The Passions Revealed in Baillie's Drama

With a solid background knowledge of Baillie's dramatic intentions in "Introductory Discourse," we begin to see the passions manifest themselves throughout De Monfort. She declares, with zeal, "let one simple trait of the human heart, one expression of passion genuine and true to nature, be introduced, and it will stand forth alone in the boldness of reality, whilst the false and unnatural around it, fades away upon every side," (Introductory Discourse, 80). As readers, we start to wonder at and infer her true intentions behind writing the Plays on the Passions. Again she hints at her purpose when she says "the last play, the subject of which is hatred, will more clearly discover the nature and intention of my design... hatred is a passion of slow growth... that rooted and settled aversion, which... grows at last into such antipathy and personal disgust," (107-108).

Here, Baillie has laid out the design of her drama in the simplest terms understandable to the reader. Her hope is to portray the slow progression of hatred/rage in such a way that the audience can sympathize with. Here she illustrates her well-drawn map of human understanding in regards to the passions. She makes it very clear that the superstitious mind, and the frivolous workings of the social realm in regards to refinement and a suppression of the passions, are useless when it comes to human understanding and sympathy. She believes that only an honest depiction of the slow progression of the passions, in this case anger and jealousy, can properly portray human understanding.

Taking a closer look at the drama, we see De Monfort's hatred slowly manifest itself into psychosis. In his first soliloquy, act I scene II, he declares the workings of his own mind by projecting these feared qualities onto his enemy, Rezenvelt; "the venom of thy mind is rank and devilish/and thin the film that hides it," (17). This is the first we see of the inner workings of De Monfort's mind, and up to this point we have only witnessed superficial exchanges between the two characters, something Baillie would consider irrelevant to the passions. She introduces this discourse as the groundwork for the rest of her drama; where she begins with a dialogue that hints at the passions only on the surface, she ends with a portrayal of the passions at their height.

The final progression of hatred is shown at first in act IV scene II, when De Monfort, still sane, wonders "what am I grown? all things are hateful to me," (48). His final, irreversible state of completely consumed hatred is mentioned by Thomas at the monastery; "such a look, such wildness of despair, /such horror-strained features, never yet /did earthly visage show. I shrank and shudder'd. /if a damn'd spirit may to earth return, /I've seen it," (61). At this point, De Monfort has already committed the most hateful act of murder, and has lost all touch with reality or rationality. The slow progression of his hatred is made clear, and the audience can still easily sympathize with him.

There are countless examples and subtle cues that enlighten us, the readers, into the cold world of the darker passions. We know De Monfort to be considered a good man by the treatment from those around him; Jane, portrayed as a great lady, does not hesitate to forgive him, and our sympathy as readers allows us to forgive him for this heinous crime just as easily. We can see, in the conflict between Rezenvelt and himself, that De Monfort was merely a victim of the workings of his own mind, and nothing more. The only true conflict the two have ever held is rooted in the uncontrollable acquisition of wealth in Rezenvelt's early years. De Monfort's security in his esteem and his status is challenged the moment Rezenvelt acquires an equal wealth and status. I imagine he wonders, 'how can wealth and such a social refinement befall someone who possesses anything but these qualities?' In turn, De Monfort becomes consumed with jealousy and rage at Rezenvelt's successful use of wealth, and most of all his happiness. For why De Monfort cannot achieve the same level of comfort in his own estate, he cannot fathom.

These two characters are not the only ones in the play that embody a dramatic flaw of the passions. Countess Freberg is envious and jealous of lady Jane De Monfort for, again, insecure reasons, and because of this she creates the catalyst that eventually leads to Rezenvelt's death. Even the minor character Conrad, who has something to gain, is capable of those poisonous passions other writers have so often blamed on the supernatural/sublime.

**Two days ago, this play was performed in a staged reading at NYC's Red Bull Theater in a series called "Revalations Readings." The goal of this project is to bring alive those classic dramas our contemporary society has pushed to the back of the shelves. Such a psychologically based drama might excite modern audiences differently than those in Baillie's time. To read more about this play and its production, visit Broadway World. 

Discussion Questions

Aside from the above examples, in what ways do we see the subtle progression of De Monfort's rage reach a dangerous point? Why can/do we sympathize with him in these instances?

What other passions do each of the characters represent, and how are they manifested throughout the drama?

When are moments of superficial exchanged implemented, and how are they effective? Are these significant to our overall understanding of the piece?