Abraham Lincoln - John Drinkwater

 

Abraham Lincoln is the play that made John Drinkwater famous on both sides of the Atlantic.  He produced it at Birmingham Repertory Theatre, which he ran, in October 1918.  It then transferred to London and became an enormous hit, even though - as everyone said at the time - it had none of the usual attributes of commercial theatrical success.  There is no love interest, no jokes.  Any real conflict is either offstage or internal until the very last moment.  There are no surprises.  Barely any continuity.  Instead we jump from Lincoln at home, accepting nomination, to the White House a year later,  then two years later, then Appomattox, April 1865, and finally Ford's Theatre, a few evenings later.

What the play had, however, and what the English public desperately wanted to see as the world's worst war finally ended, was a moral hero who justified the bloodshed and pledged reconciliation.  This, of course, is not what Allied politicians ultimately delivered, but it was absolutely what the public wanted.  And it is beautifully done.  Drinkwater was a minor Georgian poet who dabbled in verse drama before he wrote Lincoln.  He was also a man of the theatre.  His father had walked out on a secure teaching job to go on the stage.  Drinkwater himself had been with Barry Jackson, who had founded and built the Birmingham Rep in 1913, for more than a decade.  He knew what the public wanted and he provided it.

The history is accurate enough, but it is revealed subtly and only when absolutely needed.  Nobody's character develops much except for Lincoln, who undergoes every bit of suffering during the bloody Civil War but keeps on going because do so is the right thing.  He frees the slaves.  He lets the defeated Confederate cavalry keep their horses to till the land.  And as we all know, for this he was shown no mercy.  The assassination, which we all know is coming, is handled in the only way it can still be shocking - in a true coup de theatre, which must have been a nightmare to stage (Barry Jackson himself designed the sets).

Traces of the conventions of the English Arts Theatre movement survive in the poetic chorus of two 'chroniclers'.  These are easily ignored for the modern reader.  We will simply say, this is why Drinkwater was the least successful of the core Georgian poets.  He made up for it by being a much better playwright than any other (and, for those who don't know, all the others wrote plays).

John Masefield - Muriel Spark

I never realised Muriel Spark wrote literary criticism. In this case she basically wrote it twice - in 1952, long before she was famous, and a thorough revision in 1991, when she was a literary icon. We are regularly reminded of this duality throughout the text.

It is a short book in which she essentially focuses on three narrative poems of some length, The Everlasting Mercy (1911), Dauber (1913), and Reynard the Fox (1919), none of which I have read. It doesn't matter. Spark convinces me that I ought to and that these are significant of their type. She benefits, of course, from having met Masefield who gave amiable support throughout the first version in 1952. Equally, he benefits from having Spark to defend him, being everything he was not - modern (in the day), young and female.

We think of Masefield as the poet of the sea, and Dauber is indeed the story of an aspirant painter who goes to sea, but it was The Everlasting Mercy that made him famous (very famous, almost overnight), the story of a Victorian rustic hooligan who sees the light. I really must look it up.

Rupert Brooke, His Life and Legend - John Lehmann

I have been reading a lot about Rupert Brooke lately, in connection with a couple of personal projects of which, hopefully, more later. There are a fair few works on Brooke but the vast majority suffer from an obvious problem - length. Brooke was astonishingly busy, he wrote a lot from an early age, he had an enormous social circle and he travelled the world. But even so, he was only 27 when he died, and you simply can't justify 500+ pages for a life that short.

John Lehmann (1907-87) came of an astonishingly intellectual and creative family. His sister Rosamund was a novelist, his sister Beatrix a highly-celebrated actress. John was a poet and publisher. He founded New Writing in 1936, became a managing director of the Hogarth Press in 1938 and founded his own firm, John Lehmann Limited, in 1946. Finally, in 1954, he started The London Magazine. It's all very close-knit, a bit incestuous, and a bit artsy-craftsy. Which made him the perfect author for a critical biography of Rupert Brooke, who was a beneficiary and part-creator of similar arrangements before his ludicrous death in 1915. Best of all, Lehmann can do in 170 pages what Brooke's other biographers can't manage in several hundred pages. He brings Brooke alive in all his contradictory aspects - obsessed with women but offensively dismissive when the mood takes him; flirting with homosexuality but keeping his patron Eddie Marsh, who worshiped him, at a very resolute arm's length; globetrotting but always trying to micromanage his English friends. He was not a nice man but he was extraordinarily beautiful. He was a talented poet, more gifted than most in his day but did not live long enough to become truly great. And, as Lehmann says, he has been abandoned by the lirerary world which prostrated itself before his metaphorical shrine in 1915, in favour of those who came shortly after him and who lived long enough to experience the true horror of mechanized war: Sassoon, Owen and Graves.

Lehmann treats Brooke's service in a respectful and fair manner. Brooke was a volunteer, as everyone was in 1914. He did not ask Marsh, who was Churchill's secretary, to get him a safe billet in the Royal Navy Voluntary Reserve and it soon proved not to be particularly safe. Lehmann is better than most is describing Brooke's single experience of being under fire, in the long-forgotten farce of the British attempt to relieve the German siege of Antwerp. And let us not forget that Brooke was en route for the Dardanelles and the mass slaughter of Gallipoli when sunstroke did for him.

For anyone wanting to dip their toe into Brooke studies and come away with solid facts and a sound appraisal of his achievements, I cannot recommend Lehmann too highly.