INTRODUCTION.

THE 'Contrast' was the first American play ever performed in public by a company of professional actors. Several plays by native authors had been previously published, the more noteworthy being the 'Prince of Parthia,' a tragedy by Thomas Godfrey of Philadelphia, which was probably written, and was offered to Hallam's company in 1759 (but not produced), and was printed in 1765, two years after the author's death.[1]

A comedy called the 'Mercenary Match,' by one Barnabas Bidwell, is said to have been performed by the students at Yale College, under the auspices of the Rev. Dr. Ezra Styles, President of the College. Dunlap speaks of having heard it read, but does not mention whether it was from a manuscript or printed copy. It was printed at New Haven in 1785. The 'Contrast,' however, was the first to meet successfully the critical judgment and approval of a professional manager. This fact alone should redeem it from the neglect and inattention it has heretofore met with. Besides, it possesses considerable intrinsic merit, and as an acting play will compare favorably with many of the English comedies of the period; and though, perhaps, meager in plot and incident, it is bright, humorous, and natural; the dialogue is sparkling with genuine wit; and its satire aimed at the evils and follies of the time is keen and incisive. The contrast between the plain and simple honesty of purpose and breeding of our American home life and the tinseled though polished hypocrisy and knavery of foreign

fashionable society is finely delineated, and no doubt suggested the name of the play. Thoroughly natural in its plan and characters, it was a bold venture of a young writer in a new literary domain.

The character of Jonathan is a thoroughly original conception; nothing of the typical Yankee, since so familiar and popular, had as yet appeared, either on the stage or in print.

The 'Contrast' was first performed[2] at the John Street Theater, New-York City, on the 16th of April, 1787, and undoubtedly met with the approval of the public, as it was repeated on the 18th of April, the 2d and 12th of May the same season, and was reproduced with success later at Philadelphia, Baltimore, and Boston. It was, as far as can be learned, the first literary effort of its author, a most remarkable genius, and one of the pioneers in several branches of our literature, who, up to within a few weeks of its production, had never attended a theatrical performance.

Royall Tyler, the author of the 'Contrast,' was born at Boston, Mass., July 18, 1758, and belonged to one of the wealthiest and most influential families of New England. He received his early education at the Latin School, in his native city, graduated at Harvard, and during the Revolutionary War, and afterward in Shay's Rebellion, acted as aid-de-camp with the rank of Major on the staff of General Benjamin Lincoln. It was owing to the latter event that he came to New-York, being sent here by Governor Bowdoin on a diplomatic mission with reference to the capture of Shay, who had crossed the border line from Massachusetts into this State. This was the first time that Tyler had left his native New England, and the first time he could have seen the inside of a regular theater, thus confirming the statements made in the preface of the play as to the author's inexperience in the rules of the drama, and as to the short time within which it was written, as his arrival in New-York was within but a few weeks of its first performance.

Tyler was apparently immediately attracted to the theater, for he became a constant visitor before and behind the curtain, and rapidly gained the friendship of all the performers, particularly that of Wignell, the low comedian of the company. He gave Wignell the manuscript of the 'Contrast,' and on the 19th of May, the same year, produced for that actor's benefit his second play, 'May-day in Town, or New-York in an Uproar,' a comic opera in two acts. He shortly afterward returned to his home at Boston, where, several years later (1797) another play from his pen, called 'A Good Spec, or Land in the Moon,' was produced. I have been unable to ascertain whether either 'Mayday' or 'A Good Spec' was ever printed or not.

Tyler's modesty or indifference as to his literary reputation, as evidenced in his treatment of his plays, characterized his conduct throughout life with respect to his other works; so that, of the many productions of his pen that have been printed, the only one that bears his name upon the title-page is a set of Vermont Law Reports. And though early in life he acquired among literary circles a reputation as a witty and graceful writer of poetry and prose, it is doubtful whether he benefited much by his writings, either pecuniarily or in popularity, as an author. They were undoubtedly the recreation of his leisure moments, and though they were thrown off from time to time without apparent effort, they bear internal evidence of being the result of deep reflection and much reading.[3]

Tyler adopted the legal profession, married, settled in Vermont, became celebrated as a successful advocate, was elected a Judge, and later, Chief Justice of the Supreme Court of Vermont, and died at Brattleboro, in that State, August 16, 1826.

The success of the 'Contrast' was one of the powerful influences which aided in bringing about in this country a complete revolution of sentiment with respect to the drama and theatrical amusements. Up to the time it first appeared, the drama here had met with few friends, and but little favor.

A single company of English players, the so-called first "American Company," after a long and bitter struggle with the intolerance and prejudices of the Puritan and Quakers, had attained some slight favor in New-York, Philadelphia, and some of the Southern cities; but in New England the prohibitory laws against all theatrical amusements were still in force and were rigidly executed. The Continental Congress, while not absolutely suppressing,[4] had set its seal of condemnation against the theater, so that the most reputable and law-abiding of our people were kept away from all theatrical amusements, if not from inclination, at least by the fear of deviating from the plain path of their duty. But immediately after the production of the 'Contrast,' a radical change of opinion in respect to the drama is apparent.

Plays by American authors followed in rapid succession, the stigma against the theater gradually and completely faded away; and when the first citizen of the United States, the immortal Washington, attended in state as President to witness a first-night performance of an American play, the revolution was complete. At Boston a number of the most prominent, intelligent, and influential citizens assembled in town meetings, and passed resolutions instructing their representatives to demand of the Legislature an immediate repeal of the laws against theatrical amusements, and upon such repeal being refused, they subscribed the necessary funds to erect a theater and invited the American Company to visit Boston to give a series of performances there, which invitation was accepted. There was some interference on the part of the authorities, but the new theater was erected and performances publicly given there, while the prohibitory law became a dead letter.

It will be noticed that the frontispiece is from a drawing by Dunlap, which must have been done by him shortly after his return from England, where he had been studying art as a pupil under Benjamin West. It was evidently intended to represent the portraits of Mr. and Mrs. Morris, Mr. Henry, Mr. Wignell, and Mr. Harper, in their respective characters in this play, with the scenery as given in the last act at the John Street Theater, the first season, but the inferior work of the engraver had made it of little value as likenesses.

The illustration to the song of Alknomook is from music published contemporaneously with the play. This song had long the popularity of a national air and was familiar in every drawing-room in the early part of the century. Its authorship has been accredited both to Philip Freneau and to Mrs. Hunter, the wife of the celebrated English physician, John Hunter. It was published as by Freneau in the American Museum, where it appears (with slight changes from the version in the 'Contrast') in vol. I., page 77. But Freneau never claimed to have written it, and never placed it among his own collections of his poems, several editions of which he made long after the 'Contrast' was published. Mrs. Hunter's poems were not printed till 1806, and the version of the song there printed is an exact copy as given in the play. This song also appeared in a play, entitled, 'New Spain, or Love in Mexico,' published at Dublin in 1740. After considerable research, I have become convinced that Alknomook is the offspring of Tyler's genius.

THOMAS J. MCKEE

THE CONTRAST

A COMEDY; IN FIVE ACTS:

WRITTEN BY A CITIZEN OF THE UNITED STATES;

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.

THE CONTRAST

(BEING THE FIRST ESSAY OF *AMERICAN* GENIUS IN 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

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 pris'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. VANROUGH, 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.

The Contrast.

—————

ACT I.

Scene, 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 faultered 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 are judges of its merit?

CHARLOTTE

Why, a creature who does not know Buffon from Souflee—Man!—my Letitia—Man! for whom we dress, walk, dance, talk, lisp, languish, and smile. Does not the grave Spectator assure us that even our much bepraised diffidence, modesty, and blushes are all directed to make ourselves good wives and mothers as fast as we can? Why, I'll undertake with one flirt of this hoop to bring more beaux to my feet in one week than the grave Maria, and her sentimental circle, can do, by sighing sentiment till their hairs are grey.

LETITIA

Well, I won't argue with you; you always out-talk me; let us change the subject. I hear that Mr. Dimple and Maria are soon to be married.

CHARLOTTE

You hear true. I was consulted in the choice of the wedding clothes. She is to be married in a delicate white sattin, and has a monstrous pretty brocaded lutestring for the second day. It would have done you good to have seen with what an affected indifference the dear sentimentalist turned over a thousand pretty things, just as if her heart did not palpitate with her approaching happiness, and at last made her choice and arranged her dress with such apathy as if she did not know that plain white sattin and a simple blond lace would shew her clear skin and dark hair to the greatest advantage.

LETITIA

But they say her indifference to dress, and even to the gentleman himself, is not entirely affected.

CHARLOTTE

How?

LETITIA

It is whispered that if Maria gives her hand to Mr. Dimple, it will be without her heart.

CHARLOTTE

Though the giving the heart is one of the last of all laughable considerations in the marriage of a girl of spirit, yet I should like to hear what antiquated notions the dear little piece of old-fashioned prudery has got in her head.

LETITIA

Why, you know that old Mr. John-Richard-Robert-Jacob-Isaac-Abraham-Cornelius Van Dumpling, Billy Dimple's father (for he has thought fit to soften his name, as well as manners, during his English tour), was the most intimate friend of Maria's father. The old folks, about a year before Mr. Van Dumpling's death, proposed this match: the young folks were accordingly introduced, and told they must love one another. Billy was then a good-natured, decent-dressing young fellow, with a little dash of the coxcomb, such as our young fellows of fortune usually have. At this time, I really believe she thought she loved him; and had they been married, I doubt not they might have jogged on, to the end of the chapter, a good kind of a sing-song lack-a-daysaical life, as other honest married folks do.

CHARLOTTE

Why did they not then marry?

LETITIA

Upon the death of his father, Billy went to England to see the world and rub off a little of the patroon rust. During his absence, Maria, like a good girl, to keep herself constant to her nown true-love, avoided company, and betook herself, for her amusement, to her books, and her dear Billy's letters. But, alas! how many ways has the mischievous demon of inconstancy of stealing into a woman's heart! Her love was destroyed by the very means she took to support it.

CHARLOTTE

How?—Oh! I have it—some likely young beau found the way to her study.

LETITIA

Be patient, Charlotte; your head so runs upon beaux. Why, she read Sir Charles Grandison, Clarissa Harlow, Shenstone, and the Sentimental Journey; and between whiles, as I said, Billy's letters. But, as her taste improved, her love declined. The contrast was so striking betwixt the good sense of her books and the flimsiness of her love-letters, that she discovered she had unthinkingly engaged her hand without her heart; and then the whole transaction, managed by the old folks, now appeared so unsentimental, and looked so like bargaining for a bale of goods, that she found she ought to have rejected, according to every rule of romance, even the man of her choice, if imposed upon her in that manner. Clary Harlow would have scorned such a match.

CHARLOTTE

Well, how was it on Mr. Dimple's return? Did he meet a more favourable reception than his letters?

LETITIA

Much the same. She spoke of him with respect abroad, and with contempt in her closet. She watched his conduct and conversation, and found that he had by travelling, acquired the wickedness of Lovelace without his wit, and the politeness of Sir Charles Grandison without his generosity. The ruddy youth, who washed his face at the cistern every morning, and swore and looked eternal love and constancy, was now metamorphosed into a flippant, palid, polite beau, who devotes the morning to his toilet, reads a few pages of Chesterfield's letters, and then minces out, to put the infamous principles in practice upon every woman he meets.

CHARLOTTE

But, if she is so apt at conjuring up these sentimental bugbears, why does she not discard him at once?

LETITIA

Why, she thinks her word too sacred to be trifled with. Besides, her father, who has a great respect for the memory of his deceased friend, is ever telling her how he shall renew his years in their union, and repeating the dying injunctions of old Van Dumpling.

CHARLOTTE

A mighty pretty story! And so you would make me believe that the sensible Maria would give up Dumpling manor, and the all-accomplished Dimple as a husband, for the absurd, ridiculous reason, forsooth, because she despises and abhors him. Just as if a lady could not be privileged to spend a man's fortune, ride in his carriage, be called after his name, and call him her nown dear lovee when she wants money, without loving and respecting the great he-creature. Oh! my dear girl, you are a monstrous prude.

LETITIA

I don't say what I would do; I only intimate how I suppose she wishes to act.

CHARLOTTE

No, no, no! A fig for sentiment. If she breaks, or wishes to break, with Mr. Dimple, depend upon it, she has some other man in her eye. A woman rarely discards one lover until she is sure of another. Letitia little thinks what a clue I have to Dimple's conduct. The generous man submits to render himself disgusting to Maria, in order that she may leave him at liberty to address me. I must change the subject. [Aside, and rings a bell.

Enter SERVANT.

Frank, order the horses to.—Talking of marriage, did you hear that Sally Bloomsbury is going to be married next week to Mr. Indigo, the rich Carolinian?

LETITIA

Sally Bloomsbury married!—why, she is not yet in her teens.

CHARLOTTE