Universidade
Departamento
de
Federal
Língua
THE' T H E M E
Submetida
Para
LILLIAN
a Universidade
a Obtenção
do G r a u
RITA
de S a n t a
de M e s t r e
BALTAR
Novembro
PLAYS
HELLMAN
Federal
Catarina,
Estrangeiras
IN T H E
Florianópolis
Santa
Catarina
e Literatura
ÜF B L A C K M A I L
OF
Tese
de S a n t a
Brasil
19.81
Catarina
em L e t r a s
M.A.
THE
THEME
THESIS
OF B L A C K M A I L
OF L I L L I A N
IN T H E
HELLMAN
PLAYS
Esta
tese
foi
julgada
1'
adequada
- MESTRE
opção
Inglês
final
pelo
e Literatura
Programa
para
EM
a obtenção
LETRAS
da
Prof. J oh n
Orientador
de
-
Correspondente
de P ó s - G r a d u a ç ã o
do g r a u
e aprovada
em
sua
forma
UFSC.
Bruce
Derrick,
P h . D,
P r o f . H i 1àrio Iná cio Bohn, Ph.D.
C o o r d e n a / o r de P ó s - G r a d u a ç ã o em Ijn
glês e L i t e r a t u r a C o r r e s p o n d e n t e
APRESENTADA. PERANTE
A BANCA
EXAMINADORA
COMPOSTA
PELOS
PROFESSORES.
'íí,
Prof.
John
.
Bruce
Derrick,
Ph.D,
ABSTRACT
Lillian
most
Heilman
distinguished
eight
original
have
received
1941
and
chapters
in m o s t o f
ways:
financial
submit
pattern
iI
people
the
acclaimed
has,
American
since
theatre.
Rhine
and
Award
as o n e
19 3 4 ,
Two
Toys
A m e r i c a ’s
contributed
of
Miss
in t h e
Attic,
as b e s t A m e r i c a n
th e
into
may
blackmail.
blackmailer wants
or a n y
blackmailer
he can g e t
kind
will.
seeks
motif
be
In
chapters.
plays
integrated
in
two
the e m o t i o n a l
to g e t
In t h e
is an
people
involvement]
financial
swindling
and
and f i n a n c i a l
[either
to
blackmail
cheating
rewards
through
b lackmail.
In
emotional
plays
[DC,
of
In t h o s e
categorized
of e m o t i o n a l
power
status
nine
blackmail
Blackmail
or e m o t i o n a l
blackmailer's
so t h a t
divided
how the
her plays.
pattern
the
is
analyse
sex, . f l a t t e r y
to
She
C r i t i c s ’ Circle
dissertation
theme
through
widely
respectively.
we will
blackmail
to t h e
W a t c h on t h e
the
1960,
This
playwrights.
plays
H e i l m a n ’s p l a y s ,
has'been
her S o u t h e r n
blackmail
TCH,
WR,
plays
pattern
TSWl
[TLF,
APF,
TAG,
predominantly
financial
TA)
while
blackmail
we
find
in h e r
exposes
the
Northern
the
cold
materialism
o f an i n d u s t r i a l
tt\
in t h e
plays
dissertation
and
period
are
her turn
Miss
beyond
swallowed
thinks
a Northern
where
assert.
Chekhov
creates
blackmail
while
by
in h e r
certain
in h e r
to
last
Ibsen
in
her
"engage"
plays.
In
the
'Ibsen'
idealists
last
illustrated
plays
of g ood
this
faith
figure
who
is
her fatalism.
a pattern
blackmail
because
people
derive
to
Another point
her d i s c i p l e s h i p
Heilman
Such
she
is
society.
do n ot
f r o m the
reveals
Miss
is p o s s i b l e
she
would
hide
"decent"
find
Heilman's
either
of g o o d
which '
faith
towards
a Southern
difficult
secrets,
life
in
attitude
culture,
to b e l i e v e
.. b o t h
that
in
defy
she w a n t s
life
and
to
man
or
RESUMO
Lillian
sas
dramaturgas
peças
originais
o Prêmio
nas
Hellman
em
da A m é r i c a .
para
do C í r c u l o
e 1950
Esta
dissertação
na m a i o r i a
financeira
d as
pode
está
suas
peças.
ser
grando
e fraudando
as p e s s o a s
pensas
financeiras
através
CDC,
peças
chantagem
TCH,
WR,
da
m a i s . famo
com
oito
receberam
peças
america
maneiras:
da
chantagem
à sua
chan
e/nocio
vontade
(seja
emocional).
busca
de a d q u i r i r
i_n
No
o poder
lo
" s t a t u s ” e recom
da chantage-m.
sulistas
CTLF,
APF ,
e m o c i o n a l 'enquanto
TSW)
duas
envolvimento
Nestes
é um t e m a
de
o chantagista
afim
capítulos.
chantagem
submetidas
ou o u t r o
da chantage -m f i n a n c e i r a
tistas
peças
em n ov e
No m o d e l o
as p e s s o a s
modelo
de
das
contribuiu
Duas
classificada
ou e m o c i o n a l .
lisonjas
modelo
uma
as m e l h o r e s
dividida
o motivo
através
suas
como
como
quer
Nas
1934 ela
americano.
Críticos
nal o c h a n t a g i s t a
do s e x o ,
como
respectivamente.
analisaremos
A chantagem
tagem
dos
aclamada
Desde
o teatro
1941
capítulos
tegrado
tem sido
a chantagem
que
TAG,
na s
TA)
suas
financeira
predomina
peças
expõe
o
o
nor
frio
materialismo
de
uma
do na d i s s e r t a ç ã o
das
t as
de b o a
últimas
período
fé q u e
peças
ao
homem:
dade
uma
sociedade
e derivam
são
imunes
revela
ou
que
nortista
onde
é
nas
Miss
vida
ela
de
pelo
engaj_a
peças.
certos
que
Hellman
seja
dificilmente
fé q u e
ilustra
idealis_
nas
suas
seu fat al ism o.
é possível
escondem
boa
cria
ponto
peças
enquanto
de M i s s
a chantagem
suas
últimas
Hellman
a atitude
não
em
suas
absolvida
porque
Um o u t r o
Ibsen
à chantagem
as p e s s o a s
de u m a d e c e n t e
de
Cheklov
ibseniniano
ela p e ns a
sulista
para
e'sta f i g u r a
Tal m o d e l o
industrial.
é a influência
e a sua m u d a n ç a
No
socied-ade
numa
relação
socie
a c r e d i t a r i a ■e m
segredos
ela
em
que
desafiam
quer defender.
abbreviations
TCH
- The
Children's
DC
- Days
TLF
- The
WR
- Watch
to
Corne
Little
on
Hour
Foxes
the
Rhine
TS(1 - T h e S e a r c h i n g W i n d
APF
- Another
TAG
- The
TA
- Toys
Part
Autumn
in t h e
of t h e
Garden
Attic
Forest
TABLE
CHAPTER
I
1.1.
Statement
1.2.
Review
1.3.
Statement
CHAPTER
THE
DAYS
of- C r i t i c i s m
WATCH
CHAPTER
of P u r p o s e
........................................... ...8
C 1 9 3 4 ) ............................ .......... 16
( 1 9 3 6 ) ........................................ .
32
IV
FOXES
( 19 39 ) ....................... .....................
47
V
ON T H E
RHINE
(1941)
.......................................
63
WIND
(1 9 4 4)
............................. .......... .
76
L19..46.L ........................ .......
90
VI
THE S E A R C H I N G
CHAPTER
........ ................................... ...3
III
LITTLE
CHAPTER
...................... .................... ...1
II
TO C O M E
CHAPTER
THE
of P r o b l e m
C H I L D R E N ’S H O U R
CHAPTER
OF C O N T E N T S
VII
ANOTHER
P A R T OF THE
PORE.ST
CH APTER VIII
THE
AUTUMN
CHAPTER
TOYS
GARDEN
(.1951).
............................ .
106
ATTIC
( 1960)
................................ ..........
120
IX
IN T H E
CONCLUSION
............................... ......... .................. .
BIBLIOGRAPHY
131
CHAPTER
1.1.
Statement
of P r o b l e m :
In my i n i t i a l
struck
by t h e
blackmail.
little
It
seemend
H e i l m a n ’s w o r k ,
to w o r k
The
theme,
effect
this
critics,
it w a s
somehow
something
resolved
attempting
until
plays.
In t h i s
dissertation
a kind
of t h e
manner,
and the
We w i l l
to
are
remain
the
w e will
past.
the
son's
question
theme
evidence
free
grew
of
o ut
ask
universe
arose
own
visited
is
t he
this
in
'visited'
himself
as
seems
cause
if,
really
and
for me
and
ever escape
furthermore
if ' r e v o l u t i o n
to
evidence.
whose
c an
on
for
around
of
received
blackmail
F a t h e r s ’ are
also
had
of t h e
' s i n s of t h e
sins' a r e
scenes
central
that
o ne
I was
preconceptions
ask w h e t h e r
and w h e t h e r
We w i l l
a nd
of. an o b s e s s i o n
questions
of d e t e r m i n i s t i c
relentlessly
situations
to g a t h e r
conclusion
the
Calvinist
lif e .
though
through
proceed
son
that
follow
consequences
the
to me
that
to p r e s u p p o s e
H e i l m a n ’s d r a m a ,
of
indeed
empirically
questions
I read
and
of L i l l i a n
recurrence
by t h e
I therefore
blackmail
reading
frequent
commentary
author.
I
the
the
on
later
possible
in
in
2
such
a world:
really
a re H e i l m a n ' s
working
critics
at
argue,
plays,
we may
accordingly.
somehow
the
Lillian
into
writing
it is
We m a y
Faulkner,
of
with
work
true
the
early
an e x p r e s s i o n
in
of
her
etc...)
society.
that
twisted
o ut
two
blackmail
aims,
theme
reflects
in
fatalistic
Southern
<}
the
saying
succeeds
is
while
personal,
Is H e i l m a n
an
varies
of the
incestuous
of
last
context
blackmail
into
some
theme
plays
of a m o r e
the
as
passes
of t h e
H e i l m a n ’s b l a c k m a i l
or been
is
t h e w r i t e r ’s s o c i a l
a decadent
Capote,
h a s failed.,
Chekhovian
ask w h e t h e r
generally,
subjectivism
If it
her m o r a l i s m
H e i l m a n ’s w o r k
W e m a y a s k i f in
plays
view?
the
and
a s k whether t h e t r e a t m e n t
commensurate
last
world
cross-purposes?
that
" I b s e n i t e ” phase
radicalism
(like
when
love
or n a r c i s s i s t i c
forms ?
We.may
Miss
not
further
Heilman,
produce
blackmail
devious
good
a false
extent
led
to e x a m i n e
her own
that
we
device
to
an e n d
to
to
to
more
is
guilty
proves
to
may
TCH
true
s he
of
cannot
conclude
b ut
homosexual
in o t h e r •
as a
Lavinia
with
the
is
of p u r e
function
him about
to
is
enough
by h e r h u s b a n d
that
a
Martha
Finally
For example,
blackmails
be
Miss
n o t .always a d e v i c e
may
in
for
In T C H , f o r
conclusion,
blackmail
blackmailed
We
and
a nd w o r k s
surface.
li fe.
or happy
counter
h e r in an a s y l u m ,
t he
herself
her own
a good
aspect
evil
bad m e a n s
AP F , T A g
intensively.
a blackmailer.
been
situations
on t h e a c c u s a t i o n ,
blackmail
that
silence
has a l w a y s
put
is
unequivocally
of m i s c o n d u c t
and j ud g e s
see that
and
truth
her m o t i v e s
to p ut
scoundrels,
has a p o s i t i v e
the
is
Vie will see inT_A,
by b r o o d i n g
her suicide
plays
certain
accusation
accuser,
impulses
blackmail
in
effects.
sometimes
the
who
or w h e t h e r
w a y to b r i n g
example,
that
ask w h e t h e r
in A P F ,
a threat
source
of
3
his
fortune
Kurt
and
Müller
on t h e
gains
murders
financial
Count
Mr W a r k i n s
silence
the
beats
question
is be a c o n s e q u e n c e
any
how
does
the
Southern
of
links.to
blackmail
In
a Puritan
conclusion
what
society
reveals
a k i n d of i d e a l i s m .
'reformed'
realization
of
her w o r k ?
and
of
y et
efficient
way
in
to
either
Moreover,
human
is
and
if
We w o u l d
this
a sk
community
and
pose
the
society
question
of t h e
doe s ,
in
difference
secret,
We w i l l
also
social
change
or by an i n n e r
ki.nd of
change
is u l t i m a t e l y
by
it
avenue
experience,
really
true
of r e f o r m ,
an
abiding
ask w h e t h e r
that
or
is
sign
blackmail
blackmail
prior
ca n
be
it a p e r m a n e n t
of h u m a n
hypocrisy
universe?
of Cri.ti.cism:
like
s p ecifi fes 1 1 y on t h e
makfe g i n e r a l
honour
consciousness
and what
Which
by e i t h e r
Review
of
H e i l m a n ’s i d e a l i s m
Northern
finally
Puritanic
says
se l f .
We W o ul d
fea m y
Or
code
s e 1 f - d i.v i s i o n in a d e t e r m i n i s t i c
1.2.
by .the s e c o n d .
if M i s s
the
we w i l l
between
fact
end
scene.
our
eradicated
an
consciousness.
d i f f e r between
Heilman's
in
when
putting
as an
her S o u t h e r n
Miss
be
Julian
furthermore
whether
can
Or in WR,
de B r a n c o v i s ,
engendered
up
it.
blackmailer.
We will
h as
Teck
blackmail
TA w h e n
code
her f r e e d o m w i t h
to p o i n t
problem
comments
disauaaien.
about
out
of
that
blackmail,
Lillian
For Instance,
no
scholar
but
Heilman
Allan
Lewis
focuses
several
which
points
are
out
critics
helpful
Miss
4
Heilman's
moralism
a nd
determinism
" H e i l m a n ’s d a r k w o r l d
a calculated
and
full
portraits
Events
because
in
the m o d e r n
speaks
in
Lewis
his
world
of M i s s
her m or al
concerned
h is
talks
point
is
dramas
about
'morally
and
of
values
the
that
through
is as g r i m
extreme
in
of
moralism
theatre
they
abstract
are
symbols.
individual
and
the
determinism
would
be
a sign
b a n k r u p t ’ for Heilman.
H e i l m a n ’s i d e a l i s t i c
her
views
characters
about
in
her
that
He
also
human'nature
socially
plays:
avarice
social
have
for
weakness,
addition
that
Lewis
melodramatic
Jacob
of t h e
that
undertones
Adler
her plays.
"Its
He
big
defiance,
stealing
o wn
is t h a t
and
human
is
that
the
a moralist
either
and
cause
relations
confession,
m o r a 1,
greed
are
and
is
a
a
her m ajor
is t h e
obvious
by an a ll
to o
an a r r a n g e d ' r e s o l u t i o n
■ [2)
on t h e m e l o d r a m a t i c . "
or t h r o u g h
sometimes
d ue
to
scenes
her e t h i c a l
as
- Regina's
so on
her
-are
There
blackmail
v i e w of
acquire
li f e .
a melodramatic
device
on T L F :
blackmailing
and
H e i l m a n ’s p l a y s
blackmail
comments
to f o r g e t .
including
She
speech
includes
Regina's
hard
sale.
borders
shows
love,
in w h i c h
by h e r
explanatory
complaint
eroded
system
product
in
not
blackmail
’
’
H e i l m a n ’s b i t t e r
used
and
triumph
e n v i r o n m e n t . ” ^^ ^
of v i e w
portrayal
who
most
differ
causative,
of
statement:
of m o r a l
in t h e
of p eo p l e
are
product
Allan
Her
as
h is
of t h o s e
disregard
of p a i n
of a b s u r d .
in
are
and
of t h e b o n d s
letting
brothers,
Horace
A l e x a n d r a ’s
beautifully
melodramatic
murder,
seems
b ut
die,
written
aspects,
only
vulnerable
and
t he
to a t t a c k .
5
and
even
that
is w h o l l y
in
Keeping
with
t he
c h a r a c t e r s . ”’^ ^
Here,; b l a c k m a i l
criticism
way
s he
is v i e w e d
of m o d e r n
puts
indicative
as
society,
her plots
a sign
but
Dusembury
of t h e
author's
as a p o t e n t i a l
together.
of m e l o d r a m a t i c
Winifred
charges
n ot
Blackmail,
ethical
f l a w in
Adler
the
implies,is
technique..
defends Miss
Heilman
against
the
of m e l o d r a m a :
"Miss
fact
H e i l m a n ’s p l a y s
that
she was
characters
proves
that
not
interested
to s t u d y
sociological
are
their
and m o r a l
she did
thesis
enough
past
causes
no t
and
plays,
in h e r
seek
of t h e i r
consider
b u t ,t h e
out
the
rapaciousness
them mere
figures
in m e l o d r a m a . ' ” ^ ^
Miss
H e i l m a n ’s e a r l i e r
a c l e a r way:
dramatic
she
she
presents
structures.
presents
tradition
carrying
out
real
blackmail
s he d e p l o r e s
James
She
a problem
Ibsenite
that
plays
as
realism
business
effect
focus
immediate
of
world.
as s h e
her
of t h e
with
has
p r e da c i t y
on
in
play,
the
context
as B e n
Hubbard-Types
Ibsen"
predicts
will
Miss
their
She
in
her
it.
in
that
In
is,
the
people,
also
done
reveals
society,
or
in TLF .
argument
others
that
is
the
in t h e i r
community.
Near
of t h e H u b b a r d
American
eventually
Heilman
Ibsen
plays:
dramatic
to i n c l u d e
real
of A m e r i c a n
and
is b r o a d e n e d
Like
deals
hypocrisy
on
correcting
circle
the
general,
s he
meaning
to
I b s e n ^s m e l i o r i s m ,
towards
ethic
of t h e i r
discipleship
of s o c i a l
in a r e a l
comments
..."the
her
adopts
a way
d u e to t h e
Eatman
end
issues
also
actions
is
the
of
show
society
story
in
ever-flourishing
own
the
is f a r m o r e
the
country.
concerned
6
with
the mo ral
crises
fostered
industrialization
than with
p r o g r e s s . .» (5 )
economic
David
analysing
Sievers
Lillian
"the
also
blackmail
author
the
of t h e
personal
,,(63
uses
toward
plays.
our
About
u se
as
return
to G e r m a n y .
us
that
sadistic
as w e l l
balance.
With
an i n e v i t a b l e
of t h e
insight
style
is
Miss
human
made
to e x p l a i n
the
the
as
tender
Sophie
change
kind
only
i
her wits
of - d r a m a w e
makes
nor s o c i o l o g i c a l
Chekhovian
sense
relationship
states
as in
h a v e n ’t a f i r m g r a s p
they
become
the
on
determined
of
in
a hostile,
to
advantage,
characters.”
to a
in T h e
Autumn
for modern
psychological
(as in
and mo ral
that
the
Ibsen's
their
lives
playthings
of
and
b ut
Tennessee
Miller!)
- and
action
plays
Garden
tragedy.
(as in A r t h u r
tpoetic)
(8 )
sense."
Felheim
to
in a s u b t l e
manner
have
Williams}
the
which
an
Felheim:
only me r e l y
it is a r t i s t i c
as
is c o m p o s e d
impulses
Ibsen's
kind w h i c h
with
seems
of H e i l m a n ' s
from
but
$ 5.000
to t h e w a l l
uses
trademark
seduction
personality
It is n o t
C h e k h o v ’s p l a y s
policy
expression
men who
Heilman
n o t i c e d by M a r v i n
..."the
is t h e
him for
her back
land,
Heilman's
- effect
foreign
N i c k ’s a t t e m p t e d
to b l a c k m a i l
In t h a t
T S W he c o m m e n t s :
isolationist
escapism
excuse
a familiar
characters
approach
in T A g :
foreign
cause
a psychoanalytic
a psychological
to r e m i n d
Chekhovian
of
thirties
"Sophie would
Miss
benefits
shows
during
theme
the
Heilman's
p o 1 i cyy
Sievers
takes
by r a p i d
has
all
no
t he
as
in
circumstances.
in
7
In
the
"A N e w
change
Miss
in T h e
Heilman"
Autumn
first
time
she
so to
speak
has,
into
minded
it
the
old guard
camp
of t h e
where
or a C a m p b e l l i t e
Mason
Miss
Brown
Heilman
concerned
- face
states,
walks
plays
of
a kind
her
back
a change' in
to
become
to m a k e
not
Ibsen
trip
characters
are
of p e r s o n a l
or
Campbellite
complete."
road
insight
an
Dealer
to R o m e ,
the
-
method
Were
frustrated
from
and
theatre
attitude,
a New
be m o r e
career
To t h e
to t u r n
the
away
on
significance.
a Catholic
deliberately
to
distinguished
Chekhov...
utmost
could
the
her
turned
Republican
vice-versa;
about
in
represents
and p u r p o s e
notices
Garden:
"For the
moved
As
James' M a s o n . B r o w n - a l s o
the
(9 )
egos
of
and
socially
into m a t u r i t y
and
o 1d a g e .
Mason
turn
B ut
to C h e k h o v
it
seems
influenced
point
expense
is
plays
her
ambiguous
a turn
that
show
Brown
"What
other
my
sustains
clear-cut
and
drafts.
«
that
and
tendency
she
h as
conservativism.
her C h e k h o v i a n
her turn
final
Miss
in M i s s
towards
gained
words,
- in
Heilman
plot
of v i v i d
presentation
n 4.
from
H e i l m a n ’s
-
Heilman's
Chekhov
art
at
h as
the
which
I make
mine,
review:
creation
hard
states
hand
Adler's
craftsmanship
^
or away
Miss
commitment.
that
to c o n c l u d e
in
towards
craftsmanship
think
as to w h e t h e r
a reactionary
On t h e
of p o l i t i c a l
I,
f it
is
to me
of v i e w .
heightened
are
Brown
through
theme.
humble
C.1 0 3
This
is
in
part,
construction,
character,
plot
and
in
in
many
cours e,
dialogue-,
the
character
craftsmanship
labor th rough
of
of
a
represents
months
and
many
1.3.
Statement
Blackmail
may
blackmail.
wants
get
instance,
order
and
sex
husband
and
at
Frederick
the
on
the
a form
same
to
use
seize
money
and
United
for the
to
life was
town
to
and each
New
Southern
about
and
cycles
the
the
at
- TCH ,
the
constant
developed
Northern
age
father's
anxieties,
mingle.
first
towards
dependent
Julian,
on
them.
D C , TSW,WR_ - a r e
(at
of
Born
six.
to
her analytic
and
go
for
in
Miss
in
From
New
that
back
to
six
in N e w
adapt
set
least
understand
f r o m school
American.
h e r father
Regina
to b l a c k m a i l
sisters
longings
For
TA g , Carrie
she w o u l d
need
he
her broth er s
country.
year
move
to
power
that
blackmails
paralleling
Each
her
This
two
of h e r
she w o u l d
in N e w O r l e a n s .
plays
the
kind
blackmail.
In JA, a n d
It is e a s y
divided.
year
cultural
keep
so
blackmail
blackmails
as a b r i b e
York
seeks
of m o n e y
through
power.
North
or any
O r in T L F w h e r e
States,
stay with
sake
of e m o t i o n a l
time
blackmailer
blackmailer
emotionally
rewards.
or e m o t i o n a l
b l a c k m a i l e r ’s w i l l .
of b l a c k m a i l
H e i l m a n ’s pl.ays
of t h e
concern
her
different
write
Hubbard
emotionally
she m o v e d
home
school
also
two
her S o u t h e r n s e r i e s .
Orleans,
months,
the
of H i s s
North
Heilman's
time
as
a means
Ellises
number)
her
types
the
u se
Four
in
plays
to
and the
the
rewards
financial
as
for
the
the
flattery,
to t h e
and f i n a n c i a l
in A P F , R e g i n a
financially
pattern
financial
pattern
sex,
submit
people
to ge t
attempts
her
some
through
to
blackmail
cheating
status
In
in
and
in t w o w a y s :
blackmail
(either
involvement)
financial
swindling
emotional
people
of e m o t i o n a l
c an
be c a t e g o r i z e d
In t h e
to g e t
In t h e
of " P u r p o s e :
York to
to t w o
power
to
conflicts of b o t h
9
The
it s
prodigious
technology
between
Whalen
American
the
Miss
minded
individual
works
and
good
(P T C ) a n d
the
In
always
both
parts.
she
in
a reward
or p u b l i c
On
agrarian
plays
Bagtry
century
two
last
in
the
or
individuals
money
financially
figure
and
competitive
where
principles
the
or
where
of
-
in
or'der
'good
of C o r a
lawyer
Rodman
Ellicott.
a sense
labour
in T C H w h e n
slanderous
a re
to
of g u i l t
strife
Mrs
and
Tilford
charges;
intertwined
failure
with
ha n d ,
its
Miss
on
love
comes
to
or in W R w h e r e
and b l a c k m a i l
achieve
Heilman
Chivalric
This Southern
(APF);
plays
summons
(TL F , A P F , T A g , T A ) t r y i n g
of p r o g r e s s .
( )
commitment
either
affairs.
other
society
PTC
for
affairs
character'?
the
thirties
(P T C , W R , T S W , T C H ) b l a c k m a i l
which
as
love
in t h o s e
plays
offer money
in
alienate
presents
compromise,
the
to
entrepreneur
occurs
unveils
coercion
Calvinistic
compromise
private
(the
illustrate
the
others
in
and
and
struggle
labor
in
blackmail
end
public
and
also
and
Northern
This
Ellicotts)
settings
industry
social
society,
ruthless
in
the
materialistic
Following
deeds'
the
ends
affairs
bargain
power.
for
Northern
policies
portrays
of a N o r t h e r n
seize
the
(T C H )
Heilman
people
the
Northern
non-interventionist
of
of
ground
(t he R o d m a n s ,
their milieu.
pattern
the
the Firths).
employment
from
to
prepared
capital
and
expansion
Lavinia
code
(APF)
version
of c h i v a l r i c
plays
(T A g , _TA ). set
examines
code
of
to m a t c h
of
and
in B i r d i e
Peep
in
her othe r
Northern
is p r e s e n t e d
entrepreneurs
in J h e
honour
the
honour
Southern
( T LF).
in
A twentirth-
is p r e s e n t e d
South
ethos
in the
in
her
10
portrayals
But
the
of N i c k
she
Northern
blackmail.
allowed
Denery
presents
materialistic
society
In 4: he S o u t h e r n
h o n o u r Thus
plays
it
is
agrarian
as b o t h
a way
community
flawed
code
of
in S o p h i e ’s c a s e
to
redeem
their
and
with
fA P F , T A g ] b l a c k m a i l
for the S o u t h e r n
in L a v i n i a 1s a n d
end:
Berniers.
the S o u t h e r n
as a r e p a r a t i o n
benevolent
and J u l i a n
will
be
"stained
blackmail
code
of
h as
a
stained
virtue.
In t h e
pattern
Southern
of w h a t
Ruth
anthropological
community
Benedict
study
called
of J a p a n ,
t he
be g u i l t y
of a ’
’
hidden
presented
in M a r c u s
Hubbard
who
lynch
if hi s w i f e ' s
last
him
consequences.
blackmails
could
use
business
culture"
The
S w o r d . In
could
"shame
blackmail
Constance
of
and
the
secret” before
the
community.
This
successful
in A P F w i t h
also
blackmail
presented
advocating
because
also
the
Tuckerman
was
of t h e
carried
to
is
mob
to
its
Regina
c o m m u n i t y ’s s u p p o r t ,
despised
in T A g , w h e r e
t he
were
fear
in T L F , w h e n
society
shown
because
the
the
her
seems
It is
guests
Chrysanthamun
in
individual
it as -a- r e v e n g e
is
culture"
the
It is
blackmail
a "shame
to f o l l o w
pattern
her brothers
methods.
seems
Denerys
afraid
and
their
S o p h i e ’s
t he
of t h e
who
aristocratic
community's
"s c a n d a l - m o n g e r i n g " .
On t h e
other
cultures"
applies
presented
in
to t h e
Ruth
character
towards
others.
the
this
individual
t heir a f f e c t i o n .
plays.In
revolves
And
Yet
Benedict's
individual
her Nort h e r n
D C , the
blackmail:
hand,
about
plays
sense
gui,lt a l w a y s
he/she
also
of
"guilt
P u r i t a n 'g u i I t , a p a t t e r n
h is
uses, m o n e y
definition
like
feels
TSW,
of i n d i v i d u a l
implies
to
WR,
bribe
a sense
TCH,
guilt
financial
people
and
buy
of p e r s o n a l
11
guilt
f o r -a- f a i l u r e
themselves
(as in
A great
Northern
in
of t h e
capitalist
public
on
TSW,
W R,
DTC).
deal
of
their
(Andrew
but
they
fighting
where
private
Rodman]
In WF?, t h e
a good
Sartre
does
unequivocally
that
escape
from
deception
this
(bad f a i t h ) . ' 1' ^
his
responsibilities,
acceptable,
fixed
stable
identity.
Rodmans
be
personal
as b y s t a n d e r s ,
prevent
with
we
personal
for
a sense
of g u i l t
relatives
who
were
problem
of t h e
upon
is
to
others,
’
’
except
and
ask o n e s e l f
d o i n g ” and
and
compromise
ethical
that
he
what
one
by a k i n d
of
states
would
cannot
self-
^
when
the
individual
characters
(TSW)
a public
of
the
in b a d
as i t s
alienated
external
to' e s c a p e
faith,
and
(WR),
choosing
an d
commitment.
reality
socially
true
Farrelys
of t h e m s e l v e s
towards
from
tries
ready-made,
itself
like
act
image
some
responsibility
and
the
to
denying
They
remain
unwilling
destruction.
Contrasting
guilt
the
Nazism).
by a c c e p t i n g
Hazens
D_C w h e r e
his
take
against
consciousness
Thus,
(.DC) , t h e
identified
their
to
arises
in
ar e
fight
always
responsibility
Bacf' f a i t h
to t h e i r
men
cannot
deciding
have
of o n e ’s a c t i o n
"one o u g h t
Or
Heilman's
they
about
change,
the
if e v e r y o n e .did as o n e
that
guilt
(Kurt's
happen
implies
so t h a t
P a r r e l lys
consider
by e x a m p l e
to
outside
in
properly.
support
cause
events
displayed
Moses
feels
unable
in
is
lives
moment
d i d n ’t g i v e
for
influence
narcissism
TSW,
seems
levels.
because
involved
historical
life
both
get
plays-7 l i k e
frustrated
hold
to
have
Miss
to
these
c h a r a c t e r ’s s e n s e
H e i l m a n ’s S a r t r e a n
heroes.
of p e r s o n a l
Like
Leo W h a l e n
12
(DC)
or K u r t
committed
to
M ü l l e r -(WR)
who
a political
cause
against
the
against
Nazism.
unlike
the
transcend
factory-owner's
They
others
their
Miss
her
they
and
have
fight
a definite
selves
her e a r l i e r
standard when
"good
susceptible
H e i l m a n ’s i d e a l i s m
in
of
exploitation
are not
individual
I b s e n ’s m e t h o d s
to be
are
she
faith."
the
and
second
plays.
the
first
to b l a c k m a i l
outlook
to
are
-for it,
fighting
seems
They
on
life
for a good
induce
because,
and
cause.
h e r to f o l l o w
I b s e n ’s m e l i o r i s m
has w r i t t e n
TLF,
APF,
DTC,
seems
W R,
TCH,
TSW.
In T L F ,
the
truth
Ibsen’
s method
to A l e x a n d r a
Hubbards’ predacity
Miss
with
in
a way
Heilman
o ut
D_C b e i n g
oppression.
dilemma
is
She
and
in W R
blames
society.
Chivalric
code
with
becomes
social
she shows
revelation
aware
of
of the
hero
problems
her
and
a cold m a t e r i a l i s m
who
fights
non-interventionist
it t h r o u g h
its
in t h e
it.
an e n g a g e d
showing
"engage"
consequences
against
policy
herose
in W o r l d
like
War
II
and T S W .
code of h o n o u r
values
In t h o s e
youth
to f i g h t
t h e U.S.,
I b s e n ’s f a s h i o n
materialistic
the
concerned
condemns
CA P F , T L F 1, t h a t
Chivalric
T L F ) and
in o r d e r
contrasted with
Sam and K u r t , Müller,
In
so t h a t
followed
of t h e i r i m p a s s e s :
in t h e T h i r t i e s
and N a z i s m
is
and
plays
of h o n o u r
she
is,
is
shows
an
agrarian
some
seems
like Bag try
even
Julian
CT A
who
materialistic
values
of N o r t h e r n
an a l t e r n a t i v e
present
and H o race
c o u l d n ’t b e a r to
society.
a
No-rthern
to p r o p o s e
characters
Reconstruction
society with
contrasted with
she
J
the S o u t h e r n
Other
a Southern
Giddens
live
(APF,
by the
characters.
13
like
Regina,
standards
of
Oscar
and
success"
and
t r y to
also
and
getting
In t h i s
alternative
way
could
to e s c a p e
But
Chekhov,
in
she
prophesying
Hubbard
realize
rooted
working
Southerners
Ben
them.
in t h e
rich
adopt
being
viewed
decadence.
her
two
seems
plays
fatalistic
failure
and
decay
to m e a n i n g l e s s n e s s ” a n d
for
in t h e
last
a narcissistic
incestuous
feelings
plots,
human
like
who
the
WR,
TSW,
Kurt
r'lUller,
they
are
(TAg,
their
promote
TA l,
absorbed
their
justify
principles.
of p r o g r e s s
as
influenced
by
TA],
Southern
a
destiny,
She
a vicious
like
on
presents
circle
sign
Carrie
life,
of
the
leading
selves
and
Mrs
failure
to
participate
in
complete
a nd
Elliss,
displaying
their
of g o o d - f a i t h
to b e c o m e
in
like
DTC)
to e m p h a s i z e
certain
Sam Hazen,
people
transcend
will
that
playwright,
the South.
as
"mystique
love.
in
outside
Ibsen-influenced
and
self-fulfilled
as
beings.
We w o u l d
CTLF,
their
people
struggle
incongruous
the
plays,
outlook
as a s u r e
c o u l d n ’t go b e y o n d
reality,
the
principles
(TAg,
about
materialistic
decadence.
illustrate
They
pursue
by t h e
i n d i v i d u a l ’s t r a g i c s o u l - s e a r c h i n g
Characters
those
the._.Northern e t h o s
economic
last
They
Puritan
as n ot
society
accept
of g oo d
faith:
no o n e -moves b e y o n d
selfish
responsibilities
ar e
immune
"bad
interests
in
free
(Alexandra,
choice
because
they
f o r an i d e a l
her
last
f a i t h ”; a ll
and i n ward
outside
plays
to b l a c k m a i l
and f igh t
While
towards-the
her earlier
characters
by t h e i r
selves
m a n k i n d ’s w e l f a r e .
their
in
honourable
Whalen]
individual
that
t wo
are
plays
shown
crisis,
world
and
which
escaping
thus
being
world.
l e d to
self-deception
and
to a f a t a l i s t i c
view
15
Bibliographical
(1)
Lewis,
Allan
- American
Contemporary
1970
p\
references
Plays
and
T h e a t r e , Crown
Playwrights
Publishers,
of T h e
Inc,
New
York,
107.
C2 3
Lewis,
Allan
(3)
Adler,
J a c o b 'H.,
Series,
- op.
n 9 4,
c i t . , p.
Lillian
Steck
108.
Heilman, Southern
Vanghn
Co,
Austin,
Writers
Texas,
1969,
p.
19 .
(4)
Dusenbury,
Winifred
American
Press,
(5)
Eatman,
[6 )
p.
James,
Sievers,
W.
David,
op.
(8 )
Felheim,
Marvin,'
Dialectics",
M.,
Modern
Miss
- op.
cit,
Existentialism
1960.
p.
on
p.
Drama
p . 27.
Cll )
American
cit,
195 1,
Adler,
of t h e
"T h e A u t u m m
"A N e w
(1 0 )
of L o n e l i n e s s
University
in
Modern
of F l o r i d a
from
Walter Kaufmann,
D r a m a , N.
of
York,
285.
p.
288.
G a r d e n : Mechanics
3, S e p t e m b e r
4,
Dostoievsky
Meridian
The
447.
H e i l m a n ”, T h e
p.
Destiny:
Broadway: A History
the A m e r i c a n
David,
W.
Jacob
and
19 5 5 .
Sievers,
M a r c h , 31,
Freud
House,
17)
J.
Image
F o x e s ", P l a y e r s ,
Hermitage
Brown,
Theme
14 6.
"The
Psychoanalysis
(9)
- The
Dr a m a , Gainesville,
I960,
Little
L.
and
196 0 ,
p.
Saturday
195.
Review,
42.
to S a r t r e ,
Books,
Inc,
edited
195 6,
p.
29 2.
CHAPTER
THE
The
because
Boston
actual
one
and
CHILDREN’
S
Children's
of i t s
Chicago
trial:
"Closed
of a c o l l e c t i o n
a long
states
attachment
this
or the
York,
a sixteen-year-old
they
proved
economically
David
their
to e a c h
schoolgirl.
and m o r a l l y
Siewers
"Miss
to
says
the
actresses
Prof.
1934
and
banned
in
The
after
school
were
Case",
1931).
accused
Two
of a
testimony
s u e d a nd
years
an
Companions
slanderous
teachers
t en
Bad
and Green,
on t h e
on
Drumsheugh
entitled
Duffield
based
of
although
they were
destroyed.
that
Heilman
cast
it w a s
play was
Great
cases
other
innocence
in
time.
he a d m i s t r e s s e s of a Sco.ttish b o a r d i n g
lesbian
performed
lesbianism,
criminal
(N.
(1934)
first
that
Doors;
of
Rowghead
was
matter,
for
Holmin
HOUR
Hour
subject
Lorena
by W i l l i a m
II
has
declared
original
were
afraid
that
production
to t a k e
W i l l i a m Lions Ph'elpps
it w a s
difficult
because
part...
of Y a l e ,
prominent
and
even
a member
of
the
17
Pulitzer
Prize
The C h i l d r e n ' s
Committee,
Hotir; t h e
a comparatively
two women,
Many
really
its
that
of t h e
season
went
to
relationship
0f
The Old Maid . ’
’^ ^
agree
that
the
Heilman
d e c l a r e d 'that i t s
punishment
the m ora l
season's
of t h o s e
who
code
deviate
slander and
blackmail
as a m e a n s
destruction
it b r i n g s
to p e o p l e ' s
It
is
set
in
converted
farmhouse
act
place
takes
best
late wi th
Mortar.
Mrs
in a s m a l l
play was
one
of t h e
discovers
M a r y ’s lie:
simulates
a heart-attack
submission,
Wright,
the
other
illness
and
they
criticizes
to
the
Mary
a
The
her for
Doctor
them.
and
it.
latter
The
to b l a c k m a i l
the
for
arrives
her rich
about
first
Tilford
is p l e a s e d w i t h
mistreated.
call
and
showing
for girls,
headmistress
headmistress,
decide
coercion
f l o w e r s -as a p r e s e n t
to t e l l
being
It
school
and t h r e a t e n s
about
it.
evil.
society
in M a s s a c h u s s e t s .
punishes
threatening
gra n d m o t h e r a tale
from
ex-actress
Karen
and
by
sewing-class.
school
good
lives.
of f a d e d
a vain
was
established
social
town
Mortar's
a bunch
Mortar,
Ddbbie,
of
subject
the W r i g h t - D o bi e
in M r s
arrives
into
study
critics
play questions
Karen
prize
to a t t e n d
TCH.
Miss
This
tepid
refused
her
Mrs
But-
teachers
and p o w er fu l
Karen
informs
Martha
g i r l ’s p r e t e n d e d
Joe
Cardin
in to e x a m i n e
her.
Joe
is an o p e n
had
Cardin
is K a r e n ’s f i a n c é e
hostility
in M a r t h a ' s
previously complained
behavior
to K a r e n
loss w h i c h
she w o u l d
the
a f t e r K a r e n ’s m a r r i a g e .
school
suffer
and
in t h e
of
her
on
h is
towards
him.
loneliness
partnership
Karen
arrival
there’
Martha
and
the
administration
dismisses
it
and
they
of
10
combine
think
to
o f f e r Mrs
that
behavior
the
and
old
Mortar
actress
a s u m to
should
small-mindedness
leave
leave
c an
be
the
school.
because
harmful
to
They
her
eccentric
the
s c h o o l g i r l ’s
character.
Martha
communicates
Mortar maliciously
attraction
f o r Karen..
towards
conversation
and
to r u n
her
an
to
She
l a t e r on
away
from
helped
'unnatural
mentions
Mrs
Ac t
Mary
Cardin
states
she
Mrs
has
and
with
In o r d e r
who
that
sh e
couldn't
de H a u p i n
her two
Martha,
she
insinuates
teachers.
the
Mary
latter's
over Karen's
marriage
self-righteously,
starts
her
"whispering
phones
Cardin
t e a c h e r s . She
all
threatens
is
already
and Mar tha
arrive
demanding
relationship.
at M r s
scene
taken
and
she
to
she
the
has
told
ou't of t h e
and t h e - s e c o n d
to
by R o s a l i e ,
Cardin
next
t h e girls, a r e
M a r y ’s h o u s e
Mary
stolen
In t h e
and
deceive
truth.
and
to
T i l f o r d ’s h o u s e
the
Joe
a homosexual
Tilford
the
knowing
her guest:
which-was
overheard
for
R o s e lie arrives a t
bracelet
feelings
revenge
are wa rn ed .
blackmails
lesbian
her
s c h o o l g i r l s ’ parents
school.
Mrs
conclude
the
community
and
'unnatural'
to M a r y
at M r s
her crying
c a m p a i g n ’ to d e s t r o y
the w h ole
it
arrives
been punished
Tilford,
an
schoo l g i r l s
reveal
between
M o r t a r ’s q u a r r e l
her char ge s.
Two
Mademoiselle
relationship*
corroborate
having
her aunt
Martha with
Perceiving
by r e a d i n g
h o s t i l i t y .t o w a r d s
that
they
to
school.
her g r a n d m o t h e r .
and
of
charges
her friend.
In t h e S e c o n d
lies
decision
accuses Martha
and j e a l o u s y
decides
their
t e l l ' a b o u t H e l e n ’s
if s h e
d i d n ’t o b e y
T i l f o r d ’s. h.ouse w h e n
an e x p l a n a t i o n
of
h er.
Karen
her a c c u s a t i o n
They- t h r e a t lien to s u e
Mrs
Tilford
of
19
for
slander.
accusations
Cardin
and
although
Tilford
believes
latter,
submissive
In A c t
and'talk
her.
excuses
and ask
to
Karen
He
breaks
confesses
demands
comes
her
leave
into
"hidden
goes
commits
arrives
to m a k e
a reward
Blackmail
in R o s a l i e ' s
Karen
death.
remarks
But
s hows w h a t
both
so K a r e n
had e x c l u d e d
next
the
Mrs
They
and
the
version.
libel
suit
Mortar
reject
her
and
escape
train.
that Karen
concerning
room
suicide.
she
and
In
the
in
had
a bitter
he
slander
and
s eIf-realization
unconsciously
After
this
money
and
cherished
revelation
the m e a n t i m e
offers
discovered
Mrs
Martha
Tilford
a public
w h e n H e l e n ’s b r a c e l e t
Tilford
her r e p a r a t i o n
feels
Tilford
extends
admits
apology
and
and
the
old
promises
to
a reconciliation
was
found
after Martha's
for Mrs
lady
s ee
Tilford
lacked:
Cardin
to t h e
and
mercy.
again.
community
In
which
her.
Critics
say that
L o n g f e l l o w ’s p o e m .
demythologizes
as
t h a t Maryis a sick child.
is w o r t h l e s s
compassionate
the c o m m u n i t y
Mrs
society.
the
truth
the
and^rs
later she
She f o r g i v e s
doing
that
lost
Mrs
damage.
was
rooms
in
for Karen.
amends:
for moral
have
Mary's
of j u d g e m e n t .
s e c r e t ”: s h e
attraction
and
as a w i t n e s s
confirms
and p r o p o s e s
the
contradiction
Rosalie
from
her p r e v i o u s
engagement.
a homosexual
o ut
states
into
and M a r t h a
arrives
up t h e i r
Martha
calls
for erro rs
h e r to
Cardin
Germany.
She
their exclusion
apologizing
who
she f a l l s
Karen
arrives
Joe
Mary
to b l a c k m a i l ,
III,
about
questions
It is
the
title
used
the R o m a n t i c
of the
ironically
assumption
play was
because
of the
taken
from
it
c h i l d as
a
20
symbol
of p u r i t y ,
In t h i s
force which
innocence
play we see
annihilates
and
the
perfection.
community
the individual
as a p o w e r f u l
who
didn't
f it
coercive
into
i ts
rules.
It is t h r o u g h
blackmail
in
the
or s l a n d e r
social
their
the
Mary
are
to
child"
submit
the
controls
relationaship
e m p h a s i z e s blood
closer
their
is d e s c r i b e d
manipulates
words
or to p e r s u a d e
such
work
as
out
relationhips
blood
links,
others
Mary
using
to
is
by S i e v e r s
cunningly
h e r to b e l i e v e
as e m o t i o n a l
often
In. t h e
the
who
h e r wi.ll.
sc h o o l g i r l s - ,
social
the
more
intensified.
uses, f l a t t e r y
Tilford
of
inter-personal
Heilman
Tilford,
her g r a n d m o t h e r
Mary
Miss
characters:
faults
"psychotic
that
means
milieu.
Moreover
between
different
blackmail
either
in
to f l a t t e r
her charges.
submit
Mrs
also
a leader
among
physical
violence
or blackmail
the
to
her will.
schoolgirls ’ conversation
at t r a c t i o n ’Between
to
as a
th:e t w o
teachers
on. ‘u n n a t u r a l
they mention
M a demo i.se lie
de M a u p l n .
As D o r i s
Falk
states.
Mademoiselle
" G a u t i e r ’s t i t i l l a t i n g
varieties
of
sexual
novel
de
Maupin
describing
experience
is:
some
including
inversion;"
Reading
charges
against
We
and
her
Maupin
s ee
the
this
helps
Mary's
elaboration
of
slanderous
headmistresses.
first
use of f l a t t e r y
in M a r y ’s arriv.al at M r s T i l f o r d ' s
and
persuasion
to
convince
Mrs
house
Tilford
21
of
her
charges.
Mary
granted
has
Mrs
decided
Tilford's
as a p o s s i b l e
threat
to
Grandma
me
run
staying
- she
they'll
a n d as
source
a means
Mrs
paragon
anymore.
when
s it
she
up a n d
me
like
Mrs
of b l a c k m a i l .
Money
is
subjugate
others
and m o r a l i t y
"You
can
(TCH,
foreshadowing
set
Mrs
of the f o r m a l
in m o t i o n
they
don't
away
have
to
«
T i l f o r d ’s f o r t u n e
used
as a s o u r c e
as
of
a
power
her
standing
is p o i n t e d
out
at A u n t
still
a
by C a r d i n :
Amelia
stock,
as
and
tell:
never married
thinks
honor
is
out
honor..."
19)
controls
to d e s t r o y
T i l f o r d m a y be c o m p a r e d
Farrelly
conscious,
in W_R.
standing
or community.
They
common
sense
On
other hand
the
believe
have
f o l l o w in t h e n e x t
Fanny
started,
a g l i m p s e of Mrs T i l f o r d ' s r ig id
moral
«
a n d o f h e r p r i v i l e g e d e c o n o m i c p o s i t i o n . It is a
standards
will
p.
first
T h e y c a n ’t g e t
and
and
look
of B o s t o n ,
of
to o n e ’s w i l l .
old New Engl a n d
she will
it
p . 2 5)
T i l f o r d ’s r e s p e c t a b i l i t y
H e r e we
for
using
’
em something,
this,
using
Cardin...
takes
community,
they
listen.
tier r e v e n g e
of t r a d i t i o n
and
T h e y ’re s c a r e d
tells
(T C H ,
to
the
'em w h e n
they c a n
Mary plans
school
p o w e r on
helped
with treating
possible
from
her teachers:
know and
think
away
economic
"I'm not
y ou
to
and
plays:
The y are
up as m o r a l
stand
from
they
ie.
Karen
g.
and
law a p p a r a t u s )
Martha.
to t h e m e m o r a b l e
to M r s E l l i s
self
to
as a r e p o s i t o r y
matrons
in T A g o r
- righteous
judges
the
and
acts
to
derive
their
ability
are
liable
to a d m i t
the
which
Mrs
status
-
of a f a m i l y
of d ai ly w i s d o m
this
which
to j u d g e
injustice
and
people.
and
the
22
errors
they may
But
matrons.
commit
in
t he
name
there
are
characters
Afatha,
the
housemaid
of
who
is
common
oppose
such
personality.
representative
type:
upright
of i t s
position
owners.
a nd
like
she
stands
By t h e
her,
and Karen
a nd
she
stating
that
she
stood
grandmother.
and
tries
manipulates
mores.
order
The
to s e r v e
between
Tilford
the
of
destroying
somehow
the
her
that
is
to
smear
them emotionally
alwayslinked
which
the
and
this
the
and
to m o n e y ,
to
unjustices
in
between
mercy
Dilsey
the
the
TLF
position
Mrs
for
in
Tilford
side
t he
Faulkner's
and
process
destruction,
of
community.
c o m p a i g n ” and
for
the
enforcement
f r o m an e s t a b l i s h e d
h ad
in
a nd
other characters.
corruption
in
is
an
of A d d i e
pleads
pleading
lesbianism!
has
headmistress's.
like
of
deviates
in
to
"whispering
opinion
is u s e d
slander,
acquisitiveness,
she
outcast
she
earlier
oppression
the
a mediator
re-established
Blackmail
process
Agatha
as
starts
public
Anything
be
on
now
an
who
as m e d i a t o r
F u r y , a witness
perversion,
could
B ut
self-righteous
...underprivileged
consciousness
judgement.
is
servant
the
an
stands
the
She
development
sh e
Mrs
C e . g.
earlier
occupying
a critical
reconciliation
the
an
play
guilt-ridden
Sound
is
against
of t h e
throughout
The
She
stands
although
as
end
and
the
those
a character:
a w a r e o f M a r y ’s m i s c h i e v o u s
of H e i l m a n ' s
sense.
be, a n n i h i l a t e d
of
moral
so
code
that
society.
play
in o r d e r
to
headmistresses'
economically.
property
c a r r y on
reputation,
Blackmail
o r to i l l e g a l
is a c h a r a c t e r i s t i c
a
is
acts
of
of a c a p i t a l i s t
society.
P e o p l e ’s b e h a v i o r
is
conditioned,
in
this
play,
by
the
23
Northern m a t e r i a l i s t i c
ethos,
of a c q u i s i t i v e n e s s
get
profits
from
him.
first
At
blackmailing
of g u i l t
Rosalie
As
the
is
forced
righteous
uses
see
t he
Some
the
was
no
the
his
power
uses
in
a highly
the
for
the
slander,
to b l a c k m a i l
slander
the
desired
the
teachers
of b l a c k m a i l
the
slander.
power
a neurotic
process.
choice
with
because
of
over
R o s a l i e ’s s e n s e
scene
coercive
violence
in
a way
corroboration
also
corroborates
because
girl
c an
M a r y ’s c h a r g e s
Mrs
Tilford...
" Y o u ’ve b e e n
In
exert
as
truth
remark:
taboos
her
the
of
social
have
motifs
keyhole
lives
a nd
(TCH,
p.
of' s o c i a l
and
In
it
exert
on
case.
the
Mary
out
teacher
sues
in a n o t h e r
■p a r t
with
Mrs
legal
you."
Martha
and
the
room.
she
Like
in
and M a r t h a
the
house.
and
the
only
seen
real
shared
to
just
Karen.
has
teacher's
had
t wo
apparatus
keyhole
that
the
Tilford
playwright
of
self-
c h i l d r e n ’s
condemn
the
room
her
I stopped
that
in K a r e n ' s
Karen's
the
condemning
stated
in
43)
to
consensus
g.
t h a t ’s w h y
expectations:
pointed
(e.
in
her
playing
consensus
’n a i v e t e ’ t h e
a keyhole
her aunt
h as
blackmailer
confrontation
to t e l l
means
the
cooperate
dice
prejudiced
Drumsheugh
through
the
t he
illegal
Thus
Mary
and
critics
borrowed
to
using
person.
reversal
sanctions
loads
a hysterical
Tilford
the
teachers.
Rosalie
to
cooperation
psychological
a guilt-ridden
Mrs
her
In
blackmail
t he
status.
emotionally.
blackmail
into
and
H e l e n ’s b r a c e l e t
to o b t a i n
powerless
scene
implies
She
second
blackmailer.
Rosalie
this
coerces
for steal i n g
and
power,
v i c t i m ’s w e a k n e s s e s
Mary
is e v i d e n t ,
by t h e
is
his
to
competing
room)
from
things
trial
there
a room with
24
In t h e
third
consolidated
about
their
They
by t h e
social
talk
c o u l d n ’t e v e n
circulars
slander
their
go s h o p p i n g
living
in
telephone
are
couched
h as
and
Mortar,
evidence
acted
avoiding
in
to
Doris
the
secluded
a
"bad
to
been
Martha
social
them
that
awake
mess
you've
the
y ou
talk
club
they
had w r i t t e n
house
and
it
is
struggle
of t h e
through
dreaming...
night
the
But
when
black
now
t h e r e ’s no s o l i d
i t ’s
world.”
53)
informing
that
condemn
at.the
the
hour
outside
M o r t a r ’s 'arrival.
and
outcasts:
world:
nightmare,
p.
in
dark
been
her that
her
them-,
trial
classifies
Mrs
She
she
t he
releases
the a c c u s a t i o n
to
shows
that
as
testify
Mrs
is
helped
Mortar
world:
Martha
refusal
them.
f a i t h ” towards
testify
Falk
and
ladies'
Kafkaesque
half
Mrs
in h e r w o r d s
provided
as
t wo i n t e r r u p t i o n , f r o m t h e
call
a n g e r on M r s
treatment
- . . . " I t ’s l i k e
(TCH
there
have
from their milieu.
had
a ll
But
and Ka ren
because
them
consensus
Karen
blackmail
ostracizing.
about
if t h e y w e r e
and
law a p p a r a t u s
to e x c l u d e
Social
as
act
had
their
been
ha d
Mortar
by
her
her
that
she
inaction,
destruction.
a "bystander",
that
is:
"a c h a r a c t e r w e l l - m e a n i n g
allow
Joe
blinded
the d e s p o i l e r s
„ (3 )
aims."
to
Cardin
the
by s o c i a l
communication
relationship.
is
shown,
in
consensus.
is p o s s i b l e
In
accomplish
last
his
because
or n ot w h o
a ct,
dialogue
distrust
stand
their
by
destructive
as a w e a k
with
and
Karen
has t a i n t e d
man
no
their
25
Cardin
feeble
man
to t a k e
is
who
i n WF3 or in
Julian
to
Other
homosexual
suicide
the
in t h e
good-willing
close
easily
course
of w e l l - i n t e n t i o n e d
and who
events.
manipulated
harmful
We
of F r e d e r i c k
David Farrely,
characters
is
of
character
by
b ut
hi s
sometimes
have
who
their
is m a n i p u l a t e d
and
by
Fanny
in T_A. T h e y
inaction
to t h e m s e l v e s
fails
his
manipulated
sisters
but
are
and
to t h e o n e s
who
them.
critics
state
tendencies
character
that
M a r t h a ’s r e v e l a t i o n
to K a r e n
a re m e l o d r a m a t i c
only
development
manipulated
in T A g , in
indecisiveness
are
earlier
in t h e
his m o t h e r
a ll
is
a stand
counterparts
by
an
and
devices.
the
of
f o r m e r ’s c o n s e q u e n t
I would
in H e i l m a n ’s p l a y w h o
argue
that
Martha
the
tragic
follows
is
pattern.
According
misfortune
to A r i s t o t l e
is b r o u g h t
Modern i n t e r p r e t a t i o n s
conflict
in
appearance
hero
his
human
and
stands
life
evolves
toward
the
consciousness
his
truth
possible
T C H : what
that
H.e l i m a n
seemed
the
s et
of
of
whose
the
clash
lie.
a false
Tragic
is
vision
with
t he
between
rules
that
Reconciliation
that
Reinhardt
which
truth,
show
of
the
tragic
his w o r l d .
And
process
t he
hero
achieves
reality,
t he w o r l d
he
is
death.
this
irony
in
to be a lie,
turns
out
h e r o i n e ’s p o s i t i o n
with
he h a d
as a lie.
through
Miss
discovery
and
a character
" e r r o r o r f r a i l t y . ”(41
to K a r l
a s e t of v a l u e s
truth
requires
pattern
from
According
between
the
some
derives
reality.
balances
by
of t h e t r a g i c
life
against
now
about
tragedy
shows
appears
rules
that
to
herself
govern
the
as
to
tragic
process
be tr u e .
false,
her world.
And
of
the
inconsistent
M a r t i n a ’s s e l f -
sees
26
realization
makes
her con fe ss
unconsciously,
homosexual
Sievers
out
points
that
As M a r t h a
only
possible
suicide
-enough to
created
and
empathy
for
discovery.of
world,
which
found
and
h ad
the
is
resigns
herself
to e n d u r e
It
seems
her
shares
sense
to r e l i e v e
for
"false
her
sense
b l a c k m a i l ” and
Karen
answers
possible
that
through
Falk
being
in
is c o n v e n t i o n a l
aftermath
with
life
in
poses
Mary's
suicide.
o n l y in
is o f f e r e d
Mrs
to
the o u t s i d e
a community
as
helping
of g u i l t
their
offers
was
money
a society with
the
Tilford,
because
blackmail
She
its m a t e r i a l i s t i c
of g u i l t
tfie t e a c h e r s
way
that
that
consciousness.
community,
Doris
to r e v e a l
ethos, money
towards
thus
her.
reparation.
revolves about
the
Committing
and
appropriate
is r e c o n c i l e d
after Martha's
Northern
death.
herself
out m i n u t e s
one's
community
playwright
an
comes
to r e l i e v e
deviation
secret.
excluded
materialistic
only
suicide
end K a r en
she
And
the
of h e r g u i l t
Mrs T i l f o r d
a moral
faith
that
unconscious
code' of
is t h r o u g h
of e x p i a t i o n
this
By the
the m o r a l
community.
agree
had c h e r i s h e d ,
her best friend.
Heilman
reconciliation
the
towards
she
flaw.
shares
is a f o r m
peace with
feelings
that
Miss
"understanding
as a t r a g i c
to K a r e n
highest
who
she
incentive
has a c t e d
rrroney as
to a
She
condemnation.
she o f f e r s
a
belongs
values.
as
in b a d
As
a
a reward
slander.
reconciliation
forgiveness
with
the c o m m u n i t y
and e n d u r a n c e .
the q u e s t i o n
of f r e e d o m
of c h o i c e :
is
27
"What
al l
if t h e
- one or even
consciously
deserve
We would
has
any
condemn
right
two
condemns
at
these
to m a n i p u l a t e
people
not
false?
or u n c o n s c i o u s l y ?
agree with
there
were
- both women
destruction
people
In t h i s p l a y
charges
the
hands
on
of
if
after
feelings,
the
guilty
(6 )
society?”
asking
blackmail
and
if
society
slander
to
of t h e i r f r e e d o m o f c h o i c e .
is a c r i t i c i s m o f
based
such
Would
assertions
gossip,
.regardless
had
What
slanderous
the j u s t i c e
accusations
system,
which
of a n e u r o t i c
child.
»
That
T C H as a
is w h y
libel
against
C o m m i t t e e , which
censorship,
And
revised
the
work
Why did
justice
system
Critics
Four
formal
emned
Heilman
justifies
Activities
e.
g.
people.
raised
rights
and
to
the
by t h e
third
denouement
directed
of t h e S t a t e ,
of f r e e d o m
the
Heilman
Un-American
intellectuals
implied
about
say the
the
were
smear
So,questions
complain
and t h e y
any
the
Miss
controls
questions
use
wpre
and
to c o n d e m n
the S t at e
cond
engagement
Miss
the
they
dignity?
political
lenghty
has
revival.
Me C a r t h y
same e t hi c a l
version:
and
used
1952
l aw a p p a r a t u s ,
the
ideology?
in t h e
over
control
big
li e?
depriving
of
choice
th e
political
Why
h as
them
from
on
19.52 p e r f o r m a n c e s .
act
as
being
t oo
is o v e r w r i t t e n .
herself
in
the
Introduction
to
Plays.
"I a m a m o r a l
I cannot
Miss Heilman
wishing
that
avoid
writer,
it
Adler"attributes
seems
apparently
she h ad e n d e d
this
last
often
that
too m o r a l
last
agrees, w i t h
the .play.with
summing
a writer,
summing
those
and
up. . . "
critics
Martha's
suicide.
- up t o H e i l m a n ' s
But
28
d i s c i p 1eship
to
Ibsen:
"like
Ibsen
s he
significance...
confrontation
technique
us e
Holmin
of t e c h n i c a l
cause-effect
For
where
with
by t h e
t he i s s u e s
4 .. C8)
out.
Lorena
presents
issues
the
of
characters
themselves...
end
brought
of
the
about
classifies
contrivances
TCH
social
s he
play:
the
h ad
uses
play
order
his
a discussion
are
as w e l l - m a d e
which
a tragic
the
where
spelled
play
plot
by t h e
in
a 'strict
relationship.
example,
Mary
’l o v e r ’s g i f t ’, as
breaks
an o r n a m e n t ,
a foreshadowing
Karen's
love
affair.
Another
'stolen
b r a c e l e t ’, w h i c h
of t h e
reiterated
makes
described
splitting
motif
as
up
a
of
is H e l e n ' s
M a r y ’s e m o t i o n a l
blackmail
because
major
effective .
Critics
are
already
praise
this
present.
As. A d l e r
"an a d m i r a b l e
like
are
presented
dialogue,
a overt
the
Mary
appears
goods
blackmails
teachers.
Regina
impulses
economy
as
h e r to
an
in t h e
in o r d e r
to
her
her
is
to o b t a i n
th e
with
also
it
is
linked
It a p p e a r s
flattery
his
cheat
as
v i c t i m ’s w i l l
to d e f e a t
uses
and
and
f o r m of p o w e r
presented
and
and life(9 )
plays.
purposes.
a subtler
power
firm
control
submit
virtues
is:
crispness"
strength
her f a t h e r
t he
later
emotionally
use
the
there
and
informal
blackmail
flatters
towards
as
a i:m. It works, as
Emotional
Hubbard
its
Mrs Til fo rd
persuading
out
to m i s c h i v e o u s
f o r m of c o n t r o l
blackmailer's
gossip
and
points
here
characterization,
n ot as v i v i d l y
Blackmail
to m a t e r i a l
play
when
and
th e
in A P F
where
incestuous
her b r o t h e r s
to
29
financially.
It
Blander
is
actually
because
force
its
in
sucess
is
an
also
believe
their
have
to
conclude
that
they
have
that
they
cannot
because
DC w h e r e
psychological
crisis
It
Heilman
individuals
here
that
play
latent
is
raise
are
applied
how
integration
and
homosexual
on
bring
Karen
there
Ironically,
sole
it
and who
Thus
by t h e
their
we w il l
persecutor,
public
private
impulses.
other
ethical
questions
like
in
to
shows
the
the
becomes
this
conservative
In t h i s
the
private,
truth, by
of t h e
stimulates
lives
T S W or
of
the
more
c h a r a c t e r ’s i n w a r d
although
outside
private
a more
or
mores
from
unfemi n i s . t
that
that
themselves,
their
to
charges
discovering
them.
way
different
herself.
so
ethics,
rather
that
survive
homosexual,
makes
a powerful
in a d e v i o u s
not
portraying
socially
social
it
it m a k e s
as
to be w r o n g .
linked
saying
condemns
proved
conditioned
by a lie w h i c h
cannot
Karen
is
blackmail
dimension
because
because
between
or f u l f i l l
this
be
the
impulses
so w e l l
affairs
to
of
sentence
society
admit
play
a materialistic
works
After
Miss-Hel l'man is r a t h e r
blackmail
the
that
is i n t e r e s t i n g
seems
been
others
attraction
it d o e s n ' t
provoked
with
play
self-examination
been
B ut
h as
the
support.
pronounce
in
in
the
play,
homosexual
world
characters.
lo n g .
of
who
Blackmail
plays
this
'unconscious'
is t h e y
of
surface.
l e d to a k i n d
was
end
in
to t h e
It
deprived
means
motif
in
a society
them their
truth
motif
possible.
Blackmail,
the
a central
is a c e n t r a l
coercive
denied
It
ending
society
end.
is.
Miss
is b i g o t e d ,
conventions
when
s he
play
’
false’
a kind
false
the
for
shows
very
by
of i n n e r g u i l t
charges
proves
the
in
finally
30
to be
Hiss
true
when
Heilman's
'puritanic'
redirected
end
in.her
is
that
by t h e
individual
of a m o r a l i s t
conclusions.
who
against
is
often
herself.
almost
31
Bibliographical
C 1)
.Siev e r s ,
W.
David,
Psychoanalysis
C2)
New
York,
Doris
Falk,
Co,
19 55,
Lillian
American
Heilman,
37.
Falk,
cit.,
p.
40.
Aristotle,
pp.
"Poetics"
Harcourt,
(5)
S i e vers,
(6 )
Falk,
(7)
Adler,
Brace
David,
Doris,
19 6 9 ,
Jacob,
p.
op.
cit.,
cit.,
Lillian
p . 9..
op.
Frederick
p.
New
p.
House,
Ungar
Publishing
York,
p.
p.
102.
Steck-Vaughn
Co. ,
281.
Heilman,
cit.,
1952 ,
41.
7.
Jacob,
Drama, Hermitage
in C r i t i c i s m : t h e M a j o r T e x t s ,
& World,
op.
of
279.
p.
(4)
19 ) - Ibid.,
p.
The
19 78,
Doris
Adler,
and
on B r o a d w a y : A H i s t o r y
New York,
(3)
(8)
Freud
references
8.
Austin,
CHAPTER
□AYS
Days
It
to
C o m e , Miss
played
only
III
TO
COME
C 1 936)
H e i l m a n ’s s e c o n d
six
performances
Heilman.recognizes
its
failure
play,
in N e w
in t h e
was
York
produced
and
in
closed.
Introduction
to
1936,
Miss
Four
Plays:
"I s p o i l e d
mistake:
Smiley
on
this
another
chance
says
that
Miss
into
fusion
the
rather
lives
you
think
because
to w r i t e
a "didactic
and
feel
^
strike
play,
with
amateur's
must
never
it."
but
be
have
it f o c u s e s
f2 )
is a t t r i b u t e d
strife
to t h e
you may
on w o r k e r s . "
failure
labor
I returned
by m o s t
critics
her p s y c h o l o g i c a l
to
insight
of c a p i t a l i s t s .
Heilman,
Depression"
iri a s t r i k e .
time,
than
Heilman's
Miss
of t h e
it is
of t h e
play.
everything
written
capitalists
th e
a good
considered
portrays
Like m a n y
the
by A l l a n
Lewis
problems
of
intellectuals
in
t he
as a " s u r v i v o r
labor
unionization
thirties
s he
33
became
aware
of t h e
working-class.
a group
standards
groups
of
high
amateur's
ro les
Without
in
Guild.
for
being
and
not
this
movement
reveals
as
the
l if e ,
the
faced
d e c a d e we
activist
but
in
by
t he
find
theatre.
to set
the
professional
us t h e
remain
and
dragging
have
want
no t
to m a k e
Project
many
the
provided
Hiss
capital
between
of i t s
plays%
Heilman
and
labour
bourgeois
and
this
conquests:
by o u r
public...
to
drives
culture,
But
class
political
at t h e
other
be
remains
hand
said
literature
serve
this
to o u r
of b o u r g e o i s
be
snobbism
ends
time
th e
that
due
it w i l l
revolutionary
same
of
a classless
tortures, us is m e r e l y
the
our way
us to j o i n
construct
of c o u r s e ,
around
ideology
etc...
situation
of
or
activist
groups,
between
bourgeois
on t h e
a case
Theater
bourgeoisie,
corpus
It w i l l ,
ideology...;
Theater
these
value
in o r d e r
which
Group
delemma:.
the
our present
antinomy
the
on B r o a d w a y .
into
habeas
society...
other
both
the d i v i s i o n
born
proletariat
the
the
produced
struggle
historical
still
and
t he w r i t e r ' s
taught
We
was
to a n y of
pose
freedom,
t he
of t h i s
propaganda
Federal
production
would
has
with
the
connected
"We w e r e
MisS
for
quality,
playwrights
'engagement'
we
only
1935,
in an i n d e p e n d e n t
Sartre
drama
concerned with
artistic
In
many
nevertheless
depression
stage.
Central
Theater
of t h e
In t h e A m e r i c a n
of p l a y w r i g h t s
They formed
a nd
problems
said
and
for which
that
that
it
we
is ■
designed."
Heilman
labbr
hand,
shows
cause
s he
this
antinomy
and w a nt s
portrays
the
clearly:
underdog
she
to f i g h t
the f a c t o r y - o w n e r
as an
sympathizes
back.
On
34
unwilling
oppressor.
detriment
of t h e
This
plot
contradiction
which
"crowded with
B ut
these
loosely
adultery
(4)
r i c h ”.
related
and
contradictions
H e i l m a n ’s a m b i g u o u s
s et
up to
th e
is:
blackmail,
of t h e
is
political
elements,
broadly
may
satirical
be' a t t r i b u t e d
belief.
As
including
she
sketches
to M i s s
declares
in An
Unfinished Woman :
"It
saddens
convictions
best,
On t h e
capitalists
as
hand,
(Rodmans)
her m o t h e r ' s
several
went
that
times
for
she
the
caused
respect
for money
Without
would
argue
made
she
gave
the
each
me
in me
a wild
and
a "Woolworth
vision
h e r to an
treatment
we v i s i t e d
we
child
extravagance
have
it.
and
and
and
mixed
The
during
with
respect them
Freud"^ ^
of
and
analysis
I
the worl d
balances
her
of g u i l t
sense
intellectual
over
pseudo-
thirties.
s et
in a S m a l l
af§ P e l u c t a n t l y
Andrew
same
mistakes".^ ^
led
ffiatbry,
the
poor daughter
angry
those who
combination
Woffegrs
true,
cottage where
an
it.
is
summer
into
capitalism
play
the
where
as t h e
for
the
them
year
my w o r s t
her eth ic al
the
toward
apartment
respect
in
in t h e
Newhouses.
her
engagement
political
radical,
benevolent
between
The
my
w e r e f.u11 of s e l f - h a t r e d
intending
that
is
a week,
forever
I always
very
New York
a visit
periods
that
sense" .
granddaughter made
f ul
admit
never
because
family:
" But
n o w to
were
serious
other
...
me
Rodman.
striking
Rodman
is
tourn
in O h i o ,
against
t he
portrayed
in w h i c h
o w n e r of
as
a brush
a paternalist
35
businessman,
workers.
concerned with
He c o u l d n ’t a d a p t
capitalism which
to i n c r e a s e
greater
or
h is
his
required
profits
monopolies.
lawyer
and
strikebreakers
the
himself
the
for
Other
welfare
successful
partner
Ellicott,
from Cleveland,
come
are
provoke
the w o r k e r s
into
starting
to e n d
Leo W h a l en ,
to f a l l
victim
the
the
of
competition
like
his
the
a fight
order
with
sister
Andrew
command
professional
in
Cora
to
hire
of a c e r t a i n
.killers w h o
try
in o r d e r
u se
to
warns
the w o r k e r s
to W i l k i e ’s m a n o e u v e r e s
which
would
B ut w h e n
h is
Mossie,
to
strike.
organizer,
to v i o l e n c e .
partner,
new ways
persuaded
under
exploited
of t h e w a g e s
stockholders,
The men wh o
forces
to t h e
reduction
Wilkie.
legal
of t h e
union
one
of t h e
Whalen
is
strikebreakers,
unjustly
lead
Joe,
arrested
as
not
them
kills
t he
murderer.
In D a y s
types:
the
to C o m e
labor
emancipated
Rodman,
innocence
bu t
by
that
Whalen
leader,
characters
the
are well
strikebreaker,
defined
and
Northern
the
woman.
Julie
saying
her
she
Andrew's
is
if
wife,
blackmailed
s he
ever
tells
wants
to p r o v e
by W i l k i e . He
the
W h a l e n ’s
threatens
t r u t h , he w i l l
her
incriminate
a nd A n d r e w .
From
defeated
then
and
forced
A sub-plot
poririys
the
on
violence
back
develops
inner
starts
workers
are
to w o r k .
parallel
conflicts
of t h e
their illusions
ahd f r u s t r a t i o n s .
this
ambiguity
introduces
and the
into
th e
to t h e
labor
Rodmans,
play's
cause:
their
treatment
it
anxieties,
of a s o c i a l
36
thems.
Sievers
says of the
"it f a i l e d
to
satisfy
psychological
The
Andrew's
Whalen-
two
wife,
to
ends
violence
industry
was
Northern
his
cause,
in
compromise
In t h e
scene
who
E l l i c o l t ’s l o v e r ) ,
escapism,
on
love with
the
social
to
decadence
decay.
In
the truth:
hatred,
Rodman,
in
promised
the
economic
as
her.
levels:
R o d m a n ’s h o u s e ,
face
Julie
falls
refuses
the w o r k e r s
relations,
theatre."
because
on b o t h
they must
labor
woman,
Whalen
the f a m i l y
as
o r as
interwoven
to
parallels
confrontation
are
overcomes
the factory.
either
analysis
a liberated
Dutiful
DC
plane,
stories
play:
return
of
his
the f i n a l
treachery
failure
to
[Julie
love
and
loneliness.
In
to
stay
days
as
together
to
with
Mrs
Griggs
This
love will
be
the
of
and
the
and wife
and
portrayed
for
'all
staying
in o t h e r
in T S W ,
Carrie
Berniers
in T_A.
play
the
house-servants
quarrels
the
together
plays
and Al ex
showing
labor versus
of
a compromise:
Emily
house-servant
oppression,
make
despair
compromise
conflicts:
beginning
of t h e
husband
loneliness
in T A g , A n n a
Hannah.,
about
microcosm
for
existential
strike.
Rodman
facing
c o m e ’ (_DC, P*
In t h e
the
of b e t r a y a l ,
a substitute
deal
and
spite
with
o r Mr
discuss
Cora
in t h e R o d m a n ’s h o u s e h o l d
capital
strike
that
which
is
a
happening
outside.
Ifi t h e
ufif§V§Ureib 1 e
D a v i d , Cdra
same way that
comparisons
contrasts
Mrs
Farrelly
between
in W R t r a c e s
her d e a d
her b r o t h e r ' s
husband
weakness
and
and
her
son
uncertainty
37
with
her father's
workers.
talks
Cora
business
situation
is a l s o
first
t he
is
a spinsterish
with
a love
the
triangle
husband
second
Julie
In
parallels
where
between
In DC H i s s
political
she
views
shows
by t h e w h i t e
public
Heilman
that
the
adopted
In JDC s h e
by p o r t r a y i n g
in p a r t
Andrew
against
their
the
because
th e
neW
workgf§
of t h e
Like
the
shows
more
is
of
in
she
name
in
partner
an d
drawn.
contradictory
Negroes
the
th e
l a t e r in o t h e r
But
There
a final
are
clearly
the
and
She
any
friend,
unveiled
lives
from
D_C : in
friend
reach
manifest
Southern
an d
seems
of t h e
plays:
common
in
whites
to j u s t i f y
ethics
the
of
Reconstruction.
justifies
capitalism
as a p a t e r n a l i s t
some
Firth,
as
contradiction
th e
struggle
Tom Firth,
and e x p l o i t a t i o n
factory-owner
unwilling
and
rebels
is
in t he w o r k e r
always
a working-class
f a c t o r y - o w n e r ’s o p p r e s s i o n ,
had
other
situation:
in
private
in
TLF.
losses.
her best
his
secret"
led by T o m
conflict,
ground:
t he
and
Rodman
stresses
strike-breakers
On
with
in
boss.
oppressor
emotional
TSW and
the
profits
financial
characters
"hidden
with
of R e g i n a
to m a k e
with
in t h e S o u t h .
in t h e
the wo rk er s,
s he
the
oppression
showing
Although
Andrew
exploitation
a nd
in
h is w i f e
she w ill
masters
H u b b a r d ’s g r e e d
progress
the
trying
parallel
deceives
plays
leadership
her b r o t h e r ' s
deceives
both
confrontation
of
and
caricature
Ellicott,
regardless
Ellicott.
TLF
self-reliance
order
killed
hand,
his
to c o m p e t e
aristocratic
Bagtry
leader
b ut
in
an
fights
because
not
the
daughter.
Andrew
he c a n n o t
rooted
versus
Rodman
accept
with
cannot
the
huge
adapt
exploitation
Northern
himself
of
to
his
conglomerates.
he r e f u s e s ' to a d a p t
to a n e w
38
economic
reality
in APF).
He
Ellicott,
who
he c a n
as
also
becomes
invests
manipulate
At
denying
first,
h is
a result
an
h is
easy
h is m o n e y
personal
like
l a t e r on
moment
the
prey
faith
for
business
Alex
(e.g.
in
factory
together.
to me.
I suddenly
in
Julie
reminds
of s e l f - r e a l i z a t i o n
h i m of
so
i s " . (DC,
code
he a s s u m e s
faith",
t h e w o r k e r ’s c r i s i s :
fit
his
of
the
happening
don't know where
his
that
"bad
That's what's
thing
like
l a t e r on.
- ”1 d o n ’t c a r e w h o w i n s . I c a n ' t
pieces
Birdie
speculators
in TS W , a c t s
responsibility
in t h e w h o l e
But
good
in A n d r e w ' s
the. f a c t o r y ' s
Andrew,
Andrew
of
p.
my
place
99)
honor
and
in
responsibility
in
crisis:
Julie
- "They
talked
them?
Andrew
- ...
...
been
he o w e s
strikebreakers
money
villainy
stands
organizer.
clean,
are
I owe
the w o r k i n g - h e r o ,
an
Like
believes
Kurt
in t h e
w§Fk§?§ t h e i r
against
the
in WR_ he is
cause
power
for
exploiters.
doing
or
did
stop
a long
The
reason.
induced
t he
I've
time".
to
hire
the
f a c t o r y ’s p r o f i t s .
and
to E l l i c o t t 's
union-
" a t t r a c t i v e man,
for.
let
of m o n e y -
Leo W h a l e n , the
p.
you
it?"
reasons.
A lot
he is
in
a simple,
63).
an i d e a l i s t
he f i g h t s
Why
I c o u l d n ’t s t o p
it f o r
to A n d r e w ’s w e a k n e s s
u n d i s t i n g u i s h e d w a y ” (DC,
of
money.
to g u a r a n t e e
as
you
that
to E l l i c o t t ,
He is i n t r o d u c e d
it.
a lot
is
borrowing
in o r d e r
Contrasting
into
didn't
myself
anything.
Because
Why
"There
I tell
you
He
of
"good will"
comes, to
undoing:
in
reveal
short
for
who
to
t he
acting
39
He is at
simple,
love
noble
and
the
and
same
idealistic
self-reliant.
compromises
Julie
time,
his
- "We
sense
don't
you
But
and
my
like
of d u t y
get
many
is
no
practical,
Kurt,
Whalen
towards
visitors
husband...
differently,
and
the worker s.
here
and
to
think
happen
reason
dismisses
we
can't
because
e at
together".
W h a l e n - "In m y
business
it's
a good
r e a s o n ”. (DC,
p.
84) .
We
see
h is
compromise
Whalen...
again
"then
when
he r e f u s e s
y o u ’re a s i l l y
doesn’
t know what
who
sees
man
she meets
sick
you
the
think
helps
compromises
cause
with
to
the
I know
to f i g h t
lacking
really
himself,
in A n d r e w
and
a consciousness
solutions
for
t he
fact
that
to
and
us
he
and
that
Heilman
Miss
first
and
I don't
like
doesn't
accept
believes
self-reliance
workers
intentions.
crisis
because
and
the
an o d d i t y
and
86)
has
th e
socio-political
another?...
self-knowledge
both
life
aren’
t you,
He
seems
despite
world,
for.
which
her
d o e s n ’t s t u t t e r :
quo'
oppression
It
achieve
p.
1
who
it in t h e
'status
he is f i g h t i n g
leadership
her
Julie
for
and w ho
t h a t . . . ” (DC,
Whalen
to do w i t h
own
love:
rich woman
solution
of y o u r
Julie's
the
a nd
of h is
duty
factory-owner
Whalen
herself
Heilman
psychological
in
is
is not
wants
la c k .
sure
sure
both
complexities
of
of
clear
at
the
same- tim e «
§fl t h e
i i F U e t U F i : It
with
h§F8i§
happens
as
;
Other
hand,
is f ü l l
this
overtly
of s t e r e o t y p e s ,
th§ a p p o s i t i o n s
a "deus
play
are
ex-machina"
villains
pointed
in
the
shows
o ut
play.
are p a i r e d
and
As
a melodramatic
violence
Heilman
ou t
40
points
out:
"melodrama
h as
pragmatic
between
Leo W h a l e n
hero
with
with
politics
good
a p p e a r s as c o m p e t i t i o n
(9 )
e v i l ”.
and
like
code
John
of
Bagtry,
honour
or Kurt,
and.good
will
the
o p p r e s s e d ,w h i 1 e h i s
counterpart
Wilkie,
the
arch-villain
play.
the
killers
hired
community.
their
out
of t h e
strikebreakers
discussion
Joe m u r d e r s
of R o d m a n ’s r o o m
Trapped
by W i l k i e ,
murder.
Julie was
truth
but
He
as s t r i k e b r e a k e r s
The
Wilkie
Whalen
with
Wilkie
is
meant
are
Whalen
at
land
the men
And
getting
to
ready
sounds
know better,
h i m f o r it.
when
in
the
after
the
corpse
door.
of t h i s
tries
to t e l l
t he
you
out
all
since
together
my
a sell
in o n e
in
you're
y ou
piece
and
think
and
I ’ve
time...
out,
I
that
and W h a l e n
guess,
for a long
like
know
where
they might
That's
look
they
L eo W h a l e n " .
foolish,
business
to
that's
land
but
flossie c a u g h t
gets
a riot
on s u s p i c i o n
and
as
professional
of W h a l e n ' s
time
cemeteries...
going
of
takes
that
for
her
- "They u s u a l l y
in t h e
to f i g h t
cards
it in f r o n t
power
a romantic
provoke
playing
for
portrayed
leader
to
is a r r e s t e d
- .«."It
is
flossie. W i l k i e
and t h r o w s
blackmails
Wilkie
because
politics
is,
an i d e a l
affinities
and
killed
been
I t ’s
if
he
h e ’s l u c k y . . . "
(D C , p . 11 2 ) .
J u l i e ’s n a i v e t e
holds
back
teli§
thi
the
helps
truth
truth
it is
the
and W h a l e n
t oo
ifl Sri 8' t§lis AfidfeW a b o u t
SgfSitiS,
the
blackmailer
late
to a c h i e v e
is a r r e s t e d .
to
prevent
the m u r d e r
l e a d e r of t h e w o r k e r s
of
When
his
finally
violence.
his
accepts:
end :
Firth
daughter.
to s t o p
s he
Julie
comes
Morally
fighting
41
and
go
back
revolt
to w o r k .
against
becomes
dangerous
accepts
t h e .strike,
oppression
ineffectual
Whalen,
how
the
So,
o-F t h r
a symbol
capitalistic
as S a r t r e ’s e n g a g e d
compromise
is.
Despite
hero,
this
- "We d o n ’t c a r e w h o w i n s ,
Whalen
- "You w ill
only
got
In P e n t i m e n t o
Miss
vision
labor movement
of the
Heilman
"Reading
care.
More
I liked
but
is a g o o d
of
of a m o d e r n
prediction
movement
end
of t h e
technique:
she
than
Firth
worker
is
I do.
and
of
rich
and
has
^
Heilman
life
participate
tensions,
greed,
characters’ inability
is
parallel
ambition
and
121).
a prophetic
saw
the
all
my
overwrought,
liberals
used
in
the
through
them,
a correct
American
labor
a repeated
private
affairs
with
rationalization,
to
a
and
hate
lack
their alienation
affairs;
to c o p e w i t h
as
p.
context.
lo v e ,
in w o r l d
(DC,
y o u 've
)
h as
historical
of
But
includes
in it
conservative
T S W , failure
one."
that
leader who
lady,
F o r me,
fights.
issues
crowded
to b e c o m e " .
play Miss
in f a m i l y
to
it
you."
States:
a book
report
how
This
those
relates' her c h a r a c t e r ' s
In Wf? a n d
inability
for
it:
lost
was
socio-economic
involvement
in t h e
a labor
of
fight.
justifies
plays,
it
one
it t h e n ,
thirties,
family
tells
the
like
y o u 're only one 'of a t h o u s a n d
large
system
it:
Firth
By t h e
of
here.
standing
that
usually
D€ a l s o
and
portrays
as a p a r a l l e l
the m a i n
conflict:
to
the
labor
strife.
"The g e ne ra l
social,
dissatisfaction,
portrays
those
years
both
private
between
t he
of
and
Civil
War
and
the
First
the
North
destroyed
saw
divided
the
and
the
big
it s
center
crisis.
truth:
are
Cora,
his w e a k n e s s
she
stands
Miss
deceived
as w e l l
as
Hubbard,
he has
him wit h
been
his
public
cutting.
America
number
Northern
South,
of
huge
paraphrase
tending
to
of
find
to, be an
industry
they
Like
display
Ellicott
the
life
the
the
personal
of
and Wilki e,
victmized
Rodman.
ambiguous
a doctrinaire
Cora
he t a k e s
in
play.
of A n d r e w
by
collapsed
her b r o t h e r b e c a u s e
against
told
Ellicott,
price
the
of
t h e m and
by a s m a l l
hates
deliberately
associated with
as in
their
for and
is
industries
un i t ." ^
her d e s c r i p t i o n
Although
by
fighting
confrontation
both
big
among
a r c h - vi llain e s s of t h e
characterization
of m e l o d r a m a
and
simple-mindedness.
seems
in
apart
Regina
as t h e
capitalist
his
and
Heilman
social
final
like
ones
of t h e
in i t s e l f
the
market
controlled
plantations
split
In t h e i r
the
conglomerates,
independent
Rodmans
War when
smaller
her e c o n o m y
trusts
The
World
to
be
avoid
that
elements
allegory.
that
Julie
her back.
solution
It m a y
for
In
the
h ad
his
personal
crisis
is
compromise.
Julie
Adler
is
points
people who
This
out,
grew
with
and
duty
h is
she
as
a Northern
playsthe
role
of
liberated
the
woman.
outsider wife
As
among
up t o g e t h e r .
occurs
like
toward
both,
she
motif
Julie,
her
portrayed
Alexander
Andrew
finds
romantic
attracted.towards
again
an
and
in
Hazen
passion
escapist
enterprise
adultery
plays
among
like
in T S W
for
her
d r e a m in
is
T L F , APF
divided
lover.
thinking
the wor ke rs .
both with
left
TA.
between
Dissatisfied
about
Julie
(Whalen]
and
Whalen
is
an d
right-
43
wing
(Ellicott)
either
on
political
While
the
crisis,
Hannah,
actions
and
to
shows
in
Coralee,
cooperate
with
from- t h e - o t h s r —s e r v a n t s
in
order
she
is
lost
levels.
entangled
or
that
to
their
domestic
comments
on h e r m a s t e r ’s
oppression.
She
asks
f o r the- s t r i k e ’
s fund' a n d
help
the
strikers
promoting
justice.
In
against
this
play
she
is
the
only
servant w h o
effectively
acts
h e r m a s t e r ’s i n t e r e s t s .
□o r i s
V.
Falk
comments
" E c c l e s i a s t e s ”, w h i c h
is
"For there
the
So
are
like Ad die
R o d m a n ’s p a n t r y
social
which
or p e r s o n a l
Rodmans
refuses
—c o o p e r a t i o n
robs
ideol ogies-,
Miss
fool
showing
is no
forever;
man?
As t h e
meaningless
the
and
to
ineffectual
a nd
is q u o t e d
on
of t h e w i s e
And
becomes
lives,
in
the
the wi s e
of a m o r a l i s t ,
sides,
t h e i r -inaction
prevent
to
2:16).
that
on b o t h
than
days
dieth
the
reward:
more
in t h e
how
(Ecclesiastes
from
labor and
that which
forgotten.
of v i e w
character's
foresee
title
commenting
seeing
fool."
point
the
remembrance
s h a l l -all be
that
inability
a book
come
Heilman's
that
and
destruction
become
their
of
love
and
lif e .
Blackmail,
in
this
used
as a m e l o d r a m a t i c
That
is,
the
the
strikers
device,
were
s t r i k e b r e a k e r ’s c r i m e
Whalen,
the
blackmail,
union
the
Because
struggle
is
play,
gives
shifts
of b l a c k m a i l ,
resolved
two
to v e e r
almost
organizer,
power
has
the
winning
Wilkie
for the
to t h e
aspects.
violence
by a c o m p r o m i s e .
action
the
violence.
of t h e
follows
it
of t h e
struggle
a reason
side
First
is
play.
when
to b l a m e
After
this
capitalists.
and
t he
class
44
And
it
is t h i s
compromise
which
H e i l m a n ’s c o n t r a d i c t o r y
political
whether
as
to
classify
On t h e
blackmail:
Cora
Andrew
h
e
other
it
characters'
is
hand,
the
failure
tells
.
u se
to
an
activist
there
is
and
makes
playwright
a second
to
Miss
buy
us
uncertain
or not.
subtle
kind
love w h ic h
of
implies
the
lo ve.
in
because
the
confrontation
he s p e n t
h is
money
scene,
that
trying
to w i n
.
Cora
- "She's
broken
to H e n r y
same
her
brother
how
she
and
a y e a r in
pattern
h e r wealth a n d
status
bribes
and
Regina
to go
always had
to
you
else...
to P a r i s
and
money
how
to s t u d y
and
E u r o p e . .. to m a k e
her
p.
have
owe
trips
(DC,
and
clothes,
127].
also
in
c o n q u e r Alex;
Regina would
S h e ’s w h y
everybody
had
occurs
to
you...
a n d to
happy..."
The
views,
of m o n e y
Julie,
is b a n k r u p t
r
her
manifests
like
TS W , where
or in
Emily
APF where
to b r i b e
Bagtry's
uses
Marcus
code
of
honour.
In t h i s
play,
for Julie's
love
they
to s t a y
p.
decide
12 8)
failure
facing
to
sees
ha s
the i n a d e q u a c y
together
despair
Andrew
and
for
"all
used
of it.
the
loneliness
as
days
money
as
a bribe
Nevertheless,
to c o m e "
a punishment
(DC,
for
their
lov e.
In t h i s
a sense
he
although
play,
of g u i l t
on
the
both
solution
parts,
is
wife
compromise,
and
husband,
which
summons
factory-owner
and w o r k e r s .
In t h i s
not
resolving
sense,
properly
Andrew, feels an
h is
private
inner
and
his
sense
of g u i l t
business
for
affairs.
The
that
is
work
play
and
portrayed
fact
that
cope
It
of t h e
we
find
that
plays .
their
is
the
the
C a l v i n i s t ic a s s u m p t i o n
means
R o d m a n ’s m o r a l
do
n ot
guilt
really
by b o t h
and
is
of g e t t i n g
nobility
consider
capital
a way
rich.
and
by t h e
h i m as
and
an
labor
for both
This
relieves
classes
to
lives.
surprising
- the
evidence
grow
are
compromise
of. i n n e r
thirties
will
deeds
in A n d r e w
Thus,
sense
with
good
illustrates
the w o r k e r s
exploiter.
their
also
however
era
of t h e
stronger
to
find
that
even
of H e i l m a n ’s p o l i t i c a l
in
toward
political
in
(post
- McCarthy
last
play
involvement
ambivalence
her
this
-
solutions
era)
46
Bibliographical
(1 )
- Adler,
Jacob
Series,
(2 )
- Smiley,
- Lillian
n 9 4,
Sam
American
Steck
- The
references
Heilman
Vaughn
Drama
of
-
Southern
Co,
Austin,
Writers
19 6 9 ,
A t t a c k : Didactic
D e p r e s s i o n , Univ.
of M i s s o u r i
p.
Plays
Press,
35.
of t h e
Columbia,
p . 10 8 .
(3)
- Sartre,
J.
P - W h a t ’s L i t e r a t u r e ?,
Gloucester,
(4)
- Falk,
Doris
Publishing
(5)
- Heilman,
Inc,
M a s s , 1978,
V . - Lillian
Co,
New York,
Lillian
m
David
Sievers,
Hermitage
■CSD
Doudna,
Heilman,
on
New
(1 1 )
Alves,
p.
- op.
ci t . , p.
House,
New
Co,
York,
Junia
San
W o m a n , Bantam
York,
1955,
p.
1977,
and
p.
Thirties ,
72.
Woman",
The
4.
Melodrama:
Tragedy : Vision
and
Speculations
Form, Chandler
19 6 5 .
American
Library
Inc,
134.
M - "Homesick
and P l a c e s
Universidade
of t h e
Unfinished
Francisco,
p.
Books,
3.
- P e n t i m e n t o , New
1974,
48.
Fraternity
”A S t i l l
F o r m ” in
p.
Ungar
100.
B - "Tragedy
Lillian
Character
MD,
Unfinished
- Freudian
Robert
Generic
Heilman,
19 7 8 ,
S t o n e s , 24 F e b r u a r y
Publishing
( 10 )
271.
1979,
Christine.
Rolling
[9)
- An
Smith,
H e i lman, Frederick
New York,
Lillian
(6 ) - H e i l m a n ,
p.
Peter
in
Federal
V
for E v e r y w h e r e
b ut
the
Plays
of
Lillian
de
Minas
Gerais,
Here:
H e i l m a n ”,
1978,
p.
44.
CHAPTER
THE
The
Little
Foxes
blackmail,
over
victmizer
one
to
way,
The
what
power
characters
react
to
and the
a complex
is an i m p r o v e m e n t
of d e g r a d a t i o n
viewpoint
the
On t h e
agrarian
building
other
order
In T L F , R e g i n a
rich
banker,
marriages
The
are
action
business
build
and
cotton
to t h e
code,
a consequence
when
a Chicago
mills
in
tycoon.
Lionnet,
the
a victimpower
characters
degradation
of
implies
her two
his
an
by B i r d i e .
to H o r a c e
Giddens,
J o h n ’s c o u s i n .
f a m i l y ’s f i n a n c i a l
old
from
a deterministic
represented
With
power
m e a n s power, economic status
Bagtry,
and
of
is
In t h e H u b b a r d ' s
is m a r r i e d
of t h e
Regina
shift
some
mill
the
leit-motif
o t h e r in
In
others.
it. i m p l i e s
Hubbard
each
to
its
o r to e x e r c i s e
game.
process
O s c a r to B i r d i e
begins
with
chess
a genteel
and
shows t h e
of a c o t t o n
hand,
with
plot
(1939]
play,
seize
as
used
a process
etc.
FOXES
to
syndrome
another
LITTLE
is a n a t u r a l i s t i c
a device
people.
IV
brothers
money
are
they
plantation
a
Both
interests.
doing
plan
to
of B i r d i e ’s
48
youth.
the
They
still
project.
Horace,
in a B a l t i m o r e
persuade
money
scene,
She
recovering
hospital,
is
brought
close
power
takes
blackmails
revolts
and
In
reach
TLF
stands
for the
cultivated,
money
genteel
genteel
you
niggers
wicked
when
music
to
class.
and
Oscar)
attack
Regina
A fight
him
for
his m e d i c i n e .
her money
Her daughter,
leave
c an
In a c l i m a t i c
and
financially.
in
Her
Alexandra,
order
to f i g h t
allies
sh e
it
in
the
only
demonstrates
to
just
so-"
Negro
else
shoot,
keep
from
because
(TLF,
is
refusal
Mr
is
no t
Marshall.
and
behaves
servitude
she
her
her
the
you
like
to
It's
shoot,
146).
to O s c a r ’s
as a c o m p l a c e n t
but
contrasted
allowing
p.
and
starving.
contrasted
as a r e p r e s e n t a t i v e
behavior
past
Negro.
anybody
Birdie
the
to
a
it
the
order
of
and
in
in
order
a representative
is
so m u c h
need
power
in
She
let
it
or a g g r e s s o r s
lives
s-hoot f o o d
no t
as
T h a t is w (-,y she is a t t a c h e d
Her
a l b u m to
on
of
Birdie
towards
them.
stands
h is
to.
giving
consequently
code.
towards
finds
Birdie
remarks
a nd
need
people
threats
inheritance.
behave
never
to
B i r d i e ’s b e h a v i o r
exploited
n ot
a part
a heart
so t h a t
refuses
she w i l l
aristocracy
behavior
"And
who
home
Hubbards.
however.
that
finance
from
depend
and
to t h e i r w i l l .
paternalistic
by
now
(Ben
characters
people
the
die
they
He
to
Hubbards.
a goal:
mistress
as
partial
the
submit
violent
Horace
announces
like
deal.
among
her b r o t h e r s
is o n l y
people
the
ensues
over
victory
to
is
Regina.lets
then
Horace’
s consent
who
h i m to
and
need
support
to
in
t he
Addie.
of an o l d e r c u l t u r a l
with
Oscar's sharp
to s h o w
the c l a s s i c
49
But
represents
a criticism
is s e e n
"When
and
in S e n ' s
the w a r
leave
si r,
the
the wa r
sons
well
and
speech
as t h e
Edwards
ends.
Ben a t t a c k s
last
it.
Why?
himself
of t h e
and
developed
passion
or C a s h
"Cavalier myth"
have
dichotomy
He
behavior
well
to
set
connections
a
standards
of m i d d l e -
with
subsequent
family
nobility
Southern
genealogy
and
cre'sts."^^
out
there
discrediting
discredits
to H o r t o n
held
of t h e m w e r e
in t h e
as
- established
or m o r e ,
began
pointed
and the
in B e n ’s s p e e c h .
a deep
only
contrived
high-
century
for discreetly m a n i p u l a t e d
imaginatively
As H o r t o n
Most
posthumously
Too
According
with
of
whose
and
the S o u t h e r n
18th'
position
origin,
Well
were
to n o t h i n g .
South.
families,
behavior.
there
off
rot...
ruined,
aristocratic
the
leadership
ride
14 0).
Southern
quarter
to
almost
Because
acres
genteel
Birdie
gentlemen
And
of a t h o u s a n d
class
showing
adapt
is
holdings
of
observed
ruining
prosperous
fine
L io n net
" C a v a l i e r m y t h ” of
by t h e
which
and the w o me n
to tryv"" C T'LF, p.
"a f e w
for the
these
like them.
can
order,
speech:
cotton,
finish
aristocrat
tone
old
comes
the
thousands
In h i s
of t h i s
the
in
the
clash
"Our g r a n d f a t h e r
and
our fath e r
ways
how
to m a k e
was
no
reason
of t h i s
legend
"genteel
code”
between
a New and
is
Old
Order:
and
learned
in t r a d e ,
Hubbard
B i r d i e ’s f a m i l y ,
To m a k e
us.
a long
Twenty
cotton,
and
Sons,
years
their
Merchandise.
short,
ago we
took
daughter".
the
them pay...
for example,
story
learned
down
on
them...
now belongs
over their
CTLF,
They were
Others,
looked
Lionnet
new
p.
land,
141).
to
their
50
Ben's
speech
shows
Southern
aristocracy
Hubbards
had
it.
Ben
trade"
that
and
In
is
in
the
a more
Hubbards
and w h i t e
his
speech
of t h e
shows
because
to t h e
to g a i n
the
a middle
outlook
he
different
alike.
B en
is a s t e r e o t y p e
His
prove
the
that
last
mills
last
the
ways
rich
drink
Well,
be t h e
t he
who,
like
but
Southern
by
also
Negroes
businessman
to M a r s h a l l ’s,
powerful
in
order
force.
for a toast.
is always on
I say,
on
"improving
to e x p l o i t
and
the
improving
only
of S o u t h e r n
Southerner
drink...
will
no t
contrasted
grow
Y a n k e e ’s r e c o g n i t i o n
the
class,
of t h e
speech,
New S o u t h w i l l
"We d r i n k
ruined
and were
implies
men
the
that
a r i s t o c r a t s 1s l a z i n e s s
learned
Reconstruction.
that
the w a r
benefited
mercenary
ironical
contrast
that
T h a t ’s to
his
feet
"Southern
for
cotton
R e m b r a n d t-s of i n v e s t m e n t . "
C T L F , 140) .
Ben
is
a parody
of
a Northern
n ot
Southern
purpose
is
renewal,
uniting
Rembrandt
with
financial
interest.
achievement
with
the
Progress
that
turn
the
to
"South
is
only
Tycoon
also
always
an
economic
he
says
that
but
also
a cultural
investment,
implies
on
when
his
And
cultural
the S o u t h e r n
a competitive
feet"
in
the
goal
principle
relation
to
in
too,
t he
North..
It is
a confirmation
"News
and
of t h e
Observer"
statement
of R a l e i g h ,
in t he
North
Carolina,
in
10 8 0..
"The
South
places
and
recognition
to w h i c h
should...-make
t h us f o r c e
from
of o u r w o r t h
that
money,
people will
the
and
build
North
dignity
always
up i t s w a s t e
that
of c h a r a c t e r
be b l i n d
unless
51
they
c an s e e it
■, , ■„ [ 2 )
strength.
It
seems
to me
economic
of t h i s
effort
p o w e r is
Hubbard
by t h e
but
family
That
in
in
different
the
it is
Hubbards
a way
a way
to f u l f i l l
concerning
respectability
Northern
admiration
Regina's
hopes
upward
as
On t h e
other
wanted
to
dismisses
the
but
parties
f o r Lan,
reach
This
to
Mama
to
by
Mr
economic
of t h e
in t h e
respectability
and
it is
ambition
a way
her
from
to
is e x p r e s s e d
a leit-motif
out,
cotton
the
aspirations
regain
in
in t h i s
"aspiration
contrasted
to
the
in B i r d i e ’s e s c a p i s t
the w ay
Birdie wants
status,
it is
like
now,
so i n t e r e s t e d
individual
points
expressed
it
C.TLF,
regaining
recognition
play,
of
( 3)
hand,
"I s h o u l d
own
their
and
Eatman
mobility.”
order,
are
to C h i c a g o ,
social
of an O l d
the
in t h e m i c r o c o s m
to r e g a i n
as w e l l .
of g o i n g
represents
only Southern
represented
for
ways
not
obtaining
culture,
of f i g h t i n g
community,
which
implies
of m a t e r i a l . . .
TLF.
is w h y
enterprise:
medium
it i m p l i e s
Northern
This m a c r o c o s m
portrayed
the
B e n ’s s t a t e m e n t
Reconstruction
Marshall.
mill
that
through
and
have
Lionnet
back.
like
see
I would
Papa
had
the wa y
to
it...
Mama
We
used
degradation
speech:
I know
it
fixed
could
to
you
again,
have
have
for me."
p . 145) .
restore
the
Chicago,
o ld
a symbol
B i r d i e ’s c o m p l a i n t s
new- i n d u s t r i a l
South
cultural
there
and
habits,
of N o r t h e r n
symbolically
is no
place
while
Regina
success. But
implies
f o r an o l d e r
Ben.
that
in
code
of b e h a v i o r .
Since
the
first
act ,
Ben,
Regina
and O s c ar
start
their
52
power
game with
power
using
any means
to
game",
the
two
from Horace.
she
In
will
shifting
reach
brothers
Regina
convince
their
urge
Horace
blackmail
him:
a message
implying
objectives.
s he
gets
will
- "Tell, y o u r
need
papa
that
the
and
"foxy
third
them
share
replying
share
in
that
the
deal.
emotionally
their
daughter,
to b r i n g
that
I miss
another
their
a bigger
Alexandra,
her personal
to
In
to g e t
Regina
send
home,
hand
to b l a c k m a i l
Horace,
she will
Regina
if
one
Regina
attempts
o r d e r to p e r s u a d e
from
Horace
I want
him
very
with
back
h i m to
much."
home:
come
(TLF,
p.
153) .
R e g i n a ’s s p e e c h
is
implying
involved,
Heilman
promoting
implies
over
Thus
is
and
purpose:
to i n v e s t
plays with
a means
Later
Regina's
for Hora c e
return.
sexuality
people.
connotations
need
his
sex
deceived
Regina
dubious
her se xua l
submission.
power
has
is
on,
That
is w h y
used
as
in t h e
sexual
in m o s t
a means
only
drive
see
and
as
of
others
if
she
her plays,
into
of e x e r c i s i n g
that
a mask
cotton
it is
him e m o t i o n a l l y
of b l a c k m a i l i n g
b e h av i o r was
h is
to g e t
Horace will
her money
because
he
for
has
her
been
real
mill
business.
his
love
only
for
self-
in
"The
Rose
and
the
Heilman
h as
n ot
interest .
I disagree
Fox"
when
achieved
incipient
her
Adler's
that
unlike
Williams,
synthesis
of s e x
and
in T L F w h e r e
Regina
uses
he s a y s
the
as a m e a n s
other
way
from
plays
of e m o t i o n a l
like
argument
power.
David Sievers
others
blackmail
into
comments
It
Horace's
to
TS W , T_A, a n d A P F , s o m e
of b l a c k m a i l i n g
Miss
to me
sexual
promote
Regina:
desire
his
characters
submission.
about
seems
for
return.
use
sex
as
In
a
53
"she
has
identified
male
Hubbards
Lesbianism
I
d o n ’t f i n d
her
this
curiosity
natural
curiosity
her desire
it.
over
the
about
to f i t
O r as H o l m i n
that
she
the
statement
about
in
the
completely with
expresses
substantiated
women
Northern
pattern
out
so
a hint
lovely women
"lovely
the
points
herself
she
in
in t h e
play
Chicago"
by a s k i n g
is
of
of C h i c a g o ;
standards
„ C4 )
and
seems
a
of b e a u t y
Hr M a r s h a l l
seeking
the
and
about
a compliment
from
Mr M ars ha ll.
Regina
than
to
her
blackmails
proper
participate
one
- third
in t h e
"I s h o u l d
very
I want
new ways
revenge
too:
huge
who
years
if s h e
Alexandra
and
Hubbard's
family
parents
psychological
t he
Hubbard
Lan's
judgement
Leo's
(e.g.
persuade
Horace
And
author
was
just might
I want
share.
You boys
say,
have
Ben
that
she
has
in
order
her e m o t i o n a l l y
A P F ).
in
B ut
Oscar
done
The
learned
to
get
and
her b r o th e rs
agrees
giving
her
aspect
to g i v e
consent
have
her
speech
It c e r t a i n l y
a
to
of i n b r e e d i n g
in R e g i n a ' s
cousins.
in t h e
as a s e a l
of t h e
injured
marriage.
illness
to
knew your mo ney
blackmail
blackmail:
first
you
her b r o t h e r s
is m e n t i o n e d
were
order
more
149).
acquiesces
family.
marriage
has
in
well
learned
before
counterpart
share
their
has
in
if y ou
a bigger
showing
she
on Ben,
financially
their
is
that
needed,
t h a t . ” (TLF,
Regina
share
asking
deal.
think
badly
more,
her b r o t h e r s f i n a n c i a l l y
in
stating
the
that
implies
characters
or a s e n s e
of
decay
and Osc ar 's
insistence
on
Leo
to t h e i r
explicit
business
in t h e
deal
title
is
the
of t h e
and
moral
play.
in
54
"Take
t he
It is
implied
going
to be
In
the
us
the
vines:
that
Oscar
’
’
tender
by t h e
and
the New S o ut h
united;
and
i ts
violent
values
and
New S out h
he is
Ben
Heilman
uses
playing
Body
the
intellectual
being
In
the
be e m p h a s i z e d
participate
unmasked
for
ten
years
for the
At
in
own
It is
by a N e w
second
the
the
Order
Act
the
by H o r a c e ' s
deal.
to t e r m s
h is
this
of
h as
you
why
you w a n t e d
and
that
been
could
me
and
first
Miss
Oscar
Birdie
of S o u t h e r n
contrasted
to
Order
play.
his
they
invest
Well,
syndrome
refusal
will
to
blackmail
h a d no
deceived
home?
positive
itself.
an O l d
victim/victimizer
arrival
the
cultural
duality
dialectics
with
animals,
(Alexandra
medieval
cultural
has
of v i o l e n c e
beating
weak
In t h e
and m a t e r i a l i s m
in
clear
and H o r a c e
name
fool.
R e g i n a ’s e m o t i o n a l
becomes
that
old
are
culture
feeble,
old
contrasted.to
violence
"So
is
sexual
intimacy
b.y h e r m e s s a g e .
my m o ne y ?
I h ad
So
that
is
h o p e d . . . ” (TLF,
172] .
refusal
the
sake
in
come
sake
other characters
physical
it
to
(Ben
and.Leo
and
the
a slow-witted
violence
...
p.
hands.
animals
f o r i ts
grapes".^ ^
a sadistic,
Although
up
in t h e
when
Horace's
context.
fulfillment
replaced
enough
spoil
have,allegorically,
preserved
as
piano].
Soul,
not
we
materialism
is
behaves
birds]
and
smart
physical
accomplishment
Leo,
h as
tender
that
greed.
marriage
Leo
beats
shooting
n ot
capitalistic
connotations,
act,
Leo
have
foxes,
g r a p e s ”, A l e x a n d r a
blended:
by-product,
element.
little
Hubbard's
and B i r d i e ' s
Old
and
the
for our vines
the
spoiled
foxes,
makes
same
time
the
Leo
balance
informs
of p o w e r s h i f t
h is
elders
to
hi s
about
the
Union
55
Pacific
fraud:
bonds
to
"borrow"
partnership.
decides
in H o r a c e ' s
to
Horace
Horace's
Horace
silence
Refusing
functions
Act
Knows
to
shows
is w h y
trusts
h is
death.
predacity.. The
rich
She
is
the
- "Yeah,
they
and eat
Bible with
who
Addie's
speech
Hubbard's
Birdie,
fight
the
also
Alexandra
Ben w a n t e d
she
that
the H u b b a r d ' s
who
became
it
cheating
people
people
who
on
it
And other
them
society
like
the
people
it.
to
stand
182].
against
w.ho,
the
eat
a i n ’t r i g h t
C.TLF,
eat
t he
like H o r a c e
but
w a t c h ”, t h u s
and
are ineffectual
failing
to
reveals. Ib.s.en’s. me li - o r i s m p a t t e r n
is
hidden
to e n l i g h t e n
to m a r r y
That
earth.
her m a r r i a g e
Oscar
shows
and
the
of A l e x a n d r a
and w a tc h
of M i s s H e i l m a n ’s, p l a y s ,
in o r d e r
that
the
people
around
speech
some
against
"stand
the
are
indictment
humanitarian
to A l e x a n d r a w h a t
appearance
Thus
who
is
is
well-off
do i t . "
a more
despoilers
Her
reveal
them
it
agents,
in
and watc h
but
love.
predacity
foxes
locusts.
I think
methods
moral
there
Sometimes
only a moral
of
but
minorities.
mighty
around
not
their
to A l e x a n d r a .
the
its
a ll
the
is
represent
adopted
stand
are
and
Well,
from
servant,
criticizes
got
commit
agent.
figure
says,
soil
niggers.
earth
lack
the g u a r d i a n s h i p
Addie
to
of t h e b o n d s
Hubbard's
a Negro
on e w h o
the S o u t h e r n
Addie
moral
a motherly
Hubbards,
exploiting
stealing
the
decide
Regina
on R e g i n a ' s
Addie,
her with
Oscar
excluding
against
that
and
the
a deficient
represents
after
bonds
about
react
c h a r a ct e r who
Horace
Ben
as a r e v e n g e
as
III
saf e .
Horace
has
taeh.ind t h e H u b b a r d ' s
Alexandra.
was; a s e t t l e d
deal
interests,
to
nice
B.irdie reveals, to
for the
h e r b,ecause of t h e .c o t t o n
materialistic
decided
upward
Hubbards:
plantation.
social
56
mobility
and
TA
replaced
love w i l l
materialistic
of
rank
to
Alexandra
love
be
interests,
as
Alexandra
her mar ria ge .
dealt
and e c o n o m i c
compensation
in
in
u s e d as
safety.
a pretence
for
the.same
her f a i lure
exposes
the
split
A l e x a n d r a - "We
between
sit
are
not
Alexandra
escapism
implies
are
nostalgia
that
Paradise
It
effective
is
no t
savage
for
for a no-longer
agricultural
an
competitive
seem
alienation
no s o l u t i o n s
is
the
way
from
past,
to f i g h t
and
reality:
pretend
to p r e t e n d
we
else,
are
and
p.
just
it
183)
aloofness
problems.
we
and
B i r d i e ’s
a mythical
for
the
against
for
revealed
believe
reality,
present
solution
conceptions
a nd
try
someplace
sake
Birdie,
to
We
T Ap:
a
to w o r k . ” (TLF,
existent
no
try
We ma ke
by o u r s e l v e s ,
doesn't
and
happened.
here.
for the
are
Answering
DC,
to
drinking,
appearance
around
nothing's
deal
headaches
love.
like
united
a business
solitary
to
plays
way:
Birdie's
for
In
present
the
a more
dilemma.
H u b b a r d ’s
humanitarian
society.
This
preserved
playing
in
the
new
the
the
society
cultural
piano)
and
is
represented
views
is
of an o l d e r
aware
of t h e
generation
evils
who
(e.g.
of i n d u s t r i a l i z a t i o n
present.
In t h e
final
confrontation
scene with
to be
a " f r i e n d l y w i t n e s s ” to t h e i r
fight
their methods
But
doomed
by A l e x a n d r a ,
it s e e m s
to f a i l u r e
Hubbards
a re
and
the
a highly
because
a microcosm
rapacity
Regina
and
she
chooses
consequences
of
their
idealistic
goal
and
may
see
that
in B e n ’s s p e e c h
of a ' n a t i o n :
free
we
refuses
to
exploitation.
enterprise
be
it
the
will
is
57
transform America
in a h i g h l y
competitive
and
rapacious
nation :
Ben
Ben's
power,
any means
family
is
There
are
rooms
like
(TLF,
p . 197 ) .
In A c t
I II,
bonds.
Regina
are
prohibition]
h as
that
she
has
sitting
in
R e g i n a ’s d r i v e
for m o n e y
her goal.
the
What
private
destiny
the
life
stealing
but
her.
Regina
Horace
only married
actually
of
of
says
strikes
a falsehood
sexual
is
and
a
of a n a t i o n .
them
used
in o r d e r to a v o i d
open.
country."
about
on
is
the
in
to d e n o u n c e
t h a t 's h e
of H u b b a r d s
reach
Regina
The w o r l d
throughout
as t h e
t h e m as a r e v e n g e
revealing
confesses
to
blackmail,
tells
tries
this
justifies
by Ben
Horace
turning.
hundreds
valid
greed,
foretold
w o n ’t s t o p
century's
statement
exploitation,
Horace
- "The
the
that
back
he
at
( d o c t o r ’s
intercourse
a nd
she
him for m a t e r i a l i s t i c
interests:
Regina
- "I w a s . ..
lonely
w a s n ’t g o i n g
world...
Ben
and
for
to g e t . . .
Papa
died
O s c a r . ..
for something.
Regina
materialistic
contributes
bottle
of
submission.
theft
of t h e
improvement
to H o r a c e
and he
reversal
acknowledges
h as
to t h e
heart.
a bad
heart
She
attack.
them that
bonds,
b ut
as
to
yo u
I married
you
o ut
it w a s
desire
of
give
Regina
only
die
for
lo v e .
This
Horace's
profits
her brothe rs
Horace
he w o u l d
the
188) .
doesn't
She
I
the m o n e y
It t u r n e d
detriment
blackmailing
things
left
her dr iving
situation
tells
and
the
I wanted
I told
for this .’
’ (TLF,
Here
all
medicine
from this
into
w o u l d n ’t d e n o u n c e
soon
s he w a n t s
the
seventy-
50
five
percent
quite
in
openly,
shifted
to
exchange
for the
because
she
hands
again:
her
Regina
knows
- "If I d o n ' t
p ut
all
bonds.
that
She
the
balance
get w h at
three
blackmails
I want
of y o u
them
of p o w e r
hias
I am g o i n g
in j a i l , ” (TLF,
to
p.
195 ) .
Regina
uses
1)
the
bonds
2)
the
community
business
3)
she
three
a re m i s s i n g
arguments
and
despised
they
Ben
and
in
her blackmail:
are
with
Oscar
Marshall;
because
of t h e i r
,
m e t h o d s ,■
threatens
them
saying
that
she w o u l d
tell
on t h e m
to
Mr
Marshall.
Regina
support
and
[because
revenge
pity
to B e n
from
of h e r f e m a l e
the
and
Oscar
community
that
and
attractiveness]
she w o u l d
obtain
f r o m Mr M a r s h a l l
and
so s h e w o u l d
get
on t h e m .
Recognizing
their
shows
foxy
the
extent
give
up
- " O n e 'looses today and wins t o m o r r o w ” (TKF,
p.
games.
Ben
Ben
of
her threat,
as g o o d
loser,
Oscar
and
justifies
Be n
it:
197 ) .
He t h r e a t e n s
with
his
Regina
implying,
- "What
is a m a n
staircase?
is
some
future
blackmail
question:
Ben
It g i v e s
'maybe,
an"open
end"
a foreshadowing
future
power may
guilty
of m u r d e r .
in
I ask
to t h e
a wheelchair
myself
play
of a r e i t e r a t i v e
shift
to B e n ' s
doing
on
a
t h at'.” [TLF,
p.
198)'
because
it is as if
blackmail
hands
if
process:
he p r o v e s
there
in
Regina
the
59
Some
critics
’
’
melodrama"
a nd
the
shifting
and
obeying
The
author
part
the
involves
slackening
strict
uses
traditional
the
these
following
charges
as t h e
gods
the
ha s
It
offense,
that
man
mercy,
melodrama.
solutions
are
component
parts
play
being
agree with
deterministic
than
is
are w a y s
those motives
do
On
the
n ot
the
say
is
an
rnan is
own
punish
But
have
to
plot.
seems
working
on
the
emotional
and
characters
can
deal
a decadent,
financial
end
is
seize
stagnant
believe
if y o u r
to
of t h e
do w i t h
and
violence
levels
the
write
nothing
(6 )
to m e
of
for
violence
and
the
makes
and
power,
t he ' c a u s e - e f f e c t
in t h e
believe
a n d h e ’s at
H o r a c e ’s m u r d e r
u se
TLF
word
him
if y o u
melodrama
of T L F j u s t i f i e s
it
Th e
probably
(The
it
modern
If y o u
to w r i t e
about
that
interesting
problems
a melodrama)."
contrary,
to m y s e l f
tragedy.
a bad way
sacrifice
which
to p r e t e n d
at t h e m e r c y
you will
Thus
a
a
solution
a corrupted
beginning.
characters
with
to
melodramatic.
a contrivance.
plot.
papers,
trying
and who will
her s t a t e m e n t
conception
and
a good word.
of a p l a y
in t h e
replies:
be
then
That
the
have
his
place
denouemont.
you w r i t e
solve
in
exposition,
stolen
and
as
proper
effect
to
offend
f r o m the
the
a short
plays)
that
then
ca n
nobody's
t he
to
in
(e.g.
I used
come
use
and
Melodrama
used
he m i g h t
her
pattern:
reheasals
Greeks did ,
inevitable
blackmail
at
a melodrama.
it
of v i o l e n c e ,
Heilman
play,...
meaning.
it m o r e
Miss
wasn't
because
in
and a swift
it
my
works
cause
of w e l l - m a d e
"Watching
was
We w o u l d
of
to m i s u n d e r s t a n d i n g
device
H e i l m a n ’s
of t e n s i o n s
rules
a confrontation
On
Miss
" w e l l - m a d e ” plays
and
dedicated
classify
and
relationship
that
blackmail,
is a w a y
reality
the
(inner
60
and
social)
Regina
the
in o r d e r
does).
So it
survivors
promissing
is
in t h e
industrial
Concerning
with
to
Adler's
the
change
it
through
clash
between
the
charge
of
"well-made"
is w e l l - m a d e n e s s
forces
and
in
the
with
and
had
implies
motivation
Edmund
plays
an d
a
I would
no
that
in
agree
greed
and
t he
and
of
climax
complex
trickery
and
doe's
honest
^^
and
honest
characteri­
in P e n t i m e n t o :
audience
to r e c o g n i z e
money-dominated
to
of t h e m as
[8 ]
connection."
T L F , form
is
for people's
brought
of
I had
are
to
rooted
agrarian
a materialistic
h a r m it
part
villains
content
the S o u t h e r n
asking
the
and
some
Hubbards,
think
order with
author
to
shifting
characterization,
ideas."
by a n e w
the
tight
obvious
honest
dilemma:
outlook
constant
building
the
no
historical
t he H u b b a r d ' s
And
the
whom they
replaced
to t h e
in
people
a Southern
her moral
the
n ot m e a n t
Heilman
being
past
are
South.
the
motivation
l ed h e r to w r i t e
themselves
but
honest
is H e i l m a n ’s h o n e s t
"I h a d m e a n t
in
with
and
in
constant
involves
interfere
motivation
Miss
New
(as
the H u b b a r d s
agrarian
in
"There
that
that
benefit
statement:
not
zation
an
own
future
construction
it
their
blackmail
of R e g i n a ’s v i c t o r y ,
And
in
economy
concern.
In
empathy
to t h e m s e l v e s
community.
because
of its
and
craftsmanship
Wilson
its
honest
and W a l t e r Kerr,
c h a ra c t er i z.a t i o n , i t s
it b e c a m e ,
a classic
according
of t h e
honest
to
American
theater.
In T L F , t h e r e
emotional
blackmail,
are
two
Regina
different
using
sex
kinds
as
of b l a c k m a i l :
a form
of p o w e r to bring
Horace
back
home,
and
brothers
financially
Horace's
death
shift
the
that
hands
also
financial
uses
methods
thus
for
a huge
device
allowing
community
and
blackmail.
feel
Ruth
blackmail:
c o m m u n i t y ’s s u p p o r t
the
asking
submitting
share
which
her
in t h e
makes
deal.
power
her f inancial
on h e r b r o t h e r s .
Regina
her
and
blackmail
a melodramatic
to R e g i n a ' s
blackmail
in
is
financial
she m e n a c e s
against
despise
guilty
B e n e d i c t '-s ■"shariie culture-", p a t t e r n
them
about
them.
As
because
it,
they
her
brothers
Ben
and
of t h e i r
submit
to
Oscar
obtain
know
business
willingly
to
62
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(1 )
Horton
and
Edwards
- Backgrounds
T h o u g h t , Prentice
(2 )
Cash,
W . J . - The
Books,
(3)
Eatman,
James
Little
(4)
1941,
Sie vers,
of A m e r i c a n
and
the
American
1955,
p.
of S o l o m o n , C h a p t e r
193 9 ,
J a c o b H.
INI. Y.,
- Freud
House,
n 9 4,
"Back
Destiny:
The
sec
X,
Steck
pp.
D r a m a , New York,
II,
Verse
15.
Foxes",
New York
Times,
1-2.
H e i l m a n , Southern
Vanghn
of
282.
of T h o s e
- Lillian
Co.,
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P e n t i m e n t o , The
1978,
148.
p.
379.
188.
Broadway : A History
David
p.
Vintage
on
Febr.
Heilman,
York,
W.
Heilman,Lillian,
m
S o u t h , New
197 4 ,
443.
(6 )
Series
New Jersey,
Literary
p.
The
Adler,
of t h e
- "The I m a g e
(5)
C7)
Hind
Inc,
of A m e r i c a n
F o x e s ", P l a y e r s ,
Hermitage
26,
Hall,
page
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Song
references
Austin,
New
Writers
Texas,
American
p.
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Library,
CHAPTER
WATCH
In W h a t
world
forties
They
were
had
suddenly
an
fate
answer:
writer would
Miss
it.
This
for
1941
has
on
the
critics
because
it
imminent
involvement
t he
historical
That
the
in
the
of h i s t o r i c i t y .
which
concerned
And
some
is,
t he
reader
'engagement'
to t h e
consciousness.
a literature
to
due
the writ er s
of m a n k i n d .
New York
revised
that
of
them
'engage'
in o r d e r
may
not
to
be a p p l i e d
to
Rhine.
applauded
deals with
Nazism
by d i s c l o s u r e .
of
says
questions,
destiny
concept
won
been
into
a situation
Watch
play
and
criticism
action
Sartre's
Heilman's
of
historical
(1941)
Sartre
to p r o d u c e
the
reveal
Paul
coming
forced
but
but
Jean
the
faced with
only their
change
and
no c h o i c e
They were
chose
ON T H E R H I N E
is L i t e r a t u r e ?,
depression
V
and
Drama
it
as
it
has
a specific
in W o r l d W a r
Critics
her best
lost
historical
II.
its
Circle
pl a y .
Since
previous
moment:
Award
then
impact
U.S.A.
64
Watch
warn
on
the
the Amer i c a n
attempt
to
people
show the
commitment
As
against
Lillian
would
states
nice,
shaken
up
had won
late
diplomat
anxious
about
married
Kurt
the
between
to
o f F a s cis m a n d
in
their
in P e n t i m e n t o
it
is
liberal
of
Americans
the
old
1 9 4 0 , in
D.C..
own
arrival
Fanny
whose
an
lives
by a w o r l d
values
d a y s . 1 In t h e
a German
h ad
the
new
long
of t h e
Count
of a d e c a d e n t
Farrelly’
s country
first
a bossy
against
de B r a n c o v i s
husband,
act,
Sara,
European
European
is
her dead
daughter,
engineer,
a couple
the
Farrelly
glorifying
of h e r
de B r a n c o v i s .
the
Kurt
informed
leave
"We
the
Kurt
fight
o r d e r to t a k e
to
Mullers
a nd
that
underground
h as
been
against
sh e
who
a
is
has
F a n n y ’s w i l l .
nobility,
stands
aristocracy
as
and
which
from
there
Count
a
he is
In t h e
meantime,
engaged
the
a
for many
years
to
help
the Anti - N a z i
in s a f e t y
with
the
Nazi
serve
to t h e
come
Nazi
a benevolent
prisons
thus
a re
in t h e
cash
would
has
scene"
Farrellys
He
K u r t ’s b r i b e
the
is a " r e c o g n i t i o n
Nazism.
in
family
consider
people
arrive
Count.
$ 23.000
his
of b l a c k m a i l
free
a call
sympathizer.
When
and
his
is e n t e r t a i n i n g
representative
Nazi
in
Muller,
Countess
as
of n a t i o n s
because
spring
Washington
leading
and
dangers
by E u r o p e a n s ,
matriarch who lives remembering a n d
Fanny
1941
threat.
about
be
in t h e
outside
the
in
d e a d . ” ^^ ^
been
house,
written
against
Heilman
Fascists
se t
was
interdependence
that
"a p l a y
It is
Rhine
to A m e r i c a
in
movement
Farrellys.
guards
end:
promoting
as a k i n d
it
would
the w e l f a r e
of m a n k i n d . "
In a J a m e s i a n
juxtaposed
American
in
order
fashion,
to
’n a i v e t e ’ is
talk
Americans
about
contrasted
their
with
and
Europeans
differing
European
are
values,
shrewdness.
and
65
In t h e
deeply
third
act,
shocked when
Fanny
the
Farelly
penniless
and
he r son
Roumanian
Count
David
are
blackmails
Kurt.
Teck
Nazi
de B r a n c o v i s
Embassy
unless
t h e Farrsllys
Both,
Kurt
profits
try
and
from
out
Kurt
explains
that
play
the m o ney
violence
alone
in W o r l d
i ts
is
Fanny's
it
is
War
matter
and
the
awareness
that
will
be b r o u g h t
information
blackmailing.
theme
in t h e
Since
end
European
the
of t h e
firts
road
about
sense
carries
Afterwards
in
this
his
wife
they
have
case
been
He 1 l m a n , W R is
idea
a
of U.S.
commitment
that
still
home
to a c a u s e ,
t h e w o r l d ’s e v i l s
valid.
And
to t h e Farrellys
as
the
Farrelly a n d
Teck
it is
this
in t h e
and
Teck
their
de B r a n c o v i s 's d e b t s .
as w e l l
marriage
noble
A n i s e , a French
a foreshadowing
It s e r v e s
act,
in
that
Lillian
to t h e
- is
Fanny
important
later
decadent
homes
act,
gossiping
play:
Kurt
play.
first
is
to
Kurt.
Kurt
but
farewell
- Fascism,
our
are
and
but
26 3 ) .
in
linked
from
servant,
hi s
p.
out
kept
In t h e
in
save
down.
anyway
the
refuses
garden.
realization
be
of t h e
him
to
II.
responsibility
development
knock
to
room
h i m in t h e
(D WR,
points
subject
to
in t h e
Kurt
Kurt
in o r d e r
terrible
follows
Adler
because
involvement
But
him
shoots
of m a g n o l i a s "
As J a c o b
cannot
$ 10.000.
left
room and
and with
out
personal
are
Denouement
children
"dated"
gives
to g a t h e r
Teck,
of t h e
inevitable.
"shaken
to d e n o u n c e
T e c k ’s i n a t t e n t i o n
Teck
and
Kurt
threatens
its
to i n t r o d u c e
of a r i c h
harsh
and Dart h e
relationship
of t h e
American
effects
seem
. In
This
C o u n t ’s
a Jamesian
girl
to
the
on h e r d e s t i n y .
to h a v e
their
reached
first
the
66
dialogue
it
and
show
they
is t h r o u g h
and
shown
only
that
Martha's
past.
and
On
affair
is
words
between
cherish
Brancovis
they
Teck
Kurt
His
Fanny
"Did M ama
very mature
clothes
past,
that
talk
denote
Fanny
Fanny
write
Müller's
and
and
Kurt's
is
a love
her not
spoil
to
them.
of t he
warmth
admire
towards
Kurt
and
that
Papa was
a great
hero?
he w a s
calm"...
(W R , p.
264]
Fanny
for their
their
getting
economic
to
that
than
love,
solidarity
wealth
ar e
or social
very
a cheaper
And
about
that
t he
status.
intelligent
train-ticket
shortcomings.
so big:
and
and
age.
Inquiring
k n o w K u r t ’s u n d e r g r o u n d
sounds
Fascist.
He t e l l s
there
mistrust
love
her g r a n d c h i l d r e n
about
comes
"It
t he
he w o u l d
It
as a g a m b l e r
and wa rns
concern
children
important
children
They
because
together.
surrounds
that
h is w i f e
feels
brave,
shows
are m o re
comments
that
other,
it to t h e i r g r a n d m o t h e r :
of n i n e
comradeship
being
her about
and m u t u a l
Müller
in
for each
is p r e s e n t e d
insinuates
David
coldness
He w a s
a boy
Teck
by t h e m y s t e r y
and wife.
demonstrate
no c o n c e r n
tiredness
that
towards
couple,
Bodo:
Bodo,
and
D a v i d Farrelly a n d
to'the
children
have
He q u e s t i o n s
hand,
any plans
contrast
hi s
puzzled
the other
they
boredom
a Nazi-sympathizer.
arrival
In
is
it
is
so
doesn't
origins
of
their
about
h is
activities.
small.
I a m an A n t i -
p a y w e l l . ” (WR,
h is
and
commitment
p.
to
222).
the
An t i -
Fascist m o v e m e n t .
"On
Kurt
that
day,
Nazi
street
(WR,
p.
reveals
I see
fight.
twenty-seven
I cannot
men
stand
murdered
by n o w
in
a
and w a t c h . "
223)
to F a n n y
that
he f e l t
personally
responsible
for
67
these
events,
stands
hold
and
as t h e
of t h e
through
th e
accordingly
that
he
Sartrean
h ad
to
take
sides.
In d o i n g
" e n g a g e d ” hero:
he
has
historical
moment
in o r d e r
to
change
revelation
of
inner
that Kurt
his
will
gain
chosen
convictions
t h e Fa rr ell y’
s
it.
so
he
to
take
It
is
a n d by a c t i n g
respect
and
admiration.
By the
Teck
appears
end of
and
face.
the
luggage
shown
the
luggage.
by K u r t ’s b r o k e n
gives
Joseph
the
supposed
He
hands
dialogue
with
opportunist,
who
is e a g e r
to
o ut
of
Hüllers
is
convictions
act,
asks
the
darthe,
but
by a
scars
from Fanny
trade
political
retire
puzzled
and
orders
his
n ot
second
commitment
that
unless
them
it
you
have
is n o n s e n s e
sings
the
song
marching
song w h i c h
soldiers
allied
War
overthrow
and
Bodo
and
Teck
is
true
told
to
Teck
on
take
is
information
because
that
h as
information
that
he
convictions
discussing
to t h e
gives
been
them.
the
has
and
play
forces
determination
none.
goes
i ts
and
about
decide
Kurt
modified
Republican
it e x p r e s s e s
with
he
during
Sara
replies
to a c t
to the
name.
sung
K u r t ’s
on
piano
It is
by t he
a
German
the S p a n i s h
to f i g h t
a nd
Fascism.
Insinuating
asks
Kurt's
when
money.
political
Civil
act,
In
In t he
and
and
upstairs.
as an
Nazis
wants
Teck
first
inspects
locked briefcase
his
the
that
if hi s f a t h e r
he
knows
about
is an e x p e r t
K u r t ’s a c t i v i t i e s ,
electrician.
Kurt
Teck
replies
sharply:
- "Count
please.
Teck
and Kur t' s
de B r a n c o v i s . M a k e
Not
your question
to m y c h i l d r e n . ” (WR,
interchange
heightens
the
p.
to me,
239)
tension
and
prepares
68
the
audience
receives
for the
blackmail
a long-distance
says
that
got.
In o r d e r to s t a r t
that
one
caught
also
he k n e w
of t h e
in G e r m a n y
sought
and
by t h e
h is
for b l a c k m a i l .
aiming
at
rewards
the
the
that
that
secret
On t h e
a selfish,
is
ha s
cynical
in
for
"They
chosen
the
and
spite
is
him
been
name),
is
and
’1 e i t
always
blackmailer
(WR,
p.
his
using
a source
is a l w a y s
financial
Kurt
point
in t he
has, d e p t h
one.
Gotter.
Harthe.
I should
before
like
to
I go.'"
245)
loss
of
his w i f e
financial
he
has
Kurt
o ut,
in
previous
aims
for
his
this
Kurt
of f e e l i n g
who
that
of
chance
his
play,
plays.
his
as
that
blackmail.
threat:
news
scared:
her fr ie nd
asks money
demonstrating
little
is
and
thus
by t h e
characters:
on J u l i a ,
called
man w i t h o u t
dollars
m o m e n t to m a k e
that
a man
poor
thousand
off-balance
"rounded"
characters
been m o d e l l e d
bu t
find
a very
separation,
courage,
critics
more
the
not
be a L o n e l y
ten
right
he k n o w s
of
As
Europe.
the
purpose
could
have
other motives
arrest
the
h as
a u t h o r ’s f a v o u r i t e
hand,
immediate
their
emotionally
created
just
informs
fictitious
s o m e o n e ’s p a s t ,
other
about
thrown
In
Teck
Teck
as a b r i b e .
compensation
he
has
movement
(Kurt's
Kurt
back,
Kurt
process,
anti-Nazi
the
I am a ls o
no
he c o m e s
information
Gotter
I shall
has
the m e a n t i m e
police.
Teck...
Teck
In
and when
blackmail
of
It is r e m a r k a b l e
m o t i f ’, a h i d d e n
call,
beforehand
leaders
scene.
his
Kurt
he
And
is
friend's
to e s c a p e
hands
a re
now.
shaking.
Miss
Heilman
has
is m o r e
complex
than
As M i s s
Heilman
died fighting
is
shown
in
a
states
he
Fascism
in
his
speech:
69
Kurt:
He t a l k s
acknowledged
for
having
"I u n d e r s t a n d
is
man
so m a n y
beliefs.
says
gathered
Fascism"
p.
to
that
say
the
liberate
in
and
though
he is t h r e a t e n e d
when
money
to me
to
a man
of
because
I am a
fear's."
(W R , p.
24 6)
of
being
he
an
achieves
grandeur
T e c k ’s b l a c k m a i l ,
it
tries
twenty-three
pennies
n ot
to me
afraid,
of t h e
to
poor who
Kurt
thus
subvert
thousand
intended
their prisoners.
"This
are
spite
no to
a n d it w a s
guards
It g o e s
stange
he is
efficiency
2 47)
it is
fears
Although
"from the
(WR,
has
his
courage
its
been
who
about
demonstrating
Kurt
you
fears'”
. That
hero.
the
that
true
dollars
do n ot
to b r i b e
the
will
back
n ot
have
like
Nazi
down
with' T e c k ’s b l a c k m a i l :
is g o i n g
home
save my
life,
back with
me.
because
I will
with
and
And
n ot
me.
I shall
It w a s
not
if it d o e s
get
back."
n ot
given
so u s e
it...
n ot g e t
(WR,
p.
back
255)
Here there is a contrast between the narrowness of Teck's objectives and the
validity of Kurt's commitment. "Here we can see that Krt's intended bribe
end. Like Lavinia’
s blackmail it is linked to a good cause: to save people
from the Nazi prisons. It is opposed to the C o u n t ’
s blackmail which has only
an immediate and selfish purpose." Kurt, gains the audience's admiration b e ­
cause of his solidarity with other people and with their common cause.
As
critics have pointed out, he stands for what Addie and Alexandra have repre­
sented in T L F : personal responsibility to act when there is unjustice.
But
order
to t h e
the
to g e t
Farrellys
Teck
blackmail
o ut
b ut
"I t h i n k
want
the
eager
to a r r a n g e
of K u r t ’s w a y .
he
knows
you w an t
money.
money
a re
that
here
and
it is
a visa
Therefore
Kurt
pretends
trap
almost
I conclude
the
visa
t he m o n e y
to a s s e n t
prepared
as m u c h
by
Teck.
as y o u
you will
f r o m von
in
try
for
Seitz."
tW R , p . 2 5 7 ) .
Blackmail
would
work
both ways:
Teck
blackmails
Kurt
fo r the
70
money
and
later
Europe.
Knowing
him and
Knocks
garden
and
Bu t
motivated
him
by
him.
O r as S a r t r e
points
it
is
violence
it is
approves
the w o r l d
sanction
and
papers"
the
true
violence
similarly
of c o m m i t m e n t
historical
recourse
perpetuating
only
and
if it
Heilman
he a c t s
affairs
K u r t ’s s e c r e t
springs
in
to
"bad
Thus,
B ut
’v i o l e n t
H e i l m a n ’s
not
c h a r a c t e r ’s
contrasting
greed
rapacity
questioned.
Kurt
idealist
willing
believes
in.
blackmailed,
is
to f i g h t
explains
he c o u l d n ’t a v o i d
immune
oppression
Farrellys
without
is
able
risking
to
and
here
plays
(T A g ,
because
both
beliefs
a re
he is an
for
his
the
alienation
explore
to o t h e r
to d i e
and
his
to
because
and
the
involvement
fight!
true
of
to
dissimulates
involved
in W R
to i t . "
a moral
successful
to b l a c k m a i l
to t h e
violence
and
no t
true that
betterment
justify
Anti-Nazi
in t h e
and
the
he is a b l e
is
blackmailer
end
give
against
also
alleging
to
blackmail
and
to
cause
of m o n e y
process.
an
f a i t h ”. He
a just
lack
it is
de B r s n c o v i s
G cotnmi tnjen t to t h e
plays,
it,
promotes
A P F , T L F ) financial
Kurt
to t h e
to v i o l e n c e
appears
Teck
him financially.
other
the
to
attacks
that
it is
from
o n l y means of b r i n g i n g
necessity
blackmail
that
risks
because
the
Teck
in M i s s
gratuitous,
b ut
Kurt
argued
motifs
for a Visa
out:
blackmail
from
carries
have
melodramatic
to K u r t ’s m u r d e r .
in p e r s o n a l
Kurt
n ot
Seitz
intentions,
critics
is
Von
a cause.
"if
Sartre
Teck's
Many
violence
’
’
stolen
to
blackmail
unconscious.
recurrent
here
commitment
he w o u l d
beforehand
kills
d e a t h s ’ a re
plays.
on
a cause
children
lives
of
he
that
his
71
fel l o w s :
"The w o r l d
hungry
steal
is o ut
men.
and
reason
lie,
it
is
understand
Kurt
his
sense
duty
and
choice
life
here
that
for
the
When
in o r d e r
a nd
is
that
betterment
Oavid
asks
find
not
commitment
that
a nd
his
ethical
He
But
it
men
are
will
- you
p.
principle
hi s
there
for w h a t e v e r
does
is a l s o
made
his
return
25 0 )
clash with
divided
stoic
between
choice,
sacrificing
hi s
some
have
fear
p.
25 0)
own
the
h is
private
chosen
assumed
find
in
the
the
responsibilities
Kurt
'reason.
of t h e
And many
children
n ot
family
to E u r o p e
have
has
shape,
b a d . ” (W_R,
to b l a c k m a i l ,
his
only
he
is a l l
him about
h as
kill.
when
of t h e w o r l d .
the
he
in
and w h o e v e r
already
a reason.
(WR,
- and
could
holes,
said,
it g e t s
others.
impervious
to d i s c o u r a g e
shows
- it
he h as
- "Each
Kurt
and
towards
s h a p e we
until
done,
me
shows
of d u t y
love
And
of
Some
camp...
it.
My
the world,
easiest
logical
replies:
have
Each
bullet
could
children
even
ar e
to m e . "
p a t h in
his
consequences
of
hi s
beliefs.
On
changes
who
other
hand,
her p o l i t i c a l
first
commitment
Fanny
the
despised
to
his
expresses
d ue
comes
cause.
" I t ’s a l l
Gradually
beliefs
Kurt,
naive
Fanny Farrelly
When
a c h a r a c t e r who
to K u r t ’s e x a m p l e .
to f e e l
Kurt
is
admiration
Fanny,
a nd
blackmailed
by
the
Count
surprise:
very
strange
were
so w e l l
run
Fanny
becomes
conscious
consequently
is
her b e h a v i o r
that
to me.
bribery
changes:
of t h e
she
I thought
things
a n d . . . ” (WR,
dangers
gives
p.
2 57)
of F a s c i s m
money
to t h e
and
Anti-
72
Nazi
fight
states
and
agrees
to
by
hiding
h is
that
murder.
Commitment
stand
behind
escape
Kurt
they
to t h e m u r d e r
is
are
in
h is
escape,
accomplices
somehow
Kurt
in
h is
a support
to
his
that
have
cause.
By the
"shaken
her
out
lesson
e nd
s he w a s
were moved
aware
critics
have
of m a n n e r s
contrasts
European
than
life.
On
by p o l i t i c a l
their
family
liberal
take
against
out,
in
having
learnt
the
Farrellys
his m i s s i o n
in W R , t h e
the m a c r o c o s m
characters.
moved
other
hand,
conviction
the
and
author
of w o r l d
against
TecK
sets
are
displaying
She
de B r a n c o v i s
rather’
the d i s r u p t i o n
Müllers
a
events.
by p e r s o n a l
interests*, a n d w e w i t n e s s
who
are
portrayed
b'ecame a w a r e
in t h e w o r l d
events.
historical
context
other
Rhetorical
than
than
other
honest
love
of
dramas.
to f i g h t
Heilman
play
in
seems
set
in
threat
to i l l u s t r a t e
to
a broader
explicity
insistence
common
a nd
responsibility
It is m o r e
i ts
the
is
on t h e
of
Fascism.
S a r t r e ’s
of th e w r i t e r ’s f u n c t i o n :
"We m u s t
is,
historicize
by t h e
possible,
formal
provoke
the. r e a d e r ’s, g o o d
agency
of o u r w o r k ,
will,
that
we, m u s t ,
his, i n t e n t i o n , of t r e a t i n g
his
people,
a nd w a r m t h
as c o m p l a c e n t
of t h e i r
The
plays,too,
of n a t i o n s
In W_R, M i s s
definition
moment,
Kurt
opportunist,
Farrellys
Americans
cooperation
that
been
life.
the
sides
and
they
trouble.
and h e l p e d
a nd A m e r i c a n
t he
moved
And
264]
historical
pointed
as a d i s h o n e s t
by p o l i t i c a l
family
admits
threat.
microcosm
seen
p.
to f a c e
of t h e
sides
Fanny
[WR,
prepared
to t a k e
a world-wide
is
play,
of m a g n o l i a s "
Growing
As
of t h e
if
men,
in
in
73
every
case
as an a b s o l u t e
of o u r w r i t i n g ,
direct
neighbors,
that
is,
upon
that
she
is
end
his
and
by t h e
intention
the
subject
upon
opressed
hi s
of
the
to t u r n
her
back
engag e . She
does
world."
Heilman
her age,
n ot
b ut
pretend
proves
that
to be
discovered
that
historical
moment
It is
one
may
be
blackmailed
only
by
and get
private
Regina's
rewards
financial
unlike
sense
fight)
with
"We w o u l d
general
concerned
pattern
with
fr om the
have
and
was
has
Nazi
hold
of
the
in
this
play*
(anti-Fascism), which
obeys
to
it.
Ben's
moral
to t h e
values
control
In t h e
is
society.
general
prevail
over
the s i t u a t i o n
same
blackmail
one
is
way
in A P F
of
or
in T L F .
de
Brancovis
to c o n t r o l
Hubbard,
social
the
to
Kurt
shame
believe
o ut
uses
Kurt's
situation
doesn't
and
hidden
get
matters
and
also
prisons)".
fight
that
with
about
an
community,
for a good
Kurt's
purpose.
in o t h e r p l a y s
but
revolve
before, t h e
an h u m a n i t a r i a n
of b l a c k m a i l
selfish
that
ostensibly
is
through
l i k e to p o i n t
blackmail,
out
materialistic
aim
has
it.
Marcus
of g u i l t
an
taking
she
(T L F , A P F ) , w h e r e a s
in W_R a l s o
blackmail
K u r t ’s s e c r e t
Lavinia's
people
we
point
plays,
in
by
because
on
it.
virtues
H u b b a rt) s , T e c k
profits
But
the
the
(Anti-Nazi
financial
cause.
vices
the b l a c k m a i l e r ' s
Like
because
his
blackmail
financial
to
her time
time
change
of o t h e r
B r a n c o v i s 's b l a c k m a i l
inner
for
of H e i l m a n ’s p l a y s :
and
secret
to
interesting
pattern
above
transcends
in o r d e r
also
Financial
ideals
aesthetically
one
about
is in S a r t r e ’s t e r m s ,
blackmailed
the o p p o s i t e
pattern
she
n ot
bribe,
like
It. d i f f e r s
because
mankind welfare
is
from
isn't
(to f r e e
So
one who
ideal
this
is w i l l i n g
is
immune
or A l e x a n d r a
with
their
in
that
betterment
points
to
sacrifice
his
Kurt,
T L F , is an i d e a l i s t
stimulate
portrays
individuals
of t h e w o r l d
their personal
a different
to b l a c k m a i l -
examples
It a l s o
shows
play
lives
Miss
direction.-it
personal
like
who
others
interests
Whalen
fights
towards
in
without
ca n
being
o r by b l a c k m a i l .
for
that
an
D_C, S a m ’in
oppression
and
commitment.
H e i l m a n ’s e n g a g e m e n t
of g o o d w i l l
shows
fight
hampered
because
s he
f o r t he
by
threats
to
TSW
75
Bibliographical
(1)
- Heilman,
New
(2)
Lillian
York,
- Sartre,
1974
(3)
- Sartre,
- P e n t i m e n t o , New
page
Jean Paul
Gloucester,
references
Jean Paul,
1978,
op.
Library
Inc,
154.
- What
Mass,
American
is L i t e r a t u r e ?,
page
cit.,
283.
page
269.
Peter
Smith,
CHAPTER
THE
In T S W L i l l i a n
private
Jacob
VI
SEARCHING
Heilman
WIND
confronts
(194 4 )
again
the
public
and
the
life.
Adler
points
’
’
Miss
o ut
that
Heilman
in
this
play
shows
that
the
characters'
private
explanatory
of,
of d i p l o m a c y .
down
the
with
their
When
others
tangle
lives
are
in
triangle
to t a l k
out
lives,
in t h e
parallel
failures
the
of t h e i r
failures
of
and
the
the
to,
main
and
greater world
characters
understand
parallels
sits
better
are
u n d e r l i n e d ”.
In WR_ w h e n
historical
events
nice
liberal
they
are
TSW those
liberal
upper
questions
in E u r o p e
b ut
Americans
"shaken
class
they
out
Americans
are
are
confronted
with
of t h e m a g n o l i a s ”. In
are
unwilling
faced with
to t a k e
the
notice
them.
S a r t r e ’s s t a t e m e n t
corroborates
the
of t h e
thesis
of
problems
this
of t h e w r i t e r
pl a y :
in
1947
sa-me
of
"We h a d
half
to
people
lucid
and
our
half
never
decide
their
characters
sides
either
the fo rm
in p u b l i c
came
take
are
scenes
place
take
in
of
inaction
the
in
triangle.
As
Hazen,
Bowman,
liberal
just
back
Act
House,
Moses
and
by S a m ' s
disagrees
viewpoint
his
Emily's
scene
father,
Alex
have
consequences
Moses
and
Three
form
his
and
takes
scenes.
scenes
Flash-back
his w e a l t h y
take
three
conflicts
friend
to
and war.
having
characters
ex-best
D.C.,
set
in
scenes
in
the
of t h e i r
past
a love
wife,
Emily
Hazen
rival.
Taney,
Emily's
grandson
discussing
Sa m,
as
is
father,
who
has
of
into
the
the
conceptions.
and
clash
S a m ’s
war
while
observer writing,
double-talk."
room
written
he
o ut
experienced
the
19 4 4 .
that
points
a detached
in a " d i p l o m a t i c
comes
has
on
in
article
admits
Heilman
who
time:
evening
a newspaper
of i d e o l o g i c a l
that
present
Sam finally
of a s o l d i e r ,
Hazen
in t h e
a Spring
viewpoints.
as w e l l
states,
is
Hazen.
Alex's
is t h a t
Emily
on e,
are
f a t h e r ’s a r t i c l e
as M o s e s
main
newspaperman
Sam Hazen
of g e n e r a t i o n s
the
from
of t h e
inaction
- 1944.
personal
a diplomat,
Washington
with
The
one
of
efforts,
unwilling
love
19 38.
could
f r o m the war.
One,
Hazen
and
characters we
a retired
19 2 3 ,
showing
present.
minor
come
political
in
were
changes
course
Their
each
present
- 1922,
the
always
li f e .
acts,
in t h e
characters,
the
are
the
that
and who
t h ei r own
compromise
in t w o
past
with
Alex
Cassie
and
place
the
concerned
lives
and
divided
or f r o m
play,
minds
whether
from
or p r i v a t e
of a p p e a s e m e n t
T S W is
Three
in t h i s
with
overcast...
from within
t he ir own faults,
.„ ( 2 )
universe;.
Characters,
books
she
(TSW,
seems
p.
272).
nervous,
76
restless
dinner.
when
Nobody
two w o m e n
Alex
arrives
puzzled
by
remembers
diplomat
day"
two
to
are
at
h is
begins
outside
safely
to t h e
Embassy.
that
marry
come
there
second
in I t a l y
to
for
Scene
she
that
his
historical
be
and
Cassie
on
a
hotel
by
the
t he
is
city.
servant
a young
the
in o r d e r
Italian
in R o m e .
their
When
is v e r y ' a n g r y
Emily
Alex
she
too
Cassie,
returns
Dinner
is
and
gunfire
to
take
them
with
the
king
and a p p r o v e d
in
the
between
engaged
she
because
present.
in
private
to t h e
has
a searching
been
to
thought
U.S..
Emily
Emily
a nd
Alex.
Emily
she w o u l d
of e c o n o m i c
enlightened
Emily
lif e .
to
also
Alex
H a z e n 1s h o u s e
a trial
evening
had w i t n e s s e d
perspective
in t h e
her
in R o m e .
day"
over
Hazen
is a c o n f r o n t a t i o n
likes
three
is
to
years.
When
1 92 2 ,
the
need
h as
decides
to
to
stay
a while.
parents
Sam wants
took
Cassie
Alex
to t h e i r
a teachin'g j o b
C a s s i e ’s d i n n e r .
to A l e x . I t
in
"famous
Mussolini
Embassy
tells
him someday.
back
Rome
to
Ambassador.
In t h e m e a n t i m e
replies
this
in R o m e .
followed
E m i l y ’s act.
Emily,
Moses
since
for twen t y - on e
evoking
to
day that
comes
Cassie
coming
280).
back
daughter
Alex
American
the
p.
Am eri can
policy
Cassie:
(TSW,
on h o l i d a y
the
appeasement
past
flashes
be t h e
and
the
Bowman'is
invited
is e s p e c i a l l y
Taney
Sophronia
has
other
famous
It h a p p e n s
Emily
Catherine
to e a c h
Scene
by t h e
knows w h y
that
spoken
she
"famous,
announces
haven't
Hazen
Moses
s he
the
and
see
is
to S a m ,
rise
they
the
to t h e
who
s he
Italy.
a
of p a s t
searches
tries/ unsuccessfully
and
d i d n ’t k n o w
him with
consequences
evening
two w o m e n
of F a s c i s m in
provide
in q u e s t :
on t h e
to
errors
for
truth
appease
her
79
and
to p r e v e n t
Ac t
1923.
II,
Alex
take
in
starts.
hotel
place
class
scene
outside,
the
for
Emily
at
political
action
meaningful
pointing
out
as to
Cassie who
that
to t h e
about
the
scene,
there
is
to B e r l i n ,
when
in
a Nazi
action
important
takes
events
character’
s upper
aloofness
also
beliefs
the
while
their
is
back
a restaurant
or r e s t a u r a n t s ,
as w e l l
historical process.
to
takes
It is
rooms
privileges
for his
one,
is w a i t i n g
street-fight
place
confrontations.
at
the
pogrom
f r o m the
restaurant
and
he is
asks
unable
answer.
In t h e
hotel,
the
in
U.S.
he is
19 30,
his
he is
has
unwilling
ambassador
to
on
to b e l i e v e
the
Alex
indecision
he w r i t e s
Munich
a report
European
sides.
when
the
a report
the
in o r d e r
scene,
Cassie
pact.
a Paris
Alex,
Fanny
B ut
even
Farrelly
even when
Germans
in
take
the
but
if
the S u d e t e n l a n d ,
European
after much
appeasement.
to r e s u m e
(W_R) ,
a German
H t l e r ’s c o n d i t i o n s :
idea,
now
to W a s h i n g t o n
Like
favoring
Cassie
to
situation.
of R u s s i a
d o e s n ’t .accept
he d a t e s
the
in v i l l a i n y
the m e n a c e
continent.
time
send
a flash-back
h i m to a c c e p t
d o e s n ’t i n t e r f e r e
fight
before
to t a k e
blackmails
Hitler will
same
days
viewpoint
unwilling
America
some
Ambassador
relating
here
next
their
At
the
affair
at
Fontainebleau.
In t h e
steal
Alex
had b e t t e r
On
last
from Emily
chances
the
be a m p u t a t e d
other
the
to g e t
than
admits
revenge
on
that
she
tried
some o n e who
to
always
herself.
hand,
following
Sam reveals
day.
In h i s
that
his
"dark
leg
night
is
goi,ng to
of t h e
80
s o u l ” he
h as
He
blames
inaction,
prevent
world
parents
same
theories
who
compose
the
Sam about
it.
h is
same
first
on
his
his
by
in an
h is
time
sides
(Nazism,
act,
the
and
provokes
Cassie
back
his
his
the
one,
second
grandfather.
the
gap
with
between
enterprise
and
that
Alex
doesn't
(TSW,
says
p.
that
stating
in
to
talk
exile
mean
that
heard
the
th e
policy.
These words
the b e g i n n i n g
against
supporting
the
scene
on t h e
a nd
it in
h is
that
Here
to
Sam
diplomatic
who
h as
is
like
"old
mummies”
answers:
to w o r k
with,
t h e m or t r u s t
before
trigger
blames
help
t he
in
tries
that
they were
too
for
Italy
in
Mo.ses a l s o
accuses
of A m e r i c a
in t h i s
to j u s t i f y
their
the
flash­
himself
of F a s c i s m
policy
in
oppression.
Cassie
grounds
Moses
newspaper.
temporizing
supporting
In t h i s
ignorant
As
A l e x ’s c o n f o r m i s m w o u l d n ' t
to f o r e s e e
commitment
Alex
seems
Alex
same words
inability
thus
S a m is
another who
about
you
1922.
crisis,
his
someone
in E u r o p e .
in O c t o b e r
of
as
278 )
she
that
of f o r e i g n
to a c t
to
himself
f a t h e r ’s a r t i c l e - w h e n
to R o m e ,
order
order
Fascism)
scene
d o e s n ’t m a t c h
Alex
governments
th em
betterment
in
their
it.
also
1922,
for
he o f f e r s
" M o s e s , we have to work with what there
Rome,
parents.
grandfather
article,
the w a r
We r e a l i z e
about
to t a k e
evils
displayed
actively
Moses
the
attack
views
observed
At
In
experiencing
participated
just
avoid.
about
and
political
by M o s e s '
explains,
parents
truths
unwillingness
for the
questions
the
bitter
disaster.
didn't
surprised
hold
his
for their
a scapegoat
Hazen
discovered
Alex's
generation
self-centered.
was
non­
t oo
Sartre
puzzled
again
the w r i t e r
echoes
in
in
as a b s o l u t e
ends,
I shall
silence
injustices
This
is
the
knew
historically
he s t a n d s
in
the
etc...
lack
of
Once
of
"bad
by
a free
at
faith".
choice
and
is
which
to
of t h e
the
over
but
a support
to S a r t r e
excuses
alleging
career
to t h e
into
man
is
in
to
total
faith.
freedom
He a c t s
other,
and
the
in
personal
and
’s t a t u s
necessity
affairs.
manipulated
f a i t h .becaus e
in
of
Thus,
a lie.
system,
the
love
in
status
S a r t r e ’s d e f i n i t i o n
also
explains
Italian
pogrom
On
"good
and
he
the
faith"
is t h e
the
other
hand,
because
he
one who
is
and
Sam
q u o ’.
definition
situated
historically
not
truth
quo
about
Alex's
t he
his
a man
themselves
involvement
easily
they
indecision
impending
as
are
oppression.
about
world
a young
their
by t h e
his
characters
supporting
elders
blackmailed
is
that
is p r e s e n t e d
to
play
alleging
into
is
he d i s s i m u l a t e s
this
sense
about
unveils
his
Sartre's
triangle
the
by t h e
crisis,
In
commitment
the
Acting
or aids.
dissimulating
" b l a c k m a i l e d ” by t h e
easily
bad
of c o m p r o m i s e
lie to e a c h
denying
in
this
ignorance
Any who alleges his passions as an excuse, for i n a c t i o n
of b a d
of
be
oppression.
to his
fit
he h a d
‘
in
class
characters
diplomat
moment,
characters
without
age,
pass
persons
to t a k e a d v a n t a g e
(3 )
do g o o d * ”
profitable
According
chosen
led to
supporting.,
always
the
be
a few
of t h e
dillemma
that
somehow
again,
treating
as an A m e r i c a n
by w a t c h i n g
commitment
ethics
finally
in o r d e r
situated
" b a d f a i t h ” is
and
central
that
of
1947:
oppression
Alex
paradox
"if I am a b s o r b e d
struggle
play:
this
man
thewar.
of
disguises
system
because
02
he
trusts
for the
sincere
freedom
idea
indulgent
for the
Mortar
of W_R a n d
T A g ) of a c t i o n
individualism
Alex
(TCH)
taking
a firm
public
life.
Moses
they
a re
as
Cora
like
(DC),
opposed
of
passive
stand
Hazen
not
in
frustrated
that
you
take
points
tendency
motives
li f e .
later
individual."
consequently
self-
cooperation
social
(T A g ),
belong
afraid
but
to
M rs
to
Miss
of
also
in
public
his
affairs
lives.
Alex.
Department
bed with
provides
out
that
the
thirties
with
He
a nd
fell
in
t h a t ’s
on a w i n t r y
an e s c a p e
for
and
Miss
foreign
to
view
insight
substitutions...
either
Heilman
devastation
(4 )
into
it w a s
Freudian
rationalization
escapism
ostrich-like
of
p . 295)
undercurrents
emotional
of an
of
misplaced
on
is
turn
into
establishment
events
comments
to G e n e r a l
lives.
powerful
Moses'
forward
Griggs
father,
State
(TSW,
political
bring
the
night."
Sievers
"the
men
and
(TLF)
private
your
to c l i m b
the
Alex
public
nothing
personal
David
Horace
that
back
altruistic
General
hi s
their
love wit h
implies
looks
of a ct ion ,
individual
and
in
states
frustrated
to
watchers.
only
also
lack
Crossman,
Birdie
Moses..."Now
Moses
and
TSW goes
and
of a c c o m p l i s h i n g
Hazen,
H e i l m a n ’s c a s t
when
theme
(in
purpose
justice.
relationship,
of m a n k i n d .
The w h o l e
Griggs'
personal
politics
policy.
upon
in
socio­
into
To i g n o r e
in p o l i t i c s
seems
the
say,
society
personal
seems
to
o r in
can
only
or the
lives
and
to s u p p o r t
the
thesis
83
Alex's
behavior
self-fulfilled
means
in
to e s c a p e
his
and
In p o l i t i c s
appeasement
Berlin
and
On
He
gives
which
t he
his
as
grounds
decisions
to
Alex
public
he is
life
follows
in
the
his
refused
n ot
as
a
the
scenes
people
and
media.
searched
for
people
there.
led
not
his
hotel,
who
Alex
receives
attempts
to
act
disillusionment
the mass
but
Paris
has
through
freedom,
Von S t a m m e r ,
love
of i n f o r m i n g
he h a s
Count
turns
reiterated
of
counterpart
the
in
Moses
biblical
In
assertion:
frustration.
is
hand,
role
h as
and
this
in
in P a r i s .
other
on
up
political
as w e l l
l a t e r on
oppression
marriage
relieve
policy,
the
corroborates
against
with
politics.
influencing
Like
Moses,
a promised
a German
to b l a c k m a i l
his
land
of
diplomat.
him into
accepting
H i t l e r ’s d e m a n d s .
Alex
tries
to
"I d o n ' t
makes
justify
make
it,
sending
thank
back
Houwever, lacki ng
to h o l d
quo'.
on A l e x
H is
by t h e
is
policy
God.
And
of m y
political
leads
accepting the
insight
into
country.
I a m an
an u n i m p o r t a n t
blackmailed
naivete
Count
the
himself:
r e p o r t . ” (TSW,
and with o u t
submission
of t h e
one
unimportant
game
man
man ,
p.
true
to th e
h i m to be i d e o l o g i c a l l y
rules
No
310)
beliefs
'status
manipulated
without
even
questioningit.
According
because
an
considering
unimportant
seeking
to S a r t r e ,
refuge
himself
report"
in
h is
(FSW,
Alex
"an
p.
insecurity
has
acted
in
unimportant
310),
"bad f a i t h " ,
man,
he h as
as an e x c u s e
lied
sending
to
to d e n y
back
himself
h is
84
responsibility
towards
As S a r t r e
"men
avoid
whole
typical
apology
imply
his
to be
is e v i d e n t
is
- ’
’
What
the
and
they
"bad
his
are
events
take
to
his
once
a nd
again
in A m e r i c a
way
for
had
been
leaders
Kurt
and
the
U.S..
anguish,
only
of
hi s
the
a
personal
about
t he
their
love
remarking
worried
about
- the
men
about
I says
I know?
What
does
31 7 ] .
his
to be
Cassie
at
it w a s
themselves
involvement
committed:
war
affair
Mussolini
Joshua,
Kurt
confront
change
(WR)
before
arrives
Fontainebleau.
a strange
when
belong
of g o o d w i l l
day:
important
in
very
Europe
to a c l a s s
- who
and H i t l e r
(WR)
to
crazy
do
uses
that
to do w i t h
outside.
children
and
p.
impending
his
They
got
that what
What
Alex
of a p p e a s e r s
try
his
thinking
responsibility
resume
like
mouthpieces.
they
not
one man
[TSW,
a generation
Sam,
for
difference.
Know?"
his
anguish
place
has
Moses Hazen and Fanny F a r r e l l y
people
personal
and
T h e r e ’s s o m e t h i n g
any
report
they combine
hell
f a i t h ” pattern
to f o r g e t
He d i s g u i s e s
their
f a i t h ’, a d e n i a l
here
anybody
he f i n i s h e s
themselves
responsibility
" e n g a g e ”.
make
Cassie
their
that
a disguise
’b a d
sitting
with
avoiding
\
^
history?
the
of war.
in A l e x ’s s p e e c h :
Alex
Following
declaration
thinking
only
m a n k i n d /"
for
by
men,
rationalization
responsibility
This
anguish
other
judgement
this
imminent
explains
towards
And
the
h ad
to t a k e
different
over.
from
from
that
Miss
Heilman’
s
Sara
are
life
more
heroically
history.
cleared
and
and
Thei r aggressive
of
Theirs
that
of S a m
than
the
the
of
in
others
environment
h as
85
made
them stronger
In
th e
than
last
their
scene
confrontations
together:
Cassie
to E m i l y
reveals
as a f o r m of
thinks
that
alienated
why"
revenge
for their
p.
320).
bad
elders
idealism
"soldier
in t h e
Doris
boys,
He
has
is d e s c r i b e d
in
the
army
the wa r
ha s
because
"who
Cassie
all
and
stolen
t he
the g e n e r a t i o n s .
Alex
from
shortcomings.
they were
Cassie
frivolous
people,
d i d n ’t k n o w w h a t
they were
pleads
as
ignorance
Emily
an
doing
or
a justification
faith.
against
As
she
ancestors.
brings
her e c o n o m i c
Another important
h is
Heilman
the wom en ,
for
generation,
(TSW,
Miss
that
it, h a p p e n e d
complacent
last
t he
Falk
scene.
evils
of
points
w h o has
been
confrontation
find
modelled
Sam
stands
held
between
for young
Sam
and
American
Fascism.
ou t
Sam
is
one
a purposeful
undoubtedly
in H e i l m a n ’s m e m o i r s
he h as
is
of M i s s
life
on
H e i l m a n ’s
in t h e
Dashiel
as H e m i n g w a y ' s
displayed courage, endurance
army."
Ha m m e t , w h o
'code
and
(6 )
h e r o ’:
self-
sacrifice.
Sam's
final
his
wounded
But
he o f f e r s
from
h is
leg
is
revelation
going
himself
to be
as
p.
unwillingness
and
truth:
322)
to t a k e
where
condemns
bitter
amputated
to
the
for
his
parents:
following
prevent
more
day.
errors
parents.
[TSW,
clipping
a punishment
a scapegoat
He finds fault in his
watch"
is
Emily
g r a n d f a t h e r ’s e x c u s e
world
disasters,
sides
is
connected
her frivo li ty .
all
in w o r l d
of t h e m
He
have
back
as w e l l
as
h is
affairs.
He
produces
with
unveils
used
"to s i t
jet
to
set
his
disguises
father's
Pro-Nazi
parents
and
and
the
people
the
apologized
06
for non-commitment
in t h e
Some
find
his
final
critics
speech
too
"Miss
and
the
to m e
the
play
difficult
the
use
On
seems
and
intrinsically
personal
inner
and
the
Heilman
public
contrivances
As
the
stereotypes
representing
the
Stammer,
might
who
intelligent
Many
that:
contemporary
drama
is f a u l t y
use
to
classify
numerous
doesn't
the
set
structure
changes
use m e l o d r a m a t i c
play
of f l a s h - b a c k
technique
contrast
historical
act
of
past
situations
in b a d
in h i s t o r y
builds
faith,
and thus
(in t h e
sense
structure.
and
present
that
(Italy.
denying
being
to s u p p o r t
stolen
their
easily
they
are
Fascism,
through
characters
the
rather
parallels
than
by
are
out,
no
of g o o d
Heilman
real
doesn't
villains
and' e v i l .
considered
plot
a villain
Even
portray
or h e r o e s
Count
is a w i t t y
Von
and
diplomat.
argue
in
papers).
points
there
be
up c o n f l i c t
of t h e
forces
critics
and
her wel l - m a d e
the
of
II.
Holmin
because
to
circumstances)
lives
(e.g.
Lorena
up in
argues
and
theme.
system
and W or ld W a r
Miss
due
characters
by t h e
by
of m a n k i n d .
overweighted
of t h e
critics
for once
adapted
responsibility
manipulated
freedom
Downer
caught
Heilman
different
Paris]
"blackmailed"
pogrom
Miss
to t h e b l a c k m a i l
and
S.
structure
to f o l l o w
abandons
in
Alan
so
although
o t he r hand,
Because
the
i m p a c t weakened."
that
she
the
hence
Berlin
the
of f l a s h - b a c k ,
and
was
for
assumptions
didactic.
that
It s e e m s
devices
Sam's
Heilman
issues
fight
that
the
parallels
between
the
the
87
irresolution
of t h e
irresolution
in d e a l i n g w i t h
Stark
Young
characters'
considered
that
private
world
the
lives
affairs
play
"is
and
is
their
overemphasized.
far more windy
than
..
„ (8 )
searching.
Miss
Heilman
considers
"The n e a r e s t
But
even
there
well-born
to s e l l
But
moral
the
roots
play
Heilman
black
a world.”
was
only
with
(9 )
acclaimed
declared
the
integrated
past
that
diffuse
uses
and
of
TS W
about
inquiry
taking
nice,
into
place
...
helped
the
in E u r o p e .
a quotation
from
her
Helen:
other
theme,
atmosphere
play was
intentions,
title was
takes a sear c h i n g
in. „ ( 1 0 )
in
one
plays:
wind
to f i n d
the
tree
you
•
s it
While
political
to w r i t e
good
that was
that
her
for its
" - It
..
of
to a p o l i t i c a l
I meant
slaughter
housekeeper,
one
peopl e who,
out
of t h e
thing
it
plays,
because
character
social
appears
her m oney
and
like APF
it i n v o l v e s
uses
fear
and
T L F , blackmail
a "hidden
to m a n i p u l a t e
or p r e s s u r e ,
only
as a m i n o r
social
position
in
form
as
s e c r e t ” in
another
this
in
play
it
to' b u y
an
the
an
of b l a c k m a i l :
a bribe
is
becomes
Emily
Alex's
lo ve .
In o t h e r
characters
Andrew
a bribe
like
Rodman
plays
Nina
(££)
to s e c u r e
of s e l f - c o n f i d e n c e
Like
compromise:
in DC,
this m i n or
Denery
(TAg),
a nd M a r c u s
someone's
and
their
betrayal
characters
form
Carrie
Hubbard
affection
failure
and
of b l a c k m a i l
lack
stay together
is
Berniers
(A PF ) . T h e y
which
love.
of
love
in s p i t e
are
by
(TA),
u se m o n e y
implies
to
used
their
resolved
of t h e i r
as
lack
in
lack
of
88
love-for
each
other.
In h e r e n g a g e d
of
'good faith'
not
Brancovis
who
d o n ’t m o v e
the
which
will
Moses,
bad
Von
are
them,
we
and
we
portrays
(WR_) a n d
idealists
have
Emily,
faith
example
Count
the
Cassie
are
have
who
and
fight
for
a
(T S W ) ,
"blackmailed"
who
has
World
War
II.
And
supporting
he m a i n t a i n s
his
position
h is
are
(D C ),
Alex
accepting
and
who
Rodmans
easily
Alex,
characters
Sam,
into
promote
man:
finding
h as
left
betterment
On
for
an
(D_C ] , K u r t
they
to
Heilman
been
compromises,
career
in
the
system.
a free
faith
As
Miss
Stammer
Thus,
He
beyond
by
oppression,
power
and
system.
manipulated
and
because
cause. Contrasting
the
by
like W h a l e n
blackmail-able
good
plays,
he is,
he a c t e d
as
fights
many
faith
his
refusing
involvement
unfulfilled
the
to
in
antithesis
face
commitment
personal
possibilities
of
for
matters.
t he
of m a n k i n d .
the
other
hand,
S a m is d e s c r i b e d
he d i s c o v e r e d
freedom
in
in b a d
an a p o l o g y
behind
because
the
in S a r t r e ’s a s s u m p t i o n ,
of m a n k i n d .
the w a r
He f u l f i l l s
unveils
the
truth
of t h i s
searching
and
the
that
Being
endures
role
of t h e i r
evening
it s
they
a youth
to be f r e e
he
had
committed
to
a cause
to
of
good
fight
he
consequences.
of t h e S a r t r e a n
bad
as
faith
came
to
out
h is
engaged
hero
elders.
By
bitter
b ut
and
the
end
enlightened.
89
Bibliographical
■
(1 )
Adler,
n 9 4,
(2 )
- Lillian
Jacob
Steck
Sartre,
Jean
Vaughn
Paul
Gloucester,
(3)
Sartre,
J.
(4)
Sieves,
David
(5)
- Freud
286.
on
V.
Alan
p.
S.
- Young,
Stark
1944,
(9)
p.
Phillips,
Writers
CIO]
- Heilman,
July
of
Drama, Hermitage
é
House,
um H u m a n i s m o , E d i t o r i a l
250.
n 9 4,
H e i l m a n , Frederick
19 78,
- Fifty
- ’
’
Behind
& Row,
269.
American
- Lillian
Co,
page
B r o a d w a y : A History
the
19 5 0 , H e n r y R e g n e r y
(8 )
page
- □ Existencialismo
Lisboa,
Series,
218.
J.
P.
Writers
Literature ? Harper
p.
Doris
Downer,
1969
1955,
Publishing
(7)
is
- ,o p . c i t . ,
n 9 4,
Falk,
Austin,
page
and
Presença,
C6 3
Co,
Psychoanalysis
Sartre,
H e i l m a n , Southern
- What
19 7 8 ,
P.
references
p.
71.
Years, of A m e r i c a n
Co,
Chicago,
the
Ungar
Beyond".
195 1 ,
New
Drama:
p.
19.00-
60.
Republic,
1 May
60 4.
John
and
at W o r k :
Lillian
1970,
Hollander,
The
- An
U.S.,
p.
Paris
Anne
Review
Unfinished
215.
- "Lillian
H e i l m a n ” in
I n t e r v i e w s , p . 12 3.
W o m a n , Bantam
edition,
CHAPTER
ANOTHER
Lillian
intended
she
PART
Heilman
to w r i t e
OF T H E
declares
a trilogy
stepped
o ne
generation
had w r i t t e n
TLF
as a K i n d
interview
to J o h n
identification
got
tired
write
The
with
play
to t h e
the H u b b a r d
Hubbard,
with
John
brings
Pentimento
about
trying
satire.
and Anne
the
She
h ad
and
clear why
out
that
her mothe r ' s
that
s he
Hubbards
points
Ho 1 l a n d e r
with
that
to m a k e
in T L F , i m p l y i n g
Bagtry,
us b a c k
place
is
in
to
the H u b b a r d
the
of T L F . In
already
at t w e n t y ,
Regina
Regina's
action
clan
in c h i l v a r i c
of
C.1946 )
she
in an
apart
from
family,
she
s h e w o u l d n ’t
Birdie's
of
a small
competing
cunning
year
and
cousin,
to
family
dealt
189 0 ,
twenty
Alabama
town
seize
power.
selfish.
She
a dreamer
years
we
find
Regina
is in
who w an ts
love
to f i g h t
enterprises.
plans
mother,
so
play.
in T L F . It t a k e s
previous
in
of p l a y s
Hubbards
of t h e p e o p l e
FOREST
back,
Phillips
of t h e
tfie t h i r d
VII
to m a r r y
is d r i v e n
him
to t h e
and
go
to
Chicago.
Lavini.a,
brink
of
insanity
by t h e
9 1
cruelty
of her
husband,
the
ruthless
businessman
Marcus
Hubbard.
Birdie
5.000
Bagtry
dollars
on
her p r o m i s i n g
that
he w i l l
brother,
that
her fa m i l y
10.000
keep
is a c c u s e d
committed
him.
h is
Marcus
two
out
the
to
play.
expiate
evidence
inadvertently
Union
to
troops.
blackmailing
and found
turned
Ben
a town
gets
who
the
and
h as
shows
the
that
B e n ’s
frauds
incestuous
Bible
of y o u n g
which
an
against
exaggerated
overtones
s he
contains
expedition
Southern
mania
reveals
to
the
which
soldiers
against
financially
and g a i n i n g
the
obtains
his
father
control
her f r e e d o m
and
O s ca r are
orders
Regina
to -marry H o r a c e
Birdie
Bagtry.
By the end
abandoned
over
to go
Giddens
of t h e
b.y th.ei.r l o v e r s .
and Osc ar
play Oscar
away
Ben
to m a r r y
and Re gi n a
led
by
her m i s s i o n - s c h o o l .
Regina
h as
and o r d e r s
information
Lavinia
Marcus
a religious
III
who
insults
community
cherishes
developed
and
this
fortune.
uses
her
prostitute,
drunk
Oscar's
Marcus
slaughter
Ben
Oscar,
imply
M a r c u s ’s s i n ’. In A c t
s he
cheats
assuring
her.
the whole
acquires
Lavinia
Ben
of
a K 1 u - K 1 u x - K 1an g r o u p
of M a r c u s ’s s a l t - r u n n i n g
Marcus
the H u b b a r d ' s
on
Bagtrys,
house.
which
father,
for
Laurette,
with
a loan
a man.
characters
h as
of t h e
M a r c u s ’s c r i m e :
written
the
that
for
Lionnet.
his
a member
the
of t h e
by R e g i n a
throughout
in o r d e r
with
is e n r a g e d
sons
affection
Ben
to m a r r y
is o n e
a crime
from
it w a i t i n g
of b e i n g
the H u b b a r d s
She
of
Hubbard
plantation
and w o u n d e d
Oscar wants
Marcus.
to B e n
dollars
5.000
has a t t a c k e d
visits
appeals
are
92
allied
to B e n .
The
the
title
new
of t h i s
(post-civil
War South)
beneficient
to t h e
playwright
Although
with
time,
diverge
I would
capitalistic,
in o r d e r
for
to
to b u y
it
be
th e
vision
of
others
and
into
as
he
points
types
sadistic,
shows
the
there
from
how
to
the Old
of b l a c k m a i l :
to
Hubbard
TLF
to
their
cheat,
South
years
digs
deeper
psychodynamics
Marcus
Southern
triangle
which
tier in
insane.
on B r o a d w a y : ■
the
background
family
motivating
father
had
to p u t
Freud
into
a
of M a r c u s
mentally
h.is b o o k ,
as
towards
of h is
threatening
in
R e g i n a ’s
and
use m o n e y
blackmail
she was
predatory
is a l o v e
knowing
Marcus
For many
says,
Heilman
to
is r e a d y
lesson
L a v i n i a ’s b l a c k m a i l
submission
o ut
title
values.
B e n ’s f i n a n c i a l
her freedom.
of t h e
related
corrupting
love);
and
the
forest",
as y o u
ri )
the w o r l d . "
environment
learn
her father,
power
see
You w r i t e
is d i r e c t l y
the
will
different
of
..."Miss
play
that
(she a t t e m p t s
As S i e v e r s
this
her
interpretation
Bagtry,
an a s y l u m b e c a u s e ,
In
environment
f o x e s ”. As
isms...
you
their
commercial
Lavinia
her
as
of t h e
the
have
seize
blackmailed
the
seen,will
portrayed
and
conception:
part
blackmail
substitute
Hubbard
argue
and b l a c k m a i l
lover John
in
f o x e s ” who
"another
In A P F w e
her
chan.
on
"little
her plays
your
in
"little
emotional
th e
write
deterministic
swindle
of
labels
in
e l d e r s , , in
historically
like
critics
the
all
is a c o m m e n t
”1 d o n ' t
play,
breed
which
Hubbard
society:
of t h e
it s
of t h e
play
breeding
comments,
contemporary
leader
and
he
the Hubbards."
follows
the
of
(2 )
Electra
93
pattern:
Lavinia,
triangle
is
Bagtry,
which
Marcus
reversed
in
and
Regina's
a representative
Marcus's
In
greeting
the
jealousy
first
while
manipulates
a ct
submits
Marcus
clothes
from
to
expects
to o b t a i n
and
Marcus
- IMo,
just
in a l o n g
n ot
for
John
h i m to
buy
John
our
me.
her:
Marcus
to m a r r y
and
for
she
expensive
towards
L e t ’s t a k e
you
in
Regina
relationship
and m o n e y
darling.
this
L a v i n i a 's m o r n i n g
affectionate
consent
on,
uses
And
C a v a l i e r myth,
affectionately.
incestuous
on a p i c n i c ,
that
Southern
dismisses
Regina
Regina.
affair with
Oscar
Being
- "Come
love
a part.
her will
h is
daughter
plays
his
Chicago.
Regina
of t h e
he t r e a t s
cunningly
their
We
she,
Bagtry:
lunch
and
go
h a v e n ’t d o n e
time.
a long
time.
(To B e n ] .
Something
affluses y o u ?
BenRegina
blackmails
incestuous
aware
father
There
Yes,
and
ironical
for
Regina."
emotionally
this
(APF,
340)
and m a n i p u l a t e s
h e r in o r d e r
about
to r e a c h
"strange"
his
her ends.
attachment
Ben
is
between
daughter.
ar e o t h e r p l a y s
overtones
and
Marcus
feelings
and
y ou
such
(T A ) o r M r s
by M i s s H e i l m a n
as T A g
Ellis
secure
and
T_A. C h a r a c t e r s
C.T Ag 1 u s e
money
to
bribe
is a m i n o r f o r m
which
their
presents
like
incestuous
s o m e o n e ’s a f f e c t i o n .
of b l a c k m a i l
Their
and
Carrie
feelings
use
incestuous
Berniers
and
of m o n e y
implies
their
their
as
a
failure '
to 1o v e .
Regina
Marcus
is s e l f - c o n s c i o u s
according
"You
going
her
about
her power
to m a n i p u l a t e
desires:
should
have
to do j u s t
figured
whatever
o u t -l o n g
you
tell
ago
that
h i m n ot
P a p a ’s
to
do
94
unless
Despite
her power
blackmail
Marcus
I tell
h i m to
to
her f em a l e
use
emotionally,
do
she
it."
(APF,
p.
341)
attractiveness
is w a r n e d
to
by B e n
about
Marcus's
jealousy
"Papa
d i d n ’t j u s t
Giddens.
place
Papa got
that
ain't
this house,
you
and
sons,
of
Ben
h is
and
listen
build
to
When
the
Colonel
younger
s on,
man
Marcus
the
same
L a t e r on
Col.
between
Lavinia's
In
for
was with
the
him.
his
for
Negroes
is g o i n g
at
Marcus
342)
h is
sons
despises
submitting
them
to h i s
like
ever
is v e r y
Marcus
any
to be
is
There
or
hears
hard
in
about
t he
on
is
his
no
doesn't
present:
to go
with
that
Oscar,
who
even
away
and
money
of
he
and
bribe.
a
At
everybody.
has
paid
power
displaying
sons.
his
of O s c a r ’s s a l a r y .
to e x e r c i s e
h is
had b e a t e n
a large
in f r o n t
the
ou t
humiliates
group
Oscar
will
and
Marcus
that
taken
any man,
and wife
Lavinia.
a Klu-Klux-Klan
to be
Horace
Altaloosa.
a subtle kind o f blackmail: he uses m o n e y
sons,
He
couple.
to t e l l
to O s c a r
and
and
d a y he
p.
a birthday
humiliates
says
you,
the
wife
you
I wouldn't
C o l o n e l ’s s i l e n c e
Marcus
Marcus
Isham
on
plea
about
of R e g i n a .
Isham arrives
time
near
t he m a r r i e d
same way,
buys
about
towards
treatment
up a s c h o o l
mad
B a g t r y . " (APF,
O s ca r and
communication
mad
for example,
M a r c u s ’s b e h a v i o r
reversal
get
no
to
That
over
is
his
respect
for
their opinions.
Sievers
and Ben
points
towards
that
there
is
a hostility
in O s c a r
Marcus:
"Oscar
to
out
and Ben
release
whomever
found
their
they
it
necessary
Oedipally
could
find
as
in t h e
engendered
other
hostility
substitutes
for
play
on
their
95
autocrat
As
a consequence,
relationship
we w ill
between
behavior
towards
attempts
to
his
see
Birdie
Lavinia.
seize
autocratic
money
in
T L F , the
and O sc a r,
It is
and
still
destructive
modelled
on
manifested
consequently
power
his
f a t h e r ’s
on B e n ’s
as a r e v e n g e
on
father.
Another way
revelation
fathers'. "
for
Ben
to be
revenged
on M a r c u s ,
of R e g i n a ’s u n f a i t h f u l n e s s
towards
Ben
this
the
is B e n ’s
end
of
the
play:
- " Y o u ’re a s c a n d a l
Marcus,
deeply
hurt
recognizes
bribing
Regina
proposal
has
didn't
to b u y
the
same way
money
he c a n g e t
financial
and
treason.
On
so t h a t
married
by B e n ,
Thus
other
lover.
he
hand,
She wants
forgetting
his
to her.
Bagtry
e l o p e to C h i c a g o .
blackmail fails
as
refuses
her
Once more
an a t t e m p t
to
buy
love.
Regina
- "I'm going
you're
John
the
has
end,
to f a c e
honey."
her failure
he a b a n d o n s
and
co m in g and we 'll
- (.gently). . . " N o w ,
silly
Regina
to C h i c a g o ,
you're
(APF,
p.
a month
later
get m a r r i e d . "
joking.
D o n ’t t a l k
368)
to
buy
Bagtry's
h e r to f i g h t
for
his
is
emotionally,
the
her
sleeping
400)
blackmailed
love.
is d i s a p p o i n t e d w h e n
married
p.
Regina
towards
P a p a ’s t h e
y o u ’ve b e e n
of R e g i n a ' s
her
town.
(APF,
in- b l a c k m a i l i n g
money
Regina
know
financially
revelation
ideology
and
been
Bagtry with
to g e t
emotional
th e w a r r i o r ”...
in
John
But
with
failure
behaves
"Cavalier"
person
by t h e
her with
blackmail
only
who
his
in
ideal
love w h e n
at
in B r a z i l .
to
96
Nevertheless,
on
Lionnet,
makes
the
she
tries
so t h a t
loan
on
to c o n v i n c e
Bagtry cannot
Marcus
n ot
go a b r o a d .
Lionnet, dismantling
her
to m a k e
By t h e
plans
a loan
end
Ben
of f u t u r e
happiness.
When
Regina
Ben
still
to a c h i e v e
unveils
tries
her
to M a r c u s
to g e t
Marcus
on h i s
Marcus
make
trip
that
involved,
of a s i c k
marriage.
the
end
have
failed
to b l a c k m a i l
love
quest
But
the
other
ha s
(APF,
p,
in
different
Birdie
Bagtry,
according
Miss
play
me
order
- (Puts
must
you
just
have
and
the
her
known
I'll
tw o
hypocritically,
both
relationship
are
defeated
their methods
beloved
343)
with
to
in
love
with
money
parallel
for
banker,
both
of
us."
the
after
money
her
an d
d i d n ’t w o r k .
that
and
from
Marcus
to R e g i n a
Giddens,
farmer.
he w o u l d
he is
Laurette,
of t h e m .
Horace
aristocrat
h is w i l l :
Birdie
reiterates
to b o r r o w
plans
a ruined
Ben...
Oscar
a situation
to a p r o s p e r o u s
escorts
You
Greece,
- daughter
their
hand,
Regina
Oscar
and
Papa...
suggests,
because
Oscar wants
Laurette,
Ben
in
They
their
unfulfilled.
sincerely"
with
s he
of t h e
embittered
prostitute.
involved
372)
father
emotionally
and
p.
you
shoulder).
someday.
continuation
On
be
I'd marry
(APF,
is
love-affair,
emotionally
- " T h e r e ’ll a l w a y s
hand
By
secret
purpose:
Regina
Getting
her
lend
Ben
"deeply
a town
to
elope
and B a g t r y ’s.
He w a n t s
to
and O s c a r
marry
to
blackmails
Oscar money
if O s c a r
home.
"I w a n t
her,
you
talk
to
be
nice...
Five-hundred
nice
Now
to t h i s
go on.
girl.
Flatter
Be c h a r m i n g .
d o l l a r s ’ charming."
(APF,
p.
348)
97
Ben,
sex
unlike
and
people
marry
his
sole
to f i t
Birdie
increasing
the
Regina,
into
s he
loan
for the
time
Ben
latter
and
Laurette
that
to
her
trick
being.
John
the o ri gi ns
yo u
avoiding
evening
party
are
of w o r s e ,
Criticizing
their
Southern
of
kinfolk
you
only
p.
and
Though
s he
Marcus
first
lower
and
as
class
a
and
Bagtry
harshly.
Laurette
says
immoral:
men
give
dying
for
all
their
you
how
just
they
got
ou t
y ou
suspected
of a
348)
exploitation
suggests
Thus,
aristocracy,
of t h e w a r ,
of M a r c u s ’
s "hidden
suspense
is
that
lovers,
Marcus
honour
value
negotiation
the
- against
- and I hear d
r o p e . ” (APF,
Marcus's
present.
criticizing
middle
and
both
the
danger
the
and Bagtry,
a decadent
and m o n e y
hanging
foreshadowing
to M a r c u s
making
twice
Bagtry.
Bagtry,
the
a note
from
deceiving
with
o f M a r c u s ’s f o r t u n e
you
goods
sign
Lionnet
to
farm,
re 1a t i o n a s h i p
up to t h e m
in
a cotton
the
M a r c u s ’s s e n s e
"Right
Oscar
respectability
on
by
c an m a n i p u l a t e
sees
of a d i s c r i m i n a t e d
stood
he
Regina
Laurette
representing
and
a loan
sidetracked
He w a n t s
Lionnet,
Birdie
In t h i s
and
not
is w h y
obtaining
evening,
questions
heightens
having
to r i d i c u l e
the
and
is
plans.
acquire
the m u s ic
dirty
representative
Bagtry
to
receive.
Sincee
try
That
to
presents
Ben's
Laurette
by
Marcus,
mercenary
negotiates
is g o i n g
unmasks
and
power.
capital
Marcus
During
and
his
in o r d e r
their
and
of w h a t
this
a i m is
community.Ben
Birdie
Oscar
of m i n o r i t i e s
is
in
the
past"
which
Marcus
got
rich
secret
that
by
a
illicit
me an s .
Marcus,
representative
in
h is
talk
of a n e w
to J o h n
Southern
Bagtry,
order,
stands
which
up as
somehow
a
managed
98
to u n i t e
cultural
culture,
patronizing
enterprises
minorities
between
accomplishment
(getting
etc.).
music)
rich
a merchant
- "Why
man
John
as
worlds,
Marcus
-
in
the
under
his
needs
the
to w i n .
sun,
myth
their
sake
Later
on
there
on
of h o n o u r
(in
the
clash
his
side?
Every
life."
of s a y i n g
I fight
it.
I
for
a way
375 ) .
that
Bagtry
be
in
way
to
his
exploiting
other
advises
John
conquer
h as
he is
to b e l i e v e
your
place
better
chances
fighting
agrarian
between
destroys
T L F ) she w i l l
t he
for slavery,
for
ideal.
materialistic
the
once
t ry
Greek
New South:
choose
Marcus
in
supplier,
have
that
answers
is a c l a s h
and
his
the side w h ic h
living,
a n d B a g t r y ’s C a v a l i e r
the
fight
J o h n , obstinately
speech
like
of s u c c e s s :
of
and
to w i n
manner
fighting
gentlemanlike way
we
life .’
’ (A P F , p.
pragmatic
American
Old
d o n ’t y o u
"I d o n ' t
of
with
dialogue
the
don't
In
enterest
classic
In t h e i r
different
[his
for
ideology.
a
In
M a r c u s ’s c a p i t a l i s t
sacrifices
h is
R e g i n a 's h o p e s
revenged
love
fo r the
destroying
mind
for
future.
Horace's
lif e .
Though
his m e r c e n a r y
Marcus
his
in
best
the
criticized
relationship
R e g i n a ’s a l l e g i a n c e
money,
is
and
towards
his
Rooted
in
his
father when
And
he j u s t i f i e s
this
his
"I w a n t
tradition
to m a k e
family,
scholars
for
blackmailing
to
his w i l l
Dusenbury
with
points
out,
individualism.
Heilman
shows
a profit
individualism
something
his
as W i n i f r e d
of A m e r i c a n
he t r i e s
different
son’
s submission
b e h a v i o r is b a s e d ,
tradition
by
and
Ben
taking
f r o m B i r d i e ’s lo a n .
self-interest
for myself.
after
I shouldn't
to
Marcus:
think
you
99
were
the man
to b l a m e
B e n ’s i n d i v i d u a l i s m a n d
qualities
admired
by M a r c u s ,
As W i n i f r e d
fr o m the
ability
to
have
compete.
for
cuning
himself
Ousenbury
beginning
me
h as
risen
Ousenbury
that."
busines
out
fallen
quotes
376).
are
man.
American
according
□. W.
p.
methods
a self-made
pointed
and
(APF,
Brogan
families
to t h e i r
in h e r
explanation:
"A f a m i l y
to s u r v i v e
o r an
individual
- and
it
took
had
that
Ben
it is in t h i s
takes
ov er power,
ends.. I t ' s
Ben.'s
the w i n n e r
in
with
Marcus
lack
this
about
its
who
revelation
sold
Ben
badly
to Be n
about
the
has
unintentionally
of t h e
young
Confederates,
Marcus
Later
on he b r i b e d
as
a l i b i 1 to
an
written
has
it
pointed
because
in
on
the
led
the B i b l e
achieve
After
that
his
to
Union
the
leave
of
at
makes
him
his
house.
s i t u a ti o n .
Marcus,
extortionary
troops
a massacre.
officer
his
i n M a r c u s ’r. 1 i f e
camps
Yankee
game
quarrel
of t h e m a s s a c r e " :
refuge
to
the
camp
Running
away
in t h e w e l l - h o u s e
roof.
to g i v e
passes
him false
downtown.
had w i t n e s s e d
swearing
is a " r e d e e m e r "
cause
to
decides
promoting
a Southern
and Co r a l e e
out
to t h e
took
toughness/
competitive
outlook
secret
it
or s o c i a l
a reversal
"night
sought
be p r e s e n t e d
Lavinia
B en
promotes
n e e d e d 'salt
a lynch-mob
match.
of a h i d d e n
prices,
from
or s o c i a l
B i r d i e ’s loa n ,
and
tells
blackmail
deterministic
L a v i n i a 1s k n o w l e d g e
moral
father-son
using
of m o r a l
But
Lavinia
Oedipal
have what
adaptability,
pe rh ap s a not too s e n s i t i v e
4.1
* (4) ■
outlook;.
And
to
of j u s t i c e
upon
(APF,
she
the episode
it.
354)
Lavinia,
as
and
had
Penniman
of t h e H u b b a r d s ,
blackmails
Marcus
into
100
submission.
As
points
particular
religious;
religion
her d e c l a r e d
religion
ironical
of b l a c k m a i l :
guilt.
Falk
"Lavinia's
have
It is
V.
Doris
- h as
that
Although
it as a m a g i c
put
here
and Ben
- ”0h,
you
time.
a ll
leave
blackmail
buys
at A l t a l o o s a
and
It is
ironical
brings
about
Taking
advantage
at t h e
h is
blackmails
have
- "Are
same
you
Marcus
blackmail
that.
time
the
instrument
of M a r c u s ’s
it L a v i n i a w i t h o l d s
to g i v e
it
it
up.
P a p a ’s f a m i l y
it n e x t
But w hen
a l l . ” (APF,
source
to
build
is
a nemesis
of
for
a
to me,
I die.
p.
This
I ’ll
389).
up a N e g r o
for
school
a crime.
M a r c u s ’s f o r t u n e
defeat.
revelation
revenge
ready
you
p.
now?
sell
Be n,
selfishly,
To w r i t e
a p i e c e of
for
a dollar
is
on t h e
"You
have
good
this
county
the
store
forcing
in o r d e r
reinforced
the
me
paper,
for a d o l l a r . ”
393).
financially
Southerners:
their
to
financially.
f a m i l y ’s b u s i n e s s
defeated
be
power.” ^ ^
t he
I always, k e e p
to y o u
of L a v i n i a ' s
[APF,
His
as
evidence
my
her freedom
that
saying
mob.
- her
to s e i z e
in
know
it
financial
Marcus
Ben
Ben
the Bible
used
I w o u l d n ’t l i k e
long
blackmails
is
try
power
Lavinia's
the w r i t t e n
B i b l e ’s b e e n
nicely
Now
Marcus's
to
object.
Lavinia
Lavinia's
h e r in
h i m in
the B ib le
Marcus
' i n s a n i t y ’ is s u p p o s e d
insane.
put
'it c o n t a i n s
out:
society
by
the
h i m to s e l l t h e
to e s c a p e
the
p a t r i o t i s m of
of C o l o n e l
Isham
lynch
the
is e a g e r
to
Hubbards.
reason
wouldn't
to
know
like
to
t h e r e ’s not
swing
a man
up a n y b o d y
in
10.1
called
Knowing
that
effectively
Hubbard"
he w o u l d
this
(APF,
have
p.
386).
community
kind of b l a c k m a i l
support,
works
on
"APF"
was
Ben
his
Knows
how
father's
consciousness.
Some
stage
critics
direction,
point
in t h e
o ut
that
Renaissance,
a commonplace
including
in S h a k e s p e a r e ' s
plays .
According
to M a n f r i e d
S h a k e s p e a r e ’s s t a g e
Andronicus :
characters
this
directions,
critic
of t h e
two
way;
the
and
have
has
both
her
been
to
keep
are
striking
indirectly
there
no r e a l
is
specifically
that
the
there
fight
hands
tell
her
have
out.
times.
disagrees
His
he
referring
but
between
a Renaissance
Aristotle
in
the
a physical
psychological
revenge.
means
the
her secret,
off
her to ngue
and
are
Marcus
declared
asylum
names
and
parody
and
they
not
saying
and
I would
historical
that
Marcus
argue
outlook:
aim or h i s t o r i c a l
on
suggested
concern
patronizing
as
if s h e w i l l
viewpoint
Maecenas in h i s
tried
and
Lavinia
are
has
her insan e
the w r i t e r ' s
a critical
too
as s u b t l e
Andronicus .
as
Shakespea­
to t e l l
though
of S h a k e s p e r e a n
satire
one
H e i l m a n ’s L a v i n i a
has
to T i t u s
in o r d e r to h a v e
reading
from
IV of T i t u s
T r i e s c h 1s h y p o t h e s i s ,
for power p r e s e nt e d
b e h a v i o r as
culture,
with
of
cut'
secret,
quiet.
evidence,
For instance,
scene
subtle,
been
Hiss
her
ma y be a p a r o d y
detachement
derives
parallels
manages
threatens to put h e r i n t o an
*
fR 1
s u b m i t to h is w i l l . ”
Falk
II,
the age nts
effective:...
Doris V
title
violated,
in a m o r e
are
torn
ma n a g e s to
fo r Act
been
other
r e ’s L a v i n i a
though
sees
the
plays.
"Both w o me n
sense,
Triesch,
music
her
in
own
Marcus's
for
the
for
"low
Greek
brow"
102
artists
just
is i n t e n d e d
culture
for the
much
allied
sake
more
to
of f l a t t e r y .
as a s a t i r e
the S o u t h e r n
than
Marcus
transitional
half
a kind
of
in t e r m s
of h is O e d i p a l
consequence
of t h e
It s t i m u l a t e s
consequently
seems
to m e
"Southern
Greek"
Renaissance
(the
to S h a k e s p e a r e ' s
figure:
society
half
mercenary
whose
the
it
rise
plays.
"Cavalier"
Hubbard
the
tone
John
no
belief
in t h e
element.
aristocracy
place
the
in
questions
in h i s
Ben...
and
been
pattern
while
f i t t e s t ”.
man m y stique:
and
War South
and
up
and
of a r i s t o c r a t i c
Ben
a
clan.
in B i r d i e
Post-Civil
as
brought
money
of t h e
self-made
smart
you
in
Oscar
you r day
lived
you been
too
among.
busy
or g e t t i n g
Southerner.
you'd
been
towards
reading
the
b ut
only
of c a p i t a l i s t
M a r c u s ’s a s p i r a t i o n s
fools
have
(A P F , p.
and
pattern
superiority
the
"You w e r e
the w a r
attempt
to s e i z e
not
John
decadence.
with
h is
in
their
a re
towards
speech:
what
his
he ha s
"survival
adopted
"Cavalier myth"
But Ben
the
of m o r a l
unveiling
h as
is
his f a t h e r
of t h e H u b b a r d
deterministic
B a g t r y ’s s p e e c h
Bagtry
environment
the me m b e r s
h as
is e x p l a i n e d
towards
competition
"leit-motif"
Marcus
Marcus
hostility
power over
he q u e s t i o n s
towards
individual
It f o l l o w s
music
allusion
it
' m o d e r n ’.
B e n ’s r u t h l e s s n e s s
In
on.the
economic
of t h e b o u r g e o i s i e )
is
an
But
the
Southern
aristocracy.
promotes
Marcus'
Greeks,
downfall.
figured
But
ever
getting
A few more
like
the
rest
out
since
cultured,
years
and
of t h e m 1.“
402).
a gentleman
And
just
and
way
Marcus
"getting
of
tried
living,
to be
Southerner",
patronizing
equated
as B e n
to
the
states,
in.
103
Marcus's
culture
incestuous
feelings
led h i m to be d i v e r t e d
promoting
h is
economic
I would
and
agree with
"Miss
fact
moral
that
sociological
proves
that
and
s he
unites
of
and
the
use
financial)
in
to
it b r o u g h t
the
the
causes
and
for
path,
consider
give
to an
characters
in
all
pattern
its
plays,
the
seek
the
the
rapaciousness
figures
factor with
audience
in
a historical
the Sou th ,
agrarian
levels
o ut
them mere
change
but
in h e r
of t h e i r
industrialization
of b l a c k m a i l
fits
past
psychological
origins
between
enough
the
visi o n of t h e
Relationships
their
thesis
not
in o r d e r
clash
n ot
did
7)
insight
the
utilitarian
are
moral
sociological
revealing
the
interested
study
in m e l o d r a m a ■
Heilman
eagerness
D u s e n b u r y ’s s t a t e m e n t :
she was
to
h is
defeat.
H e i l m a n ’s p l a y s
characters
In A'PF M i s s
from
and
society.
to
a mercenary
(emotional
of a d e t e r m i n i s t i c
basis
and
outlook
on
reality.
This
play
the
individual
and
thus
could
code
is
of h o n o u r
found
Here
b l a c km ail
blackmail
the
and
a Negro
Northern
is g u i l t y
easily
advocate
principles
follows
t he
Ruth
Benedict's
of a h i d d e n
because
the
community's
support
to
thus
s he
school
Marcus
is
led
advantage
financially
to
the
community
blackmailer
(Lavinia)
punish
him.
also
notice
that
the
L a v i n i a ’s
h i m in o r d e r
to
to e x p i a t e ' t he H u b b a r d ’s guilt..
from
end.
But
this
substitute
Ben w h o
situation
him
as
t he
clan.
We
pattern:
M a r c u s ’s m a t e r i a l i s t i c
as. a b e n e v o l e n t
takes
culture"
before
to b l a c k m a i l
at A l t a l o o s a
used
standards
secret
blackmailed
d o e s n ’t m a t c h w i t h
is
’
’
shame
blackmail-secret
is a
adopts;
to
leader
of
104
melodramatic
shifts
device
which
f r o m ..Marcus ' s to
It
ssems
deterministic
and
one
c an
the
Calvinist
the
s on
to
sons
own
action:
hands
and
sins
sins
the
then
a kind
on
of
relentlessly
of t h e
f a t h e r s ’ are
'visited'
power
to Ben.
proceed
consequences
of t h é
are
the
presupposes
cause-effect
from
"the
the
blackmail
whose
escape
manner
the
Lavinia's
that
universe
never
and
us
reverses
past.
In
'visited'
himself
later
on
in
life.
father
on
Ben,
in
short,
did:
he
uses
(in T L F ) t h e
others,
and
compete
with
blackmail,
in
uses
the
the
same mer c e n a r y
likeness
to
H u b bards’ predacity
this
the
'survival
others
by R e g i n a .
of
and will
the
be
defeat
will
his
turn
game
that
his ■
prototype.
one
against
Later
the
fittest'
contest
Ben
will
defeated,
through
financial
105
Bibliographical
references
t
(1)
Phillips,
John
in W r i t e r s
New
(2 )
York,
and Hol lander,
at W o r k , T h e
The V i k i n g
S i e v e r s , ,W.
David,
Psychoanalysis
New
York,
(3)
Sievers,
(4)
Dusenbury,
C5 )
1955,
W.
147.
Doris
Triesch,
- Dusenbury,
1965)
page
American
Winifred
L.
of
Dr a m a , Hermitage
cit.,
- The
page
House,
Theme
283.
of L o n e l i n e s s
Univ.
of F l o r i d a
He 1 l m a n , F r e d e r i c k
19 7 8 ,
page
" H e i l m a n ’s AP F
item
12 1.
on B r o a d w a y : A H i s t o r y
New York,
Manfred,
[October
(7)
Co,
Heilman"
Review’Interviews,
1967,
Gainesville,
- Lillian
"Lillian
283.
L.
Publishing
(.6 )
page
Winifred
19 60,
Falk,
the
op.
Drama,
p.
Press,
David,
American
'Paris
Freud
and
Anne,
60.
Explicator,
cit.,
p.
146.
Modern
Press,
Ungar
20.
- op.
in
24
CHAPTER ' y i l l
THE
The Au t u m n
(I960),
Garden
was
Carthy
jail
sentence
and
h is
collection
her
last
Critics
Chekhovian
away from
of v i e w
out,'the
change
road
as
to
that
last
commitment.
HUAC
In
between
t wo
plays.
to an
As
"old
guard
Miss
last
H e i l m a n ’s t u r n
or a wa y
t wo
from
pjays
Heilman
1960
plays
change
She
a more
John
in
last
her
to
did
seems
to
go
fatalistic
Nason
Brown
Republican
Brown
from
as
from
Ibsen
her away
points
who
is
conservativism.
leads
T_A
Attic.
insight.
themes
Hiss
Only
in t h e
and
Committee,
1954
(or v i c e - v e r s a ) ”. M a s o n
towards
her
the
H e i l m a n ’s t w o
to a C h e k h o v i a n
to w h e t h e r
is a t u r n
to me
Hiss
compared
a New. D e a l e r
ambiguous
seems
is
a nd
In b e t w e e n T A g
illness.
distinctions
her
1951.
play Toys
social-concerned
in
Clg 5 1 D
C h e k h o v ’s l e t t e r s .
classify
and m a k e
her
of
original
I b s e n ’s d i s c i p l e s h i p
Chekhov
in
Mac
th e
becomes
staged
happened
she wr ite
point
GARDEN
there
Hammet's
edited
AUTUMN
from
to
But
the
it
107
Allan
Lewis
such
a change
that
while
(and
conscious
in
in t e r m s
in t h e
World
War
survivors
mood
entire
end
It
Miss
two
leads
activist
But
this
cannot
only
be a t t r i b u t e d
by t h e w r i t e r .
change
hand
The Au t u m n
period
and
maturity
t he
heat
as
of g r o w t h
for both
natures.
mode
In D C J u l i e
of
says:'
best
season
The
It
is
living*in
thirties.
(3 )
of
the
Carthy
and
of
the
for self-
U.S.
illustrates
because
people'.
guest
en d
from
the
economic
Miss
as an a r t i s t .
on
a metaphor
of t h e S o u t h e r n e r .
less
(2 )
the
consider
by t h e
symbolic
Tuckerman
way,
psychological,
reversal
also
about
this
G a r d e n , is
self."
resilient”
a necessity
We m u s t
brought
of w e a t h e r -and
at
to
became
in t h e
to M a c
and
of p e r s o n a l
of t h e
movement
Depression.
consequently
production
us to q u e s t i o n
of t h e
to a d e c a y i n g
less
H e i l m a n ’s t r a n s i t i o n
"most
uses
shows
conscious
became
nation
individualistic,
also
condition
as
of t h e
preservation
Heilman
craftsmanship
Heilman
they
to d r a m a s
the
of s u m m e r
Lewis
dislocation, gave
as
felt
the i n f l u e n c e
Miss
Miss
future
the
last
of- t h e
On t h e o t h e r
title,
the
her
ideological
Heilman's
The
to
and
explains,
socially
to f u l l
economic
explain
dramas.
Committee
boom.
part
classifies
censorship
with
than
in
depth
were
economy
The
ideological
context.
too),
dislocation.
soul-searching
HUAC
way
of a f f l u e n c e ,
plays
national
playwrights
in a s o c i e t y
It w i l l
Depression"
historical
the- U . S .
dealing
important
the
the
decades.-
restored
"plays
Lewis
of
in a l e f t - l e a n i n g
the, f o l l o w i n g
"engagé."
of t h e
thirties
so in
II
"Survivors
for
house.
the
the
It is
Like
means
to m a t u r i t y
Deep
emphasizes
placed
South.
at
Williams,
oppressive
of s u m m e r
linked
it
the
end
as w e l l
108
"I d o n ’t l i k e
leaves
and
autumn
anymore.
it is t o o
cold
The
river
to w a l k
very
is f u l l
far."
of
(DC,
f
p.
This
speech
Characters
hadn't
time,
81,
82) .
expresses
notice
fulfilled
their
all
lack
circumstances,
In t h e
living-room
in
th e
the
symbolism
autumn
their
less
first
valuable
a ct
avoids
communication
as
pretty"
matriarchs'
of C a r r i e
is
presented
a nd
very
as an
who
relies
Mrs
to
victims
of
of
beings.
are
assembled
Crossman
the
controls
Ellis.
is
in
the
presented
a lonely
as
c h a r a c t e r who
Rose
Griggs
cast
of H e i l m a n ' s
the
Frederick
intellectual,
Farrelly
purse
Ellis,
over-dependent
on
of
as
her f i n a n c i a l
an o l d
soldiers.
patriotism
the
characters
who
lives
on
in WR,
and
are
a once
power
general,
Unlike
Sam
careless
is
presented
and
the
action
her g r a n d s o n
on
his.mother
luxurious
Southerner
human.condition
the
relief
t he
now
to
her
the
mother
to M i s s
H e i l m a n ’s
he is d i s i l l u s i o n e d
friends
guest
comic
revere
F r e d ’s s u b m i s s i o n .
belongs
in T S W
bu t
doesn't
over-possessive
to g e t
about
aristocratic
Ellis
brings
a rich,
C o n s t a n c e ’s s u m m e r
and
Mrs
Her w i t t i c i s m
is p r e s e n t e d
Hr G r i g g s ,
about
they
immature.
Carrie
gallery
human
others.
that
Their wasting
them
465),
in T A g .
lady.
lady wh o
h u s b a n d ’s m e m o r y .
play.
the
p.
belongs
Frederick
Unlike
dead
Ellis,
an o l d
and
with
chattering
Nary
as
guest-house.
a n d w o r n - l o o k i n g ” (TAg,
Mrs
made
six c h a r a c t e r s
of a s u m m e r
lives
possibilities.
"tired
"ex
of t h e i r
of s e l f - a w a r e n e s s
a nd
t h a t is c e n t r a l
fate
of
of t he
Constance
decadent
h o u s e • tie c o m e s
too.
nation.
and
Tuckerman,
shabby
a m e t a p h o r for
It
is
All
a symbol
house.
the
of
t he
109
character's
retreat
to p l a y w i t h
memory
Constance
sh e
has
once
and
is t h e
met
h is
one
sees
vs
Carrie
presented
as
a vain,
expense.
whose
themselves
Ellis,
vs
Crossman
is
boarding-house.
lives
loved
of o t h e r s
Act,
h e r in
to f a n t a s i z e
Nick warns
Carrie
they
mother
threatens
T uckerman
is
left
is e n g a g e d
and
marital
Nick
living
and
lies
to
at
the
problems,
is
his w i f e ' s
t he
to s e l f -
Constance
to m a k e
telling
her p o r t r a i t
other
han d,
Cross-man's
a regular
Elli:s a b o u t
to C a r r i e .
Frederick
On
about
suggesting
Sophie
It
memory,
till
arrive
leads, t h e m
order
Payon,
consequently
ha s
as, a " d e u s - e x - m a c h i n a ”
Nick
re lat i o n s h i p w i t h
and
Griggses'
painter,
C o n s t a n c e ’s f r i e n d
Fred's
the
Constance.
past,
Nick. D e n e r y .
po ve r t y - s t ri c k.e h o l d w o m a n .
Constance
the
who
play with
Denerys
he is p o r t r a y e d
the Se co n d
encourages
and
the
the
second-rate
In
her.
act
Nina
confrontation.
sad,
role
reality.
the
as
fiancee,
Hazens
in
only
"outsider"
expecting
the
Nevertheless,
he h as
is a n x i o u s l y
to T S W , w h e r e
meddling
her that
whom
characters.
abandoned
established:
Frederick
back
niece,
the
and
about
come
youth.
abroad
of t h e f i r s t
are
plays
C o n s t a n c e ’s f o r m e r
on a t r i p
end
the
they
her Fre nch
She
Constance
was
to a b i t t e r
conflicts
poverty.
summer
of t h e i r
by S o p h i e ,
through
act,
pattern
each
the i l l u s i o n s
from
Denery
By the
reality:
helped
illusions
awake
main
who
rich wi fe
begetting
■are
is
first
Nick
is a s i m i l a r
and
rescued
In t h e
Denerys.
from
he
love
guest
for
at
her
Fred’
hi: s. h o m o s e x u a 1 t e n d e n c i e s
to w i t h h o l d
h is
heartbroken
by
to F r e d e r i c k
allowance
his
as
friend.
for economic
110
safety
a nd
loneliness.
shrewd
and
has
rich
Like
a loveless
Regina
Hubbard
engagement
with
in T L F
s he
a niece,
is
weak
and
man.
On
about
the
other
hand
her i m p e n d i n g
Nick
becomes
divorce."He
Rose
flirts
f o r a $ 5.00 0 ' commissi,.on to p a i n t
the
G r i g g s ’ advisor
with
her
portrait
in
of
exchange
her
rich
niece.
The
climax
is
completely
drunk,
passes
Nina,
her
love
about
o ut
engagement
a child-man
sends
Nick
as
p.
with
a dignified
537)
to d e p a r t
follows
characters
decide
to
to a ct
change
thei’
r lives.
and
the
and
lives.
time
n o w it is
the
h as
Mr G r i g gs
stay
playthings
of t h e i r
They
exit,
to
too
autumn
$ 5.000
and
and
make
t he
as
"blackmail
breaks
Denerys.
because
But
they
late
that
to g r o w
of t h e i r
lives
her
Carrie
Like
of t h e i r
are
they
of
aware
without
in
and
TA_
inability
that
they
a firm
have was te d
grasp
their
up.
they
stand
for what
Miss
in h e r m e m o i r s :
t o o m u c h of me
,.,.
.„ ( 4 ).
too m u c h t i m e .
stands
a twentieth-century
the
of c i r c u m s t a n c e s
left
Tuckerman
asks
Europe
together
concluded
described
"I
Carrie
to q u i e t
in t h e ’r e c o n c i l i a t i o n
Rose
Heilman
away
feelings
Frederick.
Frederick,
In
Nick,
in S o p h i e ’s c o u c h .
sadomasochist
Denouement
and
play when
"scandal-mongering".
m o n e y ” (TAg,
been
the
whose
Sophie,
have
in
N i c k ’s w i f e ,
such
community
brought
for
version
unfinished
the-* S o u t h e r n
of B i r d i e ,
because
woman
ideal.
described
I wasted
She
is
as a p a r a g o n
Ill
of v i r t u e s
of
her
and
youth
illusions.
concerning
As S o p h i e
still
love
cultivates
affair with
happens
that
it is
and
again.
once
delicate
romantic
Nick
dreams
Denery.
out:
"It a l w a y s
Constance
a refined
her
points
breeding
So
She
that
not
makes
stands
lady
it
for
way
with
It
so."
is
ladies.
their
(TAg,
the S o u t h e r n
capable
of
p.
For
them
good
480]
woman
mystique
self-sacrifice
and
of
fidelity
toapastlove.
Like
Birdie
adapt
she
that
her t e n d e n c y
which
of
t he
corrupted
past
when
Bagtry,
other
he
says
or C a r r i e
Crossman
t he
desmystifying
domestic
her yo uth
the
present
he is w e a k
and
Nick
similar
in
the
c o u l d n ’t
time
spokesman
the
her
dependent
on
h a Id its,
the
of a
Southern
her
life
for
a gardenia
the
and
life
for
for Juli an
With
us
of
for
John
in
TA .
every w e l l - b o r n
something:
bush."
(TAg,
playwright's
Womanhood
illusions.
W a r jhero,
his
vision
out:
of S o u t h e r n
Civil
in
role
sacrificed
a Southerner.
romanticism
s he
to B i r d i e ’s s a c r i f i c e s
points
for
romantic
past.
plays
shares
has
the
house
A n n a ’s s e l f - s a c r i f i c e
sometimes
of t h e
He
Constance
still
the m y t h
in t h e
Denery
Cavalier".
and
towards
as it w a s
sacrifices
virtues,
version
hand,
is
is
house,
is
reflected
ironically
lady
Crossman
is
that
which
"Nick
modern
for
from
unreality,
exactly
"Southern
her brother,
Mr
longings
she e s c a p e s
towards
is f u r n i s h e d
□n t h e
women
her
her illusions.
revival
As
shows
to a n e w r e a l i t y :
through
Thus
,
John
relatives
a man,
p.
ironic
482].
comment
as a p a r a g o n
But
Nick
Bagtry.
and both
a
is
Like
share
of
also
Bagtry
a
112
illusions
latter
about
being
chilvaric
version:
a famous
dreams
he
a painter.
Southern
themselves:
painter.
of w a r
pursues
one
While
being
Only
he
the
dream
of
and
John
Bagtry
belongs
the
century
archetype.
always
success
fails
living
at t h e
in
attempts
his
N i c k ’s b e h a v i o r
show
a subtler
kind
and
that
he
had o nly
sad,
poverty-stricken
love
to
to g e t
loved
Constance
there
is -money as
heart
Lily
illness
as
he m a d e
to
as
him a c om ic
Ellises
to
version
a bribe
in _T_A u s e s
a bribe
of
to
of
and
a bribe
Nick
lies
secure
money
delusion
s e x as. a f o r m
her
her
in
will
to r e a c h
his
Constance
portrait
as
an e x p o s i t i o n
be
swears
a
in
eternal
from
a delusion,
t.h.e o t h e r
hand,
consequently
used
F r e d e r i c k ’s love.
in
s t a y with, h e r
to c o n v i n c e
their
Julian
Griggs
to
financially
On
end
businessman.
Rose
is a b r i b e ,
power,
of
while
as
love.
cope wi th
h i m as a s e c o n d -
her youth,
love
to
context
by t h e
his w i f e ,
to e x h i b i t
in
out
to m a k e
profit
Here
(.TA_) h a v e
love
rewards.
the fail u r e
Another
as
makes
philosophical
Constance
old woma n
a source
by t h e
ailment
Bagtry's
profession
a successful
h e r in o r d e r
romanticism.
demonstrates
•
the
capitalist
h is
reveals
of
to be
towards
in o r d e r
which
a bribe
in
Both find
expense
financial
to a p o r t r a i t
Constance's
as
Julian
of b l a c k m a i l :
purpose
contrast
and
the
N i c k ’s s e l f - c o n f r o n t a t i o n
painter
and
replaced
courtship
to
Nick
rate
hero
version.
Reconstruction,
delusion:
has
success
of t h e
XX
a war
by a t w e n t i e t h - c e n t u r y
N i c k ’s p h i l a n d e r i n g
Cavalier
as
of
love
Is
Rose
Griggs's
husband.
power
bus.b.and to
and R os e
stay with
uses
her.
her
113
"Stay with
Rose
Griggs,- t h e
to N i c k
asking
for advice
with
Rose,
beauty
in e x h a n g e
of h e r
homely
criticizes
they
have
in
Sophie
Lavinia
romantic
Lorena
Jamesian
would
and
shallowness
and
out
on
of
lo v e ,
Nick
youth
and
paint
a portrait
safety
is o p e n l y
and
(A P F , I L F ),
Constance
her:
<
speak
(T A g , p.
513).
falsehood
their
to
As
do no t
love
of t h e
of
it
in
illusions
affairs
self-interest
and
rather
than
d r e a m s ”.
outsider.-role . Like
she
a’
ttributes
sense.
the
stays
her couch,
name
Julie
in
DjC o r
as an a l i e n
among
When
wisdom
is u s e d
Nick
guests
blackmail
money
Sophie
vs A m e r i c a n
as an
t i m e ” of t h e
" s c a n d a 1 - m o n g e r i n g ".
demands
characterization
denotes
Sophie
the
to r e t u r n
her
smartness
"wasting
character.
she
replies
love."
"magnolia
community
s p a d e ” when
economic
that we
the
in m o n e y
her G re ek
common
passes
sad
lon g :
European
up E u r o p e a n
complex
is
so
the
Holmin
that
round,
divorce.
away
up t o g e t h e r .
cliche:
argue
of
commission, to
Sophie
words
for
plays
grew
illusion
runs
F r e d e r i c k ’s e n g a g e m e n t .
Constance
rooted
and B i r d i e
people who
and
Constance
self-effacement
ex' - p r e t t y w i f e
to g u a r a n t e e
"Aunt
to
54 2 ) .
her impending
h e r an
engagement,
being
and
about
their
cherished
marriages
vain
( T A g , p.
,
in S o p h i e
discloses
year"
for a $ 5.000
niece.
the
Sophie
giving
as a b r i b e
demonstrated
this
Colonel's
flirts
Love
me
Thus,
to E u r o p e .
makes
and
She
and she
index
asks
calls
I
shows
of t h e
She
advances
Constance
a
naivete.
others.
Sophie
to
to
is
a
her
make
a r o w about
$ 5.000
"a s p a d e
and
as
a
it.
- "We w i l l
call
it
a loa n ,
come
by t h r o u g h
114
blackmail."
As N i n a
the
says
latter
blackmail
Southern
that
had
only
s he
adopted
their
accident
viewpoint:
according
L a v i n i a ; has b l a c k m a i l e d
her
husband
their
individual
her
match
his.
freedom
Blackmail
Sophie
unveils
exploits
to
the
Both
from
in
of t h e m ,
a loveless
this
play
the b l a c k m a i l
an i n d i v i d u a l ' s
because
Sophie
and
engagement
becomes
a
patterns
hidden
her’
i
used
secret
in
other
in o r d e r
to
rewards.
Blackmail
in T A g
problem.
is
used
Blackmail
as a m e a n s
- influenced
plays
doesn't
involve
melodramatic
devices
papers)
or in T S W
(th e b r i e f c a s e ) ,
to k e e p
her
Sievers
will
dignity
to s o l v e
d o e s n ’t r a i s e
Ibsen
Sophie
a foolish
out
blackmail.
financial
as in
she
about
is a w a y
bought
stereotype:
plays:
537).
is w o r r i e d
honour
of h o n o u r w o u l d n ' t
through
p.
code.
Lavinia,
get
that
stained
In A P F
code
Sophie
replies
for
(TAg,
ethical
(T S W , D C ).
as
but
according
in
questions
Blackmail
TLF
it is
to t h e
an
(e.
g.
stolen
a way out
Southern
for
code
of
honour.
"human
well
personality
as
foreign
tender
land
In t h e
advisor
feels
return
to
S o p h i e ’s b l a c k m a i l
composed
generous
uses
of s a d i s t i c
impulses
her wits
say
that
blackmail
first
act.
Crossman
and we
morally
is
Sophie
I would
plot.
and
justify
know
that:
indebted
Europe
and
to
pay
Sophie
has
as
balance.
advantage."
an i n t e g r a t e d
plays
that
and aggressive
in a s u b t l e
to h e r
is
saying
In
^^
theme
in
S o p h i e ’s c o n f i d a n t
always
been
a
homesick,
C o n s t a n c e b u t s h e n e e d s m o n e y to
•i
h e r m o t h e r ’s d e b t s . F u r t h e r m o r e I
the
and
she
115
think
that
honour".
blackmail
Disclosing
caricature
to c h e a t
(TAg,
p.
and
Sophie
get
tells
Sophie
shows
where
who
any
rewards
calls
means
with
a
are
available
it.
her a "tough
think
people
are
tough when
becomes
cheat
background:
And
stripped
romanticism,
the
self-interest
for
But
it
behind
are
the
is
illusions
have
little
girl”
of
is
a retreat
from
theme
the
of t h i s
no b i g
a pile
of s m a l l e r m o m e n t s
someday
out
think
past
mistakes,
d o e s n ’t c o m e
it w h i l e
a nd
wait
frittered
away,
turning
counted
the way
you'd
In G r i g g s ’ s p e e c h ' w e
can
concerning
t
’
h o n o u r ” she
the
mystique
and
about
s he
love.
honour,
a bitter
of
love,
lov e ,
reality:
while
nostalgia
society
whose
reality.
you
can
Southern
reach
to s t a n d
point
in
on w h e n
do
on.
your
soldier,
yourself
(TAg,
that
let
unless
That
life,
all
the
wipe
do.ne,
- it j u s t
yourself
run
past
a w a y . I 've f r i t t e r e d
p.
hour
the
y o u ’d n e v e r
trained
it
you've
big
y o u ’d s u d d e n l y
the wor k
You've
- or y o u ' v e
see
h ow
never thought...
suddenly.
Crossman-"
know
a decadent
moments
y o u ’ve
your
not
play:
are
the
other
do
disillusioned
"There
of d e c i s i o n ,
say
53 8 ) .
woman
to f a c e
the i l l u s i o n
Griggs,
p.
of m a r r i a g e
delusions
Mrs
they
"stained
the
past
up t h e
their
characters
lies
romanticism
of
of
the S o u t h e r n
view
often
for the w r i t e r
to their s e n s e
to
people
t h e m ? ” (TAg,
a mouthpiece
a pragmatic
sums
it
you
counterposes
who
as b l a c k m a i l ,
- "Don't
blackmail;
longing
"stained
financial
counterposes
a nd
of
society
Nina
to
Southern
code
53 8):
Sophie
Thus
the S o u t h e r n
blackmail
of a d e c a d e n t
people
As
fits
for
you
myself
541).
conflict
between
cultural
116
ideals
an d
of t h e
boarding-guests
the
past
bitter
and
The
to
Griggs
about
same
dementia
theme
from
puzzled
clear
to
and
in
attributes
the
basic
is
the
and
death
in
past,
concludes
bitterly
about
that
autumn
of
we
of t i m e w h i c h
speech
Dash was
far
for
can't
hipped
than
critical
of
is
on''the
I ever
of
Constance
hi s
or b e g e t
his
crossed,
the m e a n i n g
about
lie
to H a m m e t :
harder
he t e l l s
delusion
lives.
^ ^
li f e ,
search
1 ea_ds Lavinia.
of t h e i r
central
his.
it
self-confrontation
He is a m a n w h o
his
his
In his
proved."
self-confrontation
for the
a nd m o s t
themselves,
and.TLF:
at it
observer
drunken.
and s k e p t i c a l
the
idea was
his
as
nostalgia
Griggs
the w a s t i n g
this
have,
In hi s
about
alcoholism.
Dash w o rk e d
lonely
Constance,
in .A P F
subject.
Crossman
friends,
is
ripeness
Heilman
"Yes,
led
reality.
their inaction
them
Miss
h as
to d e l u s i o n s
and B i r d i e
blames
prevented
reality
life.
about
present
h is
a nd
illusions
about
ourselves:.
"I n ot
way."
His
embittered
only wasted
myself,
CTAg,
p.
544).
outlook
is
also
b ut
I wanted
H e i l m a n ’s q u o t a t i o n
it
that
from
C h e k h o v ’s l e t t e r s :
Many
"A r e a s o n e d
life w i t h o u t
a definite
outlook
a li f e ,
a burden
a horror."
^ ^
critics
but
agree
that
and
Miss
her m e l o d r a m a t i c
devices
in
As
already
remarked
with
I have
a political
plot
this
because
i
Heilman
is
definitely
n ot
cast
off
pla y .
melodrama
it i s o l a t e s
is
the
a form
forces
coherent
of
evil
117
and
of g o o d .
commenting
thirties.
and
APF
and
She
h as
(e.g.
also
stolen
using
or w h i t e ,
nice
Heilman
papers].
crafsmanship
a bribe
to g e t
It is
shows
the
that
"stained
American
play
changes
doesn’
t show
of g r e y ,
verisimilitude
blackmail
financial
also
virtue".
has
which
also
rewards
presented
Southern
blackmailer
again
because
trends
code
of t h i s
dignified
exit
Nick
and
ugly
levels:
blackmail:
love
she
as a r e w a r d
and
for
it b e n e f i t s
Nina
are
Sophie will
Deep
of a d e c a d e n t
for
her
niece.
guilty
before
As m o s t
society
rejoined
achieve
of
the
and
trying
characters
TAg
show
her
is
are
the
t he
sterility
to j u s t i f y
and
itself.
her S o u t h e r n
Ruth
the i n d i v i d u a l
thus
economic
blackmail
involves
■
i
and
portraying
Sophie's
This
where
community
TA_ a n d
romanticism
her accept
c u l t u r e ” pattern,
the
South,
exaggerated
makes
historical
Reconstruction,
"shame
blackmail.
the
as
someone’
s
blackmail
’i n c i d e n t ’ a n d
in t h e S o u t h e r n
of h o n o u r
nature
the g r e a t e r
different
to s e c u r e
allows
a n d /\PF p o r t r a y e d
Constance's
code
human
in
to E u r o p e .
TLF
shallowness
ir> T L F
her i n s ight
shows
in S o p h i e ' s
blackmailed:
mood’
"of t w e n t i e t h - c e n t u r y
and
devices
of t h e
.
and
aim of r e t u r n i n g
While
scene
showing
B l a c k m a i l turns out to it S o p h i e ’s a i m s
both
in _D_C,
author.
play
affection.
she
devices
of it.
of t h e
this
the
well-made
But
She
in
as a c o m p o s i t e
It is a h i g h e r
as
melodramatic
explored
violence.
but
aspects
In
uses
on t he w o r k i n g - c l a s s e s
TAg,without
black
Hiss
as
a
B e n e d i c t ’s
feels
susceptible
himself
to
Southerners,
they
118
share
the
same
cultural
S o p h i e ’s b l a c k m a i l .
the
in t h e
love.
other
behavior
Buying
guilt,
in
and
lovers.
the
life
cold
In
related
this
plays
solution
for
playwright
sh e
Heilman
for
come
of N o r t h e r n
Miss
It m a y
political
Chekhov,
a greater
of
also
her turn
world
WR,
doesn't
like
TSW),
problems
from
and
shows
been
of
with
beings
which
has
portray
she
but
h as
that
adopted
by
of t h e
blackmail
done
blackmail
in
her
is s h o w n
characters
it
the
seems
to
us,
standpoint
as
a
[e.g.
herself.
She seems
on
life
the
lead
and
craftsmanship
road which
is t h e
in
to t h e
the
longing
time"
W o m a n . In TAg,
back
conclude
from political
view,
of
that
past
for a
that
Miss
looking
li f e .
us to
the
goes
age
to be
"wasting
Unfinished
maturity
love and
for
to a c o m p r o m i s i n g ,
of o l d
in
compromises,
fatalistic
Heilman
f o r in An
reached
the m e a n i n g
community
buy
sense
to t e r m s
human
blackmail
to
appear
in T A g .
context,
DC,
outlook
herself
h as
s e I f - f u Ifu 1 le d as
of f i n a n c i a l
criticizes
blames
use m o n e y
to
related,
element
definite
to q u i e t
to E u r o p e ) .
It is a l s o
vaccilating
they
failure
individual
S o p h i e ’s r e t u r n
characters:
of t h e i r
[TLF,
to
values
individual
to a h i s t o r i c a l
Ibsenian
Northern materialistic
Ellises
play
as a w a y
an
materialism
the
blackmail
implies
a sort
and
susceptible
money
and b e c o m e
It is
being
- mongering.
of o t h e r
sense
thus
accept
hand.
love with
the
the Dene r y s
more
They
c o m m u n i t y ’s s c a n d a l
On t h e
love
code
leads
themes
same
drama.
that
path
in
spite
her from
to a m o r e
that
leads
of
her
Ibsen
personal
to
and
her tow ard
119
Bibliographical
(1 )
John
Mason
The
(2 )
Allan
Brown
Saturday
Lewis
(3)
id,
C4)
Lillian
page
ibid.
Heilman
- An
January,
(.6 )
(7)
Phillips,
195 1 ,
page
Heilman",
27. .
Playwrights
Publishers
and
1955,- p a g e
John
Unfinished
N.
- Freud
the
Y.,
of t h e
Inc,
at W o r k ,
Series,
N.
W o m a n , Little
page
Y.
Brown
244.
American
of
D r a m a , N . Y., H e r m i t a g e
288.
The
Y ., T h e
Paris
Viking
Anne:
"Lillian
Review
Press,
H e i l m a n ” in
Interviews,
196 7 ,
page
Felheim
- "T he
Autumn
G a r d e n : Mechanics
Dialectics",
Modern
Drama,
3,
107.
N;
n
on B r o a d w a y : A H i s t o r y
& Hollander,
Writers
- Marvin
31,
.Plays a n d
197 9 ,
David
Psychoanalysis
House,
March
A New-Miss
101.
107.
S i s v e r s , W.
Things:
T h e a t r e , Crown
page
& Co.,
(5 )
Review,
- American
Contemporary
1969,
- "Seeing
r e f e rences
(September
Third
1235.
and
1960),
page
CHAPTER
TOYS
Toys
in the
Orleans.
As
Berniers
a re
for
the
IN
IX
THE
At ti c is
set
the
begins,
play
talking
future.
in
about
ATTIC
the
Berniers
th e
two
their
is
house
sisters
lives
L a t e r on A l b e r t i n e
their younger brother Julian
(I960)
and
comes
coming
in
New
Anna
and
about
a nd
their
tells
back
home
Carrie
plans
them
with
that
h is
wife, Lily.
Anna
puzzled
when
a failure
is
they
as
discover
has
which
guerre."
While
Anna
in o r d e r to go
Regina
Julian,
become
very
Southern
a visit
shows
her
enterprise
homme
him very
that
a romantic
Southern
”Un
Like
receive
dreams". A f t e r
inscription
Chil-varic
Carrie
in b u s i n e s ,
portrayed
"magnolia
an
and
brave,
happily
but
who
always
rich.
has
Carrie
lady who
cemetery,
romantic
vision
mort
been
Berniers
cultivates
to t h e
during
are
she
about
quotes
the
the war:
pour
la c i t e
pendant
la
( T A , p . 667)
is m o r e
realistic
and
tries
to
learn
French
to E u r o p e ,
Hubbard,
whose
"dream
of
s u c c e s s " is to go
to
121
Chicago,
till
but
the
they
two
realize
coats,
house
by t h e
a nd
arrives
a piano,
two
of
shows
the
confrontations
mystical
a wise,
Negro
to g u e s s
wife
a nd
chauffeur
slums
as
by
it
h as
to
been
Europe
nothing
sense
her
Albertine
th e
a piece
tycoon,
Albertine
being,
his
the
woultl r a t h e r
believes
desires
By t h e
his
first
he
insecure
Julian
towards
Confrontation
about
the
Act
Lily
p.
714}
experience
her
tries
fortune:
through
blackmail
venture.
Julian's
her
to t h e m y s t i q u e
tier m o n e y .
afraid
Anna
he
of
t he
tells
the
ring
to
because
he w i l l
lawyer
tells
a sense
of
on
of
success
sisters
dependent
fortune
a ct we, h a v e
truth:
As
self-assertion,
financially
in
tells
Mr W a r k i n s , a p o w e r f u l
his
a
which
diamond
Albertine
i'n . B u t
is
Keeps
and
of
and*
latter
arrives
a business
Two
jealous.
(TA,
exchanged
truth".
The
Julian
her for
second
makes
has
closer
remain
him makes
with
of
those
Albertine
a mystical
him believe
married
e n d of t h e
she
a sense
time,
made
that
of t h e i r
over
Prinne.
exercise"
as
which
u se in
he f e e l s
sisters
feels
of
to
gifts:
J u l i a n ’s f r a g i l e
character.
and this
where
puzzled
Albertine
daughter
of s w a m p l a n d
needs
mortgage
of J u l i a n ’s m o n e y .
Lily,
a strong
Meanwhile
source
this,
for
between
a "knife
to L i l y .
impressive
the
become
L i l y ’s " n i g h t
for
them with
source
a lover
of N e w O r l e a n s ,
( J u l i a n ’s g i f t )
Lily
with
mentions
described
the
they
her mother,
rich woman
Albertine
that
play
refrigerator,
rejoicing
try
and
of t h e
of g o i n g
to E u r o p e .
and
sell
illusions
showers
a new
gifts
talk
end
and
tickets
Instead
was
cherish
a dream.
Julian
fur
sisters
and wife
them.
s he
C a r r i e ’s i n c e s t u o u s
loosing
two
Julian
forever.
sisters'
Carrie
that
Julian
has
122
once
slept
with
Charlotte
J u l i a n ’s f o r t u n e .
incestuous
She
desires
his
to«Carrie,
towards
Julian,
blaming
In
the
third
dream
(firs W a r k i n s )
from
a- r a s c a l
same
time
rich
in
the
truth
induces
about
Warkins.
Warkins
Warkins.
As t h e
again
to
the
sends
play
telephone
cemetery.
t wo
thugs
ends
Julian
speech
Carrie
on
Carrie
□live
i n s t e a d , of b u r y i n g
them
at M o u n t
"new,
rich
South
It is
bourgeoisie
belongs
ironical
to t h e
indeed
that
people
in
L i l y 1 and Albe r t i n e
Prinne
belong.
n e v e r - d o -w e 11 b r o t h e r
Northern
c o mmunity was
hope
fo r the S o u t h e r n
Even
success
t he
delusion.
Unlike
and
But
and
up J u l i a n
tell
with
a nd
defeated
him
M rs
Mrs
and
once
and wife.
Anna
that
she
with
the
buried
Great
had
at
Old
Mount
Hope'where
This
gone
th e
distinction
period.
post-Secession
Hope.
Lily's
their
To t h i s
marriage
experience
Thus
symbolical!y,
their
that
class
to
in
Julian,
t he
financial
there
is
no
economy.
sisters,
for t h e i r
the
the
Carrie's
buried.
unsuccessful.
implies,
Bu t
Mount. G r e a t
Carrie's
in C h i c a g o
at
Reconstruction
buries
failure
and
they were
people’
’ (T A , p . 6 07 ] w e r e
which
Warkins)
her pa re nt s
that
to
unhappy
sisters
says
close
and
back
tells
associates
is
for
relationship
comes
his
lust
a lost
beat
She
New
South.
to
her
of
latter's
Nr W a r k i n s
previous
dependent
her first
aristocratic
to
(Cyrus
source
the
Julian
bargain.
her husb a n d ' s
economically
In
the
Lily
a ct
of r e s c u i n g
lady
malevolence
th e
reveals
romantic
becoming
revealing
also
J u l i a n ’s e s t r a n g e m e n t .
fulfilling
Warkins,
Anna
brother,
and
Carrie,
recognize
in T L F w h e r e
Miss
who
by t h e
Heilman
cherish
e nd it w a s
seems
to
dreams
but
praise
of
a
t he
123
Reconstruction
showing
that
ethos
it w a s
of p r o g r e s s ,
b ut
Southern
economy
is
house
"solid,
middle
as
"everything
successive
for the
As
economy
dreams
of
financial
past
b ut
goes
about
rich
people
at
like
Marcus
Hubbard,
his
a sale.
John,
heroic
way
Anna,
n ot
Carrie
and
Julian
In t h e
that
couple
is a r r i v i n g
character
informs
t he
speaking.
She
As M i s s
that
lives
sees
by n i g h t
of thei'r
not
only
i ts
unfulfillment.
Carrie
going
her
nostalgia
cherishes
to E u r o p e ,
problems
past:
in
the w a r
their
with
ancestors,
because
of
J u l i a n ’s d i s l i k i n g
which
is a s i g n
about
that
t he w a r
that
she
afternoon.
has
about
seen
on
stresses
Heilman
the
through
and
middle
Julian,
its
to
Albertine
a
sisters
Albertine
say
She
Julian
in
as b e i n g
sisters
one
is
racism.
Lily without
the
class
Prinne, c o m e s
Southern
whether
important
are
or t he
other
is
is
character
- who
almost
play.”
people.
sleeps
the
that
states,
most
authentic
Albertine
distinguish
second
and
act,
comments
also
dominates
are
d o e s n ’t c a r e
she c a n n o t
"the
Albertine
first
Albertine
"Southerners".
"doubles",
who
sisters
New O r l e a n s .
the
a n d in J u l i a n ' s
the
dreams
of
image.
types.
strong
and
remarks
at w a r ,
chilvaric
Southern
the
killed
Carrie
of
over
remember
remains
685),
When
house
ironical
generation".-.,
shows
complains
of l o o k i n g
cherishes
Southern
old
Both
were
p.
she
rather
description
characters.
an d
f a t h e r ’s c o w a r d i c e .
father's
like
realistic
her
consciousness
their
is
and what
(TA,
breakdowns,
escaping
s he
of a n o t h e r
repairs"
so do t he
is m o r e
In
class
a tragic
Anna
their
an i l l u s i o n
decadence.
in n e e d
here
by
S5he
day.
lives, s e c l u d e d
She
is t h e
from
character
reality:
who
124
endures
because
individualism
she
and
d o e s n ’t t r o u b l e
faces
t he
truth
anybody,
while
th e
preserves
others
her
are
deluded.
We m a y
also
trace
biographical
H e i l m a n ’s r e l a t i o n s h i p
with
personal
on
t he
political
reality,
but
manifested
with
as w e l l
external
fulfillment
as
the
...
sisters
"they
relating
loved
that
they
brought
them
to
also
her g r e a t - a u n t
Lily
age
She
felt
time
is
drawn
recognizing
Miss
Heilman
made
no
withdrawal
towards
on
the
compromise
and s e lf-
her husband,
declares
is
arrives
Lily
they wa nted
wanted
hints
and
be
way
at
of S c h l e m i e l
the
would
would
chaffeur.
had the
to
^ ^
Carrie
in An
declares:
that
kind
about
Albertine
money,
him
t he
up to b e . "
Anna
kind
about
characters,
be
Miss
be d r a w n
Lily,
-from
according
Unfinished Woman:
fear
rejecting
of
losing
a n d at
the
at
love.
same
sadly
wacky,
and
sweet
and
she a cts
Denery,
feels
now that
Lily:
of
J u l i a n s ’ l o v e 'f o r
Nina
Julian
him
Heilman
power.
disjointed,
Unlike
Miss
for being
playwright
fey,
about
him
her memoirs'
girl
Lily
man
her m u l a t t o
"the
When
losing
th e
its
th e
and H an n ah ;
and
ambivalence
wife,
biographical
from
of t w e l v e
insecure
Mi s s’
relationship
level
haven't
Pentimento:
Jenny
the
- they
They
traces
the
that
all.
H e i l m a n ’s A u n t
to F a l k ,
and
find
independent
Falk
Their
about
in i s o l a t i o n .
About
Doris
Hammet.
hints
who
he h as
lost.”
strangely
crazy,
f3 ]
because
she
but
feels
her.
uses
insecure
no t
money
about
become
to
it a n d
tier a d v a n t a g e
is
afraid
rich.Albertine
with
of
mentions
125
L i l y ’s o r d e a l
in
J u l i a n ’s g i f t
(a d i a m o n d
is j e a l o u s
about
completely
lost
Before
sent' a m o n e y
New Orleans
Henry
now
with
and the
paid-off
an
ironic
gifts:
for
may
Carrie
of
of t r u t h " .
Lily
affair
iff
love
leave
a nd
her.
communicates
dollars
that
s he
h as
to J u l i a n .
counterpoint
when
Julian
fur
coats,
two
the
house.
He
loans
he h a s
previously
on
the
her exchange
a vKnife
Albert ine's
thousand
mortgage
them
slums, a n d
for
Julian
of- o n e
precious
he r e p a y s
and
arrival
is a l s o
arrives
ring)
that
their
order
There
way
t he
tickets
thinks
to E u r o p e
that
in
this
squandered.
B ut
Julian
had m i s i n t e r p r e t e d
neither
of t h e
and
incapacity
his
dependent
three
upon
women
in b u s i n e s s
Adler
haze:
her
h as w r i t t e n
C h e k h o v ’s T h e
impossible
delusion.
dream
of s u c c e s s :
him
to be
successful
like
was
their weapon
to k e e p
him
th'em.
In C a r r i e ’s s p e e c h
Chekhovian
would
their
What
self-realization
an a r t i c l e
Three
dream
on t h e - S e c o n d
S i s t e r s : t he
just
they
where
to r e a l i z e
have
always
Act
that
there
youth
is
has
he c o m p a r e s _TA
sisters
who
l a t e r on
wanted
faded.
with
believed
that
is t h e
a
in
it w a s
status
an
b ut
quo
a
ante
restored.
Like
Rose
Griggs who
to
save
her mar ri ag e,
to
hurt
herself
sleep
with
her.
her almost' crazy
uses
heart
ailment
L i l y ’s s a d o m a s o c h i s t i c
with
t he
Like
Lavinia,
and
her
knife
leads
her
of t r u t h
in A PF,
i
impulses
to o b l i g e
Lily's
to d e n o u n c e
as
a bribe
lead
Julian
religious
her
to
m a n i a drives
h e r husband-'s
126
blackmail
which
resulte
in h i s
economic
defeat
by
Cyrus
Warkins.
Unlike
Willy
h a s n ’t d r e a m e d
As
he
.Lornan in
the w r o n g
Death
dream
bu t
of a S a l e s m a n , J u l i a n
his
sisters
did
it f o r
most
Chicago
him.
sa y s :
"Anybody
have
asked what
said
a bayou,
I missed
a bowl
for a fligh t
of w i l d
buy a little
place
of c r a y f i s h ,
ducks
up
in
coming
there,
a good
over
first
I'd
gun
- going
to
t h i n g . ” [TA,
p.
721 ) .
Julian
the
role
of t he
("aversion
by
wants
a simpler
'unwilling
to m o n e y
a materialistic
characteristics
of J o h n
modern
Cavalier:
the
Southern
same
time
very
close
to
nature.
blackmailer’because
goddess"
social
life,
- TA,
ethos
Bagtry
p.
through
and
on
had
his
them
in
corrupted
sisters.
towards
He
a blend
his
ladies
pursuing
plays
values
been
Nick Denery,
protective
dependent
751)
h is
He
their
shares
of
and
at
dream
of s u c c e s s . .
Julian's
her that
defeat
hi's f o r t u n e
Albertine
is f o r e t o l d
derives
from
b.y A l b e r t ine,
his
b.lac km a i l i n g
- ”1 k n o w tycoons, ar e
about
money
and
when
n ot
the
he t e l l s
Warkins:
romantic
happiness
it
buys."
C.T A , p . 7 2 6 1.
Bu t
blackmailing
brings
Julian
Warkins
a feeling
"It's
I go
bad for
right
Once
two
acres
of
swampland
of s e l f - a s s e r t i o n :
to f e e l
gone...
this
bastard
shaking,
I did fine,
knowing
I ’m g o i n g
for ever."
again
buying
a man
in to s e e
knowing
into
blackmail
(TA,
h as
p.
Like a miracle .
and I come
out
to be a ll
723 ) .
to do w i t h
a "hidden
secret"
127
in
the
who
past:
h as
once
it ha s
been
only
been
possible
because
firs W a r k i n s ,
Julian's
mistress,
told
him
her
and TAg
blackmail
also
serves
husband's
secret.
Like
purpose:
from
Mrs
Warkins,
a loveless
But
life
in A P F
Lavinia
or S o p h i e ,
will
be
rescued
engagement.
Julian
closer
like
a good
is a l w a y s
the
romantic
Cavalier
seeking
a
to n a t u r e :
Julian
- "Maybe
was
I should
have
better with
Cajun,
shack
stayed.
a muskrat
better with
a gu n.
and a m u s k r a t
boat,
bobwhite
you
could
They
boat
than
A nice
all
said
£
a ny
little
the
e v er want.,’
’ (TA ,
p.
7 36 ) .
□nee. a g a i n
nostalgia
about
it
he r e i n f o r c e s
for a cl oser
as b e i n g
But
better:
Carrie's
relation's h i p w i t h
that
Mr s W a r k i n s
Lily
blackmail
to
Dubois,
of
nature,
romanticism
hi s
life ,
his
a tycoon.
s he
discovers
Warkins,
them
Warkins
Julian's
insinuates
to N e w
York
unveiling
to
Lily
and
t he
him.
Blanche
like B l a n c h e
plays
t he
who
Carrie
Dubois
divided
t he
adventuress.
delicate;
adventuress
when
to f o l l o w
Mrs
simp l e r way
being
Charlotte
is g o i n g
Named' D e s i r e , s h o w s
graceful,
than
to t e l e p h o n e
Carrie,
flirtatious
with
wickedness
past
induces
contact
his
the
same
flirts
and
dares
of t h e
delicate
is at
at
is d i v i d e d
psyche
refined
She
in W i l l i a m s ' s
once
time
between
she
author.
lady
and
fragile,
is
and t ea s es .
A Streetcar
the
the
modest,
vivacious
Like Blanche
the m y s t i q u e
of t h e
Southern
128
woman,
which
implies
her selfish,
Julian
to
incestuous
his
Hiss
as a p o w e r
to
shows
tells
Carrie
Carrie
shows
she
money, a nd
which
desires
subjugate
Hiller
There
virtues
for
and
self-sacrifice
he-r b r o t h e r w h i c h
a nd
conduct
downfall.
Heilman
Like
success:
domestic
Hiss
that
On
other
"the
shows
bring
she
hates
hand,
pure
some
the
and
lo v e ]
of
to p e o p l e .
between
feelings
myth
the
characters
insight:
Anna
for Julian,
and
Anna.
the
advises
innocent
those
they
the
injury
reason
events
of t h e
psychological
Albertine
and
incestuous
paradox
tragic
deep
case,
o n e ’s w i l l .
a confrontation
themselves
for
to
her i n c e s t u o u s
states
the
also
Heilman's
about
Cin t h i s
people
greed
is a l s o
love
often
love
Lily:
bring
harm
and w h e n
is v e r y
to
they
do,
g r e a t . ” (TA,
p.
721) .
A lbe.r t i n e ' s
which
both
sets
But
words
u p - W a r k i n s ’ revenge.
of t h e m .
pride.
prophetic
When
Julian
he s t i l l
shows
p i t y -for M r s W a r k i n s ' d e f e a t .
code
of
cannot
failure
honour:
guess
the
truth,
but
he
Unlike
two
by
to
and
blackmail
call,
slash
hurt
behavior:
t he H u b b a r d s
t he
Lily's
thugs
is b e a t e n
gentlemanly
he h a s n ’t b e t r a y e d
in
his
he f e e l s
he d i s p l a y s
secret.
h e ’s ab.ash.ed t h i n k i n g
He
himself
a
as a b u s i n e s s m a n .
Now Jul ian
Julian
1
He s e n d s
arrives
his
are f o l l o w e d
distrusts
Carrie
and
- " Y o u ’re s m i l i n g .
smile
7 5 0).
at?
You
■j
almost
What
l i k e me
t he
sees
the
hell's
this wa y?"
truth:
there
to
(TA,
p.
a
129
He
also
gives
a speech
which
reinforces
of b l a c k m a i l :
- "Old
saying,
the w o r l d
oath
never
love
her.. I n e v e r
a hopeless
illusions
to b e c o m e
way,
about
the S o u t h e r n
"I've
never
We w o u l d
conclude
condition:
Civil
the
it
once
War,, t h e
Northern
Literary
works
tragedy:: " t h e
past,-, t h e
the
dark
like
Bagtry
and
her.self an
didn't
she
h as
cherished
he e x p r e s s e s
what
is
itself:
Nobody
in my
ever
..."(TA,
life.
beat
p.
me
( Softly,
up b e f o r e .
May
be
751 ) .
J u l i a n ’s e x p e r i e n c e
economy
...
has
hopelessly,
matches
been
to
the
Southern
destroyed
recover
and
by
t he
match
unsuccessfully.
an d
which
lady
75 1 ) .
Finally
beaten
tried,
swore
loved her and
Julian
been
pure
to a m a n w h o
p.
South
Edwards
Thou-ght m o s t
themes
she
(TA,
agrarian
As H o r t o n
began
a real
it."
i ts
pattern
is
belong
himself.
starts
that
to
condition
desperately).
once
money
when
guessed
Quixotic
reprobation
*
Julian
In
h is
in B a c k g r o u n d s
of 't h e S o u t h e r n
a r e in
reality
observe
their
of t h e
essence
dream,
sense
writers
the
Lost
Cause,
the
night
of t he
soul
in
that
T A s u m s - up
t he
that
show
in
stuff
of
unshakable
of p e r s o n a l
tortured
of A m e r i c a n
and
hold
social
their
of the
guilt,...
and t r a g i c
1 a n d «_ ■
It
tragic
keep
for
seems
assumptions:
old
us
because
remembrances.
children
a pet.
to
to
t he
attic
Etymo logically,
play with
in i t s
is
"toys"
or b 1 a s p e c i a l
i
the
title
these
place where
is a)
breed
an
of d o g
you
object
kept
as
130
And
breed
all
the
[Southerners]
decadent
values
and
Julian
same
Southern
h is
also
is
their
up
that
he
to
this
its, e c o n o m i c
this
play
also
a sense
by W a r k i n s '
is
the
characters
not
linked
honour
for
and
special
social
is
Northern
displayed
of S o u t h e r n
to a h i s t o r i c a l
plot.
at
mystique
t he
of
to
protects«
and
tries
deal.
secret.
Blackmail
in
problems
of
troubles]
in
He
Mrs W a r k i n s
individual
like
to
after being
assure
Julian's
context
who
business
honour when
solve
and
them
his
blackmail
to
(Mr s W a r k i n s '
on
in
he w a n t s
as a m e a n s
the
gentleman
gifts
shortcomings
their
in the
g o d d e s s ” but
with
chivalrous
thugs
materialistic
him.
impressive
betrayed
used
the
between
to t e r m s
wanted
economic
hasn't
of
to c o m e
lavishing
displays
beaten
confusion
code
sisters
ladies,
relieve
represent
he.doesn't adore' the ”m o n e y
he t r i e s
Julian
his
moral
says,
time
success
and
in _TA b e l o n g
condition.
Julian's
As
characters
her
and
it
is
previous
plays.
In. his f i n a l
believe
in c o l d
over-, his
same
because
taken
his
Julian
materialism
financial
path
defeat
sense
and
interests.
by r u t h l e s s
of
He
admits
his
is
code
n ot
that
of
honour wouldn't
honour
able
entrepreneurs
allow
he d i d n ' t
prevailed
to f o l l o w
like
him
really
Cyrus
to do
the
Warkins
it.
131
Bibliographical
references
r
(1 )
Richard
G.
Contact
Stern
3,
1959,
(2 )
I b i d . page
118.
(3 )
Ibid.
117.
(4)
page
- R o d W.. N o r t o n
American
Jersey,
- "Lillian
page
1974,
page
on H e r P l a y s ”,
117.
and H e r b e r t
Literary
Heilman
W.
Thought,
450.
Edwards
Prentice
- Backgrounds
Hall,
In c . ,
of
New
CONCLUSION
Lillian
H e i l m a n ’s p l a y s
a code
of honour.
secret
in t h e i r
They
feel
There
past
ashamed
themselves
and
deterministic
when
imply
a nd
they
destroyed
by t h e
one
production,
Heilman
greed
for money
deserted
god
cotton
mills
growth
of
man's
for
in
the
and
they must
face
the
her
on
Those
Calvinistic
their
sense
in
about
to
truth
have
a hidden
blackmail.
about
moral a s s u m p t i o n s
o r at
least
in
morally
lives.
of g u i l t
people
a Hawthornesque
economic
pattern
enterprise
technology
Hubbard
power,
Mammon,
plays
has
and
and
a re
way,
and
changed
into
subject
to
actually
has
his
Civil
capitalism.
man
fellows,
th.e m a c h i n e
South, is m a r k e d
ethics
the
of m a s s
LT L F , A P F ) t h a t
invoked
impersonal
after
one
financial
exploited
T L F ] . The p o s t - w a r
an a m o r a l
rapacity.
guilt
who
truth.
machine
in
of
subject
of i n d i v i d u a l
shows
a sense
them
s'
ar e,
. The A m e r i c a n
War from
also
characters
makes
of t h e i r
blackmail
crowded with
ill-doings.
outlook
Because
is
which
their
H e i l m a n ’s p l a y s
are
Hiss
in
his
has
(.e.g.
by t h e
as th.e i n s t r u m e n t
of
132
Man
his
has
actions:
fittest".
was
drawn
the
Thus
before.
This
blackmail
pile
up
for
under
the
survival
deterministic
and
huge
crushing
science
evolutionary
life
a struggle
from
cheating
personal
with
their
the
that
justified
thesis
of t h e " s u r v i v a l
of
banner
of e v o l u t i o n a r y
thought
as g r i m
a nd
doctrine
fortunes
less
allowed
as- t h e m e a n s
preda ci t'y
text
where
[e.g.
hopeful
unfair
by
"the
Hubbards
economically
in
the
than
competition,
strong"
T L F and
APF],
less-favoured
people.
Heredity
deterministic
of
"natural
existence
from
the
see
the
of
advantage
illicit
way
behavior
who will
(.TLF),
old
In t h e i r
values
Bagtry
each
like
earlier
other
also
those
struggle
which
adapted
to t h e
acquiring
for
deviate
to t h e i r
social
context
a fortune
fits ‘
t h e ethos of S o u t h e r n
be
reproduced
in t h i s
and
the
organisms
doctrine
(e.g.
D a r w i n ’s d o c t r i n e
in
is b e s t
be m o r a l l y
predatory
honor
Lillian
plays.like
s he
progress,
in
this
that
in t h i s
his
corrupted,
never
universe
dignity,
in
cheating
- ending
there
is
c h i l d r e n ’s
and
competitive
no
(represented
place
for
the
by B i r d i e ,
a nd H o r a c e ) ,
Although
where
to
part
portrays
deviation
in A P F )
It w i l l
contest.
goes
it
holds
behavior
Reconstruction.
blackmailing
which
Translating
Marcus's
an i m p o r t a n t
society:
norm and w h o s e
that
through
view
plays
selection",
environment.
we
also
rebuilds
WR_ a n d
seems
D_C a n d
the S o u t h e r n
she f i n a l l y
politics:
Heilman
declares
to
an
some
engaged
extent
Reconstruction
herself
no t
playwright
in A P F
ethos
strongly
and
of
radical
in
T LF
133
"It s a d d e n s
convictions
■best,
me n o w to a d m i t
were never very
that my p o l i t i c a l
r a d i c a l , in t h e t r u e ,
t
s e n s e . ” ( A_n U n f i n i s h e d
serious
Woman, p.
10 1 ]
She
also
Hammet
admits
her
non-orthodoxy
in A_n_ U n f i n i s h e d
who
prove
years
way
of
(p.
She
also
later.
I was
position
As
she
declares
in
I c o u l d n ’t do it
in t h e
House
for want
for
of
it
decency...
Un
..."
- American
Heilman
admits
here
"engage"
heroes
she'has
”1 c a n n o t
this
herself
native
that
can
to be a b l e
she was
a sense
n ot
strange
ti m e ;
no
but
longer
of
a radical,
personal
n ot
cut
my
code
of
unable
honour,
to t e l l
to be m a n i p u l a t e d
bu t,
like
responsibility
declaration:
conscience
f a s h i o n ”. (S c o u n d r e l
but
be m o r e
to a c c e p t
take' h e r to a f a m o u s
her i d e a l i s t i c
should
110)
and will
year's
refuses
n ot
that
will
that
I think .
private
to o u r
a nature
liberalism
something
is
painful
(p.
about,
go n e ,
nothing
it is
s he
it',
she w o u l d
There was
it
for
mostly
something
my p r o b l e m ,
which
the
l i b e r a l i s m was
Sbout
about
a
in S c o u n d r e l 'T i m e :
substituted
radicalism."
so,
Knowing
Committee
accept
doing
without
tell
others
to
had b e c o m e
not
accurate,
truth
sensed
belief
facing
he w a s
h e r s e l f .but w o u l d
called,
the
trying,
as
that
I have
pr-esents
For Hammet,
Socialist
faith,
a moral
"My b e l i e f
She
was.
declared
else.
with
was
She
anybody
towards
to be c o m m i t t e d
defence.
for
her
never
already
his
Committee
testify
Miss
relationship
102)
adopted
Activities
was
life...
to c r a c k
her
Woman :
"A w o m a n w h o
a man
in
to f i t
T i m e , p . 9 0)
willing
"on"
by t h e
to
tell
people.
system
In
into
134
becoming
a "friendly
committes
as
As
witness",
did Miller,
Garry Wills
Scoundrel
Elia
collaborating
Kazan
h as w r i t t e n
and
in
with
Clifford
h is
the H U A C
Odets.
introduction
to
Ti.me :
" L i l l i a n ;H e i l m a n
grew
ambivalent
ferocities,
moral
personalism.
to r a c i s m
hates
face
to
of
She
- too
sort
is
world
spent
her
out
the
b ut
in
vivid
on
the
intent
on
destroying
whole
people
is
almost
horrible
template.
■Miss H e i l m a n
reacts
human
[S c o u n d r e l
against
a threat
to
rights
American
intellectuals
Mac
and
and
the
and
thought
Carthy
who
cold
Heilman's
She
of a M a c
for
has
an d
Carthy
types
of
h e r to c o n ­
30)
and
furthermore
and
This
Miss
was
individual
classes
T i m e , p.
liberals
Faulkner
loves
from
of
of i n t e n s e s t
invisible.
people
too
what
a place
on a p r o g r a m .
so d i s t a n t
creating
also
personal
be a l m o s t
stage;
South,
ideology
hatred
is
as to
life
to
engaged
ideology
moral
up in
his
she
did
companions
personally
n ot
react
as
blames
against
him.
We
have
seen
H e i l m a n ’s i d e a l i s t
in
two ways:
pattern
people
and
the
for
of
or
blackmailer
the
sake
uses
ah@
coerces
Blackmail
Benedict's
honour.
seeks
In
people's
the
"shame
the
closely
Blackmail
swindling
in o r d e r
to g e t
emotional
and
and
h is
H e l l m a p ’s S o u t h e r n
pattern:
the
categorized
first
cheating
social
through
to
be
to
In t h e
blackmail
to s u b m i t
culture"
tied
may
blackmail.
power,
emotion,
other
in M i s s
is
emotional
of m o n e y
profits.
blackmailer
Ruth
code
financial
financial
slander
tliat b l a c k m a i l ,
privilege
pattern,
flattery,
t he
se x
own will.
plays
involves
individual
feels
135
an e x a g g e r a t e d
As
in
guilt
before
" N o r t h e r n ’ plays,
between
the
involves
image
the
a nd
Marcus'Hubbard
illegitimate
the
and
blacks
has
Lavinia wrote
source
truth.
righteousness
blackmail
school
her
husband
so g u i l t y
could
come
to
•’b e n e v o l e n t '
these
end
him
her
to c u r e
the
fortune
he
of
troop,s
honour
to
to
his
of b l a c k m a i l
her
to f o u n d
a
wife's
to
a Negro
Marcus
afraid
used
the
Bible,
lead
he is
from
about
f a m i l y ’s g u i l t .
that
have
stolen
the f a m i l y
her f r e e d o m
her
we
wa s
h as
Union
into
code
submits
an e x a m p l e
an e x a m p l e
because
community
an d
As
specifically
L a v i n i a ’s c o n c e p t s
obtain
the
a separation
it a l s o
his
events
expiate
before
is
and
and
to
lynch
This
of
Lavinia
Paradoxically
at A l t a l o o s a
blackmail.
by
of a c t i o n
feels
source
led' i n a d v e r t e n t l y
massacre.
of
but
of h o n o u r .
in A P F : t h e
community.
i m p'l ies
reality,
code
considered
agrarian
blackmail
the
Southern
the
they
emotional
for a
blackmail,.
”
In other plays we also find blackmail which will have a benevolent
end. In WR K u r t ’
s intended bribe to the Nazi guards is an attempt
to
release the prisoners from the German camps. It is a kind of blackmail
which has an humanitarian-purpose: it is concerned with mankind welfare
and it has not selfish objectives. Another example of blackmail with an
honourable aim is found in TA when Julian blackmails Mr Warkins in order
to help his former lover (Mrs Warkins) to escape from an unhappy marria­
ge.’
’
*In
shows
the
society.
mercenary
her e a r l i e r
transition
from
Relationships
basis
deterministic
blackmail
Southern
a nd
among
presupposes
on
(TLF,
a Southern
blackmail
outlook
plays
the
is
reality.
a kind
agrarian
characters
an
APF)
of m o r a l
seems
to
to
to
theme
us
Heilman
an i n d u s t r i a l
change
integrated
It
Miss
a
in
this
that
determinism,
in w h i c h
o ne
136
can
never
escape
from
the
consequences
Calvinist
manner,
the
the
and
s o n ’s o w n
in
son's
li f e .
As
cheating
the
Marcus
and
"sins
Hubbard
prototype.
a re
used
Later
against
on,
the
the F a t h e r s "
sins
are
so B e n
Ben's
h i m by R e g i n a
like
(T L F ) in
later
fortune
means
their
the
himself
his
[cheating,
In
’v i s i t e d ’ on
on
acquired
uses
sins
past.
are
visited
iA P F ) has
blackmailing,
his
of
of
to
defeat
blackmailing)
game
to
seize
power.
On
the
other
Southern
society
feelings
in
Berniers
(TA);
example,
Marcus
clothes
in o r d e r
Carrie
Miss
because
In
feel
has
They
unable
to
social
are
(DC),
towards
here
Alex
While
the
money
the
guilt
on
and
alienated
Cassie
(TSW),
of
the
fashionable
she
nourishes
to
into
their
their
ignorance
and
blackmail
forms.
individuals
who
private
public
and
problems
Some
plays
presents
either
him. ■
incestuous
a ct
and
seem
of t h e s e
(T S W ) , A n d r e w
those
hand
lose
of e m o t i o n a l
historical
excuses
For
because
moment.
she
characters
from
on t h e g r o u n d s
is
with
view.
other
personal
Hazen
In
world
Carrie
t he
portrays
historical
incestuous
and
d o e s n ’t w a n t
about
the
On
twisted
their
that
(APF)
(APF)
success
she
and E m i l y
influence,
Hubbard
him and
plays,
entangled
significance
bystanders,
with
examines
showing
affection.
the F a r r e l l y s ( W R ) .
Ibsen's
politics
Julian
basis,
Regina
her
also
narcissistic
f a i l e d .and b e e n
cope w it h
characters
Marcus
bribes
of p e r s o n a l
ar e
Heilman
their
secure
her N o r th er n
lives.
shows
to
portrays
a sense
Rodman
Hubbard
feelings
love
like
portraying
bribes
Heilman
Miss
a psychological
characters
(TA)
■incestuous
on
hand.
and
Miss
Julie
Heilman
problems
or r e m a i n
of
as
moment.
'non-engagement'
in
self-centeredness ,
137
Sam
points
if t h e y
to
had
to C o u n t
been
the
Nazism.
Julie
threatens
fight
have
committed.
While
the-FarrellystWR]
with
h is
(DC)
if
she
fight
to W i l k i e ' s
with
doesn't
factory
also
function
of t h o s e
play,
as m o r a l
blackmail
community
isolated
it- a n d
against
Whalen,
the
goes
saviors
on
who
harming
truth.
in his
Heilman's
of a c o m m u n i t y
perils.
T CH a s e n s e
nature:
succumb
blackmail,
silence
and
disaster
refuses
- o w n e r ’s e x p l o i t a t i o n .
Here
and
submits
his
her r e l a t i o n s h i p
lies
i ts m a l i c i o u s
a child
to. go on in
Kurt
t he
her N o r t h e r n
a nd
blackmail,
world
to b l a c k m a i l
unaware
blackmail.
in o r d e r
prevented
susceptible
heroes
is
financial
l ie a b o u t
is n o t
engaged
In
could
Rodman
against
which
they
Count
to
second
Whalen
that
Brancovis's
murders
the
her
has
t wo
of i n n e r
an e l e m e n t
innocent
from
her e motional
guilt
is
of t r u t h
linked
in it
people
are
condemned
it b e c a u s e o f
the
evil
blackmail
of
to
despite
by
the
workings
of
her p o w e r f u l
grandmother.
B ut
finds
herself
of h e r
this
inner
play,
truth.
is:
Miss
It
almost
also
bias.
peculiar
origins
Miss
in
way,
in
her
commit
blackmail
they
a re
n ot
finale
s h e is
Because
suicide.
shows
up
this
really
to t h i s
a moralist
finally
who
In
t he
ending
the
play
is
often
conclusions.
e t h i c ’, w e
of C a l v i n i s m
Luther's
to
conservative
Heilman's
that
accusation, and
of h o m o s e x u a l i t y .
decides
themselves,
’p r o t e s t a n t
fusion
the
how r e l a t i v e l y
viewpoint
'puritanic'
she
in a d e v i o u s
condemn
our
about
charges
of’
guilt
shows
of m a l e
The
i ts
sense
working
reinforces
thinks
g u i l t y of t h e
the w o m en
victim
Martha
have
seen,
a n fl b u s i n e s s
conviction
that
involves
which
man
c an
may
a
have
effect
h ad
good
138
works
merely
by p e r f o r m i n g
C a l v i n ’s i n f l u e n c e
community’
s belief
acquiring
life.
It
seems
to
individuals
instead
of
Hubbard
in A P F
In
honest
who
seen
owner,
portrayed
her u n j u s t
guilt
needed
and
because
they
acted
diplo/natic a f f a i r s ,
promote
World
In the
vior)
the
War
we
the
religious
that
leads
in
t he
the guilt
through
c an
follows
of
blackmail
recall
rather
Marcus
*
(DC)
we
to
the M u l l e r s
his
the
the
in
faith",
t h a t ’t h e y
both
This
with
It
is
because
to K a r e n
support
Hazens
mixing
have
the
Farrellys(WR)
moral
of
as f a c t o r y -
(TCH)
offer money
In T S W , t h e
seeing
role
ideologies.
Nazism.
"bad
himself.
of g u i l t
find
a sense
is n o t
flirting
(E'llicott)
Also
It
he c o n d e m n s
over
Benedict's
feels
actions.
crisis
her
Ruth
individual
as
a
who
they
feel
guilt
up p r i v a t e
collaborated
of
and
to
II.
culture
pattern
indivudal
chooses
to be
and
between
of p r o g r e s s
examples
shame
of h i m s e l f
motives
fortunes
h is o w n
lead
given
business
an i n t e n s e
portrays
T i l f o r d ’s s e n s e
against
have
to
- wing
slander.
f o r n ot
to f i g h t
she
t he
Rodman's
which
of
ethos
Heilman
here
him,
right
in M r s
for
inconsistency
R o d m a n ’s a n g u i s h
charges
compensation
plays
relation
or in J u l i e
also
feel
in
As
of d u t i e s .
th,e p r o t e s t a n t
Southern
while
round
in T A .
pattern:
in A n d r e w
(Whalen]
is no
enterprise.
condemns
l eft
behind
to a c q u i r e
and J ul i a n
guilt
daily
is .one of t h e
even
attempt
his
cultivation
the
period,
cultures"
be
this
her N o r t h e r n
community
may
the
praise
who
lies
there
and
to me
Reconstruction
personal
that
of g o o d s
Tliss H e i l m a n
"guilt
also
well
acts
a nd B e n
and
because
of a " h i d d e n
in b a d f a i t h *
Oscar Hubbard
(,T L F )
secret"
(e.g.
Marcus
identified
Thus
feel
when
guilt
in t h e i r p a s t
Hubbard's
beha­
with
a public
image
Marcus
Hubbard
(APF)
before
they
the
act
community
accordingly
139
d e n y i n g to
their
e s s e n c e by
a continual
choice. Ac ti ng
they
do not
cause
and
here
t he
hand,
responsibilities
and
mix
towards
roles
they
act
(TSW).,
in
the
Muller
Southern
South,
both
they
(.WR) a n d
people
i ts
i ts
imported,
flawed
an d
subject
to
reveal
the
Julian
shame
In t h e
second
case,
of i n d u s t r i a l
c a pit 'al is t w h o
may
really
Y,;
f
only about
in T L F
a nd A P F ).
pretend
money
not
of g u i l t
faith.
Be­
Hazens
(TSW)
they
escape
their
a ready-made,
true
and
fixed
of t h e m s e l v e s
DC),
to
and
beings.
appearance
perform
DC,
WR ).
Cassie
(DC)
are
their
Because
a nd E m i l y
suceptible
f a i t h ’ like Sam
(DC),
Kurt
blackmailable.
TLF,
T A g , TA),
honour
and
the
- commercial
In
new
the f i r s t
before
the
t he
old
industrial
values
romanticism
individual
Hubbard
how
Rodmans
decadent
Marcus
image
free
the
as t h e i r
(TSW,
blackmail.
in T^A,
materialism
of
Puritan
of t h e
(DC),
like Alex,
(APF,
code
with
exaggerated
moment
(.DC) a r e
plays,
human
of b a d
(.WR, TSW,
know
’
good
blackmail
by a c c e p t i n g
life
the
of
Leo W h a l e n
h er S o u t h e r n
would
as
because
a public
do not
to
their
through
definition
Rodman
guilt
characters
society with
blackmail
with
historical
Farrellys
(.WR) a n d
In
and
the
while
feel
and p u b l i c
bad f a i t h
to b l a c k m a i l
Andrew
of t h e m s e l v e s
identified
(TCH)
to c h a n g e
Subject
commitment
image
up p r i v a t e
reality
are
Ruth B e n e d i ct ' s
(,W R ) a l s o
socially-acceptable
they
they
like
to c r e a t e
of s ' e l f t r a n s c e n d e n c e
their possibilities
individual's
Being
possibility
l i n k e d t o S a r t r e ’s c o n c e p t
Farrellys
identity.
other
faith
all
other
is a l s o
any
process
in b a d
fulfill
On t h e
cultures
selves
- are
case
a nd
community
(e.g.
in A P F ) .
blackmail
society,
seems
the
to e x p o s e
egotism
to
believe
in i d e a l s
(e.g.
Regina,
Marcus
the
cold
of t he P u r i t a n
a nd
but
Be n
cares
Hubbard
140
Emotional
Southern
context
variety
is
oriented
which
is
in DC,
quotation
from
shown
as
In
which
discussion
in TCH,
source
the
fate
being
other
In
to a ct
■
.-b1'i
--ar
•
outlook
■
ya•n d
h er
by
land
Rodmans)
system
the
with
money
adopts
who
can
she
in
her
t h e road
on r e a l i t y .
where
She
subtly
is
a
factory
- owner
social
a play with
of
their
plays,
Southern
Self
becomes
and
depicting
destinies.
(TAg,
T A],
" e n g a g e m e n t ” and
t he
the
motivation
meliorism,
presents
a
For example,
issues
a major
two
towards
also
play.
change
las t
is
th e m a i n
as
and
of S o u t h e r n
presents
ends
Ibsen's
act
the
and
the
adopts
a personalist,
community
their
rather
destiny,
destruction
or t h e y
choose
Kurt
more
characters
socially-concerned
(Alexandra,
plays,
conclusion
circumstances
choose
-
seems
decay.
plays
bystander: w a t c h i n g
the
in
ha n d ,
viewpoint
driven
family
aristocrat.
in t h e
characters
of t h e
a moral
set f o r t h
also
In t h o s e
the
problems
She
to a t r a g i c
and
play
and
Heilman, a b a n d o n s
doomed
financial
mentioned,
questions
of p o w e r .
fatalistic
the fir st .
less
A P F . It
ethical
deals
a Chekhovian
the
conception
I have
- influenced
s he
□n t h e
as
paternalist
Ibsen
of th e
to
cynical,
E c c l e s i a s t e s : in t h a t
raise
while
t
i'n' T LF a n d
title,
Ibsen
believable
Hiss
whose
she d i s c u s s e s
Like
a more
a patriarchal
reflected
a good
her
of
extent,
belongs
society.
holds
portrayed
play.
a greater
industrial
society
issues
to
characteristic
Heilman
is
blackmail
Hüller,
by
t he
either
(Birdie,
tb'fight
seem
than
plays
important
unable
heros
staying
Horace,
Sam).
to
act,
their will.
oppression
Whalen,
than
ha d f r e e
will
as a
t he
and
Hazens,
an
unjust
141
While
there
are
in t h e
some
Ibsen-influenced
idealists
blackmail
(Alexandra,
transcend
their
mankind,
beyond
in
her
of t h e i r
are
to
led
deny
evading
their
ideals,
in
In
their
own
as
to
for
WR,
TS W)
beyond
because
fight
Julian
accept
their
some
true
they
the w e l f a r e
of
d o n ’t m o v e
create
TAg)
inaction,
from
outward
mattered
egos,
playthings
of
others
moment,
identity.
thus
essence
by
free
characters
refusal
stable
a
choice.
a re
l e d to
to b e l i e v e
personalism,which
in
is n ot
plays.
Chekhovi-an-influenced
shifted
fixed
through
their
t he
ready-made,
their
t he
and
and
a historical
to
(TA,
earlier
frustrated
to
(TAg,
climaxes
her.
does
victims
plays
not
ethical
instead
crises.
her e n g a g e d
of t h e m s e l v e s
circumstances
her
to i n w a r d
Unlike
raise
TA),
and
questions.
seem
to
of d i r e c t i n g
lives.
to b e l i e v e
Miss
real
in TjA, J u l i a n ' s
moral
in
myth
the A m e r i c a n
objective
H e i l m a n ’s v i e w
her memoirs
liberties
they
c h a r a c t e r ’s p l i g h t
without'any
in
are
TA ) characters
H e i l m a n ’s f a t a l i s t i c
plot was what
the
tries
“
V
and
who
Sam)
self-transcendence
plays
For e xa m p l e ,
He
and
f a i t h ”. C r o s s m a n ,
by t h e i r
her
have
t he
are
of
last
h er
interests
not
"bad
commitment
showing
.presented
become
'(TAg,
process
self-deception
They
last
responsibility
in t h o s e
-plays,
selves
plays
faith"
Kurt
individual
of t h e m s e l v e s
their
continual
Mood
Whalen,
self-deception:
consciousness
Thus
"good
( T L F , DC,
" b a d f a i t h ”.
Because
They
of
plays
is
that
a n d v; f i g h t i n g
confusion
of w o r k
and
to m a k e
them worthwhi le .
of
displayed
o f an
life
in h e r
idfea'list d e f e n d i n g
evil which
may
be
is
progress
plays
civil
represented
displayed.
and
rights
either
and
by
142
the
House
of
bourgeoisie
Un-American
of S o u t h e r n
Activities
Committee,
Reconstruction,
or by
the
or by
Nazism
and
zeal,
the
new
Fascism.
Despite
the
blackmail
mething
not
of
lived
self.
Northern,
ple
do
a fraud
it
reflects
- an
seems
n ot
find
hide
her p e r s o n a l
ideals
that
even
and
whether
life
sense
in
some
who
of good
so­
feels
has
she
in a S o u t h e r n
culture,
which
faith
in
both
that
her­
or
a
society.
life w h e r e
defy
of
of b e i n g
betrayed
to b e l i e v e
secrets
presence
way
in p o s t - r e v o l u t i o n a r y
it.difficult
secrets,
'decent'
crusading
'unifinished woman'
her own
os p e r h a p s
would
from the
Heilman's
theme
up to
Thus
Heilman
Miss
and
she w a n t s
peo­
derive
to a s s e r t .
BIBLIOGRAPHY
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Jacob
Theater
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Plays
Playwrights
New York,
Anne,
Interviews,
Contemporary
19 70.
"Lillian
Third
Of The
Heilman",
Series,
The
Writers
at
Viking
196:7.
Freud
on B r o a d w a y , H e r m i t a g e
House,
New
York,
1955.
Smiley,
Sam.
The
C o l u m b i a , 1972.
Drama
■
i
of A t t a c k , U n i v e r s i t y
of M i s s o u r i
Pres/s ,
Stern,
Richard
G.
"Lillian
Heilman
Dn
Her Plays",
Contact,
3
(1959 ) .
t
Sartre,
1970.
Jean-Paul.
What
Is
L i t e r a t u r e ?,
Harper
8 Row,
New- Y o r k ,