Part 1

# The Contrast ### By Tyler, Royall

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TRANSCRIBERS' NOTES

This e-book contains the text of _The Contrast_, extracted from Representative Plays by American Dramatists: Vol 1, 1765-1819. Comments and background to all the plays and the other plays are available at Project Gutenberg.

Spelling as in the original has been preserved.

THE CONTRAST

_By_

ROYALL TYLER

[Illustration: ROYALL TYLER]

ROYALL TYLER

(1757-1826)

William Dunlap is considered the father of the American Theatre, and anyone who reads his history of the American Theatre will see how firmly founded are his claims to this title. But the first American play to be written by a native, and to gain the distinction of anything like a "run" is "The Contrast,"[1] by Royall Tyler. Unfortunately for us, the three hundred page manuscript of Tyler's "Life," which is in possession of one of his descendants, has never been published. Were that document available, it would throw much valuable light on the social history of New England. For Tyler was deep-dyed in New England traditions, and, strange to say, his playwriting began as a reaction against a Puritanical attitude toward the theatre.

When Tyler came to New York on a very momentous occasion, as an official in the suppression of Shays's Rebellion, he had little thought of ever putting his pen to paper as a playwright, although he was noted from earliest days as a man of literary ambition, his tongue being sharp in its wit, and his disposition being brilliant in the parlour. It was while in what was even then considered to be the very gay and wicked city of New York, that Royall Tyler went to the theatre for the first time, and, on that auspicious occasion, witnessed Sheridan's "The School for Scandal." We can imagine what the brilliancy of that moment must have been to the parched New England soul of our first American dramatist.

Two days afterwards, inspiration began to burn, and he dashed off, in a period of a few weeks, the comedy called "The Contrast," not so great a "contrast," however, that the literary student would fail to recognize "The School for Scandal" as its chief inspiration.

Our young dramatist, whose original name, William Clark Tyler, was changed, by act of Court, to Royall, was born in Boston on July 18, 1757, near the historic ground of Faneuil Hall. His father was one of the King's Councillors, and figured in the Stamp Act controversy. From him, young Tyler inherited much of his ability. The family was wealthy and influential. Naturally, the father being a graduate of Harvard, his son likewise went to that institution. His early boyhood, when he was at the grammar school, was passed amidst the tumult of the Stamp Act, and the quartering of troops in Boston. When he entered Harvard as a freshman, on July 15, 1772, three days before he was fifteen years old, he was thoroughly accustomed to the strenuous atmosphere of the coming Revolution.

There were many students in his class, who afterwards won distinction as chief justices, governors and United States senators, but at that time none of them were so sedate as to ignore the usual pranks of the college boy. Tyler's temperament is well exhibited by the fact that he was one of the foremost instigators in a fishing party from his room window, when the students hooked the wig of the reverend president from his head one morning as that potentate was going to chapel.

Tyler graduated with a B.A. degree from Harvard in July, 1776, the Valedictorian of his class; and was similarly honoured with a B.A. by Yale (1776). Three years after, he received an M.A. from Harvard and, in later life (1811), from the University of Vermont. He read law for three years with the Hon. Francis Dana, of Cambridge, and the Hon. Benjamin Hichbourne, of Boston, during that time being a member of a club which used to meet at the rooms of Colonel John Trumbull, well known to all students as a soldier and painter. Unfortunate for us that the life-size canvas of Royall Tyler, painted by Trumbull, was destroyed by fire. We are assured by Trumbull, in his "Reminiscences," that during those long evenings, they "regaled themselves with a cup of tea instead of wine, and discussed subjects of literature, politics and war." In 1778, Tyler found himself by the side of Trumbull, fighting against the British and serving a short while under General Sullivan.

In 1779, he was admitted to the bar, and there followed a long succession of activities, in which he moved from place to place, finally associating himself definitely with the early history of Vermont, and Brattleboro in particular.

There is much interesting data in existence relating to Royall Tyler's literary activities, as a writer of witty articles, sprightly verse and autobiographical experiences--in a style which, while lacking in distinction, is none the less a measure of the sprightliness of the author's disposition. It is not my purpose to enter into a discussion of anything but Royall Tyler as the author of "The Contrast." He wrote several other plays besides,[2] one dealing with the wild-cat land speculation in Georgia. But the play under discussion is fully representative of his dramatic ability, an ability which would scarcely be worthy of too much commendation were it not for the fact that Tyler may be regarded as the creator of the Yankee type in American drama.

In 1787, Shays's Rebellion brought Tyler once more under the command of Major-General Benjamin Lincoln, with whom he had served in the Revolutionary War. As an aide, he was required to go into the State of New York, and arrange for the pursuit and capture of Shays. It was, as I have said, while on this mission in New York City that he went to the theatre for the first time. He witnessed Sheridan's "The School for Scandal," and in the audience on the occasion there very probably sat George Washington. The latter was a constant frequenter of the little John Street Theatre, where Wignell was the chief comedian. Apart from _Jonathan's_ description of this "Colonial" Playhouse, as it looked after the Revolution, we have Seilhamer's impression (i, 212), as follows:

"... the theatre in John Street ... for a quarter of a century was to New York what the Southwark Theatre was to Philadelphia. Both houses were alike in appearance, but the New York Theatre stood back about sixty feet from the street, with a covered way of rough wooden materials from the sidewalk to the doors. It was principally of wood and was painted red. It had two rows of boxes, and a pit and gallery, the capacity of the house when full being about eight hundred dollars. The stage was sufficiently large for all the requirements of that theatrical era, and the dressing-rooms and green room were in a shed adjacent to the theatre."

This was, it seems, the first time Tyler had ever left New England. His manuscript was finished in three weeks, and shortly after handed over to the American Company for production. So loath was he to have his name connected with it, that, when he gave the manuscript to Wignell, he consigned also to that actor the copyright, with the instruction that, when the play was published, on the title-page, the piece should be credited to the authorship of "a citizen of the United States." Of all the productions which came from his pen, the very prosaic and doubtfully authoritative Vermont Law Reports is the only publication bearing his name on the title-page.

"The Contrast" was produced on April 16, 1787, at the John Street Theatre, in New York, by the American Company, the original cast including Mr. Henry and Mr. Hallam as the rival lovers, and Mr. Wignell in the part of _Jonathan_, the first stage Yankee. Anyone who has read the play will quite understand why it is that the honours so easily fell to Mr. Wignell rather than to Mr. Henry or to Mr. Hallam, and it is no surprise, therefore, to find, after the initial performance, that jealousy began to manifest itself between these three gentlemen,--so much so, indeed, that, when the time arrived for the Company to go to Philadelphia, in December, 1787, Mr. Wignell was unable to present "The Contrast" in the theatre, and had to content himself with a reading, because it was "impracticable at this time to entertain the public with a dramatic representation." The Notice continued: Mr. Wignell, "in compliance with the wishes of many respectable citizens of Philadelphia, proposes to read that celebrated performance at the City Tavern on Monday evening, the 10th inst. The curiosity which has everywhere been expressed respecting this first dramatic production of American genius, and the pleasure which it has already afforded in the theatres of New York and Maryland, persuade Mr. Wignell that his excuses on this occasion will be acceptable to the public and that even in so imperfect a dress, the intrinsic merit of the comedy will contribute to the amusement and command the approbation of the audience." Of Wignell and his associates, an excellent impression may be had from a first hand description by W. B. Wood, in his "Personal Recollections."

Whether the intrinsic merits of the play would contribute to the amusement of audiences to-day is to be doubted, although it is a striking dramatic curio. The play in the reading is scarcely exciting. It is surprisingly devoid of situation. Its chief characteristic is "talk," but that talk, reflective in its spirit of "The School for Scandal," is interesting to the social student. When the ladies discuss the manners of the times and the fashions of the day, they discuss them in terms of the Battery, in New York, but in the spirit of London. The only native product, as I have said, is _Jonathan_, and his surprise over the play-house, into which he is inveigled, measures the surprise which must have overwhelmed the staid New England conscience of Royall Tyler, when he found himself actually in that den of iniquity,--the theatre. For the first time in the American Drama, we get New England dialogue and some attempt at American characterization. Wignell, being himself a character actor of much ability, and the son of a player who had been a member of Garrick's Company in London, it is small wonder that he should have painted the stage Yankee in an agreeable and entertaining and novel manner.

But, undoubtedly, the only interest that could attach itself to this comedy for the theatre-going audience of to-day would be in its presentment according to the customs and manners of the time. In fact, one would be very much entertained were it possible to make _Letitia_ and _Charlotte_ discuss their social schemes and ambitions in a parlour which reflected the atmosphere of New York in 1787. As a matter of fact, however, the audience that crowded into the little John Street Theatre, on the opening night of "The Contrast," was treated to an interior room, which was more closely akin to a London drawing-room than to a parlour in Manhattan. According to the very badly drawn frontispiece, which Wignell used in the printed edition of the play, and which William Dunlap executed, we see a very poor imitation of the customs, costumes, and situations which Tyler intended to suggest.

Indeed, we wonder whether Dunlap, when he drew this picture, did not have a little malice in his heart; for there is no doubt that he showed jealousy over the success of "The Contrast," when, after a three years' stay in London, under the tutelage of Benjamin West, he returned to America to find "The Contrast" the talk of the town. Both he and Seilhamer who, however prejudiced they may be in some of their judgments and in some of their dates, are nevertheless the authorities for the early history of the American Theatre, try their best to take away from the credit due Tyler as an American dramatist. They both contend that "The Contrast," though it was repeated several times in succession--and this repetition of a native drama before audiences more accustomed to the English product must have been a sign of its acceptance,--was scarcely what they would consider a success. As evidence, Seilhamer claims that, just as soon as Royall Tyler handed over the copyright of his play to Wignell, the latter advertised the printed edition whenever the subscribers' list was sufficiently large to warrant the publication. It was not, however, until several years after this advertisement, that the play was actually published, the subscribers being headed by the name of President George Washington, and including many of Washington's first cabinet, four signers of the Declaration of Independence, and several Revolutionary soldiers. According to Seilhamer, the American dramatists of those days were very eager to follow the work of their contemporary craftsmen, and, in the list of subscribers, we find the names of Dunlap, Peter Markoe, who wrote "The Patriot Chief" (1783), Samuel Low, author of "The Politician Out-witted" (1789), and Colonel David Humphreys, who translated from the French "The Widow of Malabar; or, The Tyranny of Custom" (1790).

We are told by some authorities that Royall Tyler was on friendly terms with the actors of this period, a fact accentuated all the more because his brother, Col. John S. Tyler, had become manager of the Boston Theatre. In many ways he was a great innovator, if, on one hand, he broke through the New England prejudices against the theatre, and if, on the other hand, during his long career as lawyer and as judge of the Supreme Court of Vermont, he broke through the traditional manner of conducting trials, as is evidenced by many human, amusing anecdotes, illustrative of his wit and quick repartee. He was married to Mary Palmer, in 1794, and brought up a family of eleven children, a number of whom won distinction in the ministry, but none of whom followed their father's taste for playwriting. He mingled with the most intellectual society of the time, being on intimate terms with the Adams family, the Quincys and Cranchs, and identifying himself very closely with the literary history of the country.

In a record of New England periodicals, his name will figure constantly as contributing editor. We have letters of his, descriptive of his home life in Brattleboro, Vermont, filled with a kindly benevolence and with a keen sense of humour. It was there that he died on August 16, 1826. But, all told, we fear that even though Royall Tyler has the distinction of being one of the first American dramatists, he came into the theatre purely by accident. "The Contrast" is not, strictly speaking, a very dramatic representation.

When, in June, 1912, Brattleboro celebrated its local history with a pageant, a production of "The Contrast" was rehearsed and given in a little hall, fitted up to represent the old John Street Theatre. A scene from the play was given at an American Drama Matinée, produced by the American Drama Committee of the Drama League of America, New York Centre, on January 22 and 23, 1917,--the conversation between _Jonathan_ and _Jenny_. In Philadelphia, under the auspices of the Drama League Centre, and in coöperation with the University of Pennsylvania, the play, in its entirety, was presented on January 18, 1917, by the "Plays and Players" organization. A revival was also given in Boston, produced in the old manner, "and the first rows of seats were reserved for those of the audience who appeared in the costume of the time."

The play in its first edition is rare, but, in 1887, it was reprinted by the Dunlap Society. The general reader is given an opportunity of judging how far _Jonathan_ is the typical Yankee, and how far Royall Tyler cut the pattern which later was followed by other playwrights in a long series of American dramas, in which the Yankee was the chief attraction.[3]

FOOTNOTES:

[1] The/Contrast,/a/Comedy;/In Five Acts:/Written By a/Citizen of the United States;/Performed with Applause at the Theatres in New-York,/Philadelphia, and Maryland;/and published (under an Assignment of the Copy-Right) by/Thomas Wignell./_Primus ego in patriam/ Aonio--deduxi vertice Musas_./Virgil./(Imitated.)/ First on our shores I try Thalia's powers,/And bid the _laughing, useful_ Maid be ours./Philadelphia:/From the Press of Prichard & Hall, in Market Street:/Between Second and Front Streets./M. DCC. XC. [See Frontispiece.]

[2] For example, "The Duelists," a Farce in three acts; "The Georgia Spec; or, Land in the Moon" (1797); "The Doctor in Spite of Himself," an imitation of Molière; and "Baritaria; or, The Governor of a Day," being adventures of Sancho Panza. He also wrote a libretto, "May-day in Town; or, New York in an Uproar." (See Sonneck: "Early Opera in America.")

[3] The song which occurs in the play under the title, "Alknomook," had great popularity in the eighteenth century. Its authorship was attributed to Philip Freneau, in whose collected poems it does not appear. It is also credited to a Mrs. Hunter, and is contained in her volume of verse, published in 1806. It appears likewise in a Dublin play of 1740, "New Spain; or, Love in Mexico." See also, the _American Museum_, vol. I, page 77. The singing of "Yankee Doodle" is likewise to be noted (See Sonneck's interesting essay on the origin of "Yankee Doodle," General Bibliography), not the first time it appears in early American Drama, as readers of Barton's "Disappointment" (1767) will recognize.

[Illustration: AS A JUST ACKNOWLEDGMENT OF THE LIBERAL EXERTIONS BY WHICH THE _STAGE_ HAS BEEN RESCUED FROM AN IGNOMINIOUS PROSCRIPTION,

THE CONTRAST,

(BEING THE FIRST ESSAY OF _AMERICAN_ GENIUS IN THE DRAMATIC ART)

IS MOST RESPECTFULLY DEDICATED

TO

THE PRESIDENT AND MEMBERS OF THE

Dramatic Association,

BY

THEIR MOST OBLIGED

AND

MOST GRATEFUL SERVANT,

_THOMAS WIGNELL._

PHILADELPHIA, } 1 January, 1790. }

DEDICATION PAGE IN THE FIRST EDITION OF "THE CONTRAST"]

ADVERTISEMENT

The Subscribers (to whom the Editor thankfully professes his obligations) may reasonably expect an apology for the delay which has attended the appearance of "The Contrast;" but, as the true cause cannot be declared without leading to a discussion, which the Editor wishes to avoid, he hopes that the care and expence which have been bestowed upon this work will be accepted, without further scrutiny, as an atonement for his seeming negligence.

In justice to the Author, however, it may be proper to observe that this Comedy has many claims to the public indulgence, independent of its intrinsic merits: It is the first essay of American genius in a difficult species of composition; it was written by one who never critically studied the rules of the drama, and, indeed, had seen but few of the exhibitions of the stage; it was undertaken and finished in the course of three weeks; and the profits of one night's performance were appropriated to the benefit of the sufferers by the fire at _Boston_.

These considerations will, therefore, it is hoped, supply in the closet the advantages that are derived from representation, and dispose the reader to join in the applause which has been bestowed on this Comedy by numerous and judicious audiences, in the Theatres of _Philadelphia_, _New-York_, and _Maryland_.

PROLOGUE

_Written by a young gentleman of New-York, and spoken by Mr. Wignell._

Exult, each patriot heart!--this night is shewn A piece, which we may fairly call our own; Where the proud titles of "My Lord! Your Grace!" To humble _Mr._ and plain _Sir_ give place. Our Author pictures not from foreign climes The fashions or the follies of the times; But has confin'd the subject of his work To the gay scenes--the circles of New-York. On native themes his Muse displays her pow'rs; If ours the faults, the virtues too are ours. Why should our thoughts to distant countries roam, When each refinement may be found at home? Who travels now to ape the rich or great, To deck an equipage and roll in state; To court the graces, or to dance with ease, Or by hypocrisy to strive to please? Our free-born ancestors such arts despis'd; Genuine sincerity alone they priz'd; Their minds, with honest emulation fir'd, To solid good--not ornament--aspir'd; Or, if ambition rous'd a bolder flame, Stern virtue throve, where indolence was shame.

But modern youths, with imitative sense, Deem taste in dress the proof of excellence; And spurn the meanness of your homespun arts, Since homespun habits would obscure their parts; Whilst all, which aims at splendour and parade, Must come from Europe, _and be ready made_. Strange! we should thus our native worth disclaim, And check the progress of our rising fame. Yet _one_, whilst imitation bears the sway, Aspires to nobler heights, and points the way. Be rous'd, my friends! his bold example view; Let your own Bards be proud to copy _you_! Should rigid critics reprobate our play, At least the patriotic heart will say, "Glorious our fall, since in a noble cause. The bold _attempt alone_ demands applause." Still may the wisdom of the Comic Muse Exalt your merits, or your faults accuse. But think not, 'tis her aim to be severe;-- We all are mortals, and as mortals err. If candour pleases, we are truly blest; Vice trembles, when compell'd to stand confess'd. Let not light Censure on your faults offend, Which aims not to expose them, but amend. Thus does our Author to your candour trust; Conscious, the _free_ are generous, as just.

CHARACTERS

_New-York._ _Maryland._

COL. MANLY, Mr. Henry. Mr. Hallam. DIMPLE, Mr. Hallam. Mr. Harper. VAN ROUGH, Mr. Morris. Mr. Morris. JESSAMY, Mr. Harper. Mr. Biddle. JONATHAN, Mr. Wignell. Mr. Wignell.

CHARLOTTE, Mrs. Morris. Mrs. Morris. MARIA, Mrs. Harper. Mrs. Harper. LETITIA, Mrs. Kenna. Mrs. Williamson. JENNY, Miss Tuke. Miss W. Tuke.

SERVANTS.

SCENE, New-York.

N.B. The lines marked with inverted commas, "thus", are omitted in the representation.

THE CONTRAST

## ACT I.

## SCENE I. _An Apartment at CHARLOTTE'S._

_CHARLOTTE and LETITIA discovered._

LETITIA. And so, Charlotte, you really think the pocket-hoop unbecoming.

CHARLOTTE. No, I don't say so: It may be very becoming to saunter round the house of a rainy day; to visit my grand-mamma, or to go to Quakers' meeting: but to swim in a minuet, with the eyes of fifty well-dressed beaux upon me, to trip it in the Mall, or walk on the Battery give me the luxurious, jaunty, flowing bell-hoop. It would have delighted you to have seen me the last evening, my charming girl! I was dangling o'er the battery with Billy Dimple; a knot of young fellows were upon the platform; as I passed them I faltered with one of the most bewitching false steps you ever saw, and then recovered myself with such a pretty confusion, flirting my hoop to discover a jet black shoe and brilliant buckle. Gad! how my little heart thrilled to hear the confused raptures of--"_Demme, Jack, what a delicate foot!_" "_Ha! General, what a well-turned--_"

LETITIA. Fie! fie! Charlotte [_Stopping her mouth._]. I protest you are quite a libertine.

CHARLOTTE. Why, my dear little prude, are we not all such libertines? Do you think, when I sat tortured two hours under the hands of my friseur, and an hour more at my toilet, that I had any thoughts of my aunt Susan, or my cousin Betsey? though they are both allowed to be critical judges of dress.

LETITIA. Why, who should we dress to please, but those who are judges of its merits?