Shaw is a revolutionary factor in the dissemination of radical ideas.
After Hauptmann's DIE WEBER, STRIFE, by Galsworthy, is the most important labor drama.
The theme of STRIFE is a strike with two dominant factors: Anthony, the president of the company, rigid, uncompromising, unwilling to make the slightest concession, although the men held out for months and are in a condition of semi-starvation; and David Roberts, an uncompromising revolutionist, whose devotion to the workingman and the cause of ******* is at white heat. Between them the strikers are worn and weary with the terrible struggle, and are harassed and driven by the awful sight of poverty and want in their families.
The most marvellous and brilliant piece of work in STRIFE is Galsworthy's portrayal of the mob, its fickleness, and lack of backbone. One moment they applaud old Thomas, who speaks of the power of God and religion and admonishes the men against rebellion;the next instant they are carried away by a walking delegate, who pleads the cause of the union,--the union that always stands for compromise, and which forsakes the workingmen whenever they dare to strike for independent demands; again they are aglow with the earnestness, the spirit, and the intensity of David Roberts--all these people willing to go in whatever direction the wind blows. It is the curse of the working class that they always follow like sheep led to slaughter.
Consistency is the greatest crime of our commercial age. No matter how intense the spirit or how important the man, the moment he will not allow himself to be used or sell his principles, he is thrown on the dustheap. Such was the fate of the president of the company, Anthony, and of David Roberts. To be sure they represented opposite poles--poles antagonistic to each other, poles divided by a terrible gap that can never be bridged over. Yet they shared a common fate.
Anthony is the embodiment of conservatism, of old ideas, of iron methods:
"I have been chairman of this company thirty-two years. I have fought the men four times. I have never been defeated. It has been said that times have changed. If they have, I have not changed with them. It has been said that masters and men are equal. Cant. There can be only one master in a house. It has been said that Capital and Labor have the same interests. Cant. Their interests are as wide asunder as the poles. There is only one way of treating men--with the iron rod. Masters are masters. Men are men."We may not like this adherence to old, reactionary notions, and yet there is something admirable in the courage and consistency of this man, nor is he half as dangerous to the interests of the oppressed, as our sentimental and soft reformers who rob with nine fingers, and give libraries with the tenth; who grind human beings like Russell Sage, and then spend millions of dollars in social research work; who turn beautiful young plants into faded old women, and then give them a few paltry dollars or found a Home for Working Girls. Anthony is a worthy foe; and to fight such a foe, one must learn to meet him in open battle.
David Roberts has all the mental and moral attributes of his adversary, coupled with the spirit of revolt, and the depth of modern ideas. He, too, is consistent, and wants nothing for his class short of complete victory.
"It is not for this little moment of time we are fighting, not for our own little bodies and their warmth; it is for all those who come after, for all times. Oh, men, for the love of them don't turn up another stone on their heads, don't help to blacken the sky. If we can shake that white-faced monster with the bloody lips that has sucked the lives out of ourselves, our wives, and children, since the world began, if we have not the hearts of men to stand against it, breast to breast and eye to eye, and force it backward till it cry for mercy, it will go on sucking life, and we shall stay forever where we are, less than the very dogs."It is inevitable that compromise and petty interest should pass on and leave two such giants behind. Inevitable, until the mass will reach the stature of a David Roberts. Will it ever? Prophecy is not the vocation of the dramatist, yet the moral lesson is evident. One cannot help realizing that the workingmen will have to use methods hitherto unfamiliar to them; that they will have to discard all those elements in their midst that are forever ready to reconcile the irreconcilable, namely Capital and Labor. They will have to learn that characters like David Roberts are the very forces that have revolutionized the world and thus paved the way for emancipation out of the clutches of that "white-faced monster with bloody lips,"towards a brighter horizon, a freer life, and a deeper recognition of human values.
No subject of equal social import has received such extensive consideration within the last few years as the question of prison and punishment.
Hardly any magazine of consequence that has not devoted its columns to the discussion of this vital theme. A number of books by able writers, both in America and abroad, have discussed this topic from the historic, psychologic, and social standpoint, all agreeing that present penal institutions and our mode of coping with crime have in every respect proved inadequate as well as wasteful. One would expect that something very radical should result from the cumulative literary indictment of the social crimes perpetrated upon the prisoner. Yet with the exception of a few minor and comparatively insignificant reforms in some of our prisons, absolutely nothing has been accomplished. But at last this grave social wrong has found dramatic interpretation in Galworthy's JUSTICE.