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.)

August Strindberg
THE SCANDINAVIAN DRAMA: AUGUST STRINDBERG "THE reproach was leveled against my tragedy, 'The Father' that it was so sad, as though one wanted merry tragedies. People clamor for the joy of life, and the theatrical managers order farces, as though the joy of life consisted in being foolish, and in describing people as if they were each and all afflicted with St. Vitus's dance or idiocy. I find the joy of life in the powerful, cruel struggle of life, and my enjoyment in discovering something, in learning something." The passionate desire to discover something, to learn something, has made of August Strindberg a keen dissector of souls. Above all, of his own soul. Surely there is no figure in contemporary literature, outside of Tolstoy, that la... (From : Anarchy Archives.)

The Russian Drama
THE RUSSIAN DRAMA People outside of Russia, especially Anglo-Saxons, have one great objection to the Russian drama: it is too sad, too gloomy. It is often asked, "Why is the Russian drama so pessimistic?" The answer is: the Russian drama, like all Russian culture, has been conceived in the sorrow of the people; it was born in their woe and struggle. Anything thus conceived cannot be very joyous or amusing. It is no exaggeration to say that in no other country are the creative artists so interwoven, so much at one with the people. This is not only true of men like Turgenev, Tolstoy and the dramatists of modern times. It applies also to Gogol, who in "The Inspector" and "Dead Souls" spoke in behalf of the people, appealing to the conscience o... (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.)

Gerhart Hauptmann, Lonely Lives
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 no... (From : Anarchy Archives.)

Stanley Houghton, Hindle Wakes
THE ENGLISH DRAMA: STANLEY HOUGHTON HINDLE WAKES In Stanley Houghton, who died last year, the drama lost a talented and brave artist. Brave, because he had the courage to touch one of the most sensitive spots of Puritanism--woman's virtue. Whatever else one may criticize or attack, the sacredness of virtue must remain untouched. It is the last fetish which even so-called liberal-minded people refuse to destroy. To be sure, the attitude towards this holy of holies has of late years undergone a considerable change. It is beginning to be felt in ever-growing circles that love is its own justification, requiring no sanction of either religion or law. The revolutionary idea, however, that woman may, even as man, follow the urge of her nature, ha... (From : Anarchy Archives.)