STEELE MACKAYE
(1844-1894)
When one realizes the sociological purpose behind Steele Mackaye's "Paul Kauvar; or, Anarchy," it is interesting to note how inefficient the old form of drama was to carry anything more than the formal romantic fervour. Compared with John Galsworthy's treatment in "Strife" and "Justice," it makes one glad that realism came and washed away all the obscuring claptrap of that period. Daly, Boucicault, and their generation were held firmly in its grip; they could not get away from it, and they were justified in their loyalty to it by the insistent claim "The Two Orphans" and "The Lady of Lyons" had upon the public. All the more credit, therefore, that Bronson Howard, David Belasco, and James A. Herne escaped it; had the latter completely freed himself of melodrama, his plays would be better known to-day, better capable of revival, because of the true greatness of their simple realistic patches.
But where Mackaye vitalized the old style was in the vigour of his treatment. He loved the large scene, the mob movement; and he worked with a big brush. As Nym Crinkle, the popular New York World dramatic critic of the day, wrote: "Whatever else he may be, [he] is not a 'lisping hawthorne bud'! He doesn't embroider such napkins as the 'Abbé Constantin', and he can't arrange such waxworks as 'Elaine'. He can't stereoscope an emotion, but he can incarnate it if you give him people enough."
Mackaye's mind was large, resourceful, daring—both in the opinions it upheld, and the practical theatrical innovations it introduced into the theatre, like the double stage for the little Madison Square playhouse, in New York, which was the precursor of such modern paraphernalia as came later with the foreign revolving stages. He always stood on the threshold of modernism, advocating those principles which were to fructify in the decades to follow him. Such pioneer spirit was evident in his ardent advocacy of Delsarte methods of acting; his own work as an actor was coloured and influenced by the master whose pupil he became in the early years of his career. When one recalls the methods of Wallack, and his shy approach toward anything which was "natural," it seems very advanced to hear Mackaye echoing the Delsarte philosophy. This advocacy was nowhere better demonstrated than when, at a breakfast given him at the New York Lotos Club, he talked on the rationale of art for two hours, and held spell-bound the attention of Longfellow, Bryant, Louis Agassiz, James J. Fields, E.P. Whipple, Edwin Booth and others. He once said:
A man to be a true actor must not only possess the power to portray vividly the emotions which in any given situation would be natural to himself, but he must study the character of the man whom he impersonates, and then act as that man would act in a like situation.
Mackaye's devotion to Delsarte was manifest in the many practical ways he aided his teacher; he was rewarded by being left most of his master's manuscripts. This passionate interest in the technique of acting not only enriched his own work, but, in 1872, prompted him to open a Delsarte house (the St. James Theatre), and later interested him in a school of acting. Mackaye studied at the École des Beaux Arts and the Conservatoire, in Paris, having as an instructor at the latter institution M. Regnier. On his way back to America, Tom Taylor persuaded him to attempt Hamlet in London, at the Crystal Palace. This essayal met with success. It also opened the way for collaboration with Tom Taylor in the writing of "Arkwright's Wife" and "Clancarty," and with Charles Reade of "Jealousy." At this time also he commenced a dramatization of George Eliot's "Silas Marner."
There were no half-way measures about Mackaye; things of the theatre and principles of the theatre caught and held his interest. At the very last of his life, while he was at work on his "Spectatorus," which foreran the American idea of a Hippodrome, and which might have, in years to come, happily housed his son Percy's "Caliban," he was at the same time attempting to combine with it an educational aspect which would lift it above the mere spectacular. The symbolical notes which he handed his son—who was then a mere boy—for the writing of a Chorus, show the profound approach he took to all his work. Such seriousness is one of the consuming traits of Percy, whose sense of humour is probably better developed than that of his father, and whose sway of literary expression is fuller.
For none of Steele Mackaye's dramas were written with any idea of being read. They were all constructed by one fully alive to the theatre and its demands. In view of this, it is surprising how well "Paul Kauvar" flows in type. The minor editorial changes made for this edition by Mr. Percy Mackaye are based on several manuscripts, and the result is the first authentic text of the play. Steele Mackaye was always gripped in fascination by mob psychology, always eager to write of the Reign of Terror. The version here used is the mature one, given its première at Buffalo, New York, May 30, 1887. But Mr. Percy Mackaye is authority for the statement that while his father was studying with Delsarte, in Paris, he became enamoured of the Revolution, and there are two manuscripts extant, "The Denouncer" and "The Terror," which indicate that he was chipping away at his theme very early in life. He recast these sketches in the summer of 1875, while at Brattleborough, Vt., where he had a cottage on the Bliss Farm, familiar now to Rudyard Kipling lovers because of the fact that here, too, Kipling wrote, at a later day.
The years 1875 and 1887 are the mileposts between which stretched a long period of successful play-writing by Steele Mackaye. By '75, he had already written "Marriage" (1872), "Arkwright's Wife" (1873) and "Clancarty" (1874). There followed quickly "Rose Michel" (1875, in collaboration), "Queen and Woman" (1876, an adaptation from Hugo), "Won at Last" (1877), "Through the Dark" (1878), "An Iron Will" (1879, later to be called "Hazel Kirke," 1880), "A Fool's Errand" (1881, an adaptation), "Dakolar" (1884), "In Spite of All" (1885), and "Rienzi" (1886). Then came the present play, followed by "A Noble Rogue" (1888) and "Money Mad," modelled after Hugo.
In correspondence with Mr. Percy Mackaye, it is significant to hear him insisting on his father's change in sociological bearing having taken place while writing "Paul Kauvar." Timeliness was given to its initial presentment through the fact that at the moment some Chicago anarchists had been on trial, and were condemned to death. Writing of the incident, William Dean Howells recalls that:
At the house of Judge Pryor, in 1887, several of us came together in sympathy with your father, who was trying—or had vainly tried—to get the United States Supreme Court to grant the Chicago anarchists a new trial. With your father I believed that the men had been convicted on an unjust ruling, and condemned for their opinions, not for a proven crime. I remember your father's wrathful fervour, and the instances he alledged of police brutality. [Letter to Mr. Percy Mackaye.]
In a published interview, Mackaye expressed his concern for the case; but he likewise was reticent about making theatre capital out of it. He is reported to have said:
The play was first called "Paul Kauvar; or, Anarchy." Then I thought "Anarchy" would be the best title, and under that I produced it in Buffalo. After its production, the Chicago anarchists were hanged, and, to avoid a possible charge of trading on that event, I went back to my first title. Later, however, the subtitle, "Anarchy," was gradually reduced to smaller lettering and finally dropped.
The success of the play on its first night was a double triumph, for twelve hundred leading citizens had signed an invitation to have it given in Mackaye's native city, and the evening was a kind of public testimony to his position. This was one of the rare instances of an American dramatist receiving such recognition. Mackaye assumed the title-rôle, and, supporting him were Frederick de Belleville, Eben Plympton, Sidney Drew, Julian Mitchell, May Irwin, and Genevieve Lytton. Commenting on the occasion, the Buffalo Courier said:
It was not as a playwright alone that his friends honour Mr. Mackaye. It may be said of him with strict justice that he is one of the few men of our day who have brought to the much-abused theatre the intelligence, the skill, the learning and the genius that it so much needs in an era of speculators and buffoons. He has always been able and willing to take the pen or the rostrum, whether at Harvard or at Steinway Hall, to expound the principles upon which he has so assiduously worked for the past fifteen years.
Mackaye had chosen his theme in the same spirit that Judge Conrad had selected "Jack Cade." He wished to measure the danger of liberty, but he did so indirectly, for the play does not abound in long philosophical flights of definition and warning. He himself confessed that the subject was defined only once, in these words, spoken by the hero to the woman he loves, when she is pleading with him to flee from France. He silences her by saying:
"I must stay to war with beasts who bring disgrace upon our noble cause. The torch of liberty, which should light mankind to progress, when left in madmen's hands, kindles that blaze of anarchy whose only end is ashes."
This indicates very distinctly that Mackaye's stand for the Chicago anarchists was not due to sympathy with their political monomania, but rather championed justice which, only when rightly used, will stem the tide of overwrought minds. With the execution of these men, he believed the cause of anarchy would be strengthened by the general impression gained of their martyrdom. His attitude was widely discussed, and "Paul Kauvar" became a visible demonstration of anarchy gone mad.
Of the component elements in his play, Mackaye left a full record. It is worth preserving as indication of his motive. In an interview he said:
For many years I have devoted myself to the mechanical, as well as the artistic side of the theatre, in the hope that by improving stage mechanism I might help to develop the artistic ensemble essential to high art results in the theatre. To this end I have made numerous inventions, and designed and built several theatres. [The Madison Square and the Lyceum Theatres.]
In this work I have been almost daily in contact with labourers and mechanics of every kind, and this contact stirred in me a very deep and sincere sympathy with these classes of men. I was led to realize the greatness of obligation under which the whole world is placed by the industry, ability and devotion to duty which characterizes by far the larger portion of the working classes.
At the same time, through relations intimate and confidential, I became conscious that certain foreign ideas—the natural outgrowth of excessive poverty and despotism in the Old World—were insinuating themselves into the hearts and minds of American labourers to an extent perilous to their own prosperity and to the very life of the republic.
In this country political corruption and the grasping spirit of corporations are constantly affording the demagogue or the dreamer opportunity to preach the destruction of civil order with great plausibility, giving scope to reckless theorists who have so often, in the world's history, baffled the endeavours of the rational and patient liberalists of their day.
This excited in me an ardent desire to do what little I could as a dramatist to counteract what seemed to me the poisonous influences of these hidden forces: to write a play which might throw some light on the goal of destruction to which these influences inevitably lead, whenever the agitation between capital and labour accepts the leadership of anarchism.
The time chosen by me was that of the Terror in France, 1793-94, during which the noble fruits of the French Revolution came near to annihilation, thanks to the supremacy, for a time, of a small band of anarchical men who, in the name of liberty, invoked the tyranny of terror.
The hero of my play, Paul Kauvar, has for his prototype Camille Desmoulins, one of the most conspicuous and sincere sons of liberty of his day, who—in spite of his magnificent devotion to freedom—when he dared oppose the Jacobins, was beheaded at the guillotine—a martyr to national, as distinct from personal, liberty.
The typical anarchist in my play is portrayed in Carrac, whose prototype was Thomas Carier, sent into La Vendée as a representative of the Jacobin convention. It was this man who, without process of law, guillotined or destroyed most horribly over one hundred thousand innocent men, women, and children—in the name of liberty. He it was who invented the "republican marriage"—the drowned bodies of whose naked victims dammed the river Loire, and rendered its water pestilential.
The Duc de Beaumont portrays a type of the true noblesse of
France—proud, fearless, often unjust, never ignoble.
Gouroc depicts the intriguing type of noblesse whose egotism
and cruelty engendered the tyranny of the monarchy, and
justified its destruction.
The prototype of General Delaroche was the brave and generous
Henri de la Rochejacquelin, young leader of the royalists in
La Vendée.
By the interplay of these types, I have sought to emphasize what is truly heroic in the struggle which must ensue in all times between men and classes possessed of differing ideas. Especially it is the purpose of my play to remind the American masses, by the history of the past, not to assist foreign influences to repeat that history on this continent in the future.
A sound attitude, and one supported now (1920) daily in the conservative press, whenever I.W.W. and Bolshevist demonstrations shake the country! But "Paul Kauvar" is, to-day, not the kind of drama to drive home the lesson; fashions have changed.
On December 24, 1887, "Paul Kauvar" opened at the New York Standard
Theatre, with Joseph Haworth and Annie Robe, and thereafter started
on a stage career whose history is long and varied. It reached London,
May 12, 1890, under the management of Augustus Harris, at the Drury
Lane, with William Terriss and Jessie Millward heading the cast.
Nym Crinkle liked "Paul Kauvar" because of its vigourous masculinity. To him there was in it the "scintillant iron," "the strong arm, ruddy at times with the tongues of promethean fire." It is a big canvas, avowedly romantic. "It is," he wrote, after the play had been running in New York some months, "a work of great propulsive power, of genuine creative ingenuity, of massive dramatic effectiveness." On that account it is well worth the preserving and the reading.