Most Irishmen, in and out of Ireland, seem unanimous in condemning the brutality of the British government toward the leaders of the unsuccessful revolt. There is no need to recite here the atrocious measures of repression practiced by England toward her subject races. The arrogant and irresponsible tyranny of the British government in this relation is a matter of history. The point of interest just now is, what did the Irish people, or at least the Sinn Feiners, expect England to do in the given circumstances? I am not interested in the weak-kneed editors of Irish-American papers who bemoan, with all due decorum, Great Britain's "lack of generosity" in dealing with the captured Sinn Feiners, or who hide their cowardice by arguments about t... (From : Spunk.org.)
THE GERMAN DRAMA: GERHART HAUPTMANN LONELY LIVES Gerhart Hauptmann is the dramatist of whom it may be justly said that he revolutionized the spirit of dramatic art in Germany: the last Mohican of a group of four-Ibsen, Strindberg, Tolstoy, and Hauptmann-who illumined the horizon of the nineteenth century. Of these Hauptmann, undoubtedly the most human, is also the most universal. It is unnecessary to make comparisons between great artists: life is sufficiently complex to give each his place in the great scheme of things. If, then, I consider Hauptmann more human, it is because of his deep kinship with every stratum of life. While Ibsen deals exclusively with one attitude, Hauptmann embraces all, understands all, and portrays all, because nothing human is alien to him. Whether it be the struggle of the transition stage in " Lonely Lives," or the conflict between the Ideal and the Real in " The Sunken Bell," or the brutal background of poverty in...