John Drinkwater, a notable playwright, embraced the world of drama with an eye towards captivating theater audiences. His plays, such as X = O, Abraham Lincoln, and Bird in Hand, enjoyed favorable public reception, highlighting his adept choice in theatrical expression. Although his initial forays into verse drama were met with mixed success, Drinkwater's transition from poetic to prose plays showcased his evolving stylistic approach and thematic focus on leadership, war, and societal issues.

Early Drama Experiments: Cophetua

Drinkwater's introduction to playwriting began with "Cophetua," a one-act verse play marked by the tale of a king marrying a beggar-maid. Despite the play's lack of substantial literary or dramatic worth, it served as a meaningful exploration for Drinkwater. The play's character, Cophetua, is a stubborn king who rejects societal expectations, a theme Drinkwater would revisit in later works. Drinkwater's experiment aimed to harness the dynamic movement of rhyme to emulate physical action on stage, yet this attempt fell short. Still, Drinkwater saw potential in the technique and lamented the resistance to verse drama in contemporary theater.

Rebellion: Poetic Drama and Thematic Foundations

Rebellion represents Drinkwater's only full-length poetic drama and reflects his interest in the struggle between personal freedom and authoritarian control. While the play was ultimately unsuccessful due to its rhetorical blank verse, it is noteworthy for its thematic resemblance to William Butler Yeats’s The King’s Threshold, focusing on the conflict between a king and a poet. It also prefigures the central themes of war and liberty that Drinkwater would explore in subsequent plays.

The Storm: A Tragic Exploration

The Storm, a short piece akin to an introductory act, draws on Irish literary influences, echoing John Millington Synge's Riders to the Sea. This contemporary rural tragedy centers around the women waiting for a man lost in a storm, generating dramatic tension through the contrast between the optimistic young wife and the pessimistic neighbor. Despite the heavy use of blank verse, the play achieves a sense of tragedy through the character of Alice, who stands out as Drinkwater’s most memorable creation.

War and Antipathy: The God of Quiet

The death of poet Rupert Brooke in 1915 profoundly influenced Drinkwater and fueled his disdain for war. In The God of Quiet, a verse play, Drinkwater addresses the futility of conflict through a narrative involving weary citizens meeting at the statue of their pacifist god. The story climaxes with the enemy king’s violent rejection of peace, resulting in a return to war. Despite its clear antiwar message, the play struggles with limited character development and stylized dialogue.

X = O: A Poignant Reflection

Contrasting with The God of Quiet, X = O is notable for its lasting impact and sensitivity. Set during the Trojan War, this brief play offers a poignant portrayal of Greek and Trojan soldiers who recognize the shared futility and senselessness of their conflict. Drinkwater skillfully individualizes each character, employing the title's mathematical symbol to underscore the common humanity binding adversaries. The play is also a subtle homage to Drinkwater's contemporaries lost in World War I, such as Rupert Brooke, with artists falling victim to political ambitions mirroring wartime casualties.

Transition to Prose: Abraham Lincoln

Drinkwater's shift from verse to prose is epitomized in Abraham Lincoln , a historical play that blends prose with choral odes, maintaining the thematic focus on war and leadership. This work explores Lincoln’s character through a sequence of episodic vignettes, culminating in his assassination. The play's success during its 1918 premiere was bolstered by its resonating antiwar message and its portrayal of a principled leader akin to...