Walter J. Meserve concludes in his work An Outline History of American Drama that many eighteenth century American plays “indicate little dramatic talent and were written more to criticize and to propagandize than to create a work of art, but the passion of some exhibited in these plays often strikes a spark of real life“ (38). Given this, Meserve portrays early American drama as a weapon with the ambition to educate its readers in a specific (American) way. In the same breath, this also means that the play´s form and its dramatic elements are less important than its implicit (political) message, which leads to the conclusion that early American drama is merely a political mouthpiece.
Contrariwise, this paper will show that besides educating its readers, early American plays should also be read as a work of art. This will be illustrated by Royall Tyler´s play The Contrast which is an outstanding example of the eighteenth century literature, combining political issues with formidable art. In summary, the overall question that will be answered in this study is: Which political issues of his time does Tyler portray in his comedy and which other readings of the play are possible? I assume that the political tendency is only one aspect. Above all, the paper will point out that the play is also construction of art and shows a special concept of utopia.
Table of Contents
1. Introduction
2. Eighteenth Century American Drama
2.1. Brief Historical Survey
2.1.1. American Theatre as a Devil´s Den
2.1.2. A Fight for Entertainment and Art
2.2. A Nation´s Heart
2.2.1. Goals and Intension of Early American Plays
2.2.2. The Image of the Imagined Community of a Nation
3. Text Analysis: The Contrast as an Interface of Three Different Tendencies
3.1. The Contrast as a Political Play
3.2. The Contrast as a Work of Art
3.3. The Contrast and its Yankee Jonathan: a Case of Idealisation
4. Conclusion
5. Bibliography
Research Objectives and Topics
This paper explores the dual nature of eighteenth-century American drama, arguing that beyond serving as a political mouthpiece for nation-building, these plays function as sophisticated works of art and vehicles for cultural idealization, with a specific focus on Royall Tyler’s The Contrast.
- Historical context and evolution of early American theatre
- Political objectives and the construction of national identity in drama
- Formal analysis of The Contrast as a structured work of art
- The symbolic role of the Yankee character as an idealized cultural figure
Excerpt from the Book
3.3. The Contrast and its Yankee Jonathan: A Case of Idealisation
The notions about Jonathan are quite ambiguous. Within the fictitious play the notions are primarily negative. Jessamy, Jonathan´s counterpart, calls him a 'most unpolished animal' (31). Jessamy does not take Jonathan serious and laughs about him. Jenny shares his opinion. She calls Jonathan a 'stupid creature' (32).
Despite the fact that the characters think that he is stupid, the notions found in the literature are quite the opposite. Jürgen Wolter highlights that Jonathan´s character is an essential compensation with respect to Manly´s honesty (cf. Wolter, Die Helden der Nation, 248). He is of the opinion that Jonathan represents the rustic-folksy community of the 'New World' and thus, Manly and Jonathan are the representatives of the new American man (cf. ibid).
Maura Cronin emphasises that the Yankee is an “imaginary, idealized figur[e] through which the early American theatre audience was led to embrace national values and to understand and aspire to a new American identity“ (70). In the development of her essay, she points out that the four common features of nationalistic texts, Kramer has stated, can be applied to the character of Jonathan. In her opinion, Jonathan´s style of language is specifically American and differs from British English “in its vocabulary, pronunciation, and sentence structure, but also [...] in its embodiment of the voice of a storyteller“ (Cronin, 54f.). Furthermore, she points out that his speech often refers to the nation´s forefathers and war heroes which shows “a quasi religious sentiment for national history and heroes“ (Cronin, 52). An example is his exclamation 'I´m a true born Yankee American son of liberty, and I never was afraid of a gun yet in all my life' (35). The status for the national family and his definition of a national citizen have already been given by Jürgen Wolter.
Summary of Chapters
1. Introduction: Presents the thesis that early American plays should be interpreted as both political tools and artistic works, using Royall Tyler’s The Contrast as a primary case study.
2. Eighteenth Century American Drama: Provides a historical overview of the transition of American theatre from a stigmatized 'Devil's Den' to a medium for cultural and political expression.
3. Text Analysis: The Contrast as an Interface of Three Different Tendencies: Examines the play through its political content, its dramatic structure, and the symbolic idealization represented by the character of Jonathan.
4. Conclusion: Summarizes that while political and idealized content are historically bound, the artistic merit of these early American plays remains timeless.
5. Bibliography: Lists the primary and secondary scholarly sources used to support the analysis of American drama and nationalism.
Keywords
Early American Drama, Royall Tyler, The Contrast, Cultural Nationalism, American Identity, Yankee Jonathan, Political Theatre, Eighteenth Century Literature, Dramatic Theory, Nation Building, Cultural Idealization, Historical Theatre, Literary Analysis, National Stereotypes, American Stage Figures.
Frequently Asked Questions
What is the core subject of this research paper?
The paper explores the origins and purposes of eighteenth-century American drama, focusing on how these plays reflected the political climate and the struggle for a unique American cultural identity.
What are the primary themes discussed?
Key themes include the political nature of early stage works, the tension between American and European dramatic influences, the use of stereotypes for national self-definition, and the structural artistry within these early plays.
What is the main objective of this study?
The study aims to demonstrate that early American drama—specifically Royall Tyler’s The Contrast—transcends simple propaganda by functioning as both a creative work of art and a site for utopian national imagination.
Which scientific methods are utilized?
The author employs literary and historical analysis, applying twentieth-century dramatic theory (such as that of Manfred Pfister) to eighteenth-century texts to evaluate their structure and symbolic content.
What does the main body of the work cover?
The body covers the historical development of American theater, the political motivations behind early playwriting, a detailed formal analysis of The Contrast, and the role of the 'Yankee' as a national archetype.
Which keywords characterize this work?
The work is characterized by terms such as Cultural Nationalism, American Identity, The Contrast, Literary Analysis, and Early American Drama.
How does the author define the 'Devil's Den' in the context of early theatre?
The 'Devil's Den' refers to the historical stigma and moral opposition that early American theatre faced, where it was often dismissed as a waste of time or a source of corruption and sin.
What is the significance of the character 'Jonathan' in the play?
Jonathan serves as a rustic-folksy representative of the New World, acting as an idealized, specifically American stage figure who embodies national values and distinct American linguistic traits.
- Citation du texte
- Sebastian Zilles (Auteur), 2008, A Nation´s Heart - An analysis of 18th century american drama with special regard to Royall Tyler´s 'The Contrast', Munich, GRIN Verlag, https://www.grin.com/document/114532
