Love needs no protection; it is its own protection. So long as love begets life no child is deserted, or hungry, or famished for the want of affection. I know this to be true. I know women who became mothers in ******* by the men they loved. Few children in wedlock enjoy the care, the protection, the devotion free motherhood is capable of bestowing.
The defenders of authority dread the advent of a free motherhood, lest it will rob them of their prey. Who would fight wars? Who would create wealth? Who would make the policeman, the jailer, if woman were to refuse the indiscriminate breeding of children? The race, the race! shouts the king, the president, the capitalist, the priest. The race must be preserved, though woman be degraded to a mere machine,--and the marriage institution is our only safety valve against the pernicious *** awakening of woman. But in vain these frantic efforts to maintain a state of bondage. In vain, too, the edicts of the Church, the mad attacks of rulers, in vain even the arm of the law. Woman no longer wants to be a party to the production of a race of sickly, feeble, decrepit, wretched human beings, who have neither the strength nor moral courage to throw off the yoke of poverty and slavery. Instead she desires fewer and better children, begotten and reared in love and through free choice; not by compulsion, as marriage imposes. Our pseudo-moralists have yet to learn the deep sense of responsibility toward the child, that love in ******* has awakened in the breast of woman. Rather would she forego forever the glory of motherhood than bring forth life in an atmosphere that breathes only destruction and death. And if she does become a mother, it is to give to the child the deepest and best her being can yield. To grow with the child is her motto; she knows that in that manner alone can she help build true manhood and womanhood.
Ibsen must have had a vision of a free mother, when, with a master stroke, he portrayed Mrs. Alving. She was the ideal mother because she had outgrown marriage and all its horrors, because she had broken her chains, and set her spirit free to soar until it returned a personality, regenerated and strong. Alas, it was too late to rescue her life's joy, her Oswald; but not too late to realize that love in ******* is the only condition of a beautiful life. Those who, like Mrs. Alving, have paid with blood and tears for their spiritual awakening, repudiate marriage as an imposition, a shallow, empty mockery. They know, whether love last but one brief span of time or for eternity, it is the only creative, inspiring, elevating basis for a new race, a new world.
In our present pygmy state love is indeed a stranger to most people.
Misunderstood and shunned, it rarely takes root; or if it does, it soon withers and dies. Its delicate fiber can not endure the stress and strain of the daily grind. Its soul is too complex to adjust itself to the slimy woof of our social fabric. It weeps and moans and suffers with those who have need of it, yet lack the capacity to rise to love's summit.
Some day, some day men and women will rise, they will reach the mountain peak, they will meet big and strong and free, ready to receive, to partake, and to bask in the golden rays of love. What fancy, what imagination, what poetic genius can foresee even approximately the potentialities of such a force in the life of men and women. If the world is ever to give birth to true companionship and oneness, not marriage, but love will be the parent.
THE MODERN DRAMA: A POWERFUL DISSEMINATOR OF RADICAL THOUGHTSo long as discontent and unrest make themselves but dumbly felt within a limited social class, the powers of reaction may often succeed in suppressing such manifestations. But when the dumb unrest grows into conscious expression and becomes almost universal, it necessarily affects all phases of human thought and action, and seeks its individual and social expression in the gradual transvaluation of existing values.
An adequate appreciation of the tremendous spread of the modern, conscious social unrest cannot be gained from merely propagandistic literature. Rather must we become conversant with the larger phases of human expression manifest in art, literature, and, above all, the modern drama--the strongest and most far-reaching interpreter of our deep-felt dissatisfaction.
What a tremendous factor for the awakening of conscious discontent are the ****** canvasses of a Millet! The figures of his peasants--what terrific indictment against our social wrongs; wrongs that condemn the Man With the Hoe to hopeless drudgery, himself excluded from Nature's bounty.
The vision of a Meunier conceives the growing solidarity and defiance of labor in the group of miners carrying their maimed brother to safety. His genius thus powerfully portrays the interrelation of the seething unrest among those slaving in the bowels of the earth, and the spiritual revolt that seeks artistic expression.
No less important is the factor for rebellious awakening in modern literature--Turgeniev, Dostoyevsky, Tolstoy, Andreiev, Gorki, Whitman, Emerson, and scores of others embodying the spirit of universal ferment and the longing for social change.
Still more far-reaching is the modern drama, as the leaven of radical thought and the disseminator of new values.
It might seem an exaggeration to ascribe to the modern drama such an important role. But a study of the development of modern ideas in most countries will prove that the drama has succeeded in driving home great social truths, truths generally ignored when presented in other forms. No doubt there are exceptions, as Russia and France.