The Drunkard by William Henry Smith, Book Review Example

William H. Smith’s The Drunkard; or the Fallen Saved (1844) was the first American play to have a run of one hundred consecutive performances, as Walter J. Meserve observes, “second in popularity only to Uncle Tom’s Cabin in the theatre of the late nineteenth century” (Meserve 98). This popular play of sin and redemption reveal much about the pervasiveness of temperance culture in the United States and are excellent examples of morality issues in the melodramatic form. Yet this is a pertinent exemplar of temperance drama and has unfortunately overshadowed the legions of small, noncommercial dramas and “dialogues” that flooded the country in the last quarter of the nineteenth century. These little plays, printed cheaply and performed in communities large and small around the country, have much more to teach us about the relationship between performance and the temperance movement than do the more recognizable dramas. What is more, the minor American temperance dramas–many written by women–more fully illuminate the complex role women played in nineteenth-century temperance culture.

Although the American dramatists had broached topical issues in plays before 1840, few works for the early stage confronted social problems head-on. Criticism of slavery would have its day beginning with Uncle Tom’s cabin, but one of the first serious social ailments to be addressed directly was alcoholism. The play features “a man of principle” (the debased Edward Middleton); a gasping villain (lawyer Cribbs); female character (Mary, wife of Middleton). The story of “The Drunkard” is simple, though it has its twists and flushes with characters and details. It depicts the life of a young man, Edward Middleton who marries, and starts to raise a family of his own. His pursuits to lead a congenial and happy life are brattled by his uncanny addiction to alcoholism and constant insinuation of the evil machinations of Squire Cribbs. Smith with his enigmatic portrayal finds out whether Edward will be restored in the normal flow of the society, and whether his family would eventually take him back in their loving arms and affection? Just like Shakespeare’s comedy, the play’s heroes run to foul traps created by the villains’ schemes, only to realize that they have support and faith of their family members to eventually get out of the malice and vile intentions of the enemies.

While Middleton is clearly the play’s protagonist, it is the villain whose character is of much acclaim and of interest. Cribbs is reminiscent of the character sketched in Richard III by Shakespeare. Though many of the critics suggest that the play is an ‘exegetical representation’, in my opinion the play is highly entertaining, feverish and explicitly adorned with conventional dramatic exhibition. Some of the resonances, within the play, show typical sensitization to the theme of temperance and melodrama. For instance Cribbs is the monolithic and demarked villain who wants to avenge against Edwards father, Middleton. Cribbs is shown to be jealous of the elite Edward and plays a discourse that shows as a vulgar, lower class, insensitive lawyer – capable of duping his own rich and affluent clients into utter malice and trauma. Cribbs was predisposed to immense vengeance and wrath for Middleton and his family, which made him cynical and atrocious to the extent of turgidity.

Sex and violence also make their way into the melodrama and often as dark hints rather than fully displayed themes. Cribbs accuses Edward of wanting to keep Mary Wilson in the cottage on his land for purposes of illicit sex: “Traps for wild fowl; mother and daughter  grateful; love-passion; free access to cottage at all hours.” Although Edward rejects such a provocation in the form of righteous rebuke that convention dictates for the virtuous protagonist, he in fact immediately falls in love with Mary.  His dignified and moral stature is manifested when he denies taking the last few dollars of Mary and proposes to keep the money as part of her dowry. These attributes reveal that the Middleton families were emphatic, nice and good human beings, quite unlike the villain, Cribbs. Sex was again highlighted when Cribbs pointed out to Mary that Edwards had erroneous lists of prostitutes visiting him in home in his New York. The failed attempt to separate Mary and Edward leads to Cribb’s attempted assault on Mary- which was again sexual in nature and gives the omnipresent William the scope to enter in a timely manner to stop the attack.

The sensation of the plot focuses on Edward’s profound dependency on alcohol, leading to degeneration of his virtual existence as a family man and a normal human being. Cribbs bribes the tavern keepers to indulge Edward in continual booze, debunking his aspirations and keeping him in a state of transience and addiction. The domestic plots are aggravated with twists and turns- the melancholy of alcoholism breaking the hearts and minds of Edward’s loved ones. The wretchedness of Edward’s decline caused immense misery his beautiful wife Mary. Thus, Edward creates a sense of delirium among the audience, only to be riveted to his pursuits of leading a life of normalcy. He was quick to respond to the call of the temperance of the period. Edward changed for good, enlightened to temperance through the human angel, Rencelaw. The angel also tried to influence Cribbs- but could he sustain the temperance as he lacked the moral qualities of Edward?

The Drunkard is a Boston play with a New York setting. The New York scenes are in contrast to the rural simplicity and appear in the play when the protagonist, Edward Middleton, is at the lowest peak of his life submerged in alcoholism. The city symbolizes vice, and a lack of self-control among the elite classes respectively. Special emphasis is burdened on the elite class- as they are shown to be men with good moral characters and virtues, however, lacking the essential traits of being smart in the trade. Thus, these weaknesses of gullible, rich men are exploited by the shrewd middle class men to the fullest extent.

The Drunkard aimed to attract both types of audiences- for those who are morally high-minded audiences; revoking the evil and gaining immense pleasure in seeing one among them regain his life and self control. The happy ending was perfect to coin their emotional ploy and the moral decree of this morally degreed audience. Synonymously there were enough material for audience who were attracted to freakish displays. The deadly combination clicked like magic as the play went on the theatre for an unprecedented 101 nights in Boston in 1844.

Thus, William Henry Smith was successful to exploit the emotions of the temperance movement. He made hundreds of Americans interact and understand the temperance architecture- the pledge of abstinence and the threat to harmony and disrupted family life engendered by alcoholism. The Drunkard being the first of its kind to appeal to domestic sensibilities, and the increased concern for middle class about growing crime and social decay- William just translated the indiscrete sentiment to a foray of entertainment.

References

Meserve, W. J “An Outline History of American Drama” New York: Feedback Theatre-books and Prospero Press, 1994