Donovan’s Charge and Fences are two plays that are written in completely different time periods—arguably, for two very different audiences. The topic of race and the discussion and discourse surrounding race are different today than they were when Wilson wrote his landmark play Fences. However, despite the fact that these plays were written in different times, there are still common themes that remain the same throughout both plays. Most notably, the conflict between pragmatism and morality runs strongly through both plays.
In Fences, Wlison’s characters Troy and Rose face the world very differently. Rose is the pragmatic character, always trying to deal with the harsh realities of her life; Troy, on the other hand, builds illusions and clings to these illusions of morality (Wilson). This can be seen in first scene of the play, when Rose is describing her marriage to Troy; she says, “I told him if he wasn’t the marrying kind, then move out the way so the marrying kind could find me” (Wilson). This illustrates the mentality that Rose has throughout the play quite well: rather than being emotional or high-handed, Rose handles the issues that she faces with a very clear pragmatism. It is also clear that she believes Troy to be quite a fool for not acting with the same pragmatic air; she recognizes the reality of her position, and is thus able to stand stronger against the racist tendencies of the time (Wilson).
Although Cox and Merwin’s play is based on a true account—and built from true testimony—this same theme runs throughout Donovan’s Charge. Donovan was cornered by an assailant, and defended himself—in response, he was charged with murder when the man died (Cox and Merwin). Had he not stayed and tried to save the assailant—if he had left and told no one, and not tried to do the moral thing, he would not have found himself in that position. In some ways, Donovan is reminiscent of Troy: he has illusions about the fairness and the justice of the system, and his belief in these illusions are what cause him to become continuously burdened by the racism inherent in the system. Indeed, in Donovan’s Charge, Cox and Merwin write, when describing the events at the trial, “Ring Two. Marvel at the trained seals of justice doing amazing flips and barking for raw fish at my trial” (Cox and Merwin). The circus imagery remains constant throughout the play and indicates what a farce the trial is.
Both plays are also rife with a sense of injustice for the characters. The hand that both Donovan and Troy have been dealt is not fair; it does not matter what they do or how they act—whether they act morally or immorally—because the cards and the deck have already been stacked against them based on race. In Fences, Troy says: “All I want them to do is change the job description. Give everybody a chance to drive the truck” (Wilson). However, based on the inherent unfair nature of the system, Troy will never drive the truck—nor will Donovan.
Although these plays are written in different times with different purposes, it is clear to see that there is a common thread that winds through both pieces. The injustice that both sets of characters face seems to be completely inescapable; the race of these characters fundamentally changes their destinies. The injustice is on display for the viewers, but it also fundamentally alters the trajectory of each character’s life.
Works Cited
Cox, Glenn, and E Merwin. Donovan's Charge. New York: New York Foundation for the Arts, 2009. Print.
Wilson, August. Fences. New York: New American Library, 1986. Print.
