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From the moment of its birth the American democracy has appeared to some of its best champions as the perfect subject for Aristotelian tragedy. Could the democracy with an overwhelming reservation be anything other than the hero with a fatal flaw? The essence of slavery, complained Jefferson at the close of the Revolution, was the perpetual exercise of the most boisterous passions, the most unremitting despotism on the one part, and degrading submissions on the other; he trembled for his country when he reflected that God was just and that his justice could not sleep forever. One ramification of this peculiarly American tragedy-the problem of passion between b I a c k and white-has been a staple of our stage for almost a century. From Boucicault's The Octoroon in the decade before Gettysburg, through O'Neill's All God's Chillun in the era of the first World War, to Hughes's The Barrier of the current guilty hour, the drama of miscegenation has packed box and balcony throughout the land.
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