t h e sq u are in c h th a n a n y th in g we have
l a t t e r l y s e e n , and as i t made a pronounced h i t on i t s
f i r s t r e p r e s e n t a t io n at t h e Lyceum T h e a tr e l a s t Monday
n i g h t , p e o p le w i l l f l o c k t o s e e i t .
The m e r its o f Lord Chumley a r e so many t h a t i t s
m inor f a u l t s a r e l o s t s i g h t o f . A l i t t l e j u d i c i o u s
c u t t i n g and trim m ing h e r e and t h e r e . . . w i l l make i t
one o f t h e most c o m p le t e ly e n jo y a b le p erfo rm a n ces b e
f o r e th e p u b l i c . 27
A lthou gh t h e p l a y ' s a c t i o n was s e t i n E n glan d, De
M ille su c c e e d e d i n r e f l e c t i n g t h e u p p e r - c la s s s o c i e t y man
n e r s and m orals w hich w ere t o become h i s h a llm a r k . M oses
b e l ie v e d :
. . . t h e g r e a t e s t coup was th e p r e p a r a tio n o f t h e
t i t l e c h a r a c t e r . . . . I t must be s a id t h a t th e c o l l a b
o r a t o r s su c c e e d e d i n d e v e lo p in g a c e r t a i n human sympathy
f o r th e fo p , w hich was not u n lik e th e lo v e a b le n e s s so
pronounced i n Lord D u nd reary. 28
De M i l l e ' s so n , C e c i l , i n a somewhat b ia s e d r e p o r t
a g r e e d t h a t :
W in ter, op. c i t . , p. 3^-0.
^ The New York D ram atic M ir ro r , August 25^ 1888.
28
M oses, l o c . c i t .
99 j
Lord Chumley . . . i s t h e s t o r y o f a r a th e r b lu n d e r
in g fo p , but u n d ern ea th th e comedy nobleman,, f a t h e r
w rought a c h a r a c t e r o f s e l f - s a c r i f i c e , f i d e l i t y , and
s t r e n g t h . T here a g a in f a t h e r and B e la s c o pushed Ameri
can drama a s te p fo rw a rd . I t h in k t h a t th e i d e a o f
f i n d in g s t r e n g t h o f c h a r a c t e r b eh in d a fa c a d e o f ap p ar
en t w eak n ess i s one t h a t a p p ea le d p a r t i c u l a r l y t o
i f a t h e r , 29
: The a c t i o n o f Lord Chumley b e g in s a t Lummy-Tum, t h e
home o f a r e t i r e d trad esm an who h a s a d a u g h te r , E le a n o r ,
and a so n , Hugh. The l a t t e r i s about t o j o i n h i s r eg im en t
f o r a c t i o n i n A f r ic a . A v i s i t o r t o Lummy-Tum i s t h e ap p ar
e n t l y v a cu o u s, Lord Chumley, who l o v e s th e d a u g h te r and i s
th e s o n 's b e s t f r i e n d . But he i s p o o r , and E le a n o r , t h i n k
in g him a fo r t u n e h u n t e r , r e j e c t s h i s s u i t . Le S a g e , a
Frenchman who a l s o l o v e s t h e d a u g h te r , and p o s s e s s e s know
le d g e w h ich i f com m unicated w i l l d is g r a c e t h e so n , t h r e a t e n s
to u s e i t i f th e son d o es n o t recommend h i s s u i t t o E le a n o r .
,The s e e m in g ly m isty -m in d e d and h e s i t a t i n g Lord Chumley, w ith
.h is e y e - g l a s s , h i s s t i f f w alk and h i s d ra w l, su d d e n ly e x
h i b i t s an u n u su a l a b i l i t y o f th o u g h t and a p p r o p r ia te n e s s o f
a c t i o n , and s t o p s t h e Frenchman t e m p o r a r ily , s a v in g Hugh,
'but i n d o in g so I s c o m p elled t o p r e te n d t o be i n t o x i c a t e d i n
I
th e p r e s e n c e o f E le a n o r , th u s i n c r e a s i n g h e r d i s l i k e . At
t h e end o f th e f i r s t A ct, Chumley w h is p e r s t o Hugh, "You go
t o A f r ic a and f i g h t th e Z u lu s; I ' l l s t a y h e r e and f i g h t th e
■ d e v il." I n t h e seco n d a c t , Chumley, im p o v e r ish e d in r a i s -
^ C e c i l B. De M i l l e , ed . by Donald H ayne, The A u to-
.b io g r a p h y o f C e c i l B. De M i l l e , pp. 2 3 -2 4 .
in g t h e money t o c l e a r H ugh's r e p u t a t i o n , I s s e e n I n com fort
a b le but d e f i n i t e l y n o t lu x u r io u s lo d g in g s i n London. He
h a s r a is e d t h e money t o pay o f f h i s f r i e n d ' s o b lig a t io n .,
but can n o t f i n d t h e o ld woman t o whom th e money s h o u ld be
p a id . He i s v i s i t e d by E lea n o r who h a s been t o l d by Le
:Sage t h a t he (and n o t Chumley) i s th e one who saved h e r
B r o t h e r ' s good name and t h a t Chumley i s t h e man who en d ea v
ored t o u s e h e r b r o t h e r ' s s e c r e t a s a b id f o r h e r hand.
Her contem pt f o r Lord Chumley i s d o u b le d , and sh e h as prom
i s e d t o become Le S a g e 's w i f e . Chumley f a i l s t o c o n v in c e
h e r o f h i s own r e s t i t u t i o n and t h e F renchm an's v i l l a i n y , and
when E lea n o r l e a v e s , h e r e a l i z e s t h a t o n ly H ugh's r e tu r n can
c l e a r him . The sound o f r e tu r n in g s o l d i e r s i s h ea rd b e n e a th
t h e windowj i t i s Hugh and h i s r e g im e n t. At th e same moment,
Chumley le a r n s t h a t t h e o ld woman f o r whom h e i s lo o k in g i s
:h is cham berm aid's m o th er. Then t h e a c t i o n s h i f t s t o Lummy-
:Tum w here Lord Chumley, u s in g in fo r m a tio n w hich he has s e
cured from an o ld p a l o f Le S age, p r o v e s th e Frenchman
g u i l t y o f v a r io u s c r im e s , c a u s e s him t o l e a v e , and Chumley
■sees h i s own n o b i l i t y e s t a b l i s h e d i n t h e e y e s o f t h e g i r l
h e l o v e s . I t h a s a lr e a d y been shown t h a t Hugh was n o t
r e a l l y g u i l t y o f any w rong. E lea n o r t o y s w ith Lord Chum
l e y 's e y e - g l a s s a s th e y sta n d t o g e t h e r , and th e s t r i n g b e
comes e n ta n g le d i n h e r c o r s a g e . He can n o t r e l e a s e th e
o th e r end from hisu -n eck . "W e c a n 't go th ro u g h l i f e t i e d
t o g e t h e r l i k e t h i s , can we?" he s a y s , q u i t e in n o c e n t ly ,’
101 I
th e n a s a sudden I n s p i r a t i o n ! "By j i n g o , c a n 't we though?"
He th e n k i s s e s h e r w i l l i n g l i p s and d e c la r e s h i m s e l f "the
h a p p ie s t b eg g a r i n t h e w o r l d , " (A ct I I I )
As was h i s u s u a l cu stom , De M ille b a la n c e d h i s h ero
and h e r o in e w ith two s e t s o f c o u p le s who a r e u n it e d a t th e
i f i n a l c u r t a in ! t h e young Meg and Tommy, b oth o f whom worked
a s c le a n in g s t a f f members i n th e lo d g in g s o f Lord Chumleyj
t h e m id d le -a g e d Lady B arker d e s c r ib e d as f o r t y , f a i r , and
f a t , was m atched w ith Adam B u tte r w o r th , t h e f a t h e r o f
E lea n o r and Hugh, T h ese c o u p le s s u p p lie d th e com ic r e l i e f
i n t h e p la y , but f o r th e m ost p a r t , th e h ero f i g u r e o f Lord
Chumley f ig u r e d v e r y p r o m in e n tly i n t h e l i g h t moments. The
u s e o f th e h e r o f o r t h i s f u n c t i o n was a d e p a r tu r e f o r De
M ille w h ich was u n d o u b te d ly made n e c e s s a r y t o s u i t th e a c t
i n g t a l e n t s o f E. H. S o th e r n . A nother d e v i a t io n from h i s
t y p i c a l fo rm u la was t h e a d d i t io n o f a se co n d a r y rom an tic
1 c o u p le w hich p a r a l l e l e d th e h ero and h e r o in e : Hugh and
J e s s i e ,
I t may be p o in te d out t h a t i n c r e a t in g t h e s t r o n g ,
■ con vincin g le a d in g c h a r a c t e r o f Lord Chumley, De M ille
came c l o s e t o c a r i c a t u r e w ith some o f h i s m inor c h a r a c t e r s .
Lady B a r k e r 's s c e n e i n C hum ley' s lo d g in g s w hich r e q u ir e s
h e r t o c o n c e a l h e r s e l f i n h i s chim ney on a c h a ir w hich h as
n o t been g lu e d t o g e t h e r p r o p e r ly seem s t o b ord er e x tr e m e ly
c l o s e t o f a r c e . Her c h a ir b r e a k s , t h e ch im n ey-sw eep sen d s
s o o t r u sh in g o v e r h e r , and i n t h i s s t a t e , sh e i s o b lig e d t o
a r r i v e a t h e r home. A ll o f h e r m is fo r t u n e s make f o r good
com ic s c e n e s , hut h e r c h a r a c t e r may come to o n ea r a b u ffo o n
t o be a c c e p t a b le a s a s o c i e t y c h a r a c t e r ’ s a c t i o n s . For th e
p u r p o s e s . o f t h i s s tu d y , i t sh o u ld be n o te d t h a t none o f
De M i l l e ' s contem p orary c r i t i c s w ere c r i t i c a l o f th e c h a r a c
t e r d evelop m en t o f Lady B a rk er, The m a jo r it y v ie w p o in t con
c e r n in g t h e c h a r a c t e r s i n Lord Chumley w as:
The d ia lo g u e i s o c c a s i o n a l l y i n t e r s p e r s e d w ith
f l a s h e s o f w it j t h e c h a r a c t e r s have b een e f f e c t i v e l y
grouped and b rou gh t i n t o c o n t r a s t j t h e i n c i d e n t s are
p l e n t i f u l , more o r l e s s n o v e l and g e n e r a l l y am usin g,
and beyond a n y th in g e l s e , th e c h a r a c t e r s a r e t h e p e r
s o n i f i c a t i o n o f a t t r a c t i v e n e s s and c o m p le t e n e s s .30
In f a c t , i t was n o t u n t i l t e n y e a r s l a t e r t h a t any
m ajor c r i t i c i s m was v i s i t e d on th e p l a y . When S o th ern r e
v iv e d Lord Chumley i n B o s to n , i t was s t a t e d :
The p l o t s h i f t s w ith c l o c k - l i k e r e g u l a r i t y b etw een
f a r c e and m elodram a. I f i t w ere e i t h e r one f o r any
c o n s id e r a b le p e r io d we m igh t a c c e p t i t s c h a r a c t e r s and
i n c i d e n t s w ith o u t q u e s t io n . But we no so o n er b e g in t o
ta k e p le a s u r e in t h e i r f a r c i c a l a r t i f i c i a l i t i e s th an
i n comes a s e r i o u s m elod ram atic to u c h and we a r e brough t
down t o r e a l l i f e i n s t a n t l y . T h is p r o c e s s I s e x a s p e r
a t in g l y an n oyin g t o on e who e n jo y s c l e v e r f a r c e and r a
t i o n a l m elodram a each I n i t s own s e p a r a t e s p h e r e .31
; However, t h i s was a m i n o r i t y v i e w p o in t , s i n c e t h e
o th e r c r i t i c s p r a is e d t h e p la y :
I t w ould in d e e d be f u t i l e t o deny t h e amusement t o
be d e r iv e d from t h i s e x tr a o r d in a r y p i e c e , o r t o r e f u s e
i t s c o n s t r u c t o r s c r e d i t f o r t h e i r s k i l l i n s u c c e s s f u l l y
making i n t e r e s t i n g u s e o f such m a t e r i a l. I t . . i s e x
tr e m e ly u n u su a l t o f i n d a p la y t h a t c o n t a in s so much
^ T h e New York D ra m a tic M i r r o r , August 25, 1888.
^ T h e Boston. C o u r i e r , March 15, 1 8 9 8 .
103
t h a t Is. e n t e r t a i n i n g . I t r e a l l y t a k e s q u it e a l i t t l e
tim e t o r e c o v e r from i t s m ir th -p r o v o k in g i n f l u e n c e s ,
and t o r e a l i z e t h a t th e way i t i s done and n o t what
i s done i s r e a l l y th e c a u se o f i t s p o p u la r it y and
s u c c e s s .3 2
As f a r a s th e le a d in g c h a r a c t e r was c o n c e r n e d , t h e
r e v ie w e r s w ere unanim ous i n t h e o p in io n t h a t De M ille had
c r e a te d i n Chumley, a young E n g lis h lo r d , a g en tlem a n by
n a tu r e a s w e l l as b i r t h ; s im p le , g e n e r o u s , s i n c e r e , co u ra g e
o u s , s e n s i t i v e , but hampered by s h y n e s s , an im pedim ent in
h i s s p e e c h , and a s u p e r f i c i a l a s p e c t o f i n a n i t y . B en eath
th e somewhat pompous s t u f f i n e s s o f Chumley was a c h a r a c t e r
o f s e l f - s a c r i f i c e , f i d e l i t y , and s t r e n g t h . Nor h a s th e
c h a r a c t e r ' s v a l i d i t y dimmed w ith t h e y e a r s . A rthur Hobson
Quinn commented:
, . . t h e c e n t r a l c h a r a c t e r , t h a t o f a young En
g l i s h noblem an who, a p p a r e n t ly s t u p id , v a p id and in a n e ,
i s r e a l l y b r a v e , a c u te and above a l l l o y a l i n lo v e and
f r i e n d s h i p and w i l l i n g to s a c r i f i c e h im s e lf f o r th e
sake o f f r i e n d and l o v e , rem ain s a f t e r n e a r ly f o r t y
y e a r s , a v i v i d and d e lig h tfu l,-m e m o r y .33
B e fo r e th e a u d ie n c e m eets Chumley, De M il l e was
c a r e f u l t o p r e s e n t b o th s i d e s o f h i s ch a ra cter-. J e s s i e ,
who fa v o r s him , and E le a n o r , who f l a t l y s t a t e s sh e d o e s not
l i k e him , a r e d i s c u s s i n g h i s f a i l u r e t o r i s e e a r l y from bed
t h a t p a r t i c u l a r m orn ing. J e s s i e a s k s i f he h as done some
th in g t o c a u se E le a n o r t o d i s l i k e him:
o 2
The B o sto n R ecord -A m erican , March 16, 1 8 9 8 .
33
A rthur Hobson Quinn, A H is t o r y o f t h e Am erican
Drama from t h e C i v i l War t o t h e P r e se n t Day, p . 171.
104 !
i
ELEANOR. Done som eth in g ] Did. you e v e r know Lord
George Chumley to do anything? He ran through h i s f o r
tun e d i r e c t l y when he came In to it., and woke up one
r a in y day t o f in d h im s e lf a pauper— but I d o n ’t b e l i e v e
he would work i f he were s t a r v i n g . (Act I)
When J e s s i e d efen d s him, E lea n o r w i l l have none o f i t , f o r
,she i s c on vin ced t h a t Chumley i s o n ly i n t e r e s t e d i n h e r
f o r tu n e .
JESSIE. I am s u r e , poor as h e i s — and Hugh sa y s he
has o n ly a w retched fo u r hundred a y e a r — he would not
s e l l h i s t i t l e f o r tw ic e your fo r tu n e .
ELEANOR. L i t t l e in n o c e n t] How much you have to
le a r n . I t i s because he i s Hugh's f r i e n d t h a t you
defend him.
JESSIE. No E lea n or, i t i s because I am su r e he
lo v e s y ou .
ELEANOR. I m p o s s ib le ] Why th e r e i s n ’t enough emo
t i o n i n him to move th e b a la n ce w heel o f a w atch.
(Act I)
Audience i n t e r e s t as to e x a c t l y t h e n atu re o f Ghum-
l e y ' s c h a r a c te r has been w h etted in t h i s s c e n e , f o r i t i s
not c e r t a i n w hether he i s g en u in e or not i n h i s d e a lin g s
w ith p e o p le . J u s t p r i o r t o h i s e n tr a n c e , De M il l e made th e
f i r s t u s e o f t e x t u a l d e s c r i p t i o n o f a c h a r a c te r i n any of
■his p la y s w ith t h i s p i c t u r e o f Ghumleyi
At t h i s moment Lord Chumley appears at window,
L .H .E ., ta k in g o f f to r n g lo v e and arran gin g a p p arel
as though he made sh o r t work o f someone. Lord Chumley
i s i n f a s h io n a b le morning d r e s s , h i s ev ery move and
g e s t u r e t h a t o f a man p e r f e c t l y a t e a s e , c o n te n te d w ith
h i m s e lf and a l l t h e w orld. (Act I )
During Lord Chumley’ s f i r s t scen e he i s p r e se n te d
as a s u p e r c i l i o u s , f r i v o l o u s p erso n whose inane c h a t t e r
tu r n s E lean or even f u r t h e r away from him. She i s fir m ly
105
convinced, th a t he i s i n lo v e w ith her fo r h e r fo r t u n e , and
r a th e r than denying i t , Chumley laughs i t o f f w ith : "What a
j o l l y good tim e we cou ld h a v e . " (Act I ) I t i s not u n t i l
he i s a lo n e on s t a g e w ith h i s th o u g h ts th a t he i s r e v e a le d
as a man in lo v e who I s to o shy to c o n f e s s h i s a d m iration
but c o v er s i t w ith f l i p remarks and nervous humor:
LORD CHUMLEY. How absurd g i r l s are.1 Hang- i t I I
d o n 't want h er fo r tu n e . I w ish she was p o o r --n o t e x
a c t l y a pauper, but j u s t poor. I t ' s funny when a f e l
low d o e s n 't lo v e a g i r l , how e a sy i t i s to t e l l her he
d o e s, and when a f e l l o w does lo v e a g i r l , how d i f f i c u l t
i t .is t o t e l l her a n y th in g . . . . Can't l i v e w ith ou t
h e r , and I'm to o young t o d i e . I ' l l j o i n Hugh in A fr ic a
and l e t a Zulu b rid e le a d me home. She'd be p o o r — both
poor. W ell, w ou ld n 't m a tter. Zulu b r id e w o u ld n 't have
any d ressm a k er's b i l l s . (Act I) ,
In one b r i e f monologue, De M il l e e x p la in s th e tr u e
na tu re o f th e faca d e o f s i l l i n e s s which c o v e r s Chumley's
b a s ic s i n c e r i t y . When Lady Barker, " fo r ty , f a i r , and fa t"
(Act I ) e n t e r s in a r id in g h a b it s e v e r a l s i z e s to o sm a ll
which s t r a i n s a l l t h e b u tto n s o f th e o u t f i t , Chumley, when
asked h i s op in ion o f h er a t t i r e , r a th e r than o ffe n d h er,
remains th e n o b le gentlem an and f l a t t e r s h er t o such a d e - '
g r ee t h a t Lady Barker i s w rongly le d t o b e l i e v e th a t Chum- ;
l e y lo v e s h e r . Only J e s s i e ' s en tra n ce s t o p s th e charade,
but during th e sc e n e , Chumley's str o n g se n se o f honor i s
p r e se n te d : he w i l l r e s p e c t E le a n o r 's w ish never to a llu d e
t o th e s u b je c t o f h i s lo v e f o r h er, but he w i l l endeavor t o
ask Lady Barker f o r a s s i s t a n c e . The s i t u a t i o n becomes com
i c a l because Lady Barker assumes in Chumley's r o l e p la y in g
th a t she i s th e o b je c t o f h i s lo v e ; she does not r e a l i z e
th a t Chumley,, th e tr u e gentlem an, w i l l not r e v e a l t h e name
o f h i s lo v e . De M ille s lo w ly s t r i p s away Chumley's ven eer
s t i l l f u r t h e r when Hugh d iv u lg e s th e L ord's common-sense
a b i l i t y which he i s a f r a id t o show:
HUGH. W ell, how a f e l l o w w ith a l e v e l head l i k e
yours can g e t so ta n g le d up i n love.' Why d o n 't you go
t o my s i s t e r and t e l l h er p l a i n l y th a t you lo v e h er,
in s t e a d o f c o n f id in g i t to ev ery la d y in th e n e ig h b o r
hood.
LORD CHUMLEY. I have.
HUGH. With what r e s u l t ?
LORD CHUMLEY. N ever t o speak to her a g a in on th e
subj e c t .
HUGH. I w ish my s i s t e r knew you as w e l l as I do,
th e b e s t f e l l o w I ' v e e v e r —
LORD CHUMLEY. PshawI Look h e r e , o ld man, i f I
d i d n ' t know t h i s was t o be our l a s t n ig h t t o g e t h e r fo r
Heaven knows how lo n g , I ' d th in k you were c h a f f in g me.
(Act I)
During t h i s Act i t becomes c l e a r th a t Chumley's
c h a r a c te r has s t r e n g t h which i s not r e v e a le d u n t i l th e
f i r s t im p r essio n of f o o l i s h n e s s i s d i s p e l l e d . Chumley's
se n se o f honor and l o y a l t y i s r e in f o r c e d when Hugh e x p la in s
th e l o s s o f regim ent funds by gam bling, and Chumley vows
t o a s s i s t him. He i s w i l l i n g to s a c r i f i c e h im s e lf in order
t o save h i s f r i e n d : "Hugh, d o n 't make a f o o l o f y o u r s e l f ;
l e t me do i t f o r you.'" (Act I ) Chumley c h id e s Hugh fo r
not ask in g h i s h e lp , and e x p la in s h i s w i l l i n g n e s s to h e lp
Hugh i n str o n g enough terms to e r a se any doubts o f i n s i n
c e r i t y : _
107
HUGH. I know your a f f a i r s as w e l l as you do. You
c o u ld n 't h e lp me w ith o u t c r i p p li n g y o u r s e l f .
LORD CHUMLEY. Cripple., o ld one] I ' d cut o f f my
two l e g s t o put you on yours a g a in . (Act I )
By th e end o f the f i r s t act., De M ille has f ir m ly e s
t a b l i s h e d th e ch a ra cter' o f Lord Chumley; b e s id e s th e o th e r
q u a l i t i e s m entioned, Chumley d i s p l a y s cou rage, under humor
a g a in , when he th w arts th e attem pt o f a t h i e f by h o ld in g him
a t bay In t h e darkened room armed w ith n o th in g but a smoking
p ip e which t h e b u rg la r m ista k es f o r a p i s t o l ; near th e end
o f th e a c t , Chumley's quick w it i s r e v e a le d when he s l y l y
t r i c k s th e v i l l a i n i n t o an ad m issio n of d e c e p tio n ; f i n a l l y ,
a t th e Act I c u r t a in , Chumley's se n se o f honor and s e l f -
s a c r i f i c e i s r e a ffir m e d when he f e i g n s drunkenness in fr o n t
o f E leanor and th e e n t i r e fa m ily so th a t Hugh's r e p u ta tio n
w i l l not be smudged.
By h i s a c t i o n s fo r th e rem ainder o f the p la y , Lord
Chumley's s e n s e o f l o y a l t y , honor, and s e l f - s a c r i f i c e i s
confirm ed by De M i l l e . Chumley red u ces h im s e lf t o n e a r
p o v e r ty i n order to pay Hugh's in d e b te d n e s s , but r a th e r
than r e v e a l th e tr u e cau se t o Hugh's f a t h e r , Chumley a llo w s j
th e f a t h e r t o b e l i e v e h i s d o w n fa ll i s due t o card p la y in g
and gam bling. Nor w i l l Chumley expose Lady B a rk er's p r e s
ence when she h id e s i n th e chimney behind a sc re en ; he ta k e s
th e blame when he e x p la in s to Hugh's f a t h e r th a t th e ca t
made a n o i s e when in f a c t i t was Lady Barker f a l l i n g from an
im p rop erly g lu e d c h a ir . Thus, th e f a t h e r th in k s i l l o f Lord
108 ;
Chumley f o r l o s i n g money at gam bling and fo r bein g inhuman,
i n h i s trea tm en t o f c a t s by k eep in g them in th e chimney.
Always t h e s e t r a i t s are e x p r essed in sc e n e s which a re f i l l e d '
w ith humor, but beneath t h e m irth De M ille was a b le to co n
vey h i s s e r i o u s concern w ith a man whose f i r s t u n s e l f i s h
thought was th e p r o t e c t i o n o f t h e good name of o t h e r s .
Chumley w i l l not ex p o se Hugh even though he knows he w i l l
not be a b le to marry E lean or; i n order t o save Hugh, Chumley
must remain s i l e n t w h ile E lean or p l e d g e s ^ h e r s e lf to th e v i l
la in o u s Le S a g e .
The c h a r a c te r o f Lord Chumley rem ains c o n s i s t e n t and
c o n sta n t throughout th e p la y . He r e f l e c t s th e b reed in g o f
a tr u e gentlem an o f s o c i e t y no m atter what h i s n a t i o n a l i t y .
A fte r Le S a g e 's b la c k m a il t h r e a t i s d is c o v e r e d and Hugh i s
c le a r e d , E lean or e x p r e s s e s her f e e l i n g s to Chumley, but even
then he r e v e a l s an h o n est h u m ilit y in a humorous a s id e :
ELEANOR. Lord Chumley, you asked me once t o be
your w i f e .
LORD CHUMLEY. I a p o lo g iz e .
ELEANOR. I am ashamed o f th e words w ith which I
r e p l i e d .
LORD CHUMLEY. I f o r g iv e ; you—
ELEANOR. I d id not v a lu e at i t s tr u e e s tim a te th e
lo v e o f a man so w i l l i n g t o . y i e l d up a l l f o r th e sake
o f t h o s e he lo v e d .
LORD CHUMLEY. D id n 't have much— pauper.
ELEANOR. My b r o th e r inform ed me o f e v e r y th in g .
Hugh has t o l d me why you p la y ed th e p a r t th a t c lo s e d
my f a t h e r ' s doors a g a in s t you.
109
LORD CHUMLEY. (A sid e) Hugh’s an a s s '
ELEANOR. Poor r e tu r n th a t i t i s , I want t o t e l l
you t h a t I r e s p e c t — honor you more than any man I know.
With th e c h a r a c te r o f Lord Chumley* De M ille had
d evelop ed f o r th e o n ly tim e in h i s p la y w r itin g ..c a r e e r a
s o c i e t y hero w ith a se n se o f humor. The h e r o e s i n h i s e a r
l i e r works had alm ost a q u a l i t y o f grim ness about them* and
th e le a d in g male f i g u r e s in h i s p la y s to f o l lo w Lord Chumley
would be c o m p le te ly la c k in g in a f u n - lo v in g a t t i t u d e .
T herefore* i n Lord Chumley De M ille co u ld u se h i s a b i l i t y
to c r e a te co m ica l l i n e s i n humorous s i t u a t i o n s t o i t s maxi
mum e f f e c t . . I
As was becoming h i s p r a c t i c e De M ille had c r e a te d
i n Chumley a hero o f honor and v i r t u e who remained c o n s i s
t e n t and c o n sta n t f o r th e e n t i r e p la y . However* t h e comedy
i n t h i s p la y depended l e s s on th e f l a s h e s o f w it which were
i n t e r s p e r s e d w ith th e d ia lo g u e than on the f a r c i c a l s i t u a
t i o n s in which De M ille p la c e d th e c h a r a c t e r s . Granted
th a t t h e r e were s t i l l gems such as t h e m isp r o n u n c ia tio n of
a name or a r e f e r e n c e to a f l e s h y body:
LADY ADELINE. (K is s e s him) And prom ise me one
thing.—
BUTTERWORTH. Anything you want* Addie.
LADY ADELINE. Now* p l e a s e Adam* d o n 't c a l l me
Addi e .
BUTTERWORTH. Very w e l l — A d elin e . (Pronouncing th e ;
"i" as i n " lin e " )
110
LADY ADELINE. A d elin e] (Pronouncing th e " i 1 1 as
i n "ee")
BUTTERWORTH. No— not y e t . Excuse th e jo k e , Addie,
but you are not lea n y e t .
LADY ADELINE. (S e v e r e ly ) Adam ButterworthJ
BUTTERWORTH. Excuse my w i t . I t came sp on ta n eo u s.
Addle, I ' v e got a remedy f o r you t h a t knocks 'g a llo p in '
and d u m -b e llin ' h ig h e r than th e dome o f S t. P a u l 's .
LADY ADELINE. What remedy?
BUTTERWORTH. Lime j u i c e ]
LADY ADELINE. Y ou've brought a b o t t l e o f lim e j u i c e
f o r me, b r o th e r -in -la w ?
BUTTERWORTH. A b o t t l e ? For you? A b a r r e l] No
o f f e n s e ] I t ' l l be h ere i n th e morning' and may i t do
you much good i s th e ' e a r t f e l t w ish o f th e donor, A.
B u tterw o rth . (A sid e) By th e tim e she d rin k s up th e
b a r r e l, s h e ' l l be a b le to craw l through th e bungholej
(E nter W interbottom )
WINTERBOTTOM. King 'Enery i s w a itin g ]
LADY ADELINE. (A n g rily ) Let him w a it] (E x it)
BUTTERWORTH. I f Addie mounts th a t 'o r s e in a tem
per, ' e ' l l damage 'erj (Act I )
Although De M ille co n tin u ed to d evelop c o n s i s t e n t
s o c i e t y c h a r a c t e r s , h i s u se of comedy in Lord Chumley de
pended l e s s upon language than on th e s i t u a t i o n s in which
th e c h a r a c te r s were p la c e d i E lean or m ista k e s Chumley f o r a
p row ler and o f f e r s him je w e lr y and money o n ly to tu rn and
f in d h e r s e l f In Chumley's arms, Chumley i s w rongly thought
to be p ro p o sin g t o Lady A d elin e when B u tterw orth e n t e r s th e
room, t h e h o r se throws Lady A d elin e and a g r e a t d e a l o f
fun is. made o f her s i t u a t i o n , th e r e a l prow ler i s h e ld at
I l l ■
bay by Chumley who u s e s a p i s t o l c i g a r e t t e l i g h t e r to d i s
arm th e man, Chumley p r eten d s I n t o x i c a t i o n In fro n t o f
E lean or and her fa m ily , Lady A d elin e s t i l l b e l i e v i n g th a t
Chumley lo v e s h e r throws h e r s e l f i n t o h i s arms, Lady A d elin e
h id e s in Chumley>s f i r e p l a c e s e a t e d on a c h a ir r a th e r than
be d is c o v e r e d by B u tterw o rth , a f t e r B u tte r w o r th fs e x i t ,
Lady A d e lin e 's c h a ir c o l l a p s e s , and she i s covered w ith soot
in th e f i r e p l a c e . A ll o f t h e s e co m ica l s i t u a t i o n s occu r i n
th e f i r s t two A c ts. The f a r c i c a l e le m en ts are co n tin u ed i n
Act I I I when Chumley a ttem p ts i n a s e r io u s manner to a p o lo
g i z e t o Lady A d e lin e , but h i s f o o t f a l l s a s l e e p , he i s r e
duced t o la u g h te r , and she s t a l k s from t h e room. De M ille
r e c o n c i l e s a l l th e d iv e r s e c ir c u m sta n c e s , but as can be seen
from th e above s i t u a t i o n s , th e emphasis i n Lord Chumley was
on comic a c t i o n r a th e r than comic la n g u age. Lord Chumley
proved t o be the most b road ly w r i t t e n o f any of th e s o c i e t y
com edies by De M i l l e .
When De M i l l e ' s c r e a t i o n o f Chumley was combined
w ith th e comic g e n iu s of S o th e r n 1s perform ance—a s t i f f
w alk, h e s i t a t i n g sp eech , vacant gaze i n t o sp ace, th e im - ;
p e r t u r b a b i l i t y o f h i s a g i t a t i o n , a d o l e f u l a c ce n t and e x
p r e s s i o n , and th e se n s e o f la b o r conveyed w ith a sm ile--on .e
can im agine th e p le a s u r e De M i l l e ' s au d ien ce d e r iv e d from
th e p la y .
De M il l e had succeeded, in c a p tu r in g th e e s s e n c e o f
u p p e r - c la s s s o c i e t y w ith h i s c h a r a c te r s i n The W ife ; h i s
112
accom plishm ent was d u p lic a t e d in Lord Chumley. As an i n d i
c a t i o n o f h i s a b i l i t y t o r e f l e c t th e tim e s , O d ell commented
t h a t New York. C ity had become used t o Frohman's annual pro
cedure o f a p r e lim in a r y se a so n w ith E. H. S oth ern in. a s u c
c e s s f u l p la y , f o llo w e d by a se c u r e w in te r term of th e sto c k
company i n what s t a g e h i s t o r y would a c c la im as an u n u s u a lly
i n t e r e s t i n g s e r i e s o f com edies and s e r io u s dramas. He add-
ojl
edi "Those w ere t h e h a p p y days b e f o r e I b s e n i n New Y ork.
A ll th e many numerous a n t i c s o f Lord Chumley "seemed
d e l i g h t f u l to th e a u d ie n c e s o f 1 8 8 8 ,’.who h a d n 't a s i n g l e
id e o lo g y th a t would p ass m uster In 1 9 ^ 3 . An i n d i c a t i o n
o f th e s u c c e s s o f th e p la y and th e esteem g iv e n th e au th o rs '
was i
The a u d ien ce was keen, a p p r e c ia t i v e , and amused,
and w ith B o u c ic a u lt applauding from t h e boxes and Har-
r ig a n from th e s t a l l s , th e au th o rs must have f e l t the
honor o f th e ap p rob ation o f t h e m asters o f t h e i r a r t . . . .
The c h e er s were c o n sta n t and r ep ea ted and t h e ev en in g
an o v a t i o n . 36
In s h o r t , "Lord Chumley app ealed t o th e r e f i n e d ,
i n t e l l i g e n t , and s o p h i s t i c a t e d a u d ien ce s o f 1888 . . .' 0 '
as much as i t was a r e f l e c t i o n o f them.
3^ O d e ll, Annals o f th e New York S ta g e , v o l . XIV,
p. 12.
35I b i d .
3^The New York H erald, August 22, 1888.
3^Odell, loc. cit.
113
The C h a rity B a ll
With th e s u c c e s s o f Lord Chumley,. I t was a fo regon e
c o n c lu s io n th a t De M il l e and B e la s c o would c o n tin u e t h e i r
c o l l a b o r a t i o n and c r e a t e a new p la y f o r th e Lyceum T heatre
fo r t h e t h i r d tim e In t h r e e s u c c e s s i v e y e a r s . However,, un
l i k e th e v e h i c l e w r i t t e n fo r E. H. Soth ern, t h e i r summer's
work r e s u l t e d i n a s c r i p t d i s t i n c t l y f o r th e sto c k company
r a th e r than a s t a r : The C h arity B a l l opened at t h e Lyceum
T heatre on November 19j 1 8 8 9, and f o r th e t h ir d tim e th e r e
was no doubt w hatever t h a t th e Lyceum had been p ro vid ed
w ith a n oth er h i t .
The' "Charity B a l l fo llo w e d t h e form ula d e v is e d by
De M ille f o r e n t e r t a i n i n g an au d ien ce whose c a p a c i t i e s had
been measured s u c c e s s f u l l y i n two p r e v io u s p r o d u c tio n s . To
th e u s u a l innocuous blend of romance, comedy, and drama was 1
added a m ild commentary on good and e v i l and th e wages of
s i n , Quinn s t a t e d : "It i s a str o n g p la y , o f i n t e n s e f e e l
in g at tim e s , i n which a s u c c e s s f u l attem pt i s made to
b rin g s i n and s u f f e r i n g i n t o v i v i d c o n t r a s t w ith t h e bright-!
38
er ph ases o f s o c i a l enjoym en t.
W inter e x p la in e d th e c h o ic e of th e t i t l e s
The C h a rity B a l l — so named becau se i t s purpose i s
t o i n c u l c a t e t h e v i r t u e o f ta k in g a c h a r it a b le view of
human i n f i r m i t y , and a l s o becau se one im portant scen e
-^Quinn, loc. cit.
114
o f I t occu rs at a b a l l g iv e n f o r c h a r it y i n th e New
York M e tr o p o lita n Opera H o u s e . 39
The p r i n c i p a l c h a r a c t e r s .i n The C h a rity B a ll are
th e Rev. John van Burenj h i s b r o th e r , Dick van Buren] Ann
Cruger] and P h y l l i s Lee. The Rev. John i s R ector o f a
f a s h io n a b le church i n New York, w h ile D ick i s a Wall S t r e e t
s t o c k gam bler, a p e r so n o f e x c e p t io n a l a b i l i t y , n a t u r a l l y
a m ia b le, but weak i n c h a r a c te r s t r e n g t h , s e l f - i n d u l g e n t ,
and w ild ; he i s h a r a sse d by b u s in e s s c a r e s and i s breaking
under th e s t r a i n o f h i s s p e c u l a t i v e p u r s u i t s . Dick i s in
lo v e w ith P h y l l i s Lee, an orphan, and a lth o u g h h e i s t r u l y
fond o f h e r , he has d is c a r d e d h e r w ith th e pu rp ose o f marry
ing Ann Cruger who i s an h e i r e s s . Ann. s e c r e t l y lo v e s th e
Rev. John. The R ecto r b e f r ie n d s P h y l l i s , not b ein g aware
o f her m isfo r tu n e as t h e v ic t im o f h i s b r o t h e r 's scheme, and
th e parson soon succumbs t o her charms, th in k s h im s e lf t o be
i n lo v e w ith h e r , and becomes a s u i t o r . H is method of
c o u r ts h ip i s i n d i r e c t ] b ein g b lin d t o t h e amorous a t t a c h
ment o f Ann, he ask s her a s s i s t a n c e i n w inning P h y l l i s '
l o v e . At th e c h a r it y b a l l , young Alec c o n tin u e s h i s c o u r t
sh ip o f B ess w ith comic o v e r to n e s , w h ile o ld Judge Knox i s
thw arted i n h i s p u r s u it o f th e widow, Mrs. De P e y s te r , when
Alec p l a y f u l l y s u g g e s t s t h a t she has a cork l e g . F ra n k lin
Cruger c o n tin u e s th e p r a c t i c a l joke by ca u sin g th e Judge to
b e l i e v e t h e f a ls e h o o d . As th e l e v i t y surrounds them, Dick
■^Winter, pp. cit., p. 359-
i i 5 :
c o n f e s s e s to Rev. John, h i s d e te r m in a tio n t o marry Ann i n
s p i t e o f h i s lo v e fo r an oth er woman. P h y l l i s c o n f id e s to
Ann th a t she has d e c e iv e d t h e R ector and w rongly encouraged
him alth ou gh she lo v e s a n oth er. D ick s u g g e s t s th a t P h y l l i s
would he h a p p ier not s t a y in g at th e r e c t o r y , and Ann o f f e r s '
h er home as a s u b s t i t u t e . A fte r th e b a l l , P h y l l i s who i s
ex tr em e ly u p se t by a se n s e o f shame, g o e s t o th e com passion
a te Rev. John, f in d s him a lo n e i n h i s stu d y , and a p p ea lin g
to him as a C h r is t ia n m i n i s t e r , t e l l s him h er s t o r y and asks
f o r any word o f co m fort. The a r r i v a l o f Ann, who had f o l
lowed h e r , p r e v e n ts th e d i s c l o s u r e of th e name o f th e man
i
who has wronged P h y l l i s . However, th e clergym an su rm ises ;
t h e t r u t h , and when Dick r e tu r n s home, John denounces h i s
b r o t h e r 's i n j u s t i c e , im p lo res him to make th e o n ly p o s s i b l e
r e t r i b u t i o n , and f i n a l l y c o n v in c e s him t o marry th e g i r l
whom he has wronged. A m idnight m arriage th en en su es w ith
t h e Rev. John u n i t in g i n matrimony h i s d i s s o l u t e b r o th e r
and th e woman he has h im s e lf w ished to marry. Much l a t e r ,
Dick has d ie d , and th e R ector has d is c o v e r e d th a t h i s a f
f e c t i o n f o r Ann has d evelo p ed i n t o lo v e and t h a t she lo v e s ,
him.
The c o n s t r u c t io n and c h a r a c te r s in The C h arity B a ll
were s i m i l a r t o De M i l l e ' s f i r s t s u c c e s s f u l s o c i e t y comedy,
The W ife : th e hero i s a man o f extrem e v i r t u e and h o n e sty
w h ile t h e h e r o in e i s warmly sy m p a th etic but somewhat con
fu s e d and u n c e r ta in , De M ille u t i l i z e d h i s custom ary two
s e t s of lo v e r s f o r comedy s c e n e s : th e a d o le s c e n t lo v e o f
Bess and Alec which p a r a l l e l e d th e lo v e of m id d le-a ged Judge
Knox and Mrs,. De P e y s te r . However., u n lik e The Wife hut t y p
i c a l o f Lord Chumley, De M ille in c lu d e d a secon dary hero
and h e r o in e w ith th e c h a r a c te r s o f Dick and P h y l l i s . And i t
was i n t e r e s t i n g to n o te th a t th e c h a r a c te r s i n The C h a rity
B a l l were i n th e same s o c i a l s e t w ith th o s e i n The W ife :
B ess and Alec have a minor argument over p a r t i c i p a t i o n i n
one o f th e amateur t h e a t r i c a l s sta g e d f o r c h a r it y by Mrs.
I v e s , a c h a r a c te r from th e e a r l i e r comedy. Both young l o v
e r s i n The C h arity B a ll m entioned as t h e i r f r i e n d s , K it t y
and Jack who were t h e i r c o u n te r p a r ts in The W ife . De M ille
was aware th a t th e m a jo r ity o f h i s aud ien ce a tte n d e d th e
Lyceum r e g u l a r l y and would e s t a b l i s h th e l i n k betw een th e
s o c i e t y c h a r a c te r s o f one p la y w ith th o s e o f an e a r l i e r one ■
s i n c e th e tim e p e r io d in v o lv e d was a mere two y e a r s .
De M ille did not in c lu d e a c h a r a c te r i n t h i s p la y
who was a tr u e v i l l a i n , but he p r e fe r r e d t h a t th e m o tiv a tio n
fo r t h e c h a r a c t e r ' s a c t i o n a g a in s t h im s e lf be c r e a te d i n
t e r n a l l y . Thus, Rev. John, does not win P h y l l i s becau se he
f a i l s t o act i n not t e l l i n g her o f h i s lo v e ; D ic k 's m is f o r
tu n es are caused by h i s d e s i r e to su cceed i n Wall S t r e e t
which i n tu rn c a u se s him t o r e j e c t P h y l l i s i n i t i a l l y , w h ile
h i s death i s caused by h i s overworking in order to become
th e top man i n fin a n c e ; Ann. c r e a t e s h er un hap pin ess by not
c o n f id in g her lo v e to Rev. John u n t i l i t i s alm ost to o l a t e ;
117 .
and P h y l l i s s u f f e r s because she f e e l s she i s d e c e iv in g John,
when she s t i l l lo v e s D ick , but her u lt im a t e sa d n ess i s her
bereavement over h er husb and 's d ea th .
The humor p rov id ed by th e two s e t s of c o u p le s i n
search o f lo v e appeared t o be more g en u in e and l e s s fo r c e d
th a n in De M i l l e ' s e a r l i e r p la y s . The dilemma of e l d e r l y
Judge Knox who i s made to b e l i e v e th a t th e widow., Mrs. De
P e y s te r , to whom he has become engaged, i s a f f l i c t e d w ith a
cork l e g , prompted th e M irror to s t a t e : ", . . many o f th e
w i t t i c i s m s , persum ably emanating from Mr. De M il l e , are
r e a l l y c a p i t a l .
Although th e comic s i t u a t i o n s in The C h arity B a ll
were c l o s e t o f a r c e , De M i l i e ' s primary em phasis in d e v e lo p
in g th e humor was w ith c l e v e r la n g u age. Much fun i s d e
r iv e d from th e f a c t th a t Alec w rongly c a u se s Judge Knox to
b e l i e v e h i s b e lo v ed Mrs. De P e y s t e r ' s le g i s made of cork.
Alec reminds th e Judge: "I say, ju d g e, a u n t i e ' s a good
b u s in e s s in v e stm e n t. When she becomes Mrs. Knox— i f you
ever got i n t o tro u b le'— s h e ' l l keep you a f l o a t i " (Act I)
S t i l l l a t e r th e Judge warns h im s e lf : "If at d in n er th e y
se r v e me w ith th e second j o i n t o f th e tu rk ey and she lo o k s ;
at me, I s h a l l b e tr a y m y self at once.' Only to th in k o f i t I
Some o f h e r h ere and some o f her gone t o j o i n her departed
husbandJ" (Act I) In th e l i g h t o f De M i l l e ' s tim e and
^ The New Y ork D ra m a tic M i r r o r , Novem ber 30, 1 8 8 9 *
p . 4 .
118
!
w ith h i s s p e c i f i c - a u d ie n c e i n mind* i t can be se en t h a t he
was a b l e t o c r e a t e n o t o n ly hum orous s i t u a t i o n s b u t ta k e
a d v a n ta g e o f h i s c h a r a c t e r s by u s in g la n g u a g e w hich w ould
amuse h i s s o c i e t y au d ience*
A n o th e r exam ple o f De M i l l e ' s a b i l i t y t o d e v e lo p a
r a p i d - f i r e b u i l d f o r comic e f f e c t o c c u r s when Ju d g e Knox
r e l a t e s h i s f i n a n c i a l l o s s on W all S t r e e t :
JUDGE* Oh y e s . T h a t 's j u s t l i k e you s to c k b ro k
e r s J You e x p e c t a man t o la u g h a t y o u r fu n n y s t o r i e s
w ith pandemonium s t a r i n g him i n t h e face*' Oh, I know.
I had a W all S t r e e t e x p e r ie n c e once]
CRUGER. P e rh a p s you w ere n o t i n t h e r i g h t company.
JUDGE. Oh, y e s X was,' ,
|
CRUGER. What w ere you? a b e a r?
JUDGE. No.
CRUGER. A b u l l ?
JUDGE. No.
CRUGER. Oh] A lamb?
JUDGE. No,
CRUGER* W ell, what w ere you th e n ?
JUDGE. An a s s ] (C ru g er la u g h s h e a r t i l y . Ju d g e
t u r n s to w a rd C ru g e r) Thank h e a v e n y o u 'r e a l l g o in g t o
t h e same p l a c e ] And, C ru g e r, y o u ' l l g e t a r e d - h o t
c o r n e r ] (Act I I )
T h is r e f e r e n c e by t h e Ju d g e t o h e l l I s t h e o n ly
u s e o f such em p h a tic la n g u a g e by any c h a r a c t e r i n De M i l l e ' s
p l a y s . I t was assum ed t h a t a c o m b in a tio n o f De M i l l e ' s r e
l i g i o u s b ack g ro u n d and an a b h o rr e n c e by h i s a u d ie n c e o f su c h
i i 9 i
str o n g sta te m e n ts kept them from appearing in De M i l l e ' s
p la y s .
Another example o f De M i l l e ' s ea sy w it can he seen
in h i s b a n ter between Cruger and Judge Knox co n cern in g Mrs.
De P e y s t e r ' s im aginary cork le g !
CRUGER. ...W e ll* I g iv e i t up. I g i v e i t up.
A ll jo k e s asid e* I c o n g r a t u la t e you upon your engage
ment. 'C o n f id e n t ia lly now* when Mrs. De P e y s te r r e
tu rn ed from P a r is t h i s time* I knew she would ta k e
s t e p s t o win you. (Judge w in c e s) Ha* ha* ha] I ' d
have given, a good d e a l to have seen you throw y o u r s e l f
at h e r f e e t ] (Judge w in c e s)
JUDGE. (A sid e) F e e t] What are r i g h t s and l e f t s
t o her?
CRUGER. (Looking off* L) Ah* here she comes]
JUDGE. ( S t a r t s ) Eh? (E n ter Mrs. De P e y s te r )
MRS. DE PEYSTER, (Going C) Oh] Mr. Cruger* and
Judge Knox* to o ]
JUDGE. (A sid e) Now* to look at her* who would
im agin e th a t she has a drawback]
CRUGER. I'm g la d you came out h e r e . The judge i s
a l i t t l e downcast to d a y . I ' v e been t r y i n g to buoy him
up. (Judge w in c e s) Ha* ha* ha] No doubt you w i l l
su cc ee d b e t t e r . Ha* ha* ha] (Exit* c h u c k lin g )
(Act I I )
As was h i s u s u a l custom* De M ille a s s ig n e d th e comic
sc e n e s to th e secondary c h a r a c te r s in The C h a rity B a l l .
Presumably he b e l ie v e d t h a t h i s major and secondary hero
and h e r o in e John van Buren* Ann Cruger* Dick van Buren* and
I
P h y l l i s Lee were to o absorbed i n t h e i r problem s to p ro v id e
any l e v i t y . At any rate* th e comic w o rd -p lay which was
c r e a te d f o r Alec* Judge Knox* B ess van Buren* and Mrs.
120
De P e y s te r was s u f f i c i e n t l y b r ig h t to amuse De M i l l e 1s s o c i
e t y 'audience.
I t may be p o in te d out th a t f o r th e f i r s t tim e De
M ille d is p la y e d a n a t i o n a l i s t i c ten d en cy i n h i s p l a y s .
When Mrs. De P e y s te r asks Ann why she has g iv e n up spending
her summers i n Europe, Ann r e p l i e s :
Looking a t r u in s becomes r a th e r monotonous a f t e r
fou r summers.. B e s id e s , what have you g o t th e r e t h a t
we h a v e n 't g o t h ere ex cep t London fo g s and you g e t th o s e
from u s . I'm an American and l i k e n o v e l t y . T h a t's why
I p r e f e r th e new w o r ld ; —Europe a f t e r America. As I tak e
European c h e e s e , a f t e r an. American d in n e r. (Act I)
When Mrs. De P e y s te r ask s h er e x a c t l y how she spent l a s t
summer, Ann s t a t e s , "I went up th e Hudson around th e Horse
Shoe cu rve. I sto o d on th e summit o f P ik e ' s Peak." (Act I )
Mrs, van Buren sto p s th e c o n v e r s a tio n by warning Mrs. Pey
s t e r , "You must not ro u se Ann's p a t r i o t i c s p i r i t . " (Act I ) .
The r e v ie w e r s were r e s p o n s iv e in r e f l e c t i n g De
M i l l e ' s n a tio n a lis m : "The C h arity B a l l i s a g g r e s s i v e l y
4 l
American in i t s c h a r a c te r s and f u l l o f l o c a l a l l u s i o n s . '
The M irror concurred:
There w i l l be p le n t y o f tim e to r ev iew The C h arity
B a l l from a c r i t i c a l p o in t o f view l a t e r . For th e p r e s
en t i t w i l l answer to reco rd th e emphatic triumph o f
a n o th er American p la y , and one th a t no one need be
ashamed o f .^2
As was h i s custom i n h i s o th e r t y p i c a l and s u c c e s s - I
4i
The New York Times, November 19* 1 8 8 9 .
iip
The New Y ork D r a m a tic M i r r o r , l o c . c i t .
f u l s o c i e t y com ed ies, De M ille p r e se n te d h i s c h a r a c te r s in
s e t t i n g s and fa s h io n a b le su rroun din gs w ith which h i s a u d i
ence co u ld e a s i l y i d e n t i f y . The c h a r a c te r s have s e v e r a l
s e r v a n ts and are c o m fo rta b le i n t h e i r d e a lin g s w ith them;
th e le a d in g c h a r a c t e r s work on Wall S t r e e t * buy and s e l l
sh a res i n l o t s o f at l e a s t a thousand, and speak o f making
or l o s i n g amounts o f money in th e m i l l i o n s of d o l l a r s ; Mrs.
De P e y s te r and Judge Knox r e l a t e t h e i r e x p e r ie n c e s at th e
t h e a t e r th e n ig h t b e fo r e (th e y m ention D a l y ' s ) ; Alec t i p s
a m essenger $5 s in c e i t i s th e s m a lle s t sum he has on h i s
person ; t h e r e i s a g r e a t d e a l o f t a l k co n cern in g r a i s i n g
money f o r v a r io u s c h a r i t i e s ; th e c l o t h e s th e c h a r a c te r s
wear and speak o f buying are of th e f i n e s t q u a l i t y p u r
chased from t h e most f a s h io n a b le s t o r e s (W orth's, an e x
c l u s i v e New York shop, i s where B ess buys h e r p a r ty d r e ss
fo r $ 3 0 0 ); t r a v e l abroad or in t h e S t a t e s i s d is c u s s e d as
an everyday o ccu rren ce (Ann, at th e end o f th e p la y , r e
tu r n s from over a y e a r ' s s t a y in Europe); th e a c t i o n o f .-the
second a ct o ccu rs in th e M etropolitan. Opera House which has
been r e n te d f o r th e ev en in g f o r th e purpose o f th e C h a rity ;
B a ll; B ess a u c t io n s one o f her dances to Alec t o r a i s e $150
f o r c h a r it y ; th e c h a r a c te r s comment on th e q u a l i t y of th e
food and drin k which i s th e f i n e s t ; and ju d g in g from th e
c r i t i c a l comments o f t h e p e r io d , t h e p h y s i c a l mounting of
th e p la y s was of th e h ig h e s t q u a l it y ; "The sc e n e r y and
costum es are i n k ee p in g w ith th e r e p u t a t io n o f Mr, F roh-
122
jio
man's t h e a t r e ," J On t h i s same s u b j e c t , th e M irror s t a t e d :
"The sc en er y i s e x c e l l e n t and does c r e d i t to W . H. Day, th e
s c e n ic d i r e c t o r , and a ls o t o th e l i b e r a l i t y o f th e manage
ment .
As f o r th e developm ent o f c o n s i s t e n t , i d e n t i f i a b l e
c h a r a c t e r s , De M ille su cceed ed w ith a l l h i s i n d i v i d u a l s t o
c r e a t e human b e in g s w ith f a u l t s as w e l l as v i r t u e s . His
h ero , Rev. John, i s much l i k e th e husband i n The W ife :
warm, sy m p a th e tic , h o n e s t , k in d , g e n tlem a n ly , f i l l e d w ith a
se n s e o f honor, but u n lik e th e husband i n t h e e a r l i e r p la y ,
b lin d e d by th e p l i g h t and beauty o f 'o n e woman to su ch a d e
g r e e th a t he i s not aware o f a s i m i la r g i r l who lo v e s him
and w ith whom he was r ea red s i n c e c h ild h o o d . De M ille was
a l s o a ttem p tin g t o c r e a t e o th e r c h a r a c te r s who p o s s e s s e d
more .than one t r a i t : Ann i s p r e se n te d as a s e l f - s a c r i f i c
in g woman who b e f r ie n d s w a if s and i s sy m p a th etic to tthose
i n d i s t r e s s , y e t when P h y l l i s ask s her f o r h e lp , Ann wavers
i n i t i a l l y b e fo r e o f f e r i n g th e h o s p i t a l i t y o f h e r home. I t
sh ould be n o ted th a t t h i s momentary la p s e i s atoned f o r
l a t e r when Ann p r o t e c t s P h y l l i s from damaging h e r s e l f in
r e v e a li n g th e name o f th e man who scorned h er.
Even b e fo r e h i s f i r s t e n tr a n c e , De M ille e s t a b
l i s h e d th e Rev. J o h n 's c h a r a c te r by h avin g Mrs. van Buren
^ The New York Tim es, l o c . c i t .
iiii
The New Y ork D r a m a tic M i r r o r , l o c . c i t .
123
d e s c r ib e him: "Always by th e s i d e o f misery., l i f t i n g from
d e s p a ir many a poor c r e a tu r e whose f i r s t h a p p in ess was h is
h e lp and f r i e n d s h i p ." (Act I ) The aud ien ce i s prepared
f o r John., and when he e n t e r s , De M ille d e s c r ib e s him i n th e
p la y t e x t as " t h i r t y - f i v e y e a r s o f age. No g r ey i n h i s
h a i r . Manner e a sy and n a tu r a l. D ress t h a t of f a s h io n a b le
clergym an o f to d a y ." (Act I ) I t was of i n t e r e s t t o n o t i c e
De M i l l e t s u se o f " fa sh io n a b le" t o d e s c r ib e t h i s c h a r a c te r .
John has j u s t come from th e y e a r ly Christm as d in n er and
p a r ty which he g i v e s f o r orphans. John i n d i c a t e s a c l o s e
r e l a t i o n s h i p w ith h i s b lin d mother, h i s younger b r o th e r,
D ick, and h i s s i s t e r , B e ss. S p e c i a l concern f o r th e hard
pace Dick has s e t f o r h im s e lf i s i n d ic a t e d when John s t a t e s :
Not long ago I stood by th e bed o f a dying man,
whose name i n th e b u s in e s s world has been a synonym o f 1
honor. T his money f e v e r had s e i z e d him. More and more .
eager he became i n h i s t h i r s t fo r w e a lth , u n t i l he j
ended-— a f u g i t i v e from home, body and s o u l burnt out
by t h i s d e lir iu m o f s p e c u la t io n . As I l i s t e n e d to h i s
words, a c h i l l came over me. D ick, I was th in k in g o f
you. (Act I)
Much l a t e r , t h i s same c l o s e fa m ily f e e l i n g i s r e v e a le d when
John rep roach es Dick f o r h i s f a i l u r e to keep h i s prom ise to
marry P h y l l i s . B ess b u r s t s i n t o th e m iddle o f th e sc en e t o
t e l l h er b e lo v ed b r o th e r s o f h e r p la n s t o e v e n t u a l ly marry
A lec. Her r e v e l a t i o n and th e c l o s e fa m ily t i e s among th e
t h r e e o f them form th e m o tiv a tio n f o r John to f i n a l l y c o n -
i
v in c e Dick th a t h i s b eh a v io r toward P h y l l i s i s u n ex cu sa b le: .
124
BESS* (To Dick) W ell, mother s a y s , when we are
o ld e r , she s e e s no o b s t a c l e t o our m arriage. (S ig h s)
She th in k s i t w i l l be about f i v e y e a r s . My, t h a t ' s a
lon g tim ej But A l e c ' s worth th e d e la y . (S in k s on
k n ees) And I'm so happy. (D ream ily) J u s t th in k what
i t i s to a young g i r l who lo v e s someone w ith a l l her
h e a r t and s o u l — t o have him ta k e h e r to a n i c e l i t t l e
home^— a l l t h e i r own--.and c a l l h er h i s w i f e . ( F e e li n g l y )
0 D ick, i f you o n ly knew what th a t means t o a womani
C on g ra tu la te me, Dick.
DICK, (Who has l i s t e n e d im p a s s iv e ly , draws her
t e n d e r ly to him) I do, l i t t l e one, (K is s e s her)
1 do, (B ess g oes to John)
JOHN. May no t e a r s ever dim t h e s e e y e s ex cep t such
as we shed i n sympathy f o r th o s e l e s s f o r t u n a t e than you
a r e . God b l e s s you, d a r lin g . There—-run along w ith
mother, (B ess g o e s out w ith Mrs. van Buren, John ap
proaches D ick, who i s s t i l l s e a te d i n c h a ir , and sta n d s
behind him) Tonight I have heard two c o n f e s s i o n s of
lo v e i n t h i s room— one from P h y l l i s Lee, and th e o th e r I
from our l i t t l e B e ss. (At th e moment Dick shows th a t
h i s s i s t e r ' s words have moved him. John o b s e r v e s t h i s
and t e n d e r l y p l a c e s h i s hand on D ic k 's sh o u ld er ) Sup
pose someone d e a l t w ith our s i s t e r as you are d e a lin g
w ith P h y l l i s Lee?
DICK. 0 God] (D ick , w ith a c ry o f h o r r o r, s t a r t s
to h i s f e e t , i n s t i n c t i v e l y c le n c h in g h i s f i s t s . Then,
w ith a sob, f a l l s back i n t o t h e c h a ir , u t t e r l y broken)
JOHN. I f I have l o s t th e power to p le a d w ith you,
l e t h e r in n o ce n t tongue speak f o r me. Not as th e man
now, but as your b ro th er once more, I beg, I im p lo re,
do what i s r i g h t . Give me your hand. Be my b roth er
Dick a g a in . (D ick s lo w ly r i s e s , g o e s to John and ta k e s
h i s o u t s t r e t c h e d hand) Give me t h a t prom ise] :
DICK. I do.
JOHN. You w i l l make P h y l l i s Lee your w ife ?
DICK. Y es.
JOHN. Not because I want you t o , but becau se your
h e a r t tu r n s o f I t s e l f towards h e r . .,
DICK. Y es. (Act I I I )
125 i
John then s a c r i f i c e s h i s own lo v e f o r P h y l l i s i n exchange
f o r her h a p p in ess and D ic k 's when he perform s th e m arriage
ceremony which u n i t e s th e p a ir .
I t i s o n ly during Ann's two y ea r a b sen ce t h a t John
comes to th e r e a l i z a t i o n th a t h i s ch ild h o o d f r ie n d s h ip w ith
Ann has d ev elo p ed i n t o l o v e . H is mother e x p la in s t h a t even
w ith her l o s s o f e y e s i g h t , she s e e s and i s aware o f more
than th o s e who have t h e i r v i s i o n !
JOHN. Mother., s in c e sh e went away., as th e days
have gone by., I have m issed her from her accustom ed
p l a c e . The w orld has seemed d i f f e r e n t t o me. My work
has been harder. Even th e o ld r e c t o r y became gloomy
w ith o u t h e r . But now th a t she has come back a g a i n - -
0 Mother, even you do not know what she has been t o me. ,
MRS. VAN BUREN. My boy, because your mother cannot
s e e , do you th in k a l l t h in g s are hidden from her?
JOHN. In ev er y thought o f my l i f e , I have somehow
p la c e d you and her t o g e t h e r .
MRS. VAN BUREN. While we have many f r i e n d s , we
have but one mother, and th e r e i s o n ly one b e s id e s
our mother who can share a c o n fid e n c e l i k e h e r .
J OHN. T rue.
MRS. VAN BUREN. You se e at l a s t what I have known
a l l a lo n g — th a t betw een you and Ann th e f e e l i n g i s not —
f r i e n d s h i p .
JOHN. No, mother, g r e a t as my lo v e was fo r th a t
poor c h i l d , above and beyond i t th e r e has been a lo v e
not unknown— o n ly m isu n d erstood . But a f t e r what has
p a ssed betw een u s , would she understand? Between us
now can th e r e be o n ly fr ie n d s h ip ? (Act IV)
With Ann's r e tu r n to th e r e c t o r y , her c h a r a c te r rem ains
c o n s i s t e n t when she r e a f f ir m s her lo v e o f John t o Mrs. van
Buren. The end o f th e p la y has Ann c o n f e s s her lo v e to
John: "I. have lo v e d you a l l my l i f e . " (Act_IV)_
126 ;
As was m entioned e a r l i e r , The C h a rity B a l l i s De
M i l l e ’s o n ly p la y which does not c o n ta in a c h a r a c te r who
s e r v e s th e f u n c t io n as a v i l l a i n . Each c h a r a c te r a c ts
■against h im s e lf as h i s own v i l l a i n . In th e c a se o f th e ma
j o r hero and heroin e,. Rev. John van Buren and Ann Cruger,
t h e i r m isfo r tu n e was caused by t h e i r own in a c t io n : both
of them w a ited u n t i l i t was alm ost to o l a t e b e fo r e c o n f e s s
in g t h e i r l o v e . However, th e secon dary hero and h e r o in e ,
Dick van Buren and P h y l l i s , s u f f e r becau se o f t h e i r d i r e c t
a c t i o n s : Dick c a u se s h i s own d eath by overwork w h ile P h y l- '
l i s ' d e c i s i o n t o d e c e iv e John when she s t i l l lo v e s Dick,
not o n ly c r e a t e s momentary un happiness f o r h e r s e l f but con
t r i b u t e s t o D ic k 's death which becomes h er u lt im a t e sa d n e ss .
The c h a r a c te r of Ann Cruger appeared t o be De M i l l e ’s
statem en t t o h i s s o c i e t y au d ien ce reg a r d in g th e proper a c
t i o n and p o s i t i o n which a woman o f th e p e r io d should f o l l o w , 1
Ann i s v ir t u o u s , p a t i e n t , and kin dj b a s i c a l l y sh e a c c e p ts
g r a c i o u s ly what l i f e has to o f f e r h e r . She i s i n lo v e w ith
a man who l o v e s an oth er but r a th e r th a n become an a g g r e ss o r ,
she w a it s q u i e t l y u n t i l he r e a l i z e s th e s i t u a t i o n . De
M il l e rewards her by u n i t in g her w ith h e r t r u e lo v e , Rev.
John'. However, w ith t h e c h a r a c te r o f P h y l l i s , De. M ille
seemed to be sa y in g t h a t a d e c e p tiv e woman i s u l t i m a t e l y
punished f o r h e r s i n s . T his was th e p a t t e r n De M il l e had
s e t f o r h i s h e r o in e s in The Wife and Lord Chumley: th e
127
women were rewarded f o r t h e i r v i r t u e a f t e r th e y had atoned
f o r t h e i r e r r o r s .
Rev. J o h n 's c h a r a c te r a llo w s f o r one q u e s tio n a b le
a c tio n : a f t e r th e b a l l at two o ' c l o c k i n t h e morning,
B e t t s , th e church o r g a n i s t , a sk s John i f he might p la y an
anthem on th e organ w ith t h e e x p la n a tio n t h a t i t would
so o th e him and b rin g him nea rer to h i s dead w if e and fa m ily .
John, a f t e r h i s p a r t i c u l a r l y u n s e t t l i n g e x p e r ie n c e at th e
b a l l , r e p l i e s th a t t o n ig h t more than ever he would l i k e to
hear th e sounds o f th e organ. The q u e s tio n would be, why
would th e R ector who i s so s e n s i t i v e to th e f e e l i n g s of
o t h e r s , a llo w th e o r g a n is t i n th e dead of n ig h t to p r a c t i c e [
an anthem which might i n a l l p r o b a b i l i t y d is t u r b t h e r e s t
o f th e n e ig h b o r in g r e s id e n t s ? The answer appeared to be
th a t B e la s c o w ith h i s str o n g dram atic f l a i r , d e s ir e d music
t o u n d ersco re t h e em o tion a l scen e which f o llo w e d immedi^. !
a t e l y i P h y l l i s d i s c u s s e s her unhappy s t a t e w ith John and
Ann as sym p ath etic l i s t e n e r s . The s ta g e d i r e c t i o n s during
t h i s sc e n e i n d i c a t e : "The s o f t to n e s o f th e organ are
h e a r d , " and, "At t h i s moment th e organ i s heard p la y in g
s o f t l y th e p r e lu d e to th e a n th em ." (Act I I I ) I t i s o n ly
w it h D ic k 's en tra n ce th a t "the sound o f th e organ, d i e s
a w a y ." (Act I I I ) Dramatic e x p ed ien cy was th e e x p la n a tio n
f o r t h i s somewhat i n c o n s i s t e n t a c t io n by Rev. John in d e a l
in g w ith th e o r g a n is t .
A cle rg y m a n 's p r e se n c e at an e x p e n siv e and f a s h io n -
128 ;
a b le c h a r it y b a l l w a s . e a s i l y e x p la in e d by John when Ann's
f a t h e r I n d ic a te d th a t i t w a sn 't e v e r y man o f th e Church
who would appear at such a fu n c tio n :
JOHN. I t would be a str a n g e s o r t o f c h a r it y th a t
a clergym an co u ld not countenan cei I t I s s u f f i c i e n t
to me t h a t t h e good women of our land are at th e head
o f t h e work. (Act I I )
With t h e s e minor c h a r a c te r b le m ish e s noted and e x
plained,, i t must be s t r e s s e d th a t th e c r i t i c s o f th e p e r io d
were unanimous i n e x p r e s s in g th e jo y which th e p la y and
i t s c h a r a c te r s im parted t o th e au d ien ce:
D a n ie l Prohman knows th e k in d o f p la y t h a t w i l l
s u i t th e p a tro n s o f h i s e s ta b lis h m e n t . Hence, he
a id s and a b e ts David B e la s c o and Henry C. De M ille
In c o n c o c tin g e n te r ta in m e n ts t h a t combine s e n tim e n t,
humor and dram atic e ffe c t ., a cco rd in g to a r e c ip e
th a t w i l l meet th e req u irem en ts o f h i s s p e c i a l
c l i e n t e l e . ^5
The c h a r a c te r s i n The C h a rity B a ll r e f l e c t e d th e
au d ien ce o f De M i l l e ' s tim e in. numerous ways b e s id e s th o s e ,
m entioned above: a man o f honor kept h i s word and p r o m ise ; ■
members o f h ig h s o c i e t y supported c h a r i t i e s ; th e fa m ily as
a str o n g a f f e c t i o n a t e t i e sh ould not be undermined; no mat
t e r what t h e i r s o c i a l standing., k in d n e ss sh ould be extended
t o th o s e In d i s t r e s s ; p e r so n a l f e e l i n g s sh ould not be sa cri-f
f i c e d because o f b u s in e s s in v o lv em e n ts; even p erso n s o f
h ig h s o c i a l sta n d in g are not immuned a g a in s t un hap pin ess;
a lth o u g h a moderate amount o f wine i s p e r m issib le., i n t o x i
c a t i o n i s not t o l e r a t e d ; and., o v e r -c o n c e r n and am bition in
129
th e b u s in e s s world can le a d to extrem e u n h ap p in ess.
De M l l l e ' s p la y s u g g e s te d no o p in io n s or any I d e o
lo g y which was not a c ce p ted by h i s audience,, and th e p l a y ' s
s u c c e s s was assu red :
The C h arity B a l l w i l l no doubt draw good a u d ien ce s
f o r some tim e t o come. The p ie c e i s c l e a r l y w r i t t e n
w ith j u s t enough p lo t t o s u s t a i n i n t e r e s t , j u s t enough
p ath os t o evoke fem in in e t e a r s , and j u s t enough humor
t o keep th e m a scu lin e p o r t io n o f th e a u d ien ce from f a l l
in g a s l e e p . 46
In p r e d i c t i n g th e s u c c e s s o f th e p la y and th e typ e
of a u d ien ce t o whom i t would a p p ea l, th e Times s t a t e d :
The hardened c y n ic s o f s o c i e t y ( j u s t out o f t h e i r
t e e n s , most o f them) may be p le a s e d to c a l l I t s i l l y .
But everybody w i l l go to s e e i t , and th e f o l k s who
m akeup th e bulk of humanity w i l l be d e l ig h t e d w ith
O d ell b e lie v e d th a t "th ere was s t i l l enough s e n t i
ment or s e n t i m e n t a l i t y i n th e p e r f e c t l y d r e sse d p a tr o n s of
48
th e Lyceum t o make them l i k e th e play" because "the p l a y - ,
w r ig h ts had performed t h e i r job w ith mechanic i n g e n u it y .
,,49
They knew t h e i r a c to r s and t h e i r a u d ie n c e .
I t was i n t e r e s t i n g t o n o te at t h i s tim e , a c c o r d in g
t o O d e ll, t h a t th e New York C ity aud ien ce was "a b i t gay
and not i n t e n s e l y i n t e l l e c t u a l . , . which made th e t h e - „
^ The New York Tribune, November 19, 1 8 8 9 .
47
The New York Times, l o c . c i t .
48
O d e ll, op. c i t ., p. 232.
^ I b i d .
-^ O d e ll, op. c i t . , p. 2 3 3 .
130
a t e r p a tro n s more r e c e p t i v e t o th e s o c i e t y com edies o f'D e
M ille as opposed to th e e f f o r t s o f "Mrs. Erving Winslow,
th e c u ltu r e d la d y from B oston , [who] was s u b j e c t in g New York
*51
t o a c u l t u r a l Lenten fa r e of Ib se n .
As had been h i s p r a c t i c e i n t h e p a s t , De M il l e had
once ag ain s u c c e s s f u l l y combined e x a c t l y t h e r ig h t amounts
o f se n tim e n t, humor, and dram atic s i t u a t i o n s a cco rd in g to a
form ula which met th e req u irem en ts of h i s a u d ien ce .
Men and Women
The l a s t p la y which De M ille and B e la s c o c o l l a b o
r a te d on was a l s o th e l a s t example o f t h e s o c i e t y comedy
upon which De M i l l e ' s r e p u ta tio n as a p la y w r ig h t would r e s t .
Men and Women, which opened at P r o c t o r 's T w en ty -th ird S t r e e t
T heatre on October 21, 1890, grew out o f a c u rren t bank
sca n d a l i n which th e f a t h e r o f a young man who had sp e c u
l a t e d w ith th e funds o f h i s bank i s s a id t o have ex claim ed ,
" I ' l l save th e bank, i f i t c o s t s me a m i l l i o n a day." The
p la y was a com bination o f th e themes o f banking, s p e c u la
t i o n , l o v e , and fa m ily a ffe c tio n .- De M ille r e c o g n iz e d th a t '
in. th e in t e n s e moments of a n x ie t y th a t come t o th o s e who are'
c a r r y in g on f i n a n c i a l o p e r a tio n s which b rin g them w ith in
th e shadow of th e law, t h e r e were e x c e l l e n t o p p o r t u n it ie s
f o r drama. B e la s c o in d ic a t e d : "We must d e a l w ith a f a t h
5 1 I b i d .
131
e r 1s p r id e and lo v e f o r h i s o n ly son, no m a tter what deed
52
th e son may commit.
The s t o r y con cern s the s i t u a t i o n o f W illiam P re s
cott., c a s h ie r o f a bank., who i s g u i l t y o f s p e c u la t io n and
who i s s t r i v i n g t o esca p e th e co n seq u en ces o f h i s crim e.
An a ccom p lice i n th e robbery i s a s to c k broker who has
committed s u i c i d e . The a s s i s t a n t c a s h ie r o f th e bank* Ed
ward Seabury, who i s P r e s c o t t ' s c l o s e f r ie n d and th e b e
t r o t h e d sw ee th e a rt o f h i s s is t e r ., i s s u sp e c te d of t h e t h e f t .
At f i r s t , th in k in g t h a t f o r h i s p e r so n a l s e c u r i t y he need ;
o n ly remain s i l e n t and perm it h i s in n o c e n t f r ie n d t o be
ru in ed , P r e s c o t t , though drawn as a man e s s e n t i a l l y v i r t u -
0
ous, y i e l d s to th e te m p ta tio n to h o ld h i s peace and l e t S e a -
bury ‘ be condemned; but on d is c o v e r in g th a t h i s s w e e th e a r t,
Agnes Rodman, i s aware o f h i s g u i l t and, out o f d e v o tio n t o
him, i s w i l l i n g t o condone h i s crim e and h i s a d d i t io n a l i n
j u s t i c e t o h i s f r i e n d , P r e s c o tt i s shocked i n t o rem orse a n d ’
r e p e n ta n c e , and he becomes determ ined th a t Seabury be saved '
a t w hatever s a c r i f i c e of h i m s e l f . S ea b u ry 's dilemma i s
f u r t h e r h e ig h te n e d by t h e im p la ca b le h o s t i l i t y o f th e a t
to rn ey f o r th e bank, C alvin Stedman, Who i s S eab u ry's un
s u c c e s s f u l r i v a l in lo v e , and who, h o n e s t ly b e l i e v i n g th e
young man g u i l t y , e x u l t s i n th e o p p o r tu n ity t o r u in him,
and opposes ev ery e f f o r t made by th e p r e s id e n t o f th e bank,
-^Winter, op. cit., p. 376.
I s r a e l Cohere to w eather t h e storm and sa ve th e i n s t i t u
t i o n from r u in . Late at n ig h t a f t e r a b a l l at which P r e s
c o t t and Agnes' engagement i s announced,, th e d i r e c t o r s of
th e bank assem ble in th e l i b r a r y o f th e p r e s i d e n t ' s home
f o r an emergency m eetin g i n ord er to c o n s u lt w ith a N a tio n a l
Bank Examiner and seek to c o n t r iv e means t o a v e r t p u b l i c i t y ,
f o r e s t a l l a d e s t r u c t i v e run on th e bank's rem aining fu n d s,
and r e s t o r e th e s t o l e n fun ds. When Seabury i s accu sed o f
th e t h e f t , he d e n ie s t h e charge but i s a r r e s t e d . Agnes
begs h er f a t h e r , • Governor Rodman o f A rizona, to save th e
bank i f Seabury i s r e l e a s e d . Rodman opposes th e pu rp ose o f
Stedman t o f o r c e p u b lic avowal o f th e s i t u a t i o n r e g a r d le s s
o f con seq u en ces t o th e bank, and he I s suddenly denounced
by Stedman as. b ein g a former s p e c u la t o r whom h e , Stedman,
y e a r s e a r l i e r has p r o se c u te d , who was c o n v ic t e d , and has
served a term in. p r is o n , and t h e r e f o r e should be c o n sid e r e d
an u n f i t p erson t o su g g e st such ;a so lu tio n , t o .the. s it u a t io n .:
F i n a l l y , P r e s c o tt adm its h i s g u i l t , and th e way out o f th e
dilemma i s p rov id ed by Mr.. Pendleton., one o f th e d i r e c t o r s ,
who p r o v id e s th e n e c e s s a r y money t o save t h e bank. At th e
c o n c lu s io n o f th e p la y , Dora and Seabury are h a p p ily mar
r ie d ; he has been ex o n era ted and promoted t o c a s h i e r at
t h e bank. P r e s c o tt who has been u n able to o b ta in a perman
ent p o s i t i o n w ith any firm b eca u se o f t h e ad verse p u b l i c i t y
c o n n e c tin g h i s name and g u i l t w ith th e ban k's s t o l e n fun ds,
i s o f f e r e d a p o s i t i o n w ith Mr. P e n d le to n 's firm . He and
133
Agnes are a b le to p la n t h e i r m arriage based on t h i s o f f e r .
In secondary m a tters w ith in t h e p l o t s t r u c t u r e .
Governor Rodman r e s ig n e d h i s o f f i c e ; Stedman r e c e iv e d Sea
bury >s f o r g i v e n e s s f o r h i s a c t io n s ; I s r a e l Cohen a c c e p te d
th e appointm ent of M in is te r t o Germany and le a v e s f o r
Europe; and th e two s e t s o f c o u p le s who s u p p lie d th e comic
r e l i e f sc e n e s throughout th e p la y , C olon el Kip and Mrs.
D e l a f i e l d , t h e m id d le-a ged c o u p le , and Sam and Margery, th e
a d o le s c e n t p a i r , are u n it e d .
R e fe r r in g t o t h e c h o ic e o f t i t l e and c h a r a c te r s
u t i l i z e d , B e la s c o s t a t e d :
Next to in v e n t in g a p l o t and s t o r y , our g r e a t e s t
d i f f i c u l t y was t o f in d a t i t l e . Our p la y was to have
a u n iv e r s a l a p p ea l. One o f our c h a r a c te r s was a l i b e r a l
Jew. Because of th e broadness o f th e theme, we s e
l e c t e d th e name o f Men and Women. I t was an a c ce p ted
r u le a t t h i s tim e t o have two s e t s o f l o v e r s , but we
broke a l l t r a d i t i o n s by in tr o d u c in g t h r e e s e t s of h e r o es
and h e r o in e s in Men and Women, f o r we a ttem p ted to d e
p i c t th e f r a i l t i e s and w eakn esses o f many men and wo
men. 53
B e la sc o was i n error i n s t a t i n g th a t Men and Women
c o n t a i n e d 'th r e e s e t s o f c o u p le s; th e p la y t e c h n i c a l l y had
fo u r p a i r s o f h e r o e s and h e r o in e s : P r e s c o tt and Agnes, Sea
bury and Dora, C o lo n e l Kip and Mrs. D e l a f i e l d , and l a s t l y ,
Sam and Margery. I t sh o u ld be p o in te d out t h a t a l l of the
p la y s w r it t e n by De M il l e i n c o l l a b o r a t i o n w ith B e la sc o i n - ;
elu d ed fou r s e t s o f lo v e r s ex cep t t h e i r f i r s t e f f o r t : The
W ife. However, in th e o r y , even t h i s - i n i t i a l work was com
5 3 I b id .
'i34
p r is e d o f fou r p a i r s o f lo v e r s i f th e c h a r a c te r s o f Robert
Grey and L u c ile F errant had been h a p p ily mated at th e con
c l u s i o n o f th e a c t i o n . Lord Chumley, The C h arity B a l l , and
Men and Women in c lu d e d th e major lo v e i n t e r e s t of hero and
h e r o in e around whom t h e main a c t io n o f th e p la y c e n te r e d ;
su p p o rtin g th e major hero and h e r o in e were t h e secondary
lo v e i n t e r e s t , p lu s th e comic cou p les? th e m idd le-aged
tumblers., and t h e a d o le s c e n t p u p p y -lo v e r s.
Although t h e r e was some grum bling among t h e r e v ie w
e r s as to th e amount o f e x t r a p la y e r s in v o lv e d and an e x c e s s
o f s u b s id ia r y i n c i d e n t s , i n g e n e r a l th e c r i t i c s agreed th a t
Men and Women was a .s u c c e s s . The J o u r n a l, th e P r e s s , and
I
th e Commercial A d v e r tis e r b e l ie v e d th a t i t ranked among th e
b e s t .o f r e c e n t American p l a y s , w h ile th e S ta r s t a t e d th a t
th e p la y was "the b e s t th e y have ev er w r i t t e n . C o m m e n t
in g on th e a d d it io n o f th e p la y t o American l i t e r a t u r e , th e
Times i n d ic a t e d th a t "The s u c c e s s . . . i s in d is p u t a b l e , and
as t h i s i s a p la y by American a u th o rs, t r e a t i n g o f an Ameri
can s u b j e c t , l e t us a l l be t h a n k f u l . T h e M irror w ith
some r e s e r v a t i o n s thought th at? j
S in ce we s h a l l have some f a u l t t o f i n d w ith t h i s
l a t e s t product o f th e De M ille and B e la sco p a r tn e r s h ip ,
i t may be a s w e l l t o p r e fa c e our c r i t i c i s m s by th e
frank avowal o f our b e l i e f t h a t i t c o n t a in s much o f th e
so r t o f m a te r ia l th a t makes what are c a l l e d popular
s u c c e s s e s . . . a b o x - o f f i c e s u c c e s s i s o f t e n based on
~ ^T he New York S t a r , October 22, 1890.
~^The New York Times, October 22, 1 8 9 0.
e x t r i n s i c q u a l i t i e s t h a t win t h e fa v o r o f p erso n s th a t
d is p e n s e w ith thou ght and f e e l i n g and d e s i r e naught
save sensuous e x citem e n t when th e y v i s i t th e p l a y
h ou se. . . . From which th e r ea d ers o f The M irror w i l l
i n f e r th a t t h i s p la y i s a b o x - o f f i c e s u c c e s s .06
However.,, d e s p i t e any r e s e r v a t i o n s or c r i t i c i s m s ,
De M ille was c o n t i n u in g ^ t o .c r e a t e s o c i e t y com edies c o n t a in
in g c h a r a c te r s w ith which h i s s o c i e t y au d ien ce co u ld id e n
t i f y .
Like h i s e a r l i e r p la y s o f th e same g e n r e, De M ille
p la c e d th e c h a r a c te r s of Men and Women, i n f a s h io n a b le and
lu x u r io u s su rrou n d in gs s e r v ic e d by numerous s e r v a n t s . The
f i r s t a c t s e t t i n g i s d e s c r ib e d as "a room o f unique a r c h i- ;
t e c t u r e and rich* but subdued d e c o r a tio n s , . . o u t s id e th e
u p sta g e windows i s se en C e n tr a l Park w ith a view of th e
o b e l i s k ." (Act I) The s e t t i n g f o r Act I I i s equal in
sp len d o r: The Alhambra c o r r id o r which a d jo in s t h e p a r lo r s
and th e p i c t u r e g a l l e r y at Mrs. D e l a f i e l d ' s . The scen e
p r e s e n t s "an apartment o f Moorish a r c h i t e c t u r e , b u i l t a f t e r
th e p a t t e r n o f a room i n th e Alhambra. Large arch es hung
w ith p o r t i e r e s le a d in g to rooms and t e r r a c e . , . l i t t l e
fu r n it u r e must be u sed , t h e room p r e s e n t in g a p i c t u r e of
s i m p l i c i t y combined w ith th e charm o f o r i e n t a l s p l e n d o r . "
(Act I I ) The l i b r a r y in Mr. Cohen's h ou se, which i s t h e
Act I I I s e t t i n g , r e p r e s e n t s "a m a g n ific e n t, m a s s iv e ly f u r
n ish e d l i b r a r y . . . above th e f i r e p l a c e i s a n ic h e i n which
- ^ The New Y o rk D r a m a tic M i r r o r , N ovem ber 1 , 1890,
p . 6.
136
i s s e t a s t a i n e d - g l a s s p i c t u r e o f th e Magdalen a t th e f e e t
o f th e S a v io r . . . ." (Act I I I ) A ll o f t h e s e s e t t i n g s
t e l l th e au d ien ce th a t t h i s p la y w i l l be p eo p led w ith ch ar
a c t e r s o f t h e h ig h e s t s o c i a l sta n d in g s th e Governor o f
A rizon a, a bank p r e s id e n t , s e v e r a l bank d i r e c t o r s , an ex
member o f C on gress, a-bank exam iner, a former U .S . D i s t r i c t
A tto rn ey , a n oted a t t o r n e y , w e a lth y sto c k b r o k e r s, a m i l l i o n
a i r e ' s son, an h e i r e s s , a G overnor's dau ghter, and a w e a lth y
v i s i t o r from Chicago s o c i e t y c i r c l e s . When th e s e c h a r a c
t e r s speak, De M il l e in v o lv e d t h e i r c o n v e r s a tio n s w ith more
than mundane m a tter s: an appointm ent as U .S. m in is t e r to a
f o r e i g n co u n try; w in te r v a c a tio n s i n th e w e ste rn p art of
i
th e U n ited S t a t e s and th e summer v e n tu r e s t o Europe; shop
p in g on F i f t h Avenue in New York C ity at th e f i n e s t , most
e x p e n s iv e , and e x c l u s i v e sto r e s --A ltm a n .'s , Lord & T a y l o r ' s ,
Le B o u t i l l i e r ' s; sto c k market in v e stm e n ts o f $ 1 0 0 ,0 0 0 and
h ig h e r ; d a i l y s to c k market p r o f i t s o f at l e a s t $3^000 or
more; e x o r b ita n t t i p s to m essenger boys ($ 5 )j fre q u en t
t r i p s t o W ashington and Chicago f o r p le a s u r e and b u s in e s s ;
engagement p a r t i e s which are f u ll- b l o w n dance b a l l s ; p r i
v a te fo r tu n e s from which p le d g e s o f $ 2 0 0 ,0 0 0 and $ 1, 0 0 0 ,0 0 0
are r e c e iv e d ; and s t a y s at t h e f i n e s t h o t e l s i n t h e U .S.
and Europe.
With t h i s l a s t of h i s s u c c e s s f u l and t y p i c a l s o c i e t y
com ed ies, De M ille was a b le t o c r e a te i n h i s hero and h e r o - '
in e a p a ir o f i n d iv i d u a l s who h e ld t h e aud ien ce w ith a v i v i d
137
p i c t u r e o f moral and em o tio n a l c o n f l i c t . What rem ains most
c l e a r l y was a p i c t u r e o f th e normal l i f e o f h ig h s o c i e t y
p e o p le w ith r e a l stan d ard s w ith o u t much s t r e s s b ein g l a i d
upon them. The p ea ce and com fort o f such a l i f e makes th e
tragedy., when i t comes, more s t r i k i n g . De M i l l e ’s use o f
th e g a i e t y o f th e engagement b a l l i n j u x t a p o s i t i o n w ith th e
m u l t i - m i l l i o n d o l l a r f a i l u r e and r u in o f a bank was an e x
c e l l e n t example o f t h e em otion al c o n t r a s t s which f i l l e d th e
l i v e s o f th e c h a r a c te r s i n t h i s p la y .
The em o tio n a l dilemma fa c e d by th e h e r o , W illiam
P r e s c o t t , made him one o f De M ille > s most i n t e r e s t i n g l e a d
in g c h a r a c t e r s . P r e s c o t t comes from a w e a lth y f a m ily , he
i s engaged t o th e dau ghter o f th e Governor o f A rizon a, he is
r e s p e c te d in. h i s s o c i a l s e t as a man o f honor and h o n e s ty ,
and he has an im portant p o s i t i o n at t h e J e f f e r s o n N a tio n a l
Bank i n a tru sw o rth y c a p a c it y as th e head c a s h i e r . He i s
so much i n lo v e w ith Agnes th a t h i s concern over h er le a v in g
a home where she has e v e r y th in g t o become t h e w if e of "only
a m od erately p ro sp ero u s man" (Act I ) forms th e m o tiv a tio n
f o r h i s borrowing $ 1 0 0 ,0 0 0 o f th e bank’ s s e c u r i t i e s in order
to s p e c u la t e i n th e s to c k m arket. When th e money i s l o s t
and h i s b e s t f r i e n d i s accu sed o f t h e t h e f t , P r e s c o t t ' s
moral b e l i e f s a r e put to th e t e s t . I f he sp ea k s, h i s l o s s
w i l l I n c lu d e e v e r y th in g . However, I f he rem ains s i l e n t ,
h i s r e p u t a t io n i s s a f e but h i s c o n s c ie n c e w i l l be s h a t t e r e d .
H is em otio n al w avering i s b e l i e v a b l e as he w eighs th e
r ea so n s f o r e i t h e r sp eak ing or rem aining q u ie t . De M ille
was c a r e f u l t o always In clu d e th e proper m o tiv a tio n , P r e s
c o t t I n d i c a t e s f i r s t t h a t "I must h id e th e d is g r a c e as long
as I can f o r th e sake o f my dear mother. But I ' l l save
Agnes. Oh, f o r th e s t r e n g th to g i v e her u p . ” (Act I )
However., o n ly m inutes la ter., Rodman c o n f e s s e s h i s own crime
and p r is o n punishment t o P r e s c o t t hop ing th a t th e younger
man., being aware o f th e p a st t r a n s g r e s s i o n , w i l l s t i l l a c
cep t Agnes as h i s ..bride. T h e r e fo r e , when P r e s c o tt h e s i t a t e s 1
i n an a s id e to th e au d ien ce: "If I g i v e h er up now, she
w i l l th in k i t i s becau se of t h i s . " (Act I ) Rodman, b e l i e v e s
t h a t h i s fu tu r e s o n - in - la w may be as u n fo r g iv in g as th e 1
I
r e s t o f th e w orld. Thus, i t i s th a t P r e s c o t t ' s s i t u a t i o n
i s doubly c o m p lic a ted when he s t a t e s : "Today I have r e a l
i z e d more than ev er th a t I am not worthy to c a l l your
d au gh ter— my w i f e . I c o n s id e r i t an honor to do s o ."
(Act I) At t h e end o f Act I th e c h a r a c te r of P r e s c o tt i s
p r e se n te d as a man not o n ly to r n by e x t e r n a l f o r c e s but
a l s o b e s e t by h i s own i n t e r n a l p r e s s u r e s . A p o r t r a i t o f a
man i n com plete angu ish who must m ain tain a facad e o f abso
l u t e c o n t r o l i s p r e se n te d by De M il l e . L ater, at h i s e n
gagement b a l l , P r e s c o t t i s r eq u ire d t o .maintain an appear
ance o f calm and contentm ent not o n ly fo r h i s fa m ily and
Agnes, but a l s o f o r th e good o f th e bank: h i s employer
and p r e s id e n t o f th e bank, Mr. Cohen., thanks him f o r not
p o stp o n in g th e r e c e p t io n : "This i s a tim e when a b reath
139 :
would p r e c i p i t a t e th e danger. By l e t t i n g e v e r y th in g p r o
ceed as arranged, you have done th e bank a g r e a t e r s e r v i c e
than p ou rin g over th e b ook s." (Act I I ) Then when Rodman
s u g g e s t s t o th e young c o u p le th a t he would w ish them to
marry i n th e n ex t t e n days b e fo r e he must r e tu r n to A rizon a,
i t appears th a t P r e s c o t t must s a c r i f i c e h i s f r ie n d Seabury
and th e h a p p in e ss o f h i s s i s t e r Dora in order t o save a
m a j o r it y o f o th e r p e o p le .
Of th e le a d in g male c h a r a c te r s c r e a te d by De M ille
i n h i s e a r l i e r s o c i e t y com edies, P r e s c o tt r e p r e s e n t s th e
f i r s t who has h e s i t a t e d f o r an i n s t a n t b e fo r e s a c r i f i c i n g
h im s e lf f o r th e good o f o t h e r s . P r io r to t h i s p la y , De 1
M i l l e ' s h e r o e s were v ir t u o u s , k in d , p a t i e n t , and so brimming
over w ith honor as t o appear o n e -d im e n sio n a l to th e u n d is -
c e r n in g eye.. In s h o r t , De M ille 's e a r l i e r h e r o e s d is p la y e d
an a b s o lu t e minimum o f weakness i f any at a l l , P r e s c o tt
r e p r e s e n te d a d i s t i n c t d ep artu re fo r De M ille in th e c r e a -
i
t i o n o f a s o c i e t y h e r o . The c a s h ie r had committed a crim e,
and alth ou gh he e s t a b l i s h e s h im s e lf as a man o f honor b e fo r e
i
th e c o n c lu s io n o f th e p la y , h i s a ct o f moral bravura occu rs
a f t e r a g r e a t d e a l o f v a c i l l a t i o n . De M i l l e ' s h e r o e s up t o '
t h i s p o in t had a l l been men o f a c t i o n . P r e s c o t t ' s i n d e c i s
iv e n e s s was a new q u a l i t y f o r a De M ille le a d in g male ch a r
a c t e r . Granted th e hero was fa c e d w ith a moral dilemma fa r
g r e a t e r th an any o f th e h e r o e s in De M i l l e ' s e a r l i e r p la y s..
T h er efo r e, i t sh ould be n oted t h a t P r e s c o tt a l s o i s th e
140
f i r s t hero i n any o f De M i l l e ' s p la y s who., no m a tter what
th e choice., i s bound t o in j u r e some p a r ty b e s id e h im s e lf
and h i s sw e e th e a r t.
I n d e v e lo p in g th e c h a r a c te r of Agnes, De M il l e was
a b le to c r e a te a s o c i e t y c h a r a c te r o f more than one dimen
s i o n . Agnes i s a t t r a c t i v e , a f f e c t i o n a t e , i n t e l l i g e n t ,
charming, w i t t y , and above a l l , l o y a l . She would have been
a t y p i c a l h e r o in e from any o f De M i l l e ' s e a r l i e r s o c i e t y
com edies had s h e , t o o , not been g iv e n th e added dim ension
o f a dilemma c o n cern in g h i s moral c o n s c ie n c e . Near th e end
o f Act I I , as th e engagement b a l l i s b e in g ter m in a ted when
an emergency m eeting o f th e bank's d i r e c t o r s i s c a l l e d ,
Agnes le a r n s o f P r e s c o t t ' s t h e f t from th e widow o f th e man
h e r sw eeth ea rt was in v o lv e d w ith i n th e s p e c u la t io n . Her
f i r s t i n s t i n c t i s to r e v e a l th e s i t u a t i o n to Seabury and
c l e a r h i s name; however., she r e a l i z e s th a t t o p ro cla im th e
in n o cen ce o f D o ra 's lo v e r would be to r e v e a l h e r own l o v e r ' s
g u i l t . She, th e n , has th e knowledge o f her l o v e r ' s wrong
doing and must e i t h e r share i n h i s d e c i s i o n to remain s i
l e n t , persuad e him t o c o n f e s s th e t r u t h , or should he de
c l i n e t o do so , she can ta k e i t upon h e r s e l f to p r e se n t
th e t r u t h .
The f i r s t d e c i s i o n made by Agnes i s done w ith o u t
c o n s u lt in g anyone: she ask s Cohen t o have mercy on Seabury
and Dora. Cohen had e a r l i e r c o n fe s s e d h i s lo v e fo r her and
a f t e r h er d e c la r a t io n o f lo v e f o r P r e s c o t t , t h e bank p r e s i -
l 4 l
dent had g r a c i o u s ly withdrawn h i s s u i t . Agnes u s e s th e
knowledge th a t Cohen had lo v ed h e r e in th e p a s t as a c o n s id
e r a t i o n f o r clem en cy, Cohen prom ises her th a t he w i l l tak e
no p a r t in th e p r o s e c u tio n o f Seabury but w i l l ask th e d i
r e c t o r s of t h e bank t o a llo w th e accu sed t o repay h i s t h e f t
w ith th e h e lp o f Governor Rodman. When th e d i r e c t o r s r e j e c t
Rodman's o ffer., Agnes e n t e r s and p le a d s f o r them to r e c o n
s i d e r , and i n so d oin g , De M ille was p r e s e n tin g a woman o f
a c t i o n f u n c t io n in g t o save th e h ero , a man o f apparent i n
a c t i o n . Even w ith Rodman's ad m ission to th e d i r e c t o r s of
h i s p a s t as a c o n v ic t , h i s fraud i n b e in g e l e c t e d to th e
o f f i c e o f governor under a f a l s e i d e n t i t y , and th e a r r e s t
o f Seabury, none o f t h e s e e v e n ts move P r e s c o t t to r e v e a l
h i s own g u i l t . A fte r th e l i b r a r y a t Cohen's has been
c le a r e d , P r e s c o tt r e v e a ls his:, in n e r th o u g h ts to t h e a u d i
ence, and i n so d oin g, De M il l e was a b le t o i n d i c a t e h i s
own p e r s o n a l p h ilo s o p h y on th e wages o f s i n :
PRESCOTT. ...W h at can. I d o ? . . , I f I l e t Edward s u f
f e r , i t w i l l be o n ly Dora, To save him i s t o b rin g
m isery not o n ly t o Dora, but t o my m other— t o Agnes.
(With a cry) OhJ When once we have f a l l e n , w ith what
e x c u se s we seek to j u s t i f y s i n . In a l l th e w orld—
through th e space th a t s t r e t c h e s out b e fo r e me, i s
t h e r e a c r e a tu r e so damnable as I? And Heaven h o ld s
i t s peace.' (Act I I I )
I t i s when Agnes and P r e s c o tt are a lo n e in th e lib r a r y t h a t ■
th e m o tiv a tio n fo r h i s a c t i o n becomes d e f i n i t e . She con
f e s s e s th a t her lo v e f o r him has been r e s p o n s ib le f o r what
she had done th a t e v en in g , and i t i s a l s o t h e f i r s t tim e
142
th a t he le a r n s th a t Agnes knows o f h i s g u i l t * T his know
le d g e forms th e b e g in n in g o f h i s a c t io n t o r ev e a l' th e t r u t h .
PRESCOTT. The thought o f you kept me back.. I told,
you t h e r e was n o th in g I could not do fo r lo v e o f you.
Now th a t I have l o s t a l l th a t a man h o ld s most dear,
I w i l l be th e craven no lo n g e r . (Act I I I )
However, i t i s Agnes who d e c la r e s th a t she w i l l not r e v e a l
h i s g u i l t but p r e f e r s to save him w ith o u t h i s s a c r i f i c i n g
h i m s e l f ; she s u g g e s t s th a t he a llo w Seabury to be a r r e s t e d
f o r th e t h e f t :
AG-NES. What you d id was done fo r me. I know i t .
Let th e world c a l l us women weak i f i t w i l l — when
t r o u b le comes to th o s e we l o v e —o n l y her lo v e d o n e s—
and God knows th e s t r e n g t h o f her d e v o tio n . (Act I I I )
When Agnes le a v e s th e room, P r e s c o tt f a c e s h i s f i n a l s t r u g - j
i
g l e w ith h i s c o n s c ie n c e . He has a ssu red her o f h i s lo v e
and h i s a b i l i t y t o c o n s t r u c t a p la n th a t w i l l somehow save
th e s i t u a t i o n . I t was o f i n t e r e s t to n ote in t h i s sp eech
th a t De M ille who had a llo w ed th e stock b ro k er to commit
s u i c i d e i n Act I , would comment on such an a c t io n through
h i s le a d in g male c h a r a c te r :
PRESCOTT. (Agnes l e a v e s . He c l o s e s th e door.
Takes a p i s t o l from h i s pocket and sta n d s w ith th e
p i s t o l at h i s s i d e . R ep eatin g h i s words) "I lo v e
y o u . " I am not f i t f o r such a lo v e . I am not f i t ;
to- l i v e . I thought th e end would come t o n i g h t , so
I went home, fo r t h e l a s t tim e — f o r t h i s —Mother;
S i s t e r ] Oh, what a name I le a v e t o them. Death w i l l :
not ta k e away t h e shame— nor th e memory o f th a t shame !
from me. I may d e s t r o y th e body, but I cannot k i l l
th e s o u l. No, no, l e t me not add to my crim e th a t o f
s u i c i d e . I t i s th e r e fu g e o f a coward— a coward.
(Low s t r a i n s o f solemn music are h eard . The m oonlight
has by t h i s tim e illu m in a t e d th e s t a i n e d - g l a s s window
g r a d u a lly r e v e a li n g th e p i c t u r e over th e f i r e p l a c e )
Oh, where can a man go t o esca p e h im s e lf ? (S in k in g
1 4 3
on h i s knees on th e f l o o r w ith h i s head bowed i n a b je c t
h u m ilia t io n ) Does t h e mercy o f God reach down, as f a r
as th e dep th s o f my s in ? (At t h i s in sta n t., th e p i c t u r e
o f th e S a v io r and th e Magdalen i s d i s t i n c t , th e l i g h t
from i t f a l l i n g on th e bowed head o f W illiam ) "Out o f
th e d eep - - ( s lo w ly r a i s i n g h i s head w ith h i s arms up
l i f t e d ) do I cry unto Theej Oh, Lord, Lord, hear my
v o i c e ." (H is ey es f o r th e f i r s t tim e s e e th e p i c t u r e .
Reading th e i n s c r i p t i o n underneath "Go and s i n no
more." (Act I I I )
I t i s at t h i s p o in t th a t P r e s c o tt r i s e s and s h a c k le s a p a ir
o f h a n d c u ffs l e f t on t h e d i r e c t o r s ' t a b l e on h i s own w r i s t s
so th a t w ith Cohen's r e tu r n i n t o th e room, P r e s c o t t w i l l
th e n c o n f e s s h i s g u i l t . I t was apparent th a t th e p a r a l l e l
between th e s in n e r s Mary Magdalen i n t h e s t a in e d g l a s s
p a n e l and P r e s c o tt k n e e lin g on t h e l ib r a r y f l o o r , both a s k
in g f o r understanding, and f o r g i v e n e s s , was th e f i n a l f a c t o r
which-moved t h e young hero to a c t i o n in c o n f e s s in g h i s
g u i l t w ith th e h u m ilit y th a t through s u f f e r i n g he had
le a r n e d h i s l e s s o n and would not s i n a g a in . I t was f e l t
th a t not o n ly had P r e s c o t t le a r n e d a l e s s o n , but th a t De
M ille was ex p o sin g h i s s o c i e t y a u d ien ce s t o th e p o s s i b l e
dangers o f t h i e v e r y and l y i n g . P r e s c o tt and Agnes must
s t i l l do penance f o r t h e i r m is ta k e s , f o r i t i s o n ly a f t e r
t h r e e months t h a t th e y can even th in k o f m arriage, nor can
he o b t a in ste a d y employment during th a t p e r io d o f tim e.
When P r e s c o tt f e e l s th a t t h e r e i s no p o s s i b l e fu tu r e f o r
him, he r e c e i v e s word from former Governor Rodman who r e
sig n e d h i s o f f i c e because h i s p a s t was r e v e a le d , to have
cou rag e, endurance, and hope. F i n a l l y , a f t e r a job o f f e r
144
I s a c ce p ted by P r e s c o t t from one o f th e bank d i r e c t o r s who
kept th e bank open w ith h i s own p r iv a t e fu n d s, P r e s c o t t and
Agnes share t h e i r h a p p in ess w ith Cohen who summarizes t h e
theme of th e p la y : "Through th e d a rk est v a l l e y a man may
f in d h i s way, i f th e r e i s l e f t to him Love— and Home."
(Act IV)
The c h a r a c te r o f Agnes r e p r e s e n ts th e f i r s t h e r o in e
i n any o f De M i l l e ' s p la y s who has been a s tr o n g e r c h a r a c
t e r than t h e h e r o . W hile P r e s c o tt appeared t o s u f f e r in s i
l e n c e , i t ' : ‘was Agnes who was attem p tin g t o c l e a r h i s name by
c o n c r e te a c t i o n s . A lthough P r e s c o tt proved h i s moral
s tr e n g th at th e c o n c lu s io n o f Act I I I , p r io r t o th a t a c
t i o n i t had been Agnes who was th e more f o r c e f u l of th e
two. The tim e s appeared' to be s lo w ly ch an gin g, and perhaps ,
De M ille was s e n s in g th a t women would p la y a more equal i f
not dominant r o le in fu tu r e d e a lin g s w ith men. •
Although De M ille was a b le t o d evelo p c o n s i s t e n t ,
th r e e - d im e n s io n a l, p r o b a b le, and b e l i e v a b l e le a d in g ch a ra c
t e r s i n P r e s c o tt and Agnes, the a c t io n s o f some o f th e minor
c h a r a c te r s r eq u ire d ex p loratio n , and e x p la n a t io n . With th e
c h a r a c te r o f Governor Rodman, De M ille was s u c c e s s f u l i n
c r e a t in g a man who was r e s p o n s ib l e , lo v in g , h o n e s t, th o u g h t
f u l , r e p e n ta n t, and w i l l i n g to go to any extreme f o r th e
h a p p in ess o f h i s d au gh ter. However, s e v e r a l q u e s tio n s p e r
p le x e d th e c r i t i c s : how co u ld an e x - c o n v ic t under an a s
sumed name become t h e Governor o f A rizona when i t i s a f a c t .
145 ,
th a t p o l i t i c a l a p p o in te e s i n t h i s cou n try are always sub
j e c t e d t o se a r c h in g s c r u t in y , and t h e i r a n c e s to r s are i n
v e s t i g a t e d and v e r i f i e d from in fa n c y ; how co u ld a d e f a u l t e r
who has se rv e d h i s term at Auburn P r iso n c o n c e a l h i s r e a l
i d e n t i t y s u f f i c i e n t l y to become Governor; and i s i t l i k e l y
th a t a man l i k e Rodman, d e s ir o u s o f r e t r i e v i n g th e p a s t and
h id in g i t f o r h i s d a u g h te r 's sak e, would r i s k c e r t a i n d i s
c o very and d i s g r a c e , not to speak o f l e g a l punishm ent, by
f r a u d u le n t ly and c r i m in a ll y a c c e p tin g an o f f i c e under g o v
ernment d e n ied t o th e f e lo n who has f o r f e i t e d th e r i g h t s o f ■
American c i t i z e n s h i p ? The o n ly p o s s i b l e e x p la n a tio n to be
o f f e r e d by B e la sc o and De M ille was th a t in t h e i r z e a l to
c r e a t e a p o s i t i o n o f prominence fo r Rodman, t h e i r c h o ic e of
a governm ental p o s i t i o n was i l l - c h o s e n . There was no rea son
why Rodman co u ld not have been a se lf-m a d e w e a lth y oilm an
or c a t t l e rancher a lth o u g h e i t h e r f i e l d would have su g g e s te d
l
an aura o f nouveau r i c h e .
An e x p la n a tio n was n e c e s s a r y f o r e s t a b l i s h i n g th e
c h a r a c te r o f I s r a e l Cohen, p r e s id e n t o f th e bank, as a mem
b er o f th e Jew ish f a i t h . The M irror b e l ie v e d t h a t th e
o n ly l o g i c a l r ea so n f o r such a c h o ic e was " s o l e l y f o r th e
57
purpose of p l e a s i n g J ew ish p la y g o e r s ." The s e l e c t i o n of
any o th e r r e l i g i o n , or f o r t h a t m a tter , no r e l i g i o n at a l l ,
would have been b e t t e r than th e one chosen s in c e a s t a in e d
5 7 I b id .
146 i
g l a s s r e p r e s e n t a t io n o f th e C h rist i n t h e p r iv a t e l ib r a r y
o f a Jew no m atter how l i b e r a l , was cause f o r e x p la n a tio n .
The i n c l u s i o n o f a r e l i g i o n was not n e c e s s a r y f o r th e char
a c te r o f Cohen s in c e he had a lr e a d y been e s t a b l i s h e d as a
man w ith h ig h moral p r i n c i p l e s and b e l i e f s . However, De
M ille was o b lig e d to e x p la in th e g l a s s p a n el in th e p la y
when Agnes asks Cohen why he has i t in h i s house:
COHEN. Because o f my ad m iration f o r th e man.
Whatever t h e Nazarene may have been, H is trea tm en t of
mankind, H is h e lp t o them, His hope f o r them, p u ts th e
breath of Heaven i n t o th e words o f H is p h ilo so p h y .
What p i c t u r e cou ld I have in th e house o f a Jew more
a p p ro p ria te than t h i s p ic t u r e o f a Jew. (Act I I I )
By c r e a t i n g Cohen as a f o r g i v i n g Jew who had a p i c t u r e of
C h rist in h i s home, De M ille was c a l l i n g a t t e n t i o n t o th e
s t a in e d g l a s s p a n el b e fo r e i t s c r u c i a l u s e l a t e r i n t h e Act
as a m o t iv a tio n a l f o r c e f o r P r e s c o t t ' s ad m ission o f g u i l t .
The u se o f t h i s s t a in e d g l a s s p i c t u r e as a dram atic d e v ic e
by B e la s c o need not be o v e r - s t r e s s e d to t h o s e know ledgeable
i n th e t h e a t e r .
With t h e s e e x c e p t io n s , th e c h a r a c te r s in Men and
Women were as c o n s i s t e n t i n t h e i r a c t i o n s as any c h a r a c te r s
c r e a te d by B e la s c o and De M ille in t h e i r p r e v io u s s o c i e t y
com ed ies. In most i n s t a n c e s th e minor c h a r a c te r s c o n s i s t e d
o f more than one dominant p e r s o n a l i t y t r a i t . I t was agreed
'th a t C o lo n e l Kip and Mrs. D e l a f i e l d as th e m idd le-aged
c o u p le se rv e d th e purpose o f comedy r e l i e f as th e bumbling
lo v e r s as much as t h e i r c o u n te r p a r ts in th e e a r l i e r e f f o r t s
147 1
by De M ille ; however,, th e secon dary lo v e r s In t h i s l a s t
c o ll a b o r a t i o n , Dora and Seabury, were much more than minor
f i g u r e s w ith t r i f l i n g em otion al problem s. Seabury has a l l
th e tu r m o il which c o n fr o n ts P r e s c o tt w ith th e d i f f e r e n c e
b ein g th a t Seabury i s in n o c e n t and u n lik e th e h e r o , he does
not s u f f e r in s i l e n c e : he i s g iv e n t o a c tio n by b o d ily a t
ta c k in g h i s ad v ersa ry , Stedman, and l a t e r at th e board o f
d i r e c t o r s ' m eeting, he has th e o p p o r tu n ity to prove h i s
quick w it and i n t e l l i g e n c e when he d efen d s h im s e lf a g a in s t
th e charge o f t h e f t . L ik e w ise , h i s - s w e e th e a r t, Dora, i s 1
more than th e sim p erin g, s u f f e r in g secon dary r e f l e c t i o n o f
th e h e r o in e , but i s p o rtra y ed as an independent and charm
in g woman who i s not r e lu c t a n t to speak her mind t o a s s i s t
th e man she l o v e s .
De M ille co n tin u ed h i s u se o f b r ig h t , humorous
language i n Men and Women. The v e r b a l h i g h - j i n k s were con
f in e d t o th e secondary c h a r a c t e r s : C olo n el Zachary T, Kip,
Mrs. K ate D e l a f i e l d , Margery Knox, and Sam D e l a f i e l d . As
an example o f De M i l l e ' s touch i n t h i s p la y , C o lo n e l Kip in-
a tte m p tin g t o woo Mrs. D e l a f i e l d , e x p la in s how he d i s
c r e d it e d h i s r i v a l , a U .S. R e p r e s e n ta tiv e from Bangor,
M aine:
58
I t was of h i s t o r i c a l i n t e r e s t t o n o te th a t Maude
Adams r e c e iv e d e x c e l l e n t n o t i c e s i n t h i s r o l e and th a t she
r e c e iv e d what some c r i t i c s c o n sid e r e d h er f i r s t d e c i s i v e
New York s u c c e s s i n De M i l l e ' s l a s t p la y , The Lost P a r a d is e .
148
KIP. When I was i n Congress once, I was a d d re ssin g
th e House and u r g in g them t o remove th e Navy Yard from
Brooklyn to Weehawken. I was showing how New J e r s e y
was undervalued by th e U n ited S t a t e s . Said I - - ( R i s e s )
"Vermont has h er maple sugar; I l l i n o i s , her r a ilr o a d s ;
Dakota, her wheat; C a l i f o r n ia , .^her s e a l ro ck s; but
what — " (With -an im p r e s siv e g e s t u r e ) "what has New
Jersey?" And what do you th in k th a t boy o r a to r from
Bangor r e p lie d ?
MRS. DELAFIELD. What?
KIP. Mud I And the House ro a red . A fte r th a t I had
th e Weehawken G a ze tte f l i n g J e r s e y mud at him u n t i l you
cou ld p la n t p o t a t o e s on him. But pardon my o u tb u r s t.
(Act I )
L a ter, De M il l e u s e s th e same p a ir to t r e a t th e
aud ien ce t o an oth er example of th e humor o f h i s p e r io d .
C o lon el Kip has se n t Mrs. D e l a f i e l d a music box which he
b e l i e v e s w i l l p la y th e Wedding March from Lohengrin:
MRS.DELAFIELD. You arouse my c u r i o s i t y , C o lo n e l.
What i s th e tune?
KIP. Something th a t w i l l t e l l you in music th e
s t a t e o f my f e e l i n g s toward you—
MRS. DELAFIELD. The s t a t e o f your f e e l i n g s toward
me?
KIP. Y es—U lste r.' (A sid e) Poor Bangor. 1 T his I s
an in s t a n c e when Kip has th e p u l l . ( P u lls C upid's
e a r. Music box p la y s "Johnny Get Your Gun." C olonel
i s th u n d er str u c k ) That d o e s n 't sound l i k e WagnerJ
What i s i t ?
MRS. DELAFIELD. A r eq u e st fo r Johnny to procure
h i s fir e a r m . (Breaks i n t o a laugh) C o lo n e l, I under
sta n d — you once c a l l e d me a l i t t l e sa v a g e — and t h i s i s
your way o f t r y i n g t o soo th e th e sa v a g e — h a — ha— haj
(E x it) (Act I)
As he had done in th e p a s t , De M ille was a b le t o
combine humor, se n tim e n t, and dram atic s i t u a t i o n s t o s a t i s
f y th e c r i t i c s of h i s tim e and amuse h i s a u d ien ce.
149
I t should be n oted th a t th e e r i t l c s o f th e p e r io d
c o n sid e r e d t h i s p la y to be th e crowning achievem ent o f th e
De M ille - B e la s c o c o ll a b o r a t i o n . I t was g ran ted th a t th e r e
was a stro n g fa m ily resem blance t o th e o th e r p r o d u cts of
t h i s l i t e r a r y p a r t n e r s h ip . "It reminds th e s p e c t a t o r f r e
q u e n tly of The Wife and The C h arity B a ll,, and th e l i k e n e s s
i s by no means a c c i d e n t a l . These p la y b u ild e r s p u r p o se ly
r e p e a t th e m se lv e s to g r ea t s u c c e s s . T h e Herald agreed:
. . . th e m idnight m eeting o f husband., lo v e r , and
s la n d e r e r i n The Wife and th e m idnight m eeting of th e
b r o th e r s i n The C h arity B a l l a re q u ite equaled i n dra
m atic f o r c e and p i c t o r i a l e f f e c t i v e n e s s by t h e m idnight
m eetin g In Men, and Women o f th e bank d i r e c t o r s . . . ,
The p r o c e e d in g s at t h a t g a th e r in g , which were watched
l a s t even in g w ith b r e a t h l e s s i n t e r e s t , would g iv e v i
t a l i t y t o a p la y much l e s s sh rew d ly put t o g e t h e r . ^0
In commenting on th e u se o f t h e s t a i n e d - g l a s s r e l i g i o u s
p a n e l, th e Times b e lie v e d :
T h is i s a ste p n ea rer r e l i g i o u s symbolism than th e :
au th ors had th e courage to go when th e y made The C h a rity
B a l l . I t q u it e e c l i p s e s th e s in g in g of H a n d el' s "He ’
was D esp ised " behind th e s c e n e s i n th e s i m i la r clim ax
o f th a t p l a y . ° l
As a r e f l e c t i o n o f De M i l l e t s a u d ien ce and tim e s ,
I t may be p o in te d out t h a t Men and Women was e x tr em e ly popu
l a r not o n ly w ith th e s o c i e t y a u d ien ce s but a l s o as a t o u r
in g a t t r a c t i o n i n th e U n ited S t a te s r "The p la y had th e
b ig g e s t s t o c k - t h e a t r e s u c c e s s o f t h a t sea so n i n New York
5Q
vThe New York Tim es, l o c . c i t .
^ The New York H erald , October 22, I 89O,
^ T h e New York Times, l o c , c i t .
150.
62
and on t o u r ." S in ce p u b lic a c c e p ta n c e o f t h i s p la y was so
w id e, I t was o f I n t e r e s t to n o te not o n ly some p o i n t s o f De
M l l l e ' s p e r s o n a l p h ilo s o p h y but c e r t a i n a c t io n s o f ch a r a c
t e r s In Men, and Women which th e a u d ien ce s appeared t o em~
brac e .
As has been m entioned e a r l i e r , s u i c i d e was condemned
as an a c t o f a coward which might d e s tr o y th e body but would
not k i l l t h e s o u l. (Act I I I ) With th e c h a r a c te r o f Rodman,
De M ille p r e se n te d a rep en ta n t man who had committed a
crime but who had become a r e s p e c t e d c it iz e n , and was h o p e fu l
th a t h i s punishment by s o c i e t y would end w ith h i s r e l e a s e
from p r is o n . Rodman, p le a d s w ith P r e s c o tt not to a llo w "the
shadow o f a crime to overhand my c h i l d ' s m arried l i f e , "
(Act I ) and l a t e r i n an exchange w ith Stedman, Rodman q u es
t i o n s him as to th e p o s s i b i l i t y o f r efo r m a tio n on th e p art
of a c r im in a lj
RODMAN. You th in k when a man has once been bu ried
i n a p r is o n c e l l , th a t i t i s im p o s s ib le he sh ould ever
r i s e from th a t gra v e o f h i s r e p u t a t io n t o a l i f e in
which men w i l l honor him again?
STEDMAN. Not w ith a p r is o n as i t s b i r t h p l a c e . . .
RODMAN. . . .You would show him no mercy?
STEDMAN. None.'
RODMAN. But i f t o ex p ose him were t o drag o th e r s
down i n h i s f a l l ? Would you v i s i t th e s in o f th e
f a t h e r upon h i s in n o c e n t c h ild ?
STEDMAN. I t i s one o f th e f i r s t laws o f God.
O d e l l , o p . c i t . , p. 5 1 8 .
151 ■
RODMAN. Then why not le a v e i t s enforcem ent to the
wisdom o f God? (Act I I )
.F in a lly , Rodman i s exposed by Stedman at th e bank d i r e c t o r s '
m eetin g , and t h i s p l e a f o r a c c e p ta n c e and no fu r t h e r pun
ishment by s o c i e t y i s exp ressed :
RODMAN. . . . t h e knowledge o f what a p r is o n c e l l
w i l l make o f him— what i t would have made o f me, but
f o r my c h i l d — arms me i n h i s d e f e n s e . Let a man once
wear th e s t r i p e s o f a c o n v ic t , and th e world w i l l p e r
m it no new l i f e f o r him, ex ce p t through th e p o r t a l s o f
th e g r a v e. Gentlemen] A n. e x - c o n v ic t ask s you to l e t
him save a f e l l o w c r e a tu r e from h i s f a t e . (Act I I I )
De M ille appeared t o be urging h i s a u d ien ce to be
have more c h a r it a b ly toward a man who had committed a crim e,
se rv e d h i s s e n te n c e , and was r e p e n ta n t. I t was o f i n t e r e s t 1
t o n o te t h a t De M ille d id not p r e s s h i s au d ien ce to o hard
i n t h i s b e l i e f : th e c r im in a ls in. t h i s c a s e were s o c i e t y
f i g u r e s w ith whom th e a u d ien ce cou ld i d e n t i f y and w ere not
of a more b ase n a tu r e . I t was presumed th a t De M i l l e rs
s o c i e t y au d ien ce would be more apt t o embrace and f o r g i v e a
member o f t h e i r own k in d r a th e r than an i n d iv i d u a l o f l e s s
s o c i a l s ta n d in g than a govern or and a bank c a s h i e r .
I t should be o b served th a t Seabury who was in n o cen t
o f any crim e, was c le a r e d and rewarded w ith a r e s p o n s ib le
p o s i t i o n at th e bank. On th e o th e r hand, P r e s c o tt a f t e r
c o n f e s s in g h i s crim e i s p u nished by s o c i e t y in. not b ein g
a b le to se c u r e a permanent jo b . De M ille made no mention,
o f any c r im in a l a c t i o n a g a in s t P r e s c o t t nor any attem pt to
r e p la c e th e s t o l e n $ 1 0 0 ,0 0 0 worth o f s e c u r i t i e s . A condone-
ment o f a f e l o n y was a dubious e x p e d ie n t, but "in a p la y i t ,
152
i s o f t e n convenient., e s p e c i a l l y when, as i n Men and Women,
j u s t i c e i s se e n to be done, a l l r o u n d . T h e r e f o r e , i t was
assumed th a t Rodman had g iv e n th e bank th e money f o r th e
s e c u r i t i e s i n order to c l e a r h i s fu tu r e s o n - in -la w . I t ap
peared th a t De M ille b e l ie v e d t h r e e months o f r e j e c t i o n i n
se a r c h f o r employment by P r e s c o tt was th e l i m i t h i s a u d i
ence would a cce p t and s t i l l be w i l l i n g to r e t a i n th e c h a r a c
t e r as th e hero o f t h e p la y . The c h a r a c te r had i n d ic a t e d
h i s em o tion al s u f f e r i n g , and t h a t , cou p led w ith h i s p h y s i c a l
d is c o m fo r ts p lu s th e e a r l i e r r e p e n ta n c e , made th e ending o f
th e p la y a c c e p t a b le t o t h e a u d ien ce .
With th e c o m p letio n o f t h i s p la y , th e c o l l a b o r a t i o n !
of De M ille and B e la sc o came t o an end. De M il l e would
w r it e one more p la y b e fo r e h i s e a r ly d e a th , but h i s c o n t r i
b u tio n t o th e l i t e r a t u r e o f th e American t h e a t e r during th e
p e r io d o f l 880— 1890 w ith h i s s i g n i f i c a n t s o c i e t y com edies
was a ssu r e d . These p la y s m irrored an a c c u r a te r e f l e c t i o n
of th e th in k in g o f De M i l l e ' s aud ien ce and th e moral c o n d i
tion. o f h i s tim e.
The Lost P arad ise
The l a s t p la y w r i t t e n by De M il l e was f i r s t p e r -
formed at th e Columbia T h ea tre, C hicago, on. August 17, 1891;
th e f i r s t perform ance in New York C ity was a t P r o c t o r 's
^ W i n t e r , o p . c i t . , .-•p. 3 8 0 .
153
T w en ty -th ird S t r e e t T heatre on November 16, 1891. The p la y ,
alth o u g h a c r i t i c a l s u c c e s s , was not i n th e mold o f De
M i l l e ' s t y p i c a l s o c i e t y com edies but was an. a d a p ta tio n o f a
German p la y by Ludwig Fulda which concerned th e s t r u g g le
between c a p i t a l and la b o r . There was some c o n tr o v e r s y over
De M i l l e ' s c o n t r ib u t io n to t h e f i n i s h e d c r e a t i v e p r o d u c t;
however, De M ille in a l e t t e r i n th e Harvard T heatre C o l l e c
tion. s t a t e d :
. . . I am w i l l i n g to swear th a t o f th e 1 6 ,0 0 0
words th a t my p la y c o n t a in s , not 2 ,0 0 0 are F u ld ais, i f
in d eed th e r e are one thousand. . . . I w i l l n ev er cla im
f o r mine what i s n o t. But I w i l l f i g h t f o r what I am
j u s t l y e n t i t l e d t o , t i l l th e s t a r s f a l l ,
. . . apart from th e lab or theme, t h e p l o t s o f th e
two p la y s are e n t i r e l y d i f f e r e n t . In t h e German, the
su p e r in te n d e n t i s not i n lo v e w ith th e ow ner's daugh
t e r ; he has no lo v e s t o r y at a l l . That, as you know,
i s th e main f e a t u r e o f my p la y , to which th e la b o r
q u e s tio n i s su b o r d in a te . I w i l l ask you to examine
sim p ly th e l a s t a c t s o f th e two p la y s . . , . I am th e
a u th or of The Lost P a ra d ise, and were I t o s t a t e th a t
th e p la y owed more than i t s f i r s t s u g g e s t io n t o th e
German, I sh ou ld be t e l l i n g a l i e> ,an d doing m y se lf a
g r e a t i n j u s t i c e at th e same t im e .° 4
For th e p u rp oses o f t h i s stu d y a c l o s e com parison o f th e
two p la y s in d ic a t e d th a t th e m a jo r ity o f Act I I o f De
M i l l e ' s p la y was based p r im a r ily on th e work by Fulda w h ile
t h e f i r s t and t h ir d a c t s c o n ta in e d s u b s t a n t i a l l y o r i g i n a l
amounts o f m a t e r ia l w r i t t e n by De M il l e . A lso , De M ille
had A m ericanized th e e n t i r e work to such a degree t h a t i t
6A
Henry C. De M i l l e , l e t t e r , Harvard T heatre C o l l e c
t i o n , Widener L ib rary, Cambridge, M a s s a c h u s e tts ._ ___
154
might be argued in fa v o r o f h i s c r e a t in g an e n t i r e l y new
p la y .
In t h i s same v e in o f jud ging De M i l l e ’s c o n t r ib u
t i o n in h i s c o ll a b o r a t io n w ith B e la s c o , Quinn commented on
th e com parison o f The Lost P a ra d ise w ith Men and Women:
"A com parison o f th e two p la y s I n d i c a t e s th e la r g e share
which De M ille must have had i n th e v e r b a l e x p r e s s io n of
65
th e p la y s in which he c o lla b o r a t e d w ith B e la s c o ." As
has been m entioned e a r l i e r in t h i s stu d y , Quinn jo in e d a
la r g e rank o f c r i t i c s who b e lie v e d th a t De M ille should b e '
g iv e n more c r e d i t f o r th e s u c c e s s o f t h e s o c i e t y com edies
w r i t t e n in c o l l a b o r a t i o n w ith B e la s c o . i
The s t o r y o f The L ost P arad ise con cern s Andrew
Knowlton., an e a s y - g o in g man who’,has been very s u c c e s s f u l
i n th e m anufacturing b u s in e s s . He c o n t r o l s a v a s t f a c t o r y
i n t h e neighborhood o f B oston , where hundreds o f workers
are employed a t sm a ll wages on work t h a t k i l l s . He le a v e s '
t h e management o f h i s b u s in e s s i n t h e hands of Reuben War
n e r , a good e n g in e e r , a c o n s c i e n t io u s , f a r - s e e i n g man w i t h i
a c o n s t i t u t i o n l i k e w e ll-te m p e r e d s t e e l but w ith a h e a r t
o f g o ld . Knowton’s whole l i f e i s wrapped up in h i s daugh
t e r , a woman o f tw e n ty -fo u r y e a r s , bred in lu x u ry , tau gh t
to d e s p is e th e meanness o f p o v e r ty , to regard her f a t h e r ' s
workmen as mere c a t t l e . To make h i s daughter happy and
^ Q u i n n , o p . c i t ., p. 1 7 4 .
o b ta in f o r her a husband he th in k s s u i t a b l e , he endangers
h i s f i n a n c i a l c r e d i t . To secu re w e a lth fo r h e r , he r e f u s e s
th e j u s t demands of h i s em ployees f o r h ig h e r w ages. Ralph
S ta n d ish , a young gentlem an o f b i r t h and b reed in g who i s t o
marry Margaret Knowlton, i s made a p a r tn e r in K now lton's
b u s in e s s . He endeavors to conduct i t i n h i s own way: he
w i l l be known as m aster at th e f a c t o r y . The r e s u l t i s th a t
he i s v i o l e n t l y a s s a u l t e d by one o f th e workmen and would
have been in ju r e d i f S u p erin ten d en t Warner did not i n t e r
f e r e . Then th e d e a fe n in g n o i s e of t h e triphammers s t o p s ,
th e m ighty w heel o f th e g reat en g in e c e a s e s t o r e v o lv e , th e
f i r e s i n th e fu r n a c e s d ie ou t, and th e working men and wo
men go out i n th e s t r e e t s on s t r i k e . Warner su p p orts t h e i r
cause and j o i n s them. Margaret Knowlton i s p la c e d in a po
s i t i o n t o se e a l l t h i s and t o understand i t . E a r l i e r at a
birthday* c e l e b r a t i o n f o r M argaret, a minor outbreak fo r
h ig h e r wages was r e p o r te d , but she was o b l i v i o u s t o th e
r e a s o n s . Warner had d e c la r e d h i s lo v e fo r h er at th e
p a r t y ; i n r e j e c t i n g him, Margaret had d e l iv e r e d a c u t t i n g
rebuke f o r h i s presum ption. Meanwhile, Warner has d i s
covered an o ld d ia r y which p ro ves th a t a c e r t a i n in v e n t io n
which i s e n r ic h in g Knowlton b e lo n g s t o him (Warner). He
h id e s t h i s f a c t to save th e f a t h e r o f th e g i r l he lo v e s
and i s d is c o v e r e d d e s tr o y in g th e book. When he i s accu sed
o f t h e f t , he rem ains s i l e n t . Margaret b e g in s to understand
th e s u f f e r i n g s of th e s t r i k i n g workmen and t h e i r f a m i l i e s
by g o in g among them and h e lp in g them. She a ls o r e a l i z e s
th e n o b i l i t y o f Warner who does a l l he can to p reven t any
s e r io u s damage t o th e f a c t o r y during th e s t r i k e by the
w orkers. When Margaret grows to lo v e Warner, she breaks
o f f her engagement t o S ta n d ish , and ask s Warner t o c le a r
h im s e lf o f th e charge o f t h e f t , but he s t i l l r e f u s e s s in c e
th e t r u t h would r u in her f a t h e r . A g i r l m ill-h a n d f i n a l l y
t e l l s th e t r u th about th e m atter, and th e p la y ends h a p p ily
w ith Margaret making amends to h er form erly d isc a r d e d lo v e r
by c o n f e s s in g her lo v e t o him. The workers are gran ted
t h e i r f i f t e e n p e r ce n t s a la r y i n c r e a s e from $3 & week to
$ 4 .5 0 a week w ith a maximum o f e ig h t hours a day work l o a d . '
Two s e t s o f secon dary lo v e r s are u n ite d at th e c o n c lu s io n :
Bob A ppleton and P o l l y F le t c h e r ; B i l l y Hopkins and C in d ers.
In a d d it io n , Mr. F le t c h e r lo o k s forward t o an end o f h i s
tw e lv e y e a r engagement to th e l i b r a r i a n , C o r d e lia , by an
nouncing his.'imarriage t o her w i l l occu r in two y e a r s .
The Lost P a ra d ise was a c r i t i c a l and f i n a n c i a l su c
c e s s f o r De M il l e . Although i n s t r u c t u r e and c o n stru ctio n ,
i t resem bled h i s e a r l i e r com edies— a hero and h e r o in e in
se a r c h o f tr u e lo v e w ith comedy sc e n e s p rovid ed by two s e t s
o f secondary lo v e r s , a younger c o u p le and a m idd le-aged
p a i r — th e c h a r a c t e r s , th e s e t t i n g s , and th e theme of th e
p la y p la c e d i t in th e c a te g o r y of s o c i a l drama more than
th e p r e v io u s s o c i e t y comedies which were De M i l l e ' s cla im
t o fame. C le a r ly over o n e - h a lf th e c h a r a c te r s i n The Lost
157
P a ra d ise were not of th e h ig h s o c i a l sta n d in g o f De M i l l e ' s
e a r l i e r p la y s ; nor were th e s e t t i n g s o f h i s t y p i c a l u p p er-
c l a s s c h a r a c te r s s i m i l a r to any scen e in. t h i s l a s t . p la y .
The Sun m entioned: "Mr. De M ille has lo c a t e d th e a c t i o n in
New England and th e r e b y d ep riv ed h im s e lf o f th e u s u a l m ate-
66
r i a l y i e l d e d by a r b it r a r y c o n d it io n s o f a r i s t o c r a c y . " A l
though De M ille su cceed ed i n drawing c o n s i s t e n t and be
l i e v a b l e c h a r a c t e r s , h i s h ero, a l l o f th e workmen, t h e lame
m ill-h a n d , B i l l y and C in d ers, Schwarz, B e n s e l, K ate, and
H yatt were adm irable c i t i z e n s but were c e r t a i n l y not on th e
same l e v e l o f h i s t y p i c a l h ig h s o c i e t y c h a r a c t e r s . I t
should be n oted th a t Margaret p o s s e s s e d a l l th e h ig h q u a l i t y
b reed in g o f De M i l l e ' s e a r l i e r h e r o in e s , but Warner as the
n o b le f a c t o r y su p e r in te n d e n t was not in th e same c l a s s as
th e h e r o e s from Men and Women., The C h a rity B a l l , The W ife,
and Lord Chumley.
The c r i t i c s appeared s k e p t i c a l as t o th e a p p ro p ri
a te n e s s o f th e theme o f la b o r v e rsu s management as th e sub
j e c t o f a p la y . The comments ranged from condem nation to
la u d a b le p r a i s e . The Tribune frowned:
The author d e l iv e r e d a c u r ta in sp eech commendatory
o f an a l l e g e d h a b it o f t h in k in g on t h e p art o f th e
American a u d ie n c e . T his was kind and com plim entary;
b u t, as a f a c t , th e American au d ien ce seldom ta k e s
th e t h e a t r e s e r i o u s l y , and i t lo v e s b e t t e r t o be amused ■
than i n s t r u c t e d . N e ith e r Adam Smith w ith h i s Wealth of
^ T h e New Y o rk S u n , N ovem ber 1 7 , 1 8 9 1 .
158
N a tio n s nor Moses w ith h i s Ten Commandments co u ld draw
a f u l l h o u se I n New York a t p r e s e n t - a f t e r t h e f i r s t
n i g h t . ° 7
However,, t h e H erald glow ed:
The s t o r y s t r i k e s deep i n t o human l i f e and th e i n
te r d e p e n d e n t r e l a t i o n s o f man. I t d e f i n e s th e fu n d a
m entals., th e c o n f l i c t o f s t r e n g t h a g a in s t w e a k n ess, bad
a g a in s t g ood . P e o p le a r e b e t t e r and k in d e r f o r s e e in g
i t , and though i t p r e s e n t s o n ly one s i d e o f a g ra v e
q u e s t io n , i t can be t o them a so u r c e o f s o b e r in g r e f l e c
t i o n s . 88
R egard ing De M i l l e ' s a b i l i t y to c a p tu r e h i s a u d ie n c e and r e
f l e c t t h e p e r io d , th e Times s t a t e d :
De M ille h a s worked i n a manner a l l h i s own, or
c h a r a c t e r i s t i c o f t h e s c h o o l o f piaym aking t o w hich
he b e lo n g s , w hich w h a tev er i t s perm anent v a lu e 'm a y be,
i s c e r t a i n l y o f t h i s tim e and p l a c e , and i s l i k e l y t o
p l e a s e h i s a u d ie n c e s . . . . In d eed , Mr. De M il l e h as
n e v e r b e fo r e done any work so u n ifo r m ly good a s h i s
work i n t h i s p l a y . 89
A lthou gh i t was n ot t h e p u rp o se o f t h i s stu d y , t h e r e was
some s u g g e s t io n t h a t had De M ille l i v e d lo n g e r and c o n tin u e d
t o w r it e p la y s i n th e same g en re as th e s o c i a l drama o f The
L o st P a r a d is e , he may have b een th e b r id g e from t h e s o c i e t y
com ed ies o f th e p e r io d t o t h e r e a l i s t i c p la y s w hich were
to f o l l o w . O d e ll i n d ic a t e d t h a t The L ost P a r a d is e was "a
p la y o f s u f f i c i e n t d ram a tic f o r c e t o be c l a s s e d w ith th e
dramas o f t h e ’8 0 ' s , but s u f f i c i e n t l y s o c i o l o g i c a l t o show
^ The New York T r ib u n e , November 1 9 , 1 8 9 1 .
f\Pi
The C hicago R ecord H er a ld , Septem ber J , 1905.
^ T h e New York T im es, November 1 7 , 1 8 9 1 .
159
th e i n f l u e n c e , i n Germany, o f th e new Hauptmann-Sudermann
s c h o o l .
H owever, t h i s s tu d y i n d i c a t e d t h a t from h i s e a r l i e s t
p l a y s , no m a tte r what th e them e, De M ille was con cern ed
w ith th e p u r s u it o f a t r u e and l a s t i n g lo v e by th e h ero
and h e r o in e . The L ost P a r a d is e proved no e x c e p t io n t o t h i s
sta tem en t.. In s p i t e o f t h e d i f f e r e n c e i n t h e i r s o c i a l
s t a n d in g , M argaret and Warner are h a p p ily u n it e d a t th e
c o n c lu s io n o f t h e p l a y . M oreover, t h e c h a r a c te r o f Marga
r e t was a s c o n v in c in g and c o n s i s t e n t as any o f t h e h e r o in e s '
from De M i l l e ' s s o c i e t y c o m e d ie s. S e v e r a l c r i t i c s s u g g e s t e d
t h a t De M ille had c l e v e r l y su b o r d in a te d th e s t o r y o f t h e
c o n f l i c t b etw een c a p i t a l and la b o r t o t h a t o f "the awaken-
71
in g o f a woman's s o u l ." ' F u rth erm ore, i t was in d ic a t e d
t h a t th e a v e ra g e t h e a t e r g o e r was more i n t e r e s t e d ". . . and
r i g h t l y s o , i n t h e lo v e s t o r y o f M argaret th a n i n t h e g r e a t
72
c o n f l i c t in w hich she i s m o r a lly a f a c t o r ." ' As h a s b een
p o in t e d out e a r l i e r i n t h i s s tu d y , De M il l e s t a t e d t h a t
t h e lo v e s t o r y was t h e main f e a t u r e o f h i s p la y and t h a t
t h e la b o r q u e s t io n was s u b o r d in a te .
De M il l e was a b le i n a n a t u r a l way t o show t h e d e
v elop m en t o f M a r g a r e t's c h a r a c t e r . From th e b e g in n in g o f
7 ^ O d e l l , A n n a ls o f t h e New Y o rk S t a g e , v o l . XV, p . 2 1 .
7 ~ 4?he New Y o rk D r a m a tic M i r r o r , N ovem ber 2 1 , 1 8 9 1 ,
p . 2.
7 2 I b i d .
160
t h e p la y t o t h e end., "we a r e n o t a llo w e d t o f o r g e t f o r one
I n s t a n t t h a t we a r e w a tc h in g th e e x p a n sio n o f a woman's
s o u lj th e f a c t i s n e v e r o b tr u s iv e ., but i t i s c o n s t a n t l y
p r e s e n t . . . ."^3 jprom t h e moment M argaret f i r s t a p p ears
a t h e r b ir th d a y c e l e b r a t i o n a s a young g i r l , t h o u g h t l e s s
and f r e e from c a r e , la u g h in g from a s e n s e o f jo y o u s y o u th ,
u n t i l l a t e r as a woman, sh e p le a d s f o r th e f o r g i v e n e s s o f
t h e man sh e l o v e s , De M il l e p r e s e n te d a b e l i e v a b l e , con
s t a n t l y ch a n g in g and d e v e lo p in g p i c t u r e o f a m atu rin g wo
man.
A lthou gh The L o st P a r a d is e would n ot q u a l i f y as one
o f h i s t y p i c a l s o c i e t y c o m e d ie s, De M ille was a b le t o
c r e a t e a h e r o in e who m ight have o c c u p ie d a p l a c e i n h i s
e a r l i e r p l a y s . B efore M argaret K n o w lto n 's f i r s t a p p ea ra n ce,
De M il l e was c a r e f u l t o s e t h e r i n th e p ro p er atm osp h ere:
Act I a c t i o n t a k e s p la c e i n t h e lu x u r io u s home o f Andrew
K now lton who a t t h e b e g in n in g o f th e p la y had j u s t p u r
ch a sed a diamond n e c k la c e f o r M argaret w h ich c o s t $ 7830.
M argaret, a t y p i c a l s o c i e t y h e r o in e f o r De M i l l e , i s d e
s c r ib e d a s f u n - l o v i n g , m is c h ie v o u s , charm ing, a t t r a c t i v e ,
and pam pered. S in c e sh e a l s o comes from a f a m ily o f h ig h
s o c i a l s ta n d in g and w e a lth , M argaret c o u ld e a s i l y be t r a n s
p la n te d from one o f De M i l l e ' s e a r l i e r s o c i e t y c o m e d ie s.
M a r g a r e t's c h a r a c t e r ' i s b e s t i n d ic a t e d when h e r f a t h e r a sk s
7 3 I b i d .
h e r what h e r p la n s are c o n c e r n in g m a rria g e:
MARGARET. I know I must m arry. But I d o n 't worry
my head about i t . Y ou 've alw a ys p ro cu red th e b e s t f o r
me. And I know y o u ' l l g e t me a good husband.
KNOWLTON. My l i t t l e g i r l must s h in e In t h e w o rld .
MARGARET. Your a m b itio n i s n ' t h a l f what m ine i s .
KNOWLTON. The tim e may be c l o s e r th a n you t h in k .
MARGARET. When th e man f o r whom I am in te n d e d p r e
s e n t s h i m s e l f , I s h a l l f u l f i l l a l l t h a t you e x p e c t o f
me, d e a r s . (A ct I )
I n th e above ex ch a n g e, Be M ille c l e a r l y shows M a r g a r e t's
e a s y - g o in g , somewhat f l i p a t t i t u d e w hich i n d i c a t e s sh e h a s
b een in d u lg e d by h e r p a r e n t s ' p o s i t i o n and w e a lth .
L a te r , in a d i s c u s s i o n w ith h e r young f r i e n d P o ll y ,
M argaret comments on m arria ge among t h e h ig h e r s o c i a l
c i r c l e s . I t was o f i n t e r e s t t o n o te t h a t a t t h e p l a y ' s
c o n c lu s io n De M ille r e v e r s e s M a r g a r e t's i n i t i a l fir m sta n d
on m arriage by i n t e r j e c t i n g t h e elem en t o f t r u e l o v e . No
m a tte r what t h e theme o f any o f h i s p l a y s , De M ille alw ays
in c lu d e d t h e p u r s u it o f t r u e lo v e as t h e u lt im a t e o b j e c t i v e
and t h e g o a l w h ich was a lw a y s rea c h e d by th e h e r o and h e r o
in e by t h e f i n a l c u r t a i n . De M ille a l s o r e v e a le d h i s na
t i o n a l i s t i c te n d e n c y i n P o l l y ' s r e f e r e n c e t o t h e American
R e v o lu tio n a r y War:
MARGARET. In a c i t y l i k e t h i s , P o l l y , m arriage
i s l a r g e l y a m a tte r o f s o c i a l c o n d i t i o n .
POLLY. What d id we come o v e r t o t h i s c o u n tr y f o r ,
and what d id we chuck t h a t t e a o v erb o a rd f o r , i f we
c a n ' t do what we l i k e and marry w h oever we p le a s e ?
162 !
MARGARET. Admit among th e number o f my s u i t o r s —
a workman In my f a t h e r ' s fa c t o r y ?
POLLY. Why, Mr. Warner c o u ld ta k e any fo u r o f
t h e s e c i t y s n ip e s t h a t a r e f l y i n g around you, and
c ru sh 'em i n one hand, J u st s o .
MARGARET. Y es— he h a s m u sc le .
POLLY. And such p r e t t y e y e s . I ’ve s e e n you w a tc h
in g them — , y e s , I h a v e , — y e s , I h a v e!
MARGARET. He i n t e r e s t s me— as a s tu d y . But t h e r e
a r e tim e s when I d o n ’t l i k e him . (A n g r ily ) When th e
m an's b e h a v io u r seem s t o c a r r y w ith i t a reb u k e, a s
th ou gh I — Pshaw! Why sh o u ld I t r o u b le my head about
him o r h i s o p in io n s ? (A ct I )
By th e end o f Act I , De M i l l e h a s f ir m ly e s t a b l i s h e d
M a r g a r e t's c h a r a c t e r . As an. exam ple o f a t y p i c a l s o c i e t y
g i r l o f h i s tim e De M ille was a b le t o u se h e r t o i l l u s t r a t e ’
how sh e was a f f e c t e d and changed when c o n fr o n te d w it h th e
c o n d it io n s o f n ea r p o v e r ty c a u se d by inhumane w orking s i t u
a t i o n s . De M il l e seem ed t o be sp e a k in g d i r e c t l y t o h i s au
d ie n c e th ro u g h M argaret when a f t e r h e r v i s i t t o t h e f a c t o r y 1
i n Act I I , she r e l a t e s :
MARGARET. I d i d n ' t know u n t i l to d a y ( lo o k in g t o
wards door a lm o st w ith a sh ud der) t h a t t h e r e w ere p e o
p le who c o u ld l i v e on t h r e e d o l l a r s a week.
STANDISH. Nor i s i t n e c e s s a r y t h a t you sh o u ld know.
W e w i l l a tte n d t o a l l t h a t .
MARGARET. I s my o n ly o c c u p a tio n to be t h e s e e v e r
l a s t i n g p a r t i e s and c a l l s and commonplace c o n v e r s a t io n s ?
H a v en 't I undergone th e same t o r t u r e f o r y e a r s , w in te r
a f t e r w in te r ? When we became engaged I th o u g h t, thank
g o o d n e ss! l i f e a t l a s t w i l l have a m eaning! (A ct I I )
With t h i s m o t iv a tio n , De M ille h a s p rep ared th e a u d ie n c e
f o r M a r g a r e t's d e te r m in a tio n , t o a id th e w o r k e rs. In Act I I I
163 ;
sh e becom es th e woman o f a c t i o n who s e t t l e s th e s t r i k e ;
S ta n d is h ad m on ish es h e r :
STANDISH. I t o l d you t h i s was no work f o r a woman.
MARGARET. Then woman must make I t h e r work., f o r
man, i n h i s g r e e d , f o r g e t s t h a t h e I s h i s b r o t h e r 's
k e e p e r . My f a t h e r ' s w i l l i n g n e s s t o s a c r i f i c e t h e s e
workmen, I s n ' t i t b e c a u se o f my m arriage? You made
c e r t a i n r e q u e s t s . He made p r o m is e s — (A ct I I I )
De M il l e had c r e a te d one o f h i s s t r o n g e s t h e r o in e s
i n M argaret K now lton; a woman who was th e fe m a le cham pion
o f th e w orkers and was e v e n t u a l ly as s tr o n g i n h e r b e l i e f s
a s th e h e r o . De M ille may have b een i n d i c a t i n g t o h i s s o - 1
c i e t y a u d ie n c e t h a t a s t h e tim e s w ere ch a n g in g so was t h e
r o l e o f t h e woman.
A lthou gh h i s h e r o , Warner, was n o t o f t h e same s o
c i a l s ta n d in g as th e le a d in g men i n h i s s o c i e t y co m e d ie s,
De M ille em bodied h i s young s u p e r in te n d e n t w ith a l l th e
s t r e n g t h s and v i r t u e s o f h i s t y p i c a l h e r o e s : h o n e s ty , s e l f -
s a c r i f i c e , i n t e l l i g e n c e , d e t e r m in a tio n , d e v o t io n , h ig h
m oral p r i n c i p l e s and b e l i e f s , d e d i c a t io n , q u ic k - w it , and
l o y a l t y . However, more th a n any o f h i s o t h e r h e r o e s in.
any o f h i s p l a y s , De M ille u sed Reuben Warner as a s p o k e s
man f o r h i s own p e r s o n a l b e l i e f s . Warner w ould n o t q u a l i f y
a s a t y p i c a l s o c i e t y h e r o from one o f De M i l l e ' s p la y s b e -
i
c a u se o f h i s s o c i a l s ta n d in g , h i s background o f p o v e r ty ,
h i s e d u c a t io n , and h i s o c c u p a tio n . But none o f t h e s e e l e
ments' w ould i n t e r f e r e w ith De M i l l e ' s a b i l i t y t o d e v e lo p
Warner i n t o one o f h i s s t r o n g e s t h e r o e s .
164 1
Warner u sed th e h e r o in e M argaret a s a sou nd ing
board f o r h i s argument i n t h e same manner a s De M ille u sed
th e a u d ie n c e t o a b sorb h i s own. i d e a s . Warner p r e s e n t s
M argaret w ith a book o f poems by E liz a b e t h B a r r e t t Brow ning:
WARNER. I ' v e marked' some p a s s a g e s t h a t I hope you
w i l l rea d more th a n o n ce.
MARGARET.. Mrs. Browning i s one o f my f a v o r i t e s .
But I d o n 't s e e t h e a p p l i c a t i o n o f t h i s poem t o my
b ir th d a y , (r e a d in g ) "The Cry o f th e C h i l d r e n ,"
WARNER, The c h ild r e n o f t o l l — t h e c r y t h a t I s
r i s i n g more and more p i t e o u s l y day by day from e v e r y
workshop I n t h e la n d . I t I s t h a t cry., from our p e o p le
a t th e ir o n w ork s, t h a t h a s brough t me i n t o th e m id st
o f you r f e s t i v i t i e s to -d a y * (A ct I )
De M ille s u g g e s t e d t o h i s s o c i e t y a u d ie n c e t h a t t h e w orking
c o n d i t i o n s o f t h e w orking c l a s s c o u ld no lo n g e r be ig n o r e d .
L a ter i n Act I I , De M ille th ro u g h Warner warns h i s s o c i e t y
audi enc e :
WARNER. T hree days have p a s s e d s i n c e th e n . And
I ' v e had tim e t o t h in k . (As th ou gh sp e a k in g t o Marga
r e t ) Time t o r e a l i z e t h a t you a r e l i k e t h e r e s t . And
I mean t o make you ack n ow led ge t h a t a l l you have comes
from t h o s e you d e s p i s e — workmen, workmen. (A ct I I )
I t may be s t r e s s e d t h a t i n a d d i t io n to t h e lo v e i n t e r e s t ,
De M ille s c o r e d s t r o n g e s t i n h i s c r e a t i o n o f sym pathy f o r ;
th e c a u s e o f t h e w orking c l a s s . A lthough Warner was n ot
o f th e same c l a s s a s De M i l l e ' s s o c i e t y a u d ie n c e , th e young
su p e r in te n d e n t e x h i b i t e d a l l t h o s e a d m ira b le q u a l i t i e s w hich
an y human b e in g sh o u ld p o s s e s s no m a tte r what h i s s o c i a l
s ta n d in g : h o n e s t y , l o y a l t y , d e d i c a t io n , and s e l f - s a c r i f i c e ,
De M i l l e ' s u s e o f la n g u a g e, e s p e c i a l l y t h e b r ig h t
humorous b a n te r w hich was t y p i c a l o f h i s s o c i e t y co m ed ies
165 !
had no p la c e In a s e r i o u s s o c i a l drama su ch as The L ost
P a r a d is e .. E xcep t f o r a minimum o f l i g h t exch ange d u rin g
th e e x p o s i t i o n i n Act I , De M i l l e ' s la n g u a g e was s e r i o u s
and p r o fo u n d . The se c o n d a r y c h a r a c t e r s who g e n e r a l l y p r o
v id e d th e com ic r e l i e f In h i s s o c i e t y com ed ies were r e l e
g a te d t o th e background.
With t h e c o m p le tio n o f fo u r s u c c e s s f u l s o c i e t y
com edies., De M ille was show ing s i g n s o f moving i n a n o th er
d i r e c t i o n i n t h e f i e l d o f s o c i a l drama w ith The L ost P ara
d i s e . I n a d d i t io n t o h i s c o n t r i b u t i o n i n th e f i e l d o f s o
c i e t y comedy, h i s e a r l y d e a th brought s p e c u l a t i o n a s to
what m ight h ave b een h i s f i n a l c o n t r i b u t i o n t o Am erican
t h e a t e r h i s t o r y had h e w r i t t e n more p l a y s . For th e p u r
p o s e s o f t h i s stu d y i t was s i g n i f i c a n t t h a t De M i l l e ' s p o
s i t i o n be se c u r e d a s t h e c r e a t o r o f s o c i e t y com ed ies w hich
r e f l e c t e d th e p e r io d and a u d ie n c e f o r w h ich he w r o te . H is
u n iq u e c o n t r i b u t i o n o f d e v e lo p in g h o n e s t, s e l f - s a c r i f i c i n g ,
l o y a l c h a r a c t e r s w ith h ig h m oral b e l i e f s who fu n c t io n e d
a g a in s t a background o f u p p e r - c l a s s s o c i e t y and w ere an
a c c u r a t e r e f l e c t i o n o f them was th e u lt im a t e e x p r e s s io n o f
Henry C. De M i l l e ' s a r t .
CHAPTER V
SUMMARY AND CONCLUSIONS
Henry C h u r c h ill De M ille ., a u th o r, a d a p te r , and co
a u th o r o f s e v e n p la y s p rod u ced i n t h e com m ercial New York
C it y p la y h o u s e s b etw een th e y e a r s 1883 and 1891.9 earn ed a
r e p u t a t io n in t h e Am erican t h e a t e r as a. w r it e r o f s o c i e t y
c o m e d ie s. The m a j o r it y o f t h e p la y s f e a t u r e d p r i v i l e g e d
young p e o p le who s u r v iv e d numerous c o m p lic a t io n s i n th e
p u r s u it o f a t r u e and l a s t i n g lo v e ; t h o s e p l a y s , w r i t t e n in
c o l l a b o r a t i o n w ith D avid B e la s c o were The W ife ( l8 8 7 ) j
Lord Chumley ( 1 8 8 8 ) , The C h a r ity B a l l (l889)j» and Men and
Women ( 1 8 9 0 ) . T hree o th e r p la y s were v a r i a t i o n s o f th e
p a t t e r n : John D e lm e r 's D a u g h ters; o r , D uty ( 1 8 8 3 ) was a
d o m e stic drama w hich was a f a i l u r e p r im a r ily b e c a u se o f i n
c o n s i s t e n t c h a r a c t e r i z a t i o n s ; The Main L in e; o r , R aw son's Y
( l8 8 6 ) w r i t t e n w ith C h a rle s B arnard, was a s u c c e s s f u l , t y p -
i
i c a l melodrama o f t h e p e r io d w h ich u t i l i z e d p e r s o n s o f a
lo w e r incom e group; and The L ost P a r a d is e ( 1 8 9 1 ) an a d a p t a - '
t i o n from t h e German o f Ludwig 1s F u ld a 1 s Das v e r lo r e n e P a r a -
d i e s , was a s u c c e s s f u l s o c i a l drama w h ich e x p lo r e d th e
prob lem s o f management and la b o r .
The m ajor p o r t io n o f De M i l l e ' s work, h ow ever, may
166
be p la c e d i n a s i n g l e group fo r exam in ation ., and t h a t e x
a m in a tio n r e v e a le d n o t o n ly an e x c e p t i o n a l f a c i l i t y f o r
c r e a t in g s o c i e t y com ed ies bu t a l s o a c o n s i s t e n t tr e a tm e n t
o f c h a r a c t e r i z a t i o n w hich formed a u n iq u e r e f l e c t i o n o f t h e :
a u d ie n c e and t im e s . A g e -o ld comedy s t r u c t u r e was e v id e n t
( l ) i n t h e s t r u g g l e by w hich t h e r ig h t man and th e r ig h t
woman o b t a in each o th e r i n s p i t e o f o p p o s it io n and c o m p li
c a tio n ., (2 ) i n t h e c o n f l i c t b etw een an h o n e s t and v ir t u o u s
s o c i e t y and one t h a t i s s e l f i s h and corrup t., and ( 3 ) i n th e
r e s o l u t i o n o f th e happy en d in g w h ich was im posed r a th e r
th an o b l i g a t o r y , p rom ised a happy l i f e f o r t h e p r i n c i p a l
c h a r a c te r s^ and c a u se d no one t o s u f f e r p a i n f u l d e f e a t .
Contem porary them es were e v id e n t i n th e term s i n w hich th e
c o n f l i c t was s t a t e d : p o l i t i c s , s p e c u l a t i o n , p o v e r ty , bank
in g , p r i s o n , c a p i t a l , la b o r , and th e making o f money.
S econdary em p h asis was g iv e n t o new a t t i t u d e s about m ar- .
r i a g e .
I n a g e n e r a l l y c o n v e n t io n a l comedy s t r u c t u r e , De
M ille showed th e p u r s u it o f t r u e lo v e c o m p lic a te d by an
in n o c e n t d e c e p tio n or n o b le s e l f - s a c r i f i c e . H o n esty and
l o y a l t y w ere r e q u ir e d by th e le a d in g c h a r a c t e r s . The d i f
f i c u l t y i n each p la y was r e s o lv e d by a d i s c l o s u r e t h a t c o s t
no c h a r a c t e r a n y th in g t h a t he t r u l y w an ted , and t h e happy
en d in g was marked by some new b e g in n in g f o r th e h ero and
h e r o in e — a. w ed d in g, an engagem ent, a new -found u n io n , th e
r e a l i z a t i o n o f l o v e — alw a ys w ith th e p rom ise o f h a p p in e s s
168 •
and f u l f i l l m e n t * and alw ays i n term s o f th e g r e a t e s t good .
The c h a r a c t e r s who a c t out th e them es were l a r g e l y
from e s t a b l i s h e d u p p e r - c la s s New York s o c i e t y . They d id
n o t h ave t o s t r u g g l e t o make a p la c e f o r t h e m s e lv e s * and
t h e i r f i n a n c i a l a d v a n ta g e had g iv e n them a s o p h i s t i c a t i o n
f a r beyond t h a t o f t h e m a j o r it y . They were w e l l s c h o o le d
i n t h e decorum o f a s o c i e t y o p e r a tin g a c c o r d in g t o a d e f i
n i t e p r o t o c o l . De M i l l e ' s b e s t c h a r a c t e r s w ere t h o s e who
w ere p o s s e s s e d w ith th e v i r t u e s o f s e l f - s a c r i f i c e * h o n esty *
devotion:*-, l o y a lt y * p lu s a c o n s c ie n c e w hich a llo w e d f o r
o n ly th e h i g h e s t m oral p r i n c i p l e s and b e l i e f s .
A t t e n t io n was m ost o f t e n fo c u s e d on a young man
who h a s j u s t found or i s f in d in g t h e r ig h t young woman f o r
him . Each young, man was s le n d e r and handsome* i n t e l l i g e n t
and s o c i a l l y p o ised * and g e n e r a l l y had t o c o n c e a l a m a tte r ■
o f t r u t h by assum ing th e blame h im s e lf i n o r d e r t o p r o t e c t
t h e young woman he lo v e s or th e woman's f a m ily . The same
p h y s i c a l d e s c r i p t i o n was t r u e o f t h e young woman: each was
tr im and a t t r a c t i v e ; i n t e l l i g e n t * accom p lish ed * and s e l f -
c o n f i d e n t . T h ese c h a r a c t e r s w ere accu stom ed t o w e a lth and ;
moved i n th e a p p r o p r ia te c i r c l e s w hich b e f i t t h e i r s t a t i o n
i n l i f e .
True t o comedy* th e c h a r a c t e r s g e n e r a l l y w ere p o s
s e s s e d o f one dom inant t r a i t w h ich was made t o s e r v e a s p e
c i f i c purpose* t o d e m o n stra te a p a r t i c u l a r p o in t* o r t o
r e v e a l a c e r t a i n c h a r a c t e r i s t i c . Secondary c h a r a c t e r s much
169
more d e f i n i t e l y s e r v e d a p u r p o se , b u t.^ a ll c h a r a c t e r s seemed
to come to l i f e b e c a u se o f a m ajor v i r t u e w hich was s u r
rounded w ith charm and g r a c e .
C h a r a c t e r iz a t io n was a c co m p lish ed p r im a r ily by d i
r e c t a c t i o n and sp e e c h o f each c h a r a c t e r a id e d g r e a t l y by
th e s e t t i n g i n w hich he was p la c e d . Much l e s s r e l i a n c e was
p la c e d on what o th e r c h a r a c t e r s s a i d , <_or, e x c e p t f o r th e
l a t e r p l a y s , on t e x t u a l d e s c r i p t i o n s .
The la n g u a g e spoken by t h e c h a r a c t e r s rem ain s one
o f t h e c h i e f a p p e a ls o f De M i l l e ' s p la y s and has'.-been c o n - -
s id e r e d humorous and b r i g h t , but on o c c a s io n to o q u a in t or
p r e c io u s .. The d ia lo g u e t a k e s t h e tu r n s d i c t a t e d by v e r b a l
p la y w h eth er t h o s e tu r n s advanced th e p l o t or n o t . The
la n g u a g e was made d i s t i n c t i v e by a c o m b in a tio n o f s e v e r a l <
r e c u r r in g m ethods or t e c h n iq u e s : t h e r e w ere i s o l a t e d c l e v
e r l i n e s , o f t e n an. a l t e r e d c l i c h e or a p arod y o f what m ight
be s a id in. t h e s i t u a t i o n ; t h e r e were in t e r c o n n e c t e d c l e v e r
l i n e s t h a t f r e q u e n t l y b u i l t i n t o lo n g e r p a s s a g e s o f b a n te r ;
t h e r e was a p e r s o n a liz e d id io m a t ic u sa g e t h a t in c lu d e d e l
l i p t i c a l c o n s t r u c t i o n s , rem ote r e f e r e n c e s , g r a m a tic a l d e v i-'
a t i o n , and u n u su a l p h r a s in g . I t sh o u ld be n o te d t h a t n e v e r
f o r any r e a s o n d id De M ille have any o f h i s c h a r a c t e r s
speak a n y th in g w hich m ight have been c o n s id e r e d v u lg a r t o
h i s a u d ie n c e .
The them es and c o n s t r u c t io n s , t h e c h a r a c t e r s and
t h e i r la n g u a g e g a in e d De M i l l e h i s g r e a t e s t p r o f e s s i o n a l
s u c c e s s in. p la y s t h a t may be term ed s o c i e t y c o m e d ie s. The
p la y s d e l i g h t e d and amused a s th e y h e ld up a m irro r b e fo r e
s o c i e t y — a m irro r t h a t r e f l e c t e d i n a l l good t a s t e some o f
t h e p o s in g o f th e tim e.. That t h e p la y r e f l e c t e d and d id
not exam ine t h e them es i n d ep th brough t some c r i t i c i s m
from t h o s e who d e s ir e d c o m p e llin g drama; but comedy s t r u c
t u r e i s n e c e s s a r i l y a r b i t r a r y , t h e c h a r a c t e r s g e n e r a l l y
a b s t r a c t i o n s , and t h e d ia lo g u e somewhat a r t i f i c i a l .
The g r e a t e s t d e g r e e o f p e r f e c t i o n was rea ch ed i n
The W ife, Lord Chumley, The C h a r ity B a l l , and Men and Wo
men; c o n s e q u e n tly , t h o s e fo u r p la y s r e c e i v e d t h e g r e a t e s t
a t t e n t i o n i n t h i s s tu d y , f o r th ro u g h them th e De M ille
comedy method was m ost r e a d i l y r e v e a le d , and f o r them De
M ille i s b e s t remem bered. The p o i n t s t r e a t e d i n t h i s stu d y .
and summarized above made De M ille u n iq u e i n th e Am erican
I
t h e a t e r and made him th e c o u n t r y 's fo r e m o st w r i t e r o f s o
c i e t y comedy d u rin g h i s t im e . The p la y s fu r n is h e d a most
s a t i s f a c t o r y r e f l e c t i o n , o f what was p o p u la r i n th e t h e a t e r
i n Am erica n ear t h e end o f t h e n in e t e e n t h c e n tu r y . I t might
have been, e a s y from a v a n ta g e p o in t to d a y t o acknow ledge
w ith a s m ile what a p p ea rs o ld - f a s h io n e d i n them , t o ju d ge
and c r i t i c i z e t h e form ula, upon w hich th e y w ere c r e a t e d , but
t o u n d e rsta n d and a p p r e c ia t e them f u l l y , t h e p la y s must be
s e e n i n r e l a t i o n t o th e tim e s and c o n d i t i o n s f o r w hich
t h e y were w r i t t e n . The elem en t w hich d e ter m in e d t h e n a
t u r e o f De M i l l e ' s s o c i e t y com ed ies was t h e s t o c k company.
1 7 1 ;
The p la y s se r v e d t h a t p u rp o se ad m irab ly and gave enormous
amusement and s a t i s f a c t i o n to a la r g e body o f t h e a t e r g o e r s .
I t may be p o in te d out t h a t De M i l l e ' s p o s i t i o n and c o n t r i
b u tio n a s a s i g n i f i c a n t d r a m a tis t o f h i s p e r io d h a s n o t
been s t r e s s e d e m p h a t ic a lly enough by Am erican t h e a t e r h i s
t o r i a n s . The c r i t i c s and r e v ie w e r s o f h i s tim e s u g g e s te d
t h a t had he n o t w r i t t e n h i s s o c i e t y com edies., a p o r t io n o f
Am erican t h e a t e r h i s t o r y would have b een l o s t t o u s to d a y .
I t was i n t h e e x p r e s s io n o f h i s a r t more th a n i n
t h e c h o ic e o f h i s m a t e r ia l t h a t De M i l l e ' s d evelop m en t and
c o n t r i b u t i o n came, once t h e melodrama o f h i s f i r s t two
p la y s was pu t a s i d e . One must n ot be c o n fu s e d by t h e f a c t
t h a t t h e summit o f h i s s u c c e s s a s a d r a m a tist was rea c h e d
w ith Men, and Women, a p la y o f ban kin g and f in a n c e , and The
L ost P a ra d ise., a p l a y c o n c e r n in g c a p i t a l and la b o r . From
f i r s t to l a s t , De M ille was i n t e r e s t e d in. men. and women
m oving in. s o c i a l r e l a t i o n s , and he n ev er l e t h i s background
o f f in a n c e or management o b scu re t h e p e r s o n a l r e l a t i o n s o f
h i s c h a r a c t e r s . On t h e c o n tr a r y , he made t h a t background
b r in g o u t i n sh a rp er r e l i e f th e g r e a t power o f s o c i a l law s
and c o n v e n t io n s i n sh a p in g th e l i v e s o f human b e in g s . H is
a r t i s t r y showed at i t s b e s t i n t h e r e s t r a i n t w hich th e pu r
s u i t or th e p o s s e s s i o n o f v i r t u e im posed upon a c h a r a c t e r .
I t was t h e q u a l i t y o f s e l f - s a c r i f i c e o f th e le a d in g c h a r
a c t e r w h ich made th e i n s t a n t a p p ea l t o an. a u d ie n c e , and i t
was th e l o y a l t y and h o n e s t y w hich made him a h e r o . Henry
172 !
De M llie l e f t t o o t h e r s th e d e p i c t io n o f th e p r o l e t a r i a t ;
he was co n cern ed w ith t h e gen tlem an and gen tlew om an .
The sum mation o f De M i l l e ' s c o n t r i b u t i o n t o th e
American t h e a t e r was d e l i v e r e d i n an e u lo g y w r i t t e n one
month a f t e r h i s d e a th :
He was th e f i r s t t o c o n v e n t i o n a l iz e t o t h e n eed s
o f s c e n ic r e p r e s e n t a t io n c e r t a i n p h a se s and c h a r a c t e r
i s t i c s o f Am erican s o c i e t y whose t h e a t r i c e f f e c t i v e
n e s s , i n g iv e n c ir c u m s ta n c e s , had e sc a p e d p r e v io u s
w r i t e r s f o r th e s t a g e . Mr. De M il l e d is c o v e r e d th e
p o s s i b i l i t i e s f o r e n te r ta in m e n t i n th e s o c i a l l i f e o f
h e r e and t o - d a y . . . . U n d o u b ted ly , t h e r e was a p r o
nounced demand f o r d ram atic c o m p o s itio n s o f t h e s o r t
e x e c u te d by Mr. De M i l l e . The v a s t s u c c e s s t h a t a t
ten d e d h i s e f f o r t s i s c o n v in c in g proof" o f t h i s fact.-*-
De M i l l e ' s u n iq u e n e s s and h i s s u c c e s s make f u r t h e r ,
s t u d i e s o f him and h i s work f e a s i b l e : c o m p a ra tiv e s t u d i e s
o f De M il l e and h i s contem p orary p la y w r ig h ts and o f th e
them es u sed by him and by o th e r w r i t e r s a r e p o s s i b l e ; no
t r a c i n g h a s b een made o f De M i l l e ' s i n f l u e n c e on l a t e r
c o m e d ie s, nor h a s h i s i i n f l u e n c e on s e r i o u s w r i t e r s been
i
d e v e lo p e d ; and t h e r e h a s n o t b een a stu d y as t o h i s p o s i t i o n
a s a t r a n s i t i o n a l f i g u r e f o r A m erican s o c i a l drama.
The p r e s e n t stu d y h a s a tte m p te d none o f t h e s e
t h i n g s , but t h e a n a l y s i s o f De M i l l e ' s s o c i e t y comedy s tr u c
t u r e and c h a r a c t e r i z a t i o n sh o u ld b e o f some a s s i s t a n c e f o r
su ch s t u d i e s . In a b road er s e n s e , De M i l l e ' s s t y l e , t a s t e ,
^"About a C e r ta in S c h o o l o f P l a y s , " The I l l u s t r a t e d
Am erican (March 4 , 1 8 9 3)> PP. 1 0 -1 1 .
173
and humor i n t r e a t i n g t h e them es o f m a r r ia g e , c o u r t s h ip ,
b u s in e s s and fin a n c e ,, r e l i g i o n , p o l i t i c s , c a p i t a l and la b o r
may be s t u d ie d w ith p r o f i t by any s tu d e n t o f th e t h e a t e r ,
e s p e c i a l l y p la y w r ig h t s , and by s t u d e n t s o f s o c i a l h i s t o r y .
A P P E N D I X
174
ORIGINAL PRODUCTION DATA
John D e lm e r 's D a u g h tersj o r , Duty
A s e r i o u s comedy i n t h r e e a c t s . P r e se n te d by G eorge S.
M a llo ry and M a r sh a ll H. M a llo r y a t t h e M adison Square
T h e a tr e , New York., December 1 0, 1 8 8 3 . F a ilu r e : 6 p e r
fo rm a n ces.
Dr. Van Arnem
John Delmer
M artha Delmer
M argaret
E s th e r
Rhoda Manly
Dr. Leonard West
P a le y Pomeroy
Walden Ramsay
W . J . Le Moyne
Mrs. Thomas W h iffen
Fanny R eev es
Enid L e s l i e
M arie Burroughs
G eorge C larke
Thomas W h iffen
The Main L in e; o r , R aw son's Y
A melodrama i n fo u r a c t s . P r e s e n te d by D a n ie l Frohman
a t 'th e Lyceum T h e a tr e , New York, Septem ber 18, 1886.
F i n a n c i a l l y s u c c e s s f u l : 32 p erfo rm a n ces u n in te r r u p te d .
Lawrence H atton
C o lo n e l J ack H a tto n
Z eru bb abel Puddychump
A d d leton B o lin g b r o k e S p lin e
Jim B la k e ly
Sam Burroughs
Dora Van Tyne
L i t t l e P r a i r i e F low er
P o s i t i v e Burroughs
J . B. Mason
C h a rle s O verton
F. F. Mackay
Raymond Holmes
Ralph Delmore
H. C. De M ille
L i l i a n R ich a rd so n
Dora S tu a r t
E t t a Hawkins
175
T he W ife
A s o c i e t y comedy i n fo u r a c t s . P r e s e n te d by D a n ie l
Frohman. a t th e Lyceum T h e a tr e , New York, November 1,
1 8 8 7 . F i n a n c i a l l y s u c c e s s f u l : 239 c o n s e c u t iv e p e r
form an ces .
John R u th e rfo r d
M atthew C u lv er
R obert Gray
S i l a s Truman
Major Homer Q ,. Putnam
J ack D e x te r
Mr. Randolph
H elen Truman
L u c lie F er ra n t
Mrs. S. B ella m y I v e s
K i t t y I v e s
M rs. Amory
Agnes
H erb ert K e lc e y
N e lso n W h eatcroft
Henry M il l e r
C h a r le s W alcot
W . J . Le Moyne
C h a rles S. D ick son
W . C. B e llo w s
G eo rg ia Cayvan
Grace H enderson
Mrs. C h a rle s W alcot
L o u ise D i l l o n
Mrs. Thomas W h iffen
V ida C ro ly
Lord Chumley
A s o c i e t y comedy i n t h r e e a c t s . P r e s e n te d by D a n ie l
Frohman a t t h e Lyceum T h e a tr e , New York, August 29,
1 8 8 8 . F i n a n c i a l l y s u c c e s s f u l : 32 p er fo r m a n c es un
in t e r r u p t e d b e fo r e t o u r in g .
Adam B u tte r w o r th
L ie u te n a n t Hugh B u tte rw o rth
G asper Le Sage
Tommy Tucker
B lin k Blunk
W interb ottom
E lea n o r
J e s s i e Deane
Lady A d e lin e Barker
Meg
M iranda
Lord G eorge C holm ondeley,
known as "Chumley"
C. B. B ish o p
Frank C a r ly le
H erb ert A rcher
Rowland B u ck ston e
G eorge Backus
A. W . G regory
B e l l e A rcher
Dora L e s l i e
F a n n ie A ddison
E t t a Hawkins
Rosa S ta rk e
E. H. S o th er n
177
The C h a r ity B a l l
A comedy drama i n fo u r a c t s . P r e s e n te d by D a n ie l F ro h -
man a t th e Lyceum T heatre., New York., November 19, 1 8 8 9 .
F i n a n c i a l l y s u c c e s s f u l : 200 p e r fo r m a n c e s.
John van Buren H erb ert K e lc e y
D ick van Buren N e lso n W h ea tcro ft
Judge P e t e r Gurney Knox W . J . Le Moyne
F r a n k lin Cruger C h a rle s W alcot
Mr. C r e ig h to n Harry A lle n
A lec R obinson F r i t z W illia m s
Mr. B e t t s R. J . D ustan
P axton W alter C. B e llo w s
C ain Ada T erry M adison
J a s p e r P ercy West
Ann Cruger G eo rg ia Cayvan
P h y l l i s Lee Grace H enderson
B e ss van. Buren E f f i e Shannon
Mrs. C a m illa de P e y s te r Mrs. C h a rle s W alcot
M r s.-v a n Buren Mrs. Thomas W h iffen
S o p h ie M i l l i e D ow ling
Men and Women
A comedy drama, i n fo u r a c t s . P r e s e n te d by C h a rles
Frohman a t P r o c t o r ' s T w enty- t h i r d S t r e e t T h e a tr e ,
New York., O ctob er 21, I 8 9O. F i n a n c i a l l y s u c c e s s f u l :
204 c o n s e c u t iv e p erform an ces •
I s r a e l Cohen F r e d e r ic k de B e l l e v i l l e
W illia m P r e s c o t t W illia m M orris
Esward Seabury O rrin Johnson
Mr. P e n d le to n L e s l i e A lle n
Mr. R ey n o ld s W . H. T i l l a r d
Mr. Bergman A rthur Hayden
Mr. Wayne Edgar Mackey
C a lv in Stedman R. A. R o b erts
Lyman H. Webb Henry T a lb o t
S tep h en Rodman Frank Mordaunt
C o lo n e l Zachary T. Kip M. A. Kennedy
Dr. "Dick" Arm strong T. C. V a le n t in e
Sam D e l a f i e l d J . C. B u ck ston e
Arnold K irk e Emmett C orrigan
D i s t r i c t M essen ger No. 8 l M aster L ou is H a in es
R o b erts A. R. Newton
J ohn R ichard Marlow
Agnes Rodman Sydney Arm strong
Dora Maude Adams
Mrs. K ate D e l a f i e l d
M argery Knox
Mrs. Jane P r e s c o t t
Mrs. K irk e
Lucy
J u l i a
O d e tte T y le r
E tt a Hawkins
A nnie Adams
L i l l i a n C hantore
Winona Shannon
G ladys E u r e lle
The L ost P a r a d is e
A drama i n t h r e e a c t s . P r e s e n te d by C h a rle s Frohman
a t t h e Colum bia T heatre,, Chicago., August 17, 1 8 9 1 ,
where i t ran f o r two w eek s. The p la y opened in New
York a t P r o c t o r ’s T w e n ty -th ir d S t r e e t T h e a tr e ,
November 16, 1 8 9 1 . F i n a n c i a l l y s u c c e s s f u l ; 132 p e r
form an ces .
Andrew KnowIton
Reuben Warner
R alph S ta n d is h
Bob A p p leto n
F le t c h e r
J o e B a r r e t t
Schwarz
B e n s e l
H yatt
B i l l y H opkins
Mrs. K nowlton
M argaret K nowlton
P o ll y F le t c h e r
J u l i a
N e l l
C in d ers
K ate
Frank Mordaunt
W illia m M orris
Orrin. Johnson
C y r il S c o t t
L e s l i e A lle n
Henry T a lb o t
Thomas O b erle
Emmett C o rriga n
C h a rle s M atlack
J . C. B u ck ston e
Annie Adams
S id n e y Arm strong
O d e tte T y le r
Mary C roxton
Maude Adams
E t t a Hawkins
B ijo u F ernandez
S E L E C T E D B I B L I O G R A P H Y
179
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B a l l , R obert H am ilton , ed . The P la y s o f Henry C. De M i l l e .
New J e r s e y : P r in c e to n U n i v e r s i t y P r e s s , 19^0.
B a te s , E. C a th e r in e . A Year in t h e G-reat R e p u b lic .
London: C o n sta b le and Longmans, 1 8 8 7 .
B e la s c o , D avid . The T h ea tre th ro u g h th e S ta g e D oor.
New York: Harper and B r o th e r s , 1 919.
Brown, T. A l l s t o n . A H is t o r y o f th e New York S t a g e .
New York: Dodd, Mead and Company, 1903.
Goad, O ral S . , and Mims, Edwin, J r . The American S t a g e .
V o l. XIV o f The P agean t o f A m erica. New Haven: Y a le
U n iv e r s i t y P r e s s , 1929.
De M i l l e , C e c i l B. The A u tob iograp h y o f C e c i l B. De M i l l e .
E d ite d by Donald Hayne. Englewood C l i f f s , N .J .:
P r e n t i c e — H a ll, I n c . , 1959*
De M i l l e , W illia m C. H ollyw ood Saga. New York: E. P.
D u tto n , 1939.
P e lh e im , M arvin. The T h ea te r o f A u gu stin D a ly . Cam
b r id g e : Harvard U n iv e r s i t y P r e s s , 1958.
Frohman, D a n ie l. D a n ie l Frohman P r e s e n t s . New York:
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__________ . M emories o f a M anager. Garden C it y , N .Y .:
D ou bled ay, Page and C o ., 1911.
Hapgood, Norman. The S ta g e i n America.. New York: The
M acm illan C o ., 1901.
H a r r is o n , F r e d e r ic . " Im p ressio n s o f A m erica." The N in e
t e e n t h C e n tu ry . V o l. XLIX, New York: Dodd, Mead and
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l 8 l
H a tto n , J o se p h . Henry I r v i n g ' s I m p r e s s io n s o f Am erica Nar
r a te d i n a S e r ie s o f S k e tc h e s , C h ro n ic les., and C onver
s a t i o n s . B o sto n : J . J7 L i t t l e and Ives., 1 8 9 6 .
Hornblow, A rth u r. H is t o r y o f t h e T h ea tr e i n A m erica .
P h ila d e lp h ia : J . P. L ip p in c o t t C o ., 1919*
Hughes^ G lenn . A H is t o r y o f t h e American. T h e a tr e , 1 7 0 0 -
1 9 5 0 . New York: Samuel F ren ch , 1951.
Kahn, E. J . , J r . The Merry P a r tn e r s : The Age and S ta g e o f
H a rrig a n and H a r t. New York: Random H ouse, 1955-
K oury, P h il A. Y es, Mr. De M i l l e . New York: G. P . Putnam 's
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Creator
Martin, Fred Charles
(author)
Core Title
A critical analysis of the society comedies of Henry Churchill De Mille and their contribution to the American theater
Degree
Doctor of Philosophy
Degree Program
Communication (Drama)
Publisher
University of Southern California
(original),
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(digital)
Tag
literature, American,OAI-PMH Harvest,Theater
Language
English
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[illegible] (
committee chair
), [illegible] (
committee member
), Butler, James H. (
committee member
)
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DP22314.pdf
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688304
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Martin, Fred Charles
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University of Southern California Dissertations and Theses
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literature, American