Doctor Stockman is not a practical politician. A free man, he thinks, must not behave like a blackguard. "He must not so act that he would spit in his own face." For only cowards permit "considerations" of pretended general welfare or of party to override truth and ideals. "Party programmes wring the necks of all young, living truths; and considerations of expediency turn morality and righteousness upside down, until life is simply hideous."
These plays of Ibsen—THE PILLARS OF SOCIETY, A DOLL'S HOUSE, GHOSTS, and AN ENEMY OF THE PEOPLE—constitute a dynamic force which is gradually dissipating the ghosts walking the social burying ground called civilization. Nay, more; Ibsen's destructive effects are at the same time supremely constructive, for he not merely undermines existing pillars; indeed, he builds with sure strokes the foundation of a healthier, ideal future, based on the sovereignty of the individual within a sympathetic social environment.
England with her great pioneers of radical thought, the intellectual pilgrims like Godwin, Robert Owen, Darwin, Spencer, William Morris, and scores of others; with her wonderful larks of liberty—Shelley, Byron, Keats—is another example of the influence of dramatic art. Within comparatively a few years, the dramatic works of Shaw, Pinero, Galsworthy, Rann Kennedy, have carried radical thought to the ears formerly deaf even to Great Britain's wondrous poets. Thus a public which will remain indifferent reading an essay by Robert Owen, on Poverty, or ignore Bernard Shaw's Socialistic tracts, was made to think by MAJOR BARBARA, wherein poverty is described as the greatest crime of Christian civilization. "Poverty makes people weak, slavish, puny; poverty creates disease, crime, prostitution; in fine, poverty is responsible for all the ills and evils of the world." Poverty also necessitates dependency, charitable organizations, institutions that thrive off the very thing they are trying to destroy. The Salvation Army, for instance, as shown in MAJOR BARBARA, fights drunkenness; yet one of its greatest contributors is Badger, a whiskey distiller, who furnishes yearly thousands of pounds to do away with the very source of his wealth. Bernard Shaw, therefore, concludes that the only real benefactor of society is a man like Undershaft, Barbara's father, a cannon manufacturer, whose theory of life is that powder is stronger than words.
"The worst of crimes," says Undershaft, "is poverty. All the other crimes are virtues beside it; all the other dishonors are chivalry itself by comparison. Poverty blights whole cities; spreads horrible pestilences; strikes dead the very soul of all who come within sight, sound, or smell of it. What you call crime is nothing; a murder here, a theft there, a blow now and a curse there: what do they matter? They are only the accidents and illnesses of life; there are not fifty genuine professional criminals in London. But there are millions of poor people, abject people, dirty people, ill-fed, ill-clothed people. They poison us morally and physically; they kill the happiness of society; they force us to do away with our own liberties and to organize unnatural cruelties for fear they should rise against us and drag us down into their abyss.... Poverty and slavery have stood up for centuries to your sermons and leading articles; they will not stand up to my machine guns. Don't preach at them; don't reason with them. Kill them.... It is the final test of conviction, the only lever strong enough to overturn a social system.... Vote! Bah! When you vote, you only change the name of the cabinet. When you shoot, you pull down governments, inaugurate new epochs, abolish old orders, and set up new."
No wonder people cared little to read Mr. Shaw's Socialistic tracts. In no other way but in the drama could he deliver such forcible, historic truths. And therefore it is only through the drama that Mr. Shaw is a revolutionary factor in the dissemination of radical ideas.
After Hauptmann's DIE WEBER, STRIFE, by Galsworthy, is the most important labor drama.
The theme of STRIFE is a strike with two dominant factors: Anthony, the president of the company, rigid, uncompromising, unwilling to make the slightest concession, although the men held out for months and are in a condition of semi-starvation; and David Roberts, an uncompromising revolutionist, whose devotion to the workingman and the cause of freedom is at white heat. Between them the strikers are worn and weary with the terrible struggle, and are harassed and driven by the awful sight of poverty and want in their families.
The most marvellous and brilliant piece of work in STRIFE is Galsworthy's portrayal of the mob, its fickleness, and lack of backbone. One moment they applaud old Thomas, who speaks of the power of God and religion and admonishes the men against rebellion; the next instant they are carried away by a walking delegate, who pleads the cause of the union,—the union that always stands for compromise, and which forsakes the workingmen whenever they dare to strike for independent demands; again they are aglow with the earnestness, the spirit, and the intensity of David Roberts—all these people willing to go in whatever direction the wind blows. It is the curse of the working class that they always follow like sheep led to slaughter.
Consistency is the greatest crime of our commercial age. No matter how intense the spirit or how important the man, the moment he will not allow himself to be used or sell his principles, he is thrown on the dustheap. Such was the fate of the president of the company, Anthony, and of David Roberts. To be sure they represented opposite poles—poles antagonistic to each other, poles divided by a terrible gap that can never be bridged over. Yet they shared a common fate. Anthony is the embodiment of conservatism, of old ideas, of iron methods:
"I have been chairman of this company thirty-two years. I have fought the men four times. I have never been defeated. It has been said that times have changed. If they have, I have not changed with them. It has been said that masters and men are equal. Cant. There can be only one master in a house. It has been said that Capital and Labor have the same interests. Cant. Their interests are as wide asunder as the poles. There is only one way of treating men—with the iron rod. Masters are masters. Men are men."