Mother Earth, Vol. 1 No. 2, April 1906

The modern drama is, in its profoundest depths, an attempt to ignore good and evil in its analysis of human manifestations. It aims to get at a complete whole, out of each strong, healthy emotion, out of each absorbing mood that carries and urges one forward from the beginning to the end. It represents the World as it reflects itself in each passion, in each quivering life; not trying to confine and to judge, to condemn or to praise; not acting merely in the capacity of a cold observer; but striving to grow in oneness with Life; to become color, tone and light; to absorb universal sorrow as one's own; universal joy as one's own; to feel every emotion as it manifests itself in a natural way; to be one's self, yet oblivious of self.

The modern dramatist tries to understand and to explain. Goodness is no longer entitled to a reward, like a pupil who knows his lesson; nor is evil condemned to an eternal Hell. Both belong together in the sphere of all that is human. Often enough it is seen that evil triumphs over good, while virtue, ever highly praised in words, is rarely practiced. It is set aside to become dusty and dirty in some obscure corner. Only at some opportune moment is it brought forward from its hiding place to serve as a cover for some vile deed. We can no longer believe that beyond and above us there is some irrevocable, irresistible Fate, whose duty it is to punish all evil and wrong and to reward all goodness; an idea so fondly cherished by our grandfathers.

To-day we no longer look for the force of fate outside of human activity. It lives and weaves its own tragedies and comedies with us and within us. It has its roots in our social, political and economic surroundings, in our physical, mental and psychic capacities. (Did not the fate of Cyrano de Bergerac lie in his gigantic nose?) With others, fate lies in their vocation in life, in their mental and emotional tendencies, which either submerge them into the hurry and rush of a commonplace existence, or bring them into the most annoying conflicts with the dicta of society. Indeed, it is often seen that a human being, apparently of a cheerful nature, but who has failed to establish a durable relation with society, often leads a most tragic inner life. Should he find the cause in his own inclinations, and suffer agonizing reproaches therefrom, he becomes a misanthrope. If, however, he feels inwardly robust and powerful, living truly, if he crave complete assertion of a self that is being hampered by his surroundings at every step, he must inevitably become a Revolutionist. And, again, his life may become tragic in the struggle with our powerful institutions and traditions, the leaden weight of which will, apparently, not let him soar through space to ever greater heights. Apparently, because it sometimes occurs that an individual rises above the average, and waves his colors over the heads of the common herd. His life is that of the storm bird, anxiously making for distant shores. The efforts of the deepest, truest and freest spirits of our day tend toward the conscious formation of life, toward that life which will make the blind raging of the elements impossible; a life which will show man his sovereignity and admit his right to direct his own world.

The old conception of the drama paid little or no attention to the importance of the influences of social conditions. It was the individual alone who had to carry the weight of all responsibility. But is not the tragedy greater, the suffering of the individual increased, by influences he cannot control, the existing social and moral conditions? And is it not true that the very best and most beautiful in the human breast cannot and will not bow down to the commands of the commonplace and everyday conditions? Out of the anachronisms of society and its relation to the individual grow the strongest motives of the modern drama. Pure personal conflicts are no longer considered important enough to bring about a dramatic climax. A play must contain the beating of the waves, the deep breath of life; and its strong invigorating breeze can never fail in bringing about a dramatic effect upon our emotions. The new drama means reproduction of nature in all its phases, the social and psychological included. It embraces, analyzes and enriches all life. It goes hand in hand with the longing for materially and mentally harmonious institutions. It rehabilitates the human body, establishes it in its proper place and dignity, and brings about the long deferred reconciliation between the mind and the body.

Full of enthusiasm, with the pulse of time throbbing in his veins, the modern dramatist compiles mountains of material for the better understanding of Man, and the influences that mould and form him. He no longer presents capital acts, extraordinary events, or melodramatic expressions. It is life in all its complexity, that is being unfolded before us, and so we come closer to the source of the forces that destroy and build up again, the forces that make for individual character and direct the world at large. Life, as a whole, is being dealt with, and not mere particles. Formerly our eyes were dazzled by a display of costumes and scenery, while the heart remained unmoved. This no longer satisfies. One must feel the warmth of life, in order to respond, to be gripped.

The sphere of the drama has widened most marvellously in all directions, and only ends where human limitations begin. Together with this, a marked deepening of the inner world has taken place. Still there are those who have much to say about the vulgarity contained in the modern drama, and how its inaugurators and following present the ugly and untruthful. Untrue and ugly, indeed, for those who are buried under a mass of inherited views and prejudices. The growth of the scope of the drama has increased the number of the participants therein. Formerly it was assumed that the fate of the ordinary man, the man of the masses, was altogether too obscure, too indifferent to serve as material for anything tragic; since those who had never dwelt in the heights of material splendor could not go down to the darkest and lowest abyss. Because of that assumption, the low and humble never gained access to the center of the stage; they were only utilized to represent mobs. Those that were of importance were persons of high position and standing, persons who represented wealth and power with superiority and dignity, yet with shallow and superficial airs. The ensemble was but a mechanism and not an organism; and each participant was stiff and lifeless; each movement was forced and strained. The old fate and hero drama did not spring from within Man and the things about him; it was merely manufactured. Most remarkable incidents, unheard of situations had to be invented, if only to produce, externally, an appearance of coinciding cause and effect; and not a single plot could be without secret doors and vaults, terrible oaths and perjury. If Ibsen, Gorky, Hauptmann, Gabrielle D'Annunzio and others had brought us nothing else but liberation from such grotesque ballast, from such impossibilities as destroy every illusion as to the life import of a play, they would still be entitled to our gratitude and the gratitude of posterity. But they have done more. Out of the confusion of trap doors, secret passages, folding screens, they have led us into the light of day, of undisguised events, with their simple distinct outlines. In this light, the man of the heap gains in life force, importance and depth. The stage no longer offers a place for impossible deeds and the endless monologues of the hero, the important feature is harmonious concert of action. The hero, on a stage that conscientiously stands for real art and aims to produce life, is about as superfluous as the clown who amused the audience between the acts. After all the spectacle of one star display, one cannot help but hail the refreshing contrast, shown in the "Man of Destiny," by the clever Bernard Shaw, where he presents the legend-hero, Napoleon, as a petty intriguer, with all the inner fear and uneasiness of a plotter. In these days of concerted energy, of the co-operation of numerous hands and brains; in the days when the most far-reaching effect can only be accomplished through the summons of a manifold physical and mental endeavor, the existence of these loud heroes is circumscribed within rather limited lines.

Previous generations could never have grasped the deep tragedy in that famous painting of Millet that inspired Edwin Markham to write his "Man with the Hoe." Our generation, however, is thrilled by it. And is there not something terribly tragic about the lives of the great masses who pierced the colossal stone cliffs of the Simplon, or who are building the Panama Canal? They have and are performing a task that may safely be compared with the extraordinary achievements of Hercules; works which, according to human conception, will last into eternity. The names and the characters of these workmen are unknown. The historians, coldly and disinterestedly, pass them by.

The new drama has unveiled this kind of tragedy. It has done away with the lie that sought to produce a violent dramatic effect through a plunge from the sublime to the ridiculous. Those who understand Tolstoy's "Power of Darkness," wherein but those of the lowest strata appear, will be overwhelmed by the terrible tragedy in their lives, in comparison with which the worries of some crowned head or the money troubles of some powerful speculator will appear insignificant indeed. That which this master unfolds before us is no longer a plunge from heaven to hell; the entire life of these people is an Inferno. The terrible darkness and ignorance of these people, forced on them by the social misery of dull necessity, produces greater soul sensations in the spectator than the stilted tragedy of a Corneille. Those who witness a performance of Gerhart Hauptmann's "Hannele" and fail to be stirred by the grandeur and depth of that masterpiece, regardless of its petty poorhouse atmosphere, deserve to see nothing else than the "Wizard of Oz." And again is not the long thunderous march of hungry strikers in Zola's "Germinal" as awe-inspiring to those who feel the heart beat of our age even as the heroic deeds of Hannibal's warriors were to his contemporaries?

The world stage ever represents a change of participants. The one who played the part of leading man in one century, may become a clown in another. Entire social classes and casts that formerly commanded first parts, are to-day utilized to make up stage decorations or as figurantes. Plays representing the glory of knighthood or minnesingers would only amuse to-day, no matter how serious they were intended to appear. Once anything lies buried under the bulk of social changes, it can affect coming generations only so far as the excavated skeleton affects the geologist. This must be borne in mind by sincere stage art, if it is not to remain in the stifling atmosphere of tradition, if it does not wish to degrade a noble method, that helps to recognize and disclose all that is rich and deep in the human into a commonplace, hypocritical and stupid method. If the artist's creation is to have any effect, it must contain elements of real life, and must turn its gaze toward the dawn of the morn of a more beautiful and joyous world, with a new and healthy generation, that feels deeply its relationship with all human beings over the universe.

In a report of the Russian government, it is stated that the conduct of the soldiers in the struggles of the streets was such, that in no instance did they transgress the limit which is prescribed to them in their oath as soldiers. This is true. The soldier's oath prescribes murder and cruelty as their patriotic duty.

If government, were it even an ideal Revolutionary government, creates no new force and is of no use whatever in the work of demolition which we have to accomplish, still less can we count on it for the work of reorganization which must follow that of demolition. The economic change which will result from the Social Revolution will be so immense and so profound, it must so change all the relations based to-day on property and exchange, that it is impossible for one or any individual to elaborate the different social forms, which must spring up in the society of the future. This elaboration of new social forms can only be made by the collective work of the masses. To satisfy the immense variety of conditions and needs which will spring up as soon as private property shall be abolished, it is necessary to have the collective suppleness of mind of the whole people. Any authority external to it will only be an obstacle, only a trammel on the organic labor which must be accomplished, and beside that a source of discord and hatred.

Kropotkine.

A SENTIMENTAL JOURNEY.—POLICE PROTECTION

CHICAGO'S pride are the stockyards, the Standard Oil University, and Miss Jane Addams. It is, therefore, perfectly natural that the sensibility of such a city would suffer as soon as it became known that an obscure person, by the common name of E. G. Smith, was none other than the awful Emma Goldman, and that she had not even presented herself to Mayor Dunne, the platonic lover of Municipal Ownership. However, not much harm came of it.

The Chicago newspapers, who cherish the truth like a costly jewel, made the discovery that the shrewd Miss Smith compromised a number of Chicago's aristocracy and excellencies, among others also Baron von Schlippenbach, consul of the Russian Empire. We consider it our duty to defend this gentleman against such an awful accusation. Miss Smith never visited the house of the Baron, nor did she attend any of his banquets. We know her well and feel confident that she never would put her foot on the threshold of a representative of a government that crushes every free breath, every free word; that sends her very best and noblest sons and daughters to prison or the gallows; that has the children of the soil, the peasants, publicly flogged; and that is responsible for the barbarous slaughter of thousands of Jews.

Miss Jane Addams, too, is quite safe from Miss Smith. True, she invited her to be present at a reception, but, knowing the weak knees of the soup kitchen philanthropy from past experience, Miss Smith called her up on the 'phone and told her that E. G. S. was the dreaded Emma Goldman. It must have been quite a shock to the lady; after all, one cannot afford to hurt the sensibilities of society, so long as one has political and public aspirations. Miss E. G. Smith, being a strong believer in the prevention of cruelty, preferred to leave the purity of the Hull House untouched. After her return to New York, E. G. Smith sent Smith about its business, and started on a lecture tour in her own right, as Emma Goldman.

Cleveland. Dear old friends and co-workers: The work you accomplished was splendid, also the comradely spirit of the young. But why spoil it by bad example of applying for protection from the city authorities? It does not behoove us, who neither believe in their right to prohibit free assembly, nor to permit it, to appeal to them. If the authorities choose to do either, they merely prove their autocracy. Those who love freedom must understand that it is even more distasteful to speak under police protection than it is to suffer under their persecution. However, the meetings were very encouraging and the feeling of solidarity sweet and refreshing.

Buffalo. The shadow of September 6 still haunts the police of that city. Their only vision of an Anarchist is one who is forever lying in wait for human life, which is, of course, very stupid; but stupidity and authority always join forces. Capt. Ward, who, with a squad of police, came to save the innocent citizens of Buffalo, asked if we knew the law, and was quite surprised that that was not our trade; that we had not been employed to disentangle the chaos of the law,—that it was his affair to know the law. However, the Captain showed himself absolutely ignorant of the provisions of the American Constitution. Of course, his superiors knew what they were about when they set the Constitution aside, as old and antiquated, and, instead, enacted a law which gives the average officer a right to invade the head and heart of a man, as to what he thinks and feels. Capt. Ward added an amendment to the anti-Anarchist law. He declared any other language than English a felony, and, since Max Baginski could only avail himself of the German language, he was not permitted to speak. How is that for our law-abiding citizens? A man is brutally prevented from speaking, because he does not know the refined English language of the police force.

Emma Goldman delivered her address in English. It is not likely that Capt. Ward understood enough of that language. However, the audience did, and if the police of this country were not so barefaced, the saviour of Buffalo would have wished himself anywhere rather than to stand exposed as a clown before a large gathering of men and women.

The meeting the following evening was forcibly dispersed before the speakers had arrived. Ignorance is always brutal when it is backed by power.

Toronto. King Edward Hotel, Queen Victoria Manicuring Parlor. It was only when we read these signs that we realized that we were on the soil of the British Empire.

However, the monarchical authorities of Canada were more hospitable and much freer than those of our free Republic. Not a sign of an officer at any of the meetings.

The city? A gray sky, rain, storms. Altogether one was reminded of one of Heine's witty, drastic criticisms in reference to a well-known German university town. "Dogs on the street," Heine writes, "implore strangers to kick them, so that they may have some change from the awful monotony and dulness."

Rochester. The neighborly influence of the Buffalo police seems to have had a bad effect upon the mental development of the Rochester authorities. The hall was packed with officers at both meetings. The government of Rochester, however, was not saved—the police kept themselves in good order. Some of them seem to have benefited by the lectures. That accounts for the familiarity of one of Rochester's "finest," who wanted to shake Emma Goldman's hand. E. G. had to decline. Baron von Schlippenbach or an American representative of law and disorder,—where is the difference?

Syracuse. The city where the trains run through the streets. With Tolstoy, one feels that civilization is a crime and a mistake, when one sees nerve-wrecking machines running through the streets, poisoning the atmosphere with soft coal smoke.

What! Anarchists within the walls of Syracuse? O horror! The newspapers reported of special session at City Hall, how to meet the terrible calamity.

Well, Syracuse still stands on its old site. The second meeting, attended largely by "genuine" Americans, brought by curiosity perhaps, was very successful. We were assured that the lecture made a splendid impression, which led us to think that we probably were guilty of some foolishness, as the Greek philosopher, when his lectures were applauded, would turn to his hearers and ask, "Gentlemen, have I committed some folly?"

Au revoir.

E. G. and M. B.

THE MORAL DEMAND

A Comedy, in One Act, by Otto Erich HartlebenTranslated from the German for "Mother Earth."CAST

Rita Revera, concert singer.

Friedrich Stierwald, owner of firm of "C. W. Stierwald Sons" in Rudolstadt.

Bertha, Rita's maid.

Time.—End of the nineteenth century.

Place.—A large German fashionable bathing resort.

Scene.—Rita's boudoir. Small room elegantly furnished in Louis XVI. style. In the background, a broad open door, with draperies, which leads into an antechamber. To the right, a piano, in front of which stands a large, comfortable stool.

Rita (enters the antechamber attired in an elaborate ball toilette. She wears a gray silk cloak, a lace fichu, and a parasol. Gaily tripping toward the front, she sings): "Les envoyées du paradis sont les mascottes, mes amis...." (She lays the parasol on the table and takes off her long white gloves, all the while singing the melody. She interrupts herself and calls aloud) Bertha! Bertha! (Sings) O Bertholina, O Bertholina!

Bertha (walks through the middle): My lady, your pleasure?

(Rita has taken off her cloak and stands in front of the mirror. She is still humming the melody absentmindedly).

(Bertha takes off Rita's wraps.)

Rita (turns around merrily): Tell me, Bertha, why does not the electric bell ring? I must always sing first, must always squander all my flute notes first ere I can entice you to come. What do you suppose that costs? With that I can immediately arrange another charity matinée. Terrible thing, isn't it?

Bertha: Yes. The man has not yet repaired it.

Rita: O, Bertholina, why has the man not yet repaired it?

Bertha: Yes. The man intended to come early in the morning.

Rita: The man has often wanted to do so. He does not seem to possess a strong character. (She points to her cloak) Dust it well before placing it in the wardrobe. The dust is simply terrible in this place … and this they call a fresh-air resort. Has anybody called?

Bertha: Yes, my lady, the Count. He has–

Rita: Well, yes; I mean anyone else?

Bertha: No. No one.

Rita: Hm! Let me have my dressing gown.

(Bertha goes to the sleeping chamber to the left.)

Rita (steps in front of the mirror, singing softly): "Les envoyées du paradis...." (Suddenly raising her voice, she asks Bertha) How long did he wait?

Bertha: What?

Rita: I would like to know how long he waited.

Bertha: An hour.

Rita (to herself): He does not love me any more. (Loudly) But during that time he might have at least repaired the bell. He is of no use whatever. (She laughs.)

Bertha: The Count came directly from the matinée and asked me where your ladyship had gone to dine. Naturally I did not know.

Rita: Did he ask—anything else?

Bertha: No, he looked at the photographs.

Rita (in the door): Well? And does he expect to come again to-day?

Bertha: Yes, certainly. At four o'clock.

Rita (looks at the clock): Oh, but that's boring. Now it is already half-past three. One cannot even drink coffee in peace. Hurry, Bertha, prepare the coffee.

(Bertha leaves the room, carrying the articles of attire.)

(Rita, after a pause, singing a melancholy melody.)

(Friedrich Stierwald, a man very carefully dressed in black, about thirty years of age, with a black crêpe around his stiff hat, enters from the rear into the antechamber, followed by Bertha.)

Bertha: But the lady is not well.

Friedrich: Please tell the lady that I am passing through here, and that I must speak with her about a very pressing matter. It is absolutely necessary. Please! (He gives her money and his card.)

Bertha: Yes, I shall take your card, but I fear she will not receive you.

Friedrich: Why not? O, yes! Just go–

Bertha: This morning she sang at a charity matinée and so–

Friedrich: I know, I know. Listen! (Rita's singing has grown louder) Don't you hear how she sings? Oh, do go!

Bertha (shaking her head): Well, then—wait a moment. (She passes through the room to the half-opened door of the sleeping apartment, knocks) Dear lady!

Rita (from within): Well? What's the matter?

Bertha (at the door): Oh, this gentleman here—he wishes to see you very much. He is passing through here.

Rita (within; laughs): Come in.

(Bertha disappears.)

(Friedrich has walked up to the middle door, where he remains standing.)

Rita: Well. Who is it? Friedrich– Hmm– I shall come immediately.

Bertha (comes out and looks at Friedrich in surprise): My lady wishes you to await her. (She walks away, after having taken another glance at Friedrich.)