Q. Discuss William Dean Howell’s ‘Self Sacrifice’ as a Farce.
William Dean Howells’ play Self-Sacrifice (1887) is often
considered a key work in his exploration of the complexities of human nature
and social ideals, yet it can also be analyzed through the lens of farce, a
genre that thrives on exaggerated situations, absurdity, and comedic
misunderstandings. Farce, as a theatrical form, is rooted in humor and often
involves improbable situations, exaggerated characters, and a fast-paced plot
that is designed to elicit laughter. While Howells' play is not a farce in the
traditional sense of the word, it does exhibit many of the characteristics that
align it with this comedic genre, notably in its portrayal of human follies,
misunderstandings, and exaggerated situations.
William Dean Howells, known for his realistic portrayals of American
society, particularly in his novels and plays, often focused on the moral
complexities of human life and the social constraints that shaped individuals'
actions. However, in Self-Sacrifice, Howells plays with the
conventions of farce to critique the social and moral codes of his time. The
play centers around a man, William, who is willing to sacrifice his own
happiness for the well-being of others, particularly his fiancée. This apparent
nobility of self-sacrifice, however, is complicated by a series of
misunderstandings, exaggerated situations, and social expectations that lead to
a comedic unraveling of the plot, making it a suitable subject for farcical
analysis.
At the heart of Self-Sacrifice is the theme of moral idealism
versus social reality, a concept that often serves as the foundation for farce.
The main character, William, is a man whose sense of duty and sacrifice leads
him to believe that he must abandon his personal happiness for the sake of
others. This sense of moral superiority, which initially seems noble, becomes
the catalyst for a series of absurd situations. The comedic tension in the play
arises from the way in which William’s attempts at self-sacrifice are
misinterpreted by the other characters, and the audience’s awareness of the
absurdity of his actions creates a sense of dramatic irony. The situations that
arise from these misunderstandings are typical of the farcical genre, where
characters’ misguided motivations lead to comedic chaos.
The exaggerated nature of the characters in Self-Sacrifice
also lends itself to a farcical reading. Farce often involves characters who
are larger-than-life figures, defined by their exaggerated traits and
behaviors. In Self-Sacrifice, William’s excessive sense of duty and
moral righteousness is portrayed in an exaggerated manner, making him a
caricature of the idealistic, self-sacrificing hero. His fiancée, who is
portrayed as somewhat naive and unaware of his true feelings, also fits the
mold of a farcical character. She misunderstands William’s actions and
motivations, which leads to a series of comical situations. The play’s other
characters, including those who serve as foils to William’s self-sacrifice,
also exhibit exaggerated qualities that create comedic friction. These
larger-than-life characters, who are defined by their moral or social failings,
further the farcical tone of the play.
Another key characteristic of farce is the rapid pace of the plot and
the use of mistaken identities or misunderstandings to drive the action
forward. Self-Sacrifice contains elements of this fast-paced,
confusion-driven structure. The play’s plot revolves around the
misunderstanding of William’s self-sacrificial actions and the subsequent
efforts of the other characters to resolve the situation. The comedic tension
increases as these misunderstandings accumulate, leading to a climax in which
the characters’ motivations and actions are revealed to be based on flawed
perceptions of reality. The rapid escalation of these misunderstandings and the
absurdity of the characters’ responses to them are hallmarks of farce, where
the plot moves quickly and the characters are caught in a series of escalating,
often ridiculous situations.
One of the defining features of farce is the way it plays with social
conventions and exposes the absurdities of societal expectations. Self-Sacrifice
critiques the social norms surrounding self-sacrifice, duty, and romantic
relationships, which were particularly important themes in 19th-century
American society. The play’s treatment of William’s moral idealism exposes the
rigidity of these social expectations, as his willingness to sacrifice his own
happiness is shown to be based on misguided assumptions about duty and love. In
a farce, social conventions are often turned upside down, with characters
either rebelling against or being trapped by these norms. In Self-Sacrifice,
the exaggerated social conventions surrounding self-sacrifice and morality
become the basis for the play’s comedic situations, as the characters’
adherence to these conventions leads them into absurd and farcical
predicaments.
The use of dramatic irony in Self-Sacrifice also contributes
to its farcical nature. Farce often relies on dramatic irony, where the audience
is aware of the true nature of a situation while the characters are not. In Self-Sacrifice,
the audience understands that William’s actions are based on a
misinterpretation of his role in the social order, but the other characters are
oblivious to this fact. This creates a sense of humor, as the characters’
actions are increasingly absurd in light of the audience’s awareness of the
situation. The dramatic irony builds as the plot progresses, with each
character’s misunderstanding of the situation contributing to the farcical
nature of the play. William’s attempts to be noble and self-sacrificial are
repeatedly thwarted by the actions of the other characters, and the audience’s
awareness of the absurdity of his situation enhances the comic effect.
The resolution of the play, in which the misunderstandings are cleared
up and order is restored, is also a characteristic of farce. In typical
farcical fashion, the play ends with a return to social harmony, albeit after a
series of comedic complications. In Self-Sacrifice, the eventual
resolution comes when the characters recognize the absurdity of the situation
and understand the true motivations behind William’s actions. This return to
order, after a period of comedic chaos, is a common feature of farce, in which
the disruption of social norms is followed by a restoration of equilibrium. The
final resolution of the play, in which the characters come to terms with the
misunderstandings and William’s self-sacrifice is no longer required, reflects
the farcical notion that societal expectations, when taken to extremes, are
both unrealistic and unnecessary.
Despite the many farcical elements present in Self-Sacrifice,
it is important to note that the play also contains elements of realism, which
is characteristic of Howells’ broader body of work. Howells is known for his
exploration of social issues and the moral dilemmas faced by individuals in a
rapidly changing society. In Self-Sacrifice, the play’s treatment of
moral ideals, self-sacrifice, and social expectations reflects the influence of
realism, as the characters grapple with issues that are deeply rooted in the
social fabric of the time. The play’s comedic treatment of these issues,
however, shifts it toward the farcical genre, where the exaggerated portrayal
of characters and situations serves to highlight the absurdity of their
actions.
In conclusion, William Dean Howells’ Self-Sacrifice can be
analyzed as a farce due to its use of exaggerated characters, improbable
situations, misunderstandings, and social critique. The play’s focus on the
absurdity of moral idealism, its fast-paced plot, and the dramatic irony that
permeates the narrative are all hallmarks of farce. While Howells’ work is
often associated with realism, Self-Sacrifice demonstrates his ability
to blend elements of farce with his exploration of social and moral issues. By
using the conventions of farce, Howells critiques the societal expectations
surrounding self-sacrifice and duty, exposing the flaws and contradictions
inherent in these ideals. Ultimately, Self-Sacrifice is a comedic
exploration of human folly and the complexities of social and moral
expectations, making it a noteworthy example of Howells’ versatility as a
playwright.
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