Human beings working eighteen hours daily, yet not earning enough for bread and fuel; human beings living in broken, wretched huts half covered with snow, and nothing but tatters to protect them from the cold; infants covered with scurvy from hunger and exposure; pregnant women in the last stages of consumption. Victims of a benevolent Christian era, without life, without hope, without warmth. Ah, yes, it was too much!
Hauptmann's dramatic versatility deals with every stratum of social life. Besides portraying the grinding effect of economic conditions, he also treats of the struggle of the individual for his mental and spiritual liberation from the slavery of convention and tradition.
Thus Heinrich, the bell-forger, in the dramatic prose-poem, DIEVERSUNKENE GLOCKE*, fails to reach the mountain peaks of liberty because, as Rautendelein said, he had lived in the valley too long.
Similarly Dr. Vockerath and Anna Maar remain lonely souls because they, too, lack the strength to defy venerated traditions. Yet their very failure must awaken the rebellious spirit against a world forever hindering individual and social emancipation.
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* THE SUNKEN BELL.
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Max Halbe's JUGEND* and Wedekind's FRUHLING'S ERWACHEN** are dramas which have disseminated radical thought in an altogether different direction. They treat of the child and the dense ignorance and narrow Puritanism that meet the awakening of nature. Particularly this is true of FRUHLING'S ERWACHEN. Young boys and girls sacrificed on the altar of false education and of our sickening morality that prohibits the enlightenment of youth as to questions so imperative to the health and well-being of society,--the origin of life, and its functions. It shows how a mother--and a truly good mother, at that--keeps her fourteen-year-old daughter in absolute ignorance as to all matters of ***, and when finally the young girl falls a victim to her own ignorance, the same mother sees her daughter killed by quack medicines. The inscription on her grave states that she died of anaemia, and morality is satisfied.
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* YOUTH.
** THE AWAKENING OF SPRING.
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The fatality of our Puritanic hypocrisy in these matters is especially illumined by Wedekind in so far as our most promising children fall victims to *** ignorance and the utter lack of appreciation on the part of the teachers of the child's awakening.
Wendla, unusually developed and alert for her age, pleads with her mother to explain the mystery of life:
"I have a sister who has been married for two and a half years. Imyself have been made an aunt for the third time, and I haven't the least idea how it all comes about. . . . Don't be cross, Mother, dear! Whom in the world should I ask but you? Don't scold me for asking about it. Give me an answer.--How does it happen?--You cannot really deceive yourself that I, who am fourteen years old, still believe in the stork."Were her mother herself not a victim of false notions of morality, an affectionate and sensible explanation might have saved her daughter.
But the conventional mother seeks to hide her "moral" shame and embarrassment in this evasive reply:
"In order to have a child--one must love--the man--to whom one is married. . . . One must love him, Wendla, as you at your age are still unable to love.--Now you know it!"How much Wendla "knew" the mother realized too late. The pregnant girl imagines herself ill with dropsy. And when her mother cries in desperation, "You haven't the dropsy, you have a child, girl," the agonized Wendla exclaims in bewilderment: "But it's not possible, Mother, I am not married yet. . . . Oh, Mother, why didn't you tell me everything?"With equal stupidity the boy Morris is driven to suicide because he fails in his school examinations. And Melchior, the youthful father of Wendla's unborn child, is sent to the House of Correction, his early sexual awakening stamping him a degenerate in the eyes of teachers and parents.
For years thoughtful men and women in Germany had advocated the compelling necessity of *** enlightenment. MUTTERSCHUTZ, a publication specially devoted to frank and intelligent discussion of the *** problem, has been carrying on its agitation for a considerable time. But it remained for the dramatic genius of Wedekind to influence radical thought to the extent of forcing the introduction of *** physiology in many schools of Germany.
Scandinavia, like Germany, was advanced through the drama much more than through any other channel. Long before Ibsen appeared on the scene, Bjornson, the great essayist, thundered against the inequalities and injustice prevalent in those countries. But his was a voice in the wilderness, reaching but the few. Not so with Ibsen.
His BRAND, DOLL'S HOUSE, PILLARS OF SOCIETY, GHOSTS, and AN ENEMY OFTHE PEOPLE have considerably undermined the old conceptions, and replaced them by a modern and real view of life. One has but to read BRAND to realize the modern conception, let us say, of religion,--religion, as an ideal to be achieved on earth; religion as a principle of human brotherhood, of solidarity, and kindness.
Ibsen, the supreme hater of all social shams, has torn the veil of hypocrisy from their faces. His greatest onslaught, however, is on the four cardinal points supporting the flimsy network of society.
First, the lie upon which rests the life of today; second, the futility of sacrifice as preached by our moral codes; third, petty material consideration, which is the only god the majority worships;and fourth, the deadening influence of provincialism. These four recur as the LEITMOTIF in Ibsen's plays, but particularly in PILLARSOF SOCIETY, DOLL'S HOUSE, GHOSTS, and AN ENEMY OF THE PEOPLE.
Pillars of Society! What a tremendous indictment against the social structure that rests on rotten and decayed pillars,--pillars nicely gilded and apparently intact, yet merely hiding their true condition.
And what are these pillars?