The Contrast | Page 4

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 NewYork,?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 lawabiding?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