ABRAHAM LINCOLN
A play byJOHN DRINKWATER
With an introduction byARNOLD BENNETT
BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
1919
DRAMATIC RIGHTS IN THE UNITED STATES
CONTROLLED BY WILLIAM HARRIS, JR.
ToTHE LORD CHARNWOOD
NOTE
In using for purposes of drama a personality of so wide and recent afame as that of Abraham Lincoln, I feel that one or two observations aredue to my readers and critics.
First, my purpose is that not of the historian but of the dramatist. Thehistorical presentation of my hero has been faithfully made in manyvolumes; notably, in England, by Lord Charnwood in a monograph thatgives a masterly analysis of Lincoln's career and character and is, itseems to me, a model of what the historian's work should be. To thisbook I am gratefully indebted for the material of my play. But while Ihave, I hope, done nothing to traverse history, I have freely telescopedits events, and imposed invention upon its movement, in such ways as Ineeded to shape the dramatic significance of my subject. I should addthat the fictitious Burnet Hook is admitted to the historical company ofLincoln's Cabinet for the purpose of embodying certain forces that wereantagonistic to the President. This was a dramatic necessity, and Ichose rather to invent a character for the purpose than to invest anysingle known personage with sinister qualities about which there mightbe dispute.
Secondly, my purpose is, again, that of the dramatist, not that of thepolitical philosopher. The issue of secession was a very intricate one,upon which high and generous opinions may be in conflict, but that I mayhappen to have or lack personal sympathy with Lincoln's policy andjudgment in this matter is nothing. My concern is with the profoundlydramatic interest of his character, and with the inspiring example of aman who handled war nobly and with imagination.
Finally, I am an Englishman, and not a citizen of the great country thatgave Lincoln birth. I have, therefore, written as an Englishman, makingno attempt to achieve a "local colour" of which I have no experience, orto speak in an idiom to which I have not been bred. To have doneotherwise, as I am sure any American friends that this play may have thegood fortune to make will allow, would have been to treat a greatsubject with levity.
J.D.
Far Oakridge,July-August, 1918
INTRODUCTORY NOTE
This play was originally produced by the Birmingham Repertory Theatrelast year, and it had a great success in Birmingham. But if its authorhad not happened to be the artistic director of the Birmingham RepertoryTheatre the play might never have been produced there. The rumour of theprovincial success reached London, with the usual result—that Londonmanagers magnificently ignored it. I have myself spoken with a verywell-known London actor-manager who admitted to me that he had refusedthe play.
When Nigel Playfair, in conjunction with myself as a sort of Chancellorof the Exchequer, started the Hammersmith Playhouse (for thepresentation of the best plays that could be got) we at once began toinquire into the case of Abraham Lincoln. Nigel Playfair was absolutelydetermined to have the play and the Birmingham company to act it. I readthe play and greatly admired it. We secured both the play and thecompany. The first Hammersmith performance was a tremendous success,both for the author of the play and for William J. Rea, the Irish actorwho in the rôle of Lincoln was merely great. The audience cried.
I should have cried myself, but for my iron resolve not to stain awell-earned reputation for callousness. As I retu