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Home Songs and the Melodramatic Imagination: From “Home, Sweet Home” to The Birth of a Nation

In this essay I examine the importance of home within what Peter Brooks has called “the melodramatic imagination.” Arguing that nineteenth-century theatrical melodrama has a long afterlife, I examine the significance of John Howard Payne's song “Home Sweet Home” in two of D. W. Griffith's films, Home Sweet Home (1913) and The Birth of a Nation (1915). I show that home is elevated to a sacred site within melodrama and that, within Griffith's infamous 1915 film, this sacred site is a white southern home which he takes to represent the nation. Melodrama is an ethical drama in which virtue and vice face each other. Home, as a crucial element of melodrama, is often represented as its site of confrontation, indeed is often precisely what is at stake within such confrontations. Given the political potency of home in arguments about nation and identity, the confrontation between virtue and vice over home has powerful potential to articulate issues of belonging and exclusion, desire and longing. The intermingling of representations of home and melodrama, combined with the long afterlife of nineteenth-century theatrical melodrama, makes understanding and scrutinizing these formations an important critical act.