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Title American Playwright Robert E. Sherwood -The American Playwright Robert E. Sherwood -The Title Third Version of Acropolis （1937），an Incomplete and Unpublished Work- Author(s) 依田,里花 Citation 明治大学国際日本学研究, 12(1): 169-182 URL http://hdl.handle.net/10291/21055 Rights Issue Date 2020-03-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University 169 169 [Articles 】 American Playwright Robert E. Sherwood: The Third Version of Acropolis (1937), an Incomplete and Unpublished Work YODA, Rika Abstract Abstract This This study focuses on one of the most prominent American dramatists of the mid-20th Century. Robert Robert E. Sherwood. whose work is now little known to readers and audiences. A survivor of the trench trench fighting of World War I. Sherwood focused in his writing on how human beings can face with with dignity the darkness of war and work never to give up on the individual and collective quest for for peace and the realization of the concept of democracy. The present study looks in particular at the the third version of his unpublished work Acropolis. a play to which he constantly found himself returning. returning. While the two earlier versions of this play are not currently available. the writer refers to to a carbon copy of the third version which contains Sherwood's handwritten notes in the margins. The writer compares this third version with outlines of and quotations from the earlier versions provided provided in Meserve・s 1970 study of Sherwood's work. Arguing that the differences between the two earlier versions and the third help to clarify Sherwood's philosophy, the writer then goes on to show how the core themes that preoccupy Sherwood in the 1937 version are clearly reflected in his first first published work The Road to Rome (1927), as well as in his three major plays: Idiot's Delight (1936). (1936). Abe Lincoln in Illinois (1938) and There Shall Be No N,ht (1940). Keywords: 20th century American drama, American antiu』•ar drama, Robert E. Sherwood 1. 1. Prologue Robert Robert Emmet Sherwood (1896-1955) was a prominent American playwright of the mid-20th century century and three-time recipient of the Pulitzer Prize for his plays, Idiot's Delight (1936). Abe Lincoln Lincoln in Illinois (1938) and There Shall Be No Night (1940). His biographical work Roosevelt 170 170 『明治大学国際日本学研究』第 12 巻第 1 号 and Hopkins: An Intimate History (1948) brought him another Pulitzer Prize for biography. Some of his works were made into films. Waterloo Bridge (1930). starring Robert Taylor and Vivian Vivian Leigh, was a major hit. and its Japanese adaptation. Kimi No Na l-Va (1953), also enjoyed great great success in Japan. The Petnfied Forest (1935) was brought to the screen in 1936 with Bette Davis. Davis. Leslie Howard and Humphrey Bogart in the leading roles. Both Howard and Bogart also performed performed in these roles in stage productions. Abe Lincoln in Illinois was also made into a film m 1940. with Raymond Massey in the leading role. The Best Years of Our Lives (1946). which was wntten for the screen. won Sherwood the 1947 Academy Award for Writing (Screenplay). Sherwood's Sherwood's writing was passionately imbued, throughout his entire career, with the theme of of world peace, a preoccupation that was rooted in his experiences of fighting in the trenches in World War I. As a Harvard University undergraduate, he had enlisted in 1917 in order to "make the the world safe for democracy" by fighting in "the war to end all wars" - familiar rallying cnes that that appealed to many idealistic young men of the time Rejected Rejected by the American army due to his being both too tall in proportion to his weight (6 feet feet 6½ inches, 167 pounds). he joined the Canadian Black Watch and was sent to the front lmes in in France. There he was wounded and subsequently hospitalized for a long period, first in France and then England. The experience of meeting and talking with fellow soldiers from all kinds of of different background, first as fellow combatants and subsequently as hospital companions, was radically transformative. From someone who used to see himself as someone special, "100 percent percent American - and a Harvard man, at that- I was superior." (There Shall Be No Night, p. 5) he he came to see himself as just a human being. He wrote of this transformation as "the revelation of of the narrowness and shallowness of my own mind" (Ibid.) He resolved that he would "debunk the the history books that glamorized war, that he would put his future efforts into bringing peace, a lasting peace to the world." (J. Gould, pp. 101-102) After After graduating from Harvard and embarking on a career first at Vanity Fair and then Life Life magazines, he made his debut as a playwright in 1927 with The Road to Ro 加 e. "one of the first first clear post-World War I antiwar voices to be heard on the stage" (Alonso, p. 95). He was to suffer, suffer, until his death in 1955 of a heart attack at the age of 59, from the long-term effects of a poisonous poisonous gas attack that he had been a victim of in the trenches. It It is with the above background in mind that I focus. in this paper. on the third, 1937 version of of his unpublished play Acropolis. Sherwood's struggle to seek ways of bringing about world peace peace was to be with him all his life. including through yet another,vorld war. This play clearly had a special meaning for Sherwood. as we sec here・ felt I felt that I knew at last what it is that has made me so absorbed in the play. 畑 crican Playwright Robert ~- Shenvood: The T切rd ¥"e 巧 ion oi Acropolis 119 図）， an Incomplete and しnpublished Work 171 Acropolis. Acropolis. what it is that has made me go back to that play again and again and slave on it although it had once been branded as a failure. (Brown, p. 307). The third version of Acropolis is a two-act play, with the story taking place in Athens just before before the outbreak of the Peloponnesian War (431-401 B.C.). a war which was to result in the defeat defeat of Athens by Sparta. All the characters are actual historical figures, and the play opens in in the house of Aspasia, where a number of prominent Athenian figures are gathered. She is the mistress mistress of Pericles, a statesman who played a major role in the flourishing of democracy and culture culture in ancient Greece in the latter part of the 5th century B.C.. but who does not appear in the the play. Aspasia's guests are the intellectual Socrates. the playwright Aristophanes. the sculptor Pheidias. Pheidias. the military commander Alcibiades (who is also the nephew in the play of Pericles). the merchant Hyperbolus and the demagogic politician Cleon. who was to rise to power following the death death of Pericles. It is through these characters that the play tells us of the decline of the period of of democracy and great prosperity in ancient Greece. a decline that culminates in war. ironically just just as construction of the Parthenon, the great symbol of freedom. is reaching completion. Sherwood's Sherwood's play is built on contrasts of love. beauty and intelligence with authority, power and lust lust for money. It is a dramatic depiction of the inner conflict and confusion of human beings as they they struggle at the crossroads of war and peace. Sherwood's Sherwood's own struggle with the material is reflected in the fact that there are three different different manuscript versions of Acropolis. produced in 1932. 1933 and 1937. In a letter to his mother in 1937. he wrote of his experience of seeing the physical Acropolis on his first visit to Greece: Greece: "It is the feeling that this is what I was born of. for and by [... ]." (Brown. p. 307). The Acropolis Acropolis was. both physically and spiritually, central to his entire life. and an understanding of what it meant to him is key to understanding all his plays. The purpose of this paper is to identify the core that is at the heart of Sherwood's works by analyzing the 1937 version of Acropolis (I possess a carbon copy of the original manuscript. with with penciled notes by Sherwood). I am approaching this task in two ways. First. I make a comparison comparison of my own analysis of the 193, manuscript with Walter J. Mescrve・s 1970 analysis of the the 1933 version. The second approach is to compare the basic messages that run through the 1937 1937 version with those seen in The Road to Ro 加 e, as well as his Pulitzer-winning plays Idiot's Delight, Delight, Abe Lincoln in Illinois, and There Shall Be No Night. 2. 2. A Comparison of the 1937 Acropolis with Meserve's Analysis of the 1932 and 1933 Versions Having been granted permission by Sherwood's widow, Madeline Sherwood, to study the 172 172 『明治大学国際 u本学研究』第 12 巻第 1 号 second second unpublished 1933 manuscript. Meserve devotes an entire chapter of his book to the second. second. 1933 version of Acropolis. Neither the 1932 nor the 1933 versions are currently accessible. so so my companson with the 193, version is constrained to references only to the lines he quotes from the 1933 script. his outline of the play and his background comments on both versions.
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