Russia, with its terrible political pressure, has made people think and has awakened their social sympathies, because of the tremendous contrast which exists between the intellectual life of the people and the despotic regime that is trying to crush that life. Yet while the great dramatic works of Tolstoy, Tchechov, Gorki, and Andreiev closely mirror the life and the struggle, the hopes and aspirations of the Russian people, they did not influence radical thought to the extent the drama has done in other countries.
Who can deny, however, the tremendous influence exerted by THE POWEROF DARKNESS or NIGHT LODGING. Tolstoy, the real, true Christian, is yet the greatest enemy of organized Christianity. With a master hand he portrays the destructive effects upon the human mind of the power of darkness, the superstitions of the Christian Church.
What other medium could express, with such dramatic force, the responsibility of the Church for crimes committed by its deluded victims; what other medium could, in consequence, rouse the indignation of man's conscience?
Similarly direct and powerful is the indictment contained in Gorki's NIGHT LODGING. The social pariahs, forced into poverty and crime, yet desperately clutch at the last vestiges of hope and aspiration.
Lost existences these, blighted and crushed by cruel, unsocial environment.
France, on the other hand, with her continuous struggle for liberty, is indeed the cradle of radical thought; as such she, too, did not need the drama as a means of awakening. And yet the works of Brieux--as ROBE ROUGE, portraying the terrible corruption of the judiciary--and Mirbeau's LES AFFAIRES SONT LES AFFAIRES--picturing the destructive influence of wealth on the human soul--have undoubtedly reached wider circles than most of the articles and books which have been written in France on the social question.
In countries like Germany, Scandinavia, England, and even in America--though in a lesser degree--the drama is the vehicle which is really ****** history, disseminating radical thought in ranks not otherwise to be reached.
Let us take Germany, for instance. For nearly a quarter of a century men of brains, of ideas, and of the greatest integrity, made it their life-work to spread the truth of human brotherhood, of justice, among the oppressed and downtrodden. Socialism, that tremendous revolutionary wave, was to the victims of a merciless and inhumane system like water to the parched lips of the desert traveler. Alas!
The cultured people remained absolutely indifferent; to them that revolutionary tide was but the murmur of dissatisfied, discontented men, dangerous, illiterate troublemakers, whose proper place was behind prison bars.
Self-satisfied as the "cultured" usually are, they could not understand why one should fuss about the fact that thousands of people were starving, though they contributed towards the wealth of the world. Surrounded by beauty and luxury, they could not believe that side by side with them lived human beings degraded to a position lower than a beast's, shelterless and ragged, without hope or ambition.
This condition of affairs was particularly pronounced in Germany after the Franco-German war. Full to the bursting point with its victory, Germany thrived on a sentimental, patriotic literature, thereby poisoning the minds of the country's youth by the glory of conquest and bloodshed.
Intellectual Germany had to take refuge in the literature of other countries, in the works of Ibsen, Zola, Daudet, Maupassant, and especially in the great works of Dostoyevsky, Tolstoy, and Turgeniev.
But as no country can long maintain a standard of culture without a literature and drama related to its own soil, so Germany gradually began to develop a drama reflecting the life and the struggles of its own people.
Arno Holz, one of the youngest dramatists of that period, startled the Philistines out of their ease and comfort with his FAMILIESELICKE. The play deals with society's refuse, men and women of the alleys, whose only subsistence consists of what they can pick out of the garbage barrels. A gruesome subject, is it not? And yet what other method is there to break through the hard shell of the minds and souls of people who have never known want, and who therefore assume that all is well in the world?
Needless to say, the play aroused tremendous indignation. The truth is bitter, and the people living on the Fifth Avenue of Berlin hated to be confronted with the truth.
Not that FAMILIE SELICKE represented anything that had not been written about for years without any seeming result. But the dramatic genius of Holz, together with the powerful interpretation of the play, necessarily made inroads into the widest circles, and forced people to think about the terrible inequalities around them.
Sudermann's EHRE* and HEIMAT** deal with vital subjects. I have already referred to the sentimental patriotism so completely turning the head of the average German as to create a perverted conception of honor. Duelling became an every-day affair, costing innumerable lives. A great cry was raised against the fad by a number of leading writers. But nothing acted as such a clarifier and exposer of that national disease as the EHRE.
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* HONOR.
** MAGDA.
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Not that the play merely deals with duelling; it analyzes the real meaning of honor, proving that it is not a fixed, inborn feeling, but that it varies with every people and every epoch, depending particularly on one's economic and social station in life. We realize from this play that the man in the brownstone mansion will necessarily define honor differently from his victims.
The family Heinecke enjoys the charity of the millionaire Muhling, being permitted to occupy a dilapidated shanty on his premises in the absence of their son, Robert. The latter, as Muhling's representative, is ****** a vast fortune for his employer in India.