Unequaled Realism in Margaret Fleming

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James Herne's Margaret Fleming is surprisingly bold and realistic in regard to the time period in which it was written. The subject of infidelity is dealt with candidly, and other aspects, such as the breast-feeding of an infant, are depicted in a true-to-life form. The content, then, seems quite modern for the play's 1890 date. Yet, Herne is the successor of a playwright like Henrik Ibsen rather than Bronson Howard or, even, Augustin Daly. As Watt and Richardson note, Margaret Fleming is "unequaled in realism by any other known American drama of its century" (236, emphasis mine).

The plot of the play centers on the marriage relationship of Margaret and her husband Phillip. He has been unfaithful with another woman, and a child has been born as a result of that adulterous affair. One can imagine that audiences may have been shocked by such a topic. Yet Margaret handles the situation which she is forced into openly, honestly, and courageously. Upon hearing the news of her husband's affair, she wishes to confront him immediately. The words in the note she dispatches demonstrate her urgency and forthrightness: "'Phillip: I am waiting for you, here. That girl is dead'" (258). In the last act, the doctor remarks on Margaret's character, saying, "'What a brave, cheery little woman you are.'" To which Margaret replies, "'What's the use in being anything else? I don't see any good in living in this world, unless you can live right'" (261). She has motivations for her actions, as all realistic characters should.

In comparison, the plot of Howard's Shenandoah seems unbelievable. That play centers on the relationships of Northerners and Southerners which survive the Civil War and its aftermath by ignoring the problem...

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...ce dependent, then independent. Each woman makes difficult decisions which she must live by, and each bear responsibilities which are to be accepted or discarded. Finally, each is aware that others, too, carry burdens and need to make their own choices. While other heroines and heroes are flat and are subject to fate and circumstance, Margaret, like Nora, exists in the consequences of human behavior.

While Under the Gaslight may end with Laura's hopeful, but nevertheless melodramatic, words, and Shenandoah with the unlikely marriage of the leads, A Dolls House ends in a whisper. And Margaret Fleming? This play ends with the gentle reminder of the responsibility to make choices, bravely and honestly. Margaret tells her husband that the children, both legitimate and illegitimate are waiting for his attentions; "'They are both out there. In the garden'" (264).

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