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This article attempts to study Lanford's Wilson's yearning for an idealized past in his major plays and their relationship with American cultural tradition.
The 1960's was one of the most troubled decades of modem times. Almost every institution was called into question and almost every established order flouted. At the core of this confusion and trouble, there was a fundamental conflict with civilized man pitted against natural man. This kind of conflict, one of the recurrent themes of history, was especially evident in the 1960's.
American drama was also in the vortex of this creative confusion. Lanford Wilson was one of the dramatists who participated wholeheartedly and luckily in the Off Off Broadway movement. Although he was identified with the Off Off Broadway movement, his interest was mainly in recovering traditional American cultural values rather than in politics and dramatic experimentations. The body of his works shows his effort to put on stage a kind of epic encompassment of American experience and mythologies. His major theme is America and the best of its cultural values.
One of his early plays, Hot I Baltimore is Wilson's threnody for an era of building with a vision for a nation's future. That vision, however, has been dissipated through changing values. The neglected Hotel Baltimore is a symbol of the American cultural heritage devoured and discarded in the name of the modern. Hot 1 Baltimore, like Wilson's other early plays, was criticized as being pessimistic. If we place this work in a right perspective, however, the play is a commemoration of establishments and institutions of the past. By glancing back at history and in surveying their present circumstances, the group of misfits in the play learn the meaning of the past. Even his early plays peopled with outsiders of society are tinged with a distinct element of nostalgia. One of the key images which makes it possible to change this play from an incipient tragedy to a true comedy is the strong yearning for the railroad. In the play the decline of the railroad is equivalent to the decline of the decency and graces of the past.
The train in American cultural tradition is a "physical symbol invested with political and metaphysical ideality." It was expected to fulfil the old yearning for a passage to India. This kind of rhetoric conveys a sense of unlimited possibility which seized the American imagination. If the eulogy for the railroad in several of his works shows a balanced belief in technology together with the longing for what's best in the American past, the symbol of the garden refers to yet another equally strong cultural idea, America as the Garden of the World.
Wilson's Talley trilogy deals with the passage of time in order to express nostalgia over the loss of gentility and decency. The first of the trilogy, S`h of July, provides fertile ground for Wilson's imaginative vision of America. The title of the play is an invitation to look at what happens the day after the birth of the American Dream. What happens is a conflict between a coarse wealthy new order on the one hand, and culture, tradition, husbandry and a genteel old order bound to the land on the other. The family manor Ken Talley is tempted to sell the old family place to a grasping couple. Ken, who used to be withdrawn from an ordinary life of commitment discovers new meaning and decides to confront the future on the inherited family place. The central metaphor of the play is cultivation and gardening. At the end of the play the manorial garden is ready to bloom and the lost rose is discovered.
The real genuine America in Wilson's vision is ultimately a garden. At the same time, however, Wilson does not lose sight of the importance of technology as can be seen in his attitude toward the train, another strong cultural image in American tradition. From his early plays, America and the best of its cultural values, Wilson's major themes, run through his works with a distinct tinge of nostalgia.
The 1960's was one of the most troubled decades of modem times. Almost every institution was called into question and almost every established order flouted. At the core of this confusion and trouble, there was a fundamental conflict with civilized man pitted against natural man. This kind of conflict, one of the recurrent themes of history, was especially evident in the 1960's.
American drama was also in the vortex of this creative confusion. Lanford Wilson was one of the dramatists who participated wholeheartedly and luckily in the Off Off Broadway movement. Although he was identified with the Off Off Broadway movement, his interest was mainly in recovering traditional American cultural values rather than in politics and dramatic experimentations. The body of his works shows his effort to put on stage a kind of epic encompassment of American experience and mythologies. His major theme is America and the best of its cultural values.
One of his early plays, Hot I Baltimore is Wilson's threnody for an era of building with a vision for a nation's future. That vision, however, has been dissipated through changing values. The neglected Hotel Baltimore is a symbol of the American cultural heritage devoured and discarded in the name of the modern. Hot 1 Baltimore, like Wilson's other early plays, was criticized as being pessimistic. If we place this work in a right perspective, however, the play is a commemoration of establishments and institutions of the past. By glancing back at history and in surveying their present circumstances, the group of misfits in the play learn the meaning of the past. Even his early plays peopled with outsiders of society are tinged with a distinct element of nostalgia. One of the key images which makes it possible to change this play from an incipient tragedy to a true comedy is the strong yearning for the railroad. In the play the decline of the railroad is equivalent to the decline of the decency and graces of the past.
The train in American cultural tradition is a "physical symbol invested with political and metaphysical ideality." It was expected to fulfil the old yearning for a passage to India. This kind of rhetoric conveys a sense of unlimited possibility which seized the American imagination. If the eulogy for the railroad in several of his works shows a balanced belief in technology together with the longing for what's best in the American past, the symbol of the garden refers to yet another equally strong cultural idea, America as the Garden of the World.
Wilson's Talley trilogy deals with the passage of time in order to express nostalgia over the loss of gentility and decency. The first of the trilogy, S`h of July, provides fertile ground for Wilson's imaginative vision of America. The title of the play is an invitation to look at what happens the day after the birth of the American Dream. What happens is a conflict between a coarse wealthy new order on the one hand, and culture, tradition, husbandry and a genteel old order bound to the land on the other. The family manor Ken Talley is tempted to sell the old family place to a grasping couple. Ken, who used to be withdrawn from an ordinary life of commitment discovers new meaning and decides to confront the future on the inherited family place. The central metaphor of the play is cultivation and gardening. At the end of the play the manorial garden is ready to bloom and the lost rose is discovered.
The real genuine America in Wilson's vision is ultimately a garden. At the same time, however, Wilson does not lose sight of the importance of technology as can be seen in his attitude toward the train, another strong cultural image in American tradition. From his early plays, America and the best of its cultural values, Wilson's major themes, run through his works with a distinct tinge of nostalgia.
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