The Social Significance of the Modern Drama

Part 20, Chapter 1 : Leonid Andreyev, King-Hunger
LEONID ANDREYEV KING-HUNGER Leonid Andreyev is the youngest and at the present time the most powerful dramatist of Russia. Like Tchekhof and Gorki, he is very versatile: his sketches and stories possess as fine a literary quality and stirring social appeal as his plays. No one who has read his terrible picture of war, "The Red Laugh," or his unsurpassed arraignment of capital punishment, "The Seven Who Were Hanged," can erase from memory the effect of Leonid Andreyev's forceful pen. The drama "King-Hunger" deals with the most powerful king on earth,--King-Hunger. In the presence of Time and Death he pleads with Time to ring the alarm, to call the people to rebellion, because the earth is replete with- suffering: cities, shops, mines, factories and fields resound with the moans and groans of the people. Their agony is unbearable. King-Hunger. Strike the bell, old man; rend to the cars its copper mo... (From : Anarchy Archives.)

Part 19, Chapter 1 : Maxim Gorki, A Night's Lodging
THE RUSSIAN DRAMA: MAXIM GORKI A NIGHT'S LODGING We in America are conversant with tramp literature. A number of writers of considerable note have described what is commonly called the underworld, among them Josiah Flynt and Jack London, who have ably interpreted the life and psychology of the outcast. But with all due respect for their ability, it must be said that, after all, they wrote only as onlookers, as observes. They were not tramps themselves, in the real sense of the word. In "The Children of the Abyss" Jack London relates that when he stood in the breadline, he had money, a room in a good hotel, and a change of linen at hand. He was therefore not an integral part of the underworld, of the homeless and hopeless. Never before has anyone given such a true, realistic picture of the social depths as Maxim Gorki, himself a denizen of the underworld from his early childhood. At the age of eight he ran away from his poverty-stricken, dismal home, and... (From : Anarchy Archives.)

Part 18, Chapter 3 : The Cherry Orchard
THE CHERRY ORCHARD "The Cherry Orchard" is Tchekhof's prophetic song. In this play he depicts three stages of social development and their reflex in literature. Mme. Ranevsky, the owner of the cherry orchard, an estate celebrated far and wide for its beauty and historic traditions, is deeply attached to the family place. She loves it for its romanticism: nightingales sing in the orchard, accompanying the wooing of lovers. She is devoted to it because of the memory of her ancestors and because of the many tender ties which bind her to the orchard. The same feeling and reverence is entertained by her brother Leonid Gayef. They are expressed in the Ode to an Old Family Cupboard: Gayef. Beloved and venerable cupboard; honor and glory to your existence, which for more than a hundred years has been directed to the noble ideals of justice and virtue. Your silent summons to profitable labor has never weakened in all these hundred year... (From : Anarchy Archives.)

Part 18, Chapter 2 : The Seagull
THE RUSSIAN DRAMA: ANTON TCHEKHOF THE SEAGULL In "The Seagull" the young artist, Constantine Treplef, seeks new forms, new modes of expression. He is tired of the old academic ways, the beaten track; he is disgusted with the endless imitative methods, no one apparently capable of an original thought. Constantine has written a play; the principal part is to be acted by Nina, a beautiful girl with whom Constantine is in love. He arranges the first performance to take place on the occasion of his mother's vacation in the country. She herself--known as Mme. Arcadina--is a famous actress of the old school. She knows how to show off her charms to advantage, to parade her beautiful gowns, to faint and die gracefully before the footlights; but she does not know how to live her part on the stage. Mme. Arcadina is the type of artist who lacks all conception of the relation between art and life. Barren of vision an... (From : Anarchy Archives.)

Part 18, Chapter 1 : Anton Tchekhof
ANTON TCHEKHOF When Anton Tchekhof first came to the fore, no less an authority than Tolstoy said: "Russia has given birth to another Turgenev." The estimate was not overdrawn. Tchekhof was indeed a modern Turgenev. Perhaps not as universal, because Turgenev, having lived in western Europe, in close contact with conditions outside of Russia, dealt with more variegated aspects of life. But as a creative artist Tchekhof is fitted to take his place with Turgenev. Tchekhof is preëminently the master of short stories, Within the limits of a few pages he paints the drama of human life with its manifold tragic and comic colors, in its most intimate reflex upon the characters who pass through the panorama. He has been called a pessimist. As if one could miss the sun without feeling the torture of utter darkness! Tchekhof wrote during the gloomiest period of Russian life, at a time when the reaction had drowned the revolution in the blood of the young generat... (From : Anarchy Archives.)

Edmond Rostand, Chantecler
THE FRENCH DRAMA: EDMUND ROSTAND Chantecler In view of the progress the modern drama has made as an interpreter of social ideas and portrayer of the human struggle against in. ternal and external barriers, it is difficult to say what the future may bring in the way of great dramatic achievement. So far, however, there is hardly anything to compare with " Chantecler " in philosophic depth and poetic beauty. Chantecler is the intense idealist, whose mission is light and truth. His soul is aglow with deep human sympathies, and his great purpose in life is to dispel the night. He keeps aloof from mediocrity; indeed, he has little knowledge of his immediate surroundings. Like all great visionaries,Chantecler is human, " all too human "; therefor... (From : Anarchy Archives.)

The Pigeon
THE ENGLISH DRAMA: JOHN GALSWORTHY THE PIGEON John Galsworthy calls this play a fantasy. To me it seems cruelly real: it demonstrates that the best human material is crushed in the fatal mechanism of our life. "The Pigeon" also discloses to us the inadequacy of charity, individual and organized, to cope with poverty, as well as the absurdity of reformers and experimenters who attempt to patch up effects while they ignore the causes. Christopher Wellwyn, an artist, a man deeply in sympathy with all human sorrow and failings, generously shares his meager means with everyone who applies to him for help. His daughter Ann is of a more practical turn of mind. She cannot understand that giving is as natural and necessary to her father as light and... (From : Anarchy Archives.)

A Doll's House
THE SCANDINAVIAN DRAMA: HENRIK IBSEN A DOLL'S HOUSE In "A Doll's House" Ibsen returns to the subject so vital to him,--the Social Lie and Duty,--this time as manifesting themselves in the sacred institution of the home and in the position of woman in her gilded cage. Nora is the beloved, adored wife of Torvald Helmer. He is an admirable man, rigidly honest, of high moral ideals, and passionately devoted to his wife and children. In short, a good man and an enviable husband. Almost every mother would be proud of such a match for her daughter, and the latter would consider herself fortunate to become the wife of such a man. Nora, too, considers herself fortunate. Indeed, she worships her husband, believes in him implicitly, and is sure that i... (From : Anarchy Archives.)

Henrik Ibsen
THE SCANDINAVIAN DRAMA In a letter to George Brandes, shortly after the Paris Commune, Henrik Ibsen wrote concerning the State and political liberty: "The State is the curse of the individual. How has the national strength of Prussia been purchased? By the sinking of the individual in a political and geographical formula. . . . The State must go! That will be a revolution which will find me on its side. Undermine the idea of the State, set up in its place spontaneous action, and the idea that spiritual relationship is the only thing that makes for unity, and you will start the elements of a liberty which will be something worth possessing." The State was not the only bête noire of Henrik Ibsen. Every other institution which, like the ... (From : Anarchy Archives.)

Maurice Maeterlinck, Monna Vanna
THE FRENCH DRAMA MAETERLINCK To those who are conversant with the works of Maeterlinck it may seem rather far-fetched to discuss him from the point of view of revolutionary and social significance. Above all, MaEterlinck is the portrayer of the remote, the poet of symbols; therefore it may seem out of place to bring him down to earth, to simplify him, or to interpret his revolutionary spirit. To some extent these objections have considerable weight; but on the other hand, if one keeps in mind that only those who go to the remote are capable of understanding the obvious, one will readily see how very significant Maeterlinck is as a revolutionizing factor. Besides, we have Maeterlinck's own conception of the significance of the revolutionary ... (From : Anarchy Archives.)