Disillusionment with Entering Adulthood in Angelina Grimke’s Rachel
The play Rachel, by Angelina Grimke, reveals the harsh realities of life for an African American family living in the United States during the early part of the 20th century. Focused on the central character Rachel Loving, the play reflects each character’s reaction to racial prejudice against African Americans. The themes of motherhood and the innocence of youth are vital pieces of the issues Grimke wished to portray in her work. The development of Rachel herself revolves around her changing perception of what the role of motherhood might be.
This insight stems from her understanding of the importance of child-like innocence towards the terrible truths of the world in which we are surrounded by. Through the use of poignant dialogue and stage directions Angelina Grimke highlights the ways in which certain populations are unable to attain their childhood dreams through Rachel Loving’s disillusionment with entering adulthood and leaving behind the ambivalence of youth. At the outset of the play, Grimke immediately calls attention to Rachel’s fascination with youth.
At the beginning of Act I, Rachel explains her longing to be a child with her mother, Mrs. Loving. Rachel exclaims, “I just want to be silly and irresponsible, and have you to love and torment, and, of course, Tom, too” (Grimke 4). Even though Rachel does not explicitly state that she wishes to relinquish her adult identity and become a child, it can be implied from her word choice. For example, Rachel’s desire to be “silly” and “irresponsible” are qualities that are normally found solely in children.
Making Rachel possess this specific structural dynamic is quite interesting from a reader’s viewpoint. As you progress through the play, it is apparent that Rachel’s fascination with youth stems from her resistance to accept the racial discrimination she is faced with. For instance, on the topic of attaining a credible job Rachel explains to her friend John Strong that, “there’s no more chance for me than there is for Tom –or than there was for you –or for any of us with dark skins. It’s lucky for me that I love to keep house, and cook, and sew.
I’ll never get anything else” (50). From this statement one can see that Rachel in a way has convinced herself that housework is an aspiration of hers. She makes it seem as if her situation is not as bad as it really is. Rachel is an educated woman, who deserves to have a substantial job, not being confined to a house on a daily basis. Rachel continues by stating, “We live. According to your philosophy, I suppose, make the best of it –it might be worse” (51). Once again, Rachel is convincing herself that a very obvious issue is not as pressing as it actually is.
Grimke could have easily created a simplistic character that lacks depth and vigor, but instead created an individual that grapples with deep psychological trauma and spans farther than what meets the eye. Another example of Rachel’s obsession with youth is her love for being surrounded by children and her intense desire to be a mother. This observation is first present on page 5 when Mrs. Loving says to Rachel, “You’re not happy unless some child is trailing along in your rear” (5). This statement allows readers to see Rachel’s infatuation with children.
Another example of this is when Rachel states, “I think the loveliest thing of all the lovely things in this world is just (almost in a whisper) being a mother! ” (12). She goes on further explaining to her mother, “It was the best in me that said that – it was God! (Pauses). And Ma dear, if I believed that I should grow up and not be a mother, I’d pray to die now. I want to take care of it, wash it, dress it, live for it. I want the feel of its little warm body against me, its breath on my neck, its hands against my face” (12).
Grimke’s inclusion of this dialogue segment dramatically illustrates to readers Rachel’s desire for children. Rachel not only acts as if she is a child, she wishes to surround herself with children in order to fully eradicate all traces of the adult world. Conversely, further along in the play when Rachel begins to discover the harsh realities of the world around her, she no longer wishes to bear children. To Rachel, children represent an alternate reality; a reality that is absent of hate, adversity, and responsibility.
In Rachel’s eyes, children represent everything that is good and pure; children are not capable of destruction. It is for these reasons that Grimke made Rachel the equivalent of a child, a person who is innocent, pure, and free-spirited. Moreover, stage directions are a fundamental aspect of Rachel. It is within the stage directions that hints to Rachel’s personality are given. For example, at the start of Act I readers are given a description of the Loving household along with a brief, yet important description of Rachel. The irections read: She brings into the room with her the spirit of abounding life, health, joy, and youth. Mrs. Loving pauses, needle in hand, as soon as she hears the turning key and the banging door (3). These directions note Rachel’s free-spirited nature and calming manner. The stage directions also highlight another characteristic of Rachel: her struggle with expected gender roles. In terms of her emotional cognitive processes, Rachel’s reasoning resembles that of a child. In turn, this causes her to grapple with particular gender quo.
Throughout the play, it is evident that Rachel experiences awkwardness around Tom Strong, who is a male friend of hers. The stage directions hint at this. For example, it is written: Rachel (Nervously after a pause): It’s a very pleasant day, isn’t it, Mr. Strong? (6). Additionally, the stage directions indicate that Rachel experiences immaturity in the presence of Strong: Before leaving, Strong turns for a second and looks back quietly at Rachel. He goes out too. Rachel returns to the mirror, looks at her face for a second, and then begins to touch and pat her hair lightly and delicately here and there (8).
These two excerpts show that Rachel experiences emotions similar to those experienced by a young child when they are infatuated by someone. Rachel comes across as shy and uncomfortable around Strong. Rachel’s immature nature causes her to become distant from sexuality. It is interesting that Rachel desires to bear many children but the thought of being around a man frightens her. Another example of stage directions revealing personality traits can be seen later on in the play. In one particular scene, Strong has just kissed Rachel on the back of her hand after having a conversation with her.
The directions appear after Strong has left the apartment: Rachel sits for some time without moving. She is lost in a beautiful day-dream. Presently she sighs happily, and after looking furtively around the room, lifts the palm John has kissed to her lips. She laughs shyly and jumping up, begins to hum (52). Once again Grimke is exhibiting, Rachel’s juvenile demeanor. Maturity, as demonstrated by Angelina Grimke, is an intricate moment in an individual’s life. If one is not willing to accept the process, the possibility of suffering from severe mental distress is heightened.
Through the use of dialogue and various stage directions, Grimke was able to communicate this idea very clearly. However, the importance of innocence is a prominent theme in Rachel as well. Innocence is what keeps an individual tied to their conscience. It bounds a person to moral decisions and heeding others. Normally, pure innocence is found excessively in the young; those who have not experienced enough of society to become corrupted. Nonetheless, at times this quality can be found too in adults, and either proves helpful or at worst fatal, as is the case in Rachel.
