The Social Significance of the Modern Drama : Part 02, Chapter 3 : Countess Julie
(1869 - 1940) ~ Russian-American Mother of Anarcho-Communism : She is an Anarchist, pure and simple. She represents the idea of Anarchism as framed by Josiah Warren, Proudhon, Bakunin, Kropotkin, Tolstoy. Yet she also understands the psychologic causes which induce a Caserio, a Vaillant, a Bresci, a Berkman, or a Czolgosz to commit deeds of violence. (From : Hippolyte Havel Bio.)
• "The individual educator imbued with honesty of purpose, the artist or writer of original ideas, the independent scientist or explorer, the non-compromising pioneers of social changes are daily pushed to the wall by men whose learning and creative ability have become decrepit with age." (From : "Minorities Versus Majorities," by Emma Goldman.)
• "Man's greatest battles have been waged against man-made obstacles and artificial handicaps imposed upon him to paralyze his growth and development. Human thought has always been falsified by tradition and custom, and perverted false education in the interests of those who held power and enjoyed privileges." (From : "The Place of the Individual in Society," by Emma ....)
• "Each child responds differently to his environment. Some become rebels, refusing to be dazzled by social superstitions. They are outraged by every injustice perpetrated upon them or upon others. They grow ever more sensitive to the suffering round them and the restriction registering every convention and taboo imposed upon them." (From : "Was My Life Worth Living?" by Emma Goldman, secti....)
Part 02, Chapter 3
IN his masterly preface to this play, August Strindberg writes: "The fact that my tragedy makes a sad impression on many is the fault of the many. When we become strong, as were the first French revolutionaries, it will make an exelusively pleasant and cheerful impression to see the royal parks cleared of rotting, superannuated trees which have too long stood in the way of others with equal right to vegetate their full lifetime; it will make a good impression in the same sense as does the sight of the death of an incurable."
What a wealth of revolutionary thought,were we to realize that those who will clear society of the rotting, superannuated trees that have so long been standing in the way of others entitled to an equal share in life, must be as strong as the great revolutionists of the past!
Indeed, Strindberg is no trimmer, no cheap reformer, no patchworker; therefore his inability to remain fixed, or to content himself with accepted truths. Therefore also, his great versatility, his deep grasp of the subtlest phases of life. Was he not forever the seeker, the restless spirit roaming the earth, ever in the death-throes of the Old, to give birth to the New? How, then, could he be other than relentless and grim and brutally frank.
" Countess Julie," a one-act tragedy, is no doubt a brutally frank portrayal of the most intimate thoughts of man and of the age-long antagonism between classes. Brutally frank, because August Strindberg strips both of their glitter, their sham and pretense, that we may see that " at bottom there's not so much difference between people and people."
Who in modern dramatic art is there to teach us that lesson with the insight of an August Strindberg? He who had been tossed about all his life between the decadent traditions of his aristocratic 'father and the grim, sordid reality of the class of his mother. He who had been begotten through the physical mastery of his father and the physical subserviency of his mother. Verily, Strindberg knew whereof he spoke-for he spoke with his soul, a language whose significance is illuminating, compelling.
Countess Julie inherited the primitive, intense passion of her mother and the neurotic aristocratic tendencies of her father. Added to this heritage is the call of the wild, the " intense summer heat when on the blood turns to fire, and when all are in a holiday spirit, full of gladness, and rank is flung aside." Countess Julie feels, when too late, that the barrier of rank reared through the ages, by wealth and power, is not flung aside with impunity. Therein the vicious I brutality, the boundless injustice of rank.
The people on the estate of Julie's father are celebrating St. John's Eve with dance, song and revelry. The Count is absent, and Julie graciously mingles with the servants. But once having tasted the simple abandon of the people, once having thrown off the artifice and superficiality of her aristocratic decorum, her suppressed passions leap into full flame, and Julie throws herself into the arms of her father's valet, Jean -not because of love for the man, nor yet openly and freely, but as persons of her station may do when carried away by the moment.
The woman in Julie pursues the male, follows him into the kitchen, plays with him as with a pet dog, and then feigns indignation when Jean, aroused makes advances. How dare he, the servant, the lackey, even insinuate that she would have him I " I, the lady of the house! I honor the people with my presence. I, in love with my coachman? I, who step down."
How well Strindberg knows the psychology of the upper classes I How well he understands that their graciousness, their charity, their interest in the " common people " is, after all, nothing but arrogance, blind conceit of their own importance and ignorance of the character of the people.
Even though Jean is a servant, he has his pride, he has his dreams. " I was not hired to be your plaything," he says to Julie; " I think too much of myself for that.
Strange, is it not, that those who serve and drudge for others, should think so much of themselves as to refuse to be played with? Stranger still that they should indulge in dreams. Jean says:
Do you know how people in high life look from the under-world? . . . They look like hawks and eagles whose backs one seldom sees, for they soar up above. I lived in a hovel provided by the State, with seven brothers and sisters and a pig; out on a barren stretch where nothing grew, not even a tree, but from the window I could see the Count's park walls with apple trees rising above them. That was the garden of paradise; and there stood many angry angels with flaming swords protecting it; but for all that I and other boys found the way to the tree of life - now you despise me. . . . I thought if it is true that the thief on the cross could enter heaven and dwell among the angels it was strange that a pauper child on God's earth could not go into the castle park and play with the Countess' daughter. . . . What I wanted-I don't know. You were unattainable, but through the vision of you I was made to realize how hopeless it was to rise above the conditions of my birth.
What rich food for thought in the above for all of us, and for the jeans, the people who do not know what they want, yet feel the cruelty of a world that keeps the pauper's child out of the castle of his dreams, away from joy and play and beauty! The injustice and the bitterness of it all, that places the stigma of birth as an impassable obstacle, a fatal imperative excluding one from the table of life, with the result of producing such terrible effects on the Julies and the Jeans. The one unnerved, made helpless and useless by affluence, ease and idleness; the other enslaved and bound by service and dependence. Even when Jean wants to, he cannot rise above his condition. When Julie asks him to embrace her, to love her, he replies:
I can't as long as we are in this house. . . . There is the Count, your father. . . . I need only to see his gloves lying in a chair to feel my own insignificance. I have only to hear his bell, to start like a nervous horse. . . . And now that I see his boots standing there so stiff and proper, I feet like bowing and scraping. . . . I can't account for it but-but ah, it is that damned servant in my back -I believe if the Count came here now, and told me to cut my throat, I would do it on the spot. . . . Superstition and prejudice taught in childhood can't be uprooted in a moment.
No, superstition and prejudice cannot be uprooted in a moment; nor in years. The awe of authority, servility before station and wealth - these are the curse of the Jean class that makes such cringing slaves of them. Cringing before those who are above them, tyrannical and overbearing toward those who are below them. For Jean has the potentiality of the master in him as much as that of the slave. Yet degrading as "the damned servant" reacts upon Jean, it is much more terrible in its effect upon Kristin, the cook, the dull, dumb animal who has so little left of the spirit of independence that she has lost even the ambition to rise above her condition. Thus when Kristin, the betrothed of Jean, discovers that her mistress Julie had given herself to him, she is indignant that her lady should have so much forgotten her station as to stoop to her father's valet.
Kristin. I don't want to be here in this house any , longer where one cannot respect one's betters.
Jean. Why should one respect them?
Kristin. Yes, you can say that, you are so smart. But I don't want to serve people who behave so. It reflects on oneself, I think.
Jean. Yes, but it's a comfort that they're not a bit better than we.
Kristin. No, I don't think so, for if they are no better there's no use in our trying to better ourselves in this world. And to think of the Count! Think of him who has had so much sorrow all his days. No, I don't want to stay in this house any longer! And to think of it being with such as you 1 If it had been the Lieutenant -...I have never lowered my position. Let any one say, if they can, that the Count's cook has had anything to do with the riding master or the swineherd. Let them come and say it!
Such dignity and morality are indeed pathetic, because they indicate how completely serfdom may annihilate even the longing for something higher and better in the breast of a human being. The Kristins represent the greatest obstacle to social growth, the deadlock in the conflict between the classes. On the other hand, the Jeans, with all their longing for higher possibilities, often become brutalized in the hard school of life; though in the conflict with Julie, Jean shows brutality only at the critical moment, when it be-
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