We may not like this adherence to old, reactionary notions, and yet there is something admirable in the courage and consistency of this man, nor is he half as dangerous to the interests of the oppressed, as our sentimental and soft reformers who rob with nine fingers, and give libraries with the tenth; who grind human beings like Russell Sage, and then spend millions of dollars in social research work; who turn beautiful young plants into faded old women, and then give them a few paltry dollars or found a Home for Working Girls. Anthony is a worthy foe; and to fight such a foe, one must learn to meet him in open battle.
David Roberts has all the mental and moral attributes of his adversary, coupled with the spirit of revolt, and the depth of modern ideas. He, too, is consistent, and wants nothing for his class short of complete victory.
"It is not for this little moment of time we are fighting, not for our own little bodies and their warmth; it is for all those who come after, for all times. Oh, men, for the love of them don't turn up another stone on their heads, don't help to blacken the sky. If we can shake that white-faced monster with the bloody lips that has sucked the lives out of ourselves, our wives, and children, since the world began, if we have not the hearts of men to stand against it, breast to breast and eye to eye, and force it backward till it cry for mercy, it will go on sucking life, and we shall stay forever where we are, less than the very dogs."
It is inevitable that compromise and petty interest should pass on and leave two such giants behind. Inevitable, until the mass will reach the stature of a David Roberts. Will it ever? Prophecy is not the vocation of the dramatist, yet the moral lesson is evident. One cannot help realizing that the workingmen will have to use methods hitherto unfamiliar to them; that they will have to discard all those elements in their midst that are forever ready to reconcile the irreconcilable, namely Capital and Labor. They will have to learn that characters like David Roberts are the very forces that have revolutionized the world and thus paved the way for emancipation out of the clutches of that "white-faced monster with bloody lips," towards a brighter horizon, a freer life, and a deeper recognition of human values.
No subject of equal social import has received such extensive consideration within the last few years as the question of prison and punishment.
Hardly any magazine of consequence that has not devoted its columns to the discussion of this vital theme. A number of books by able writers, both in America and abroad, have discussed this topic from the historic, psychologic, and social standpoint, all agreeing that present penal institutions and our mode of coping with crime have in every respect proved inadequate as well as wasteful. One would expect that something very radical should result from the cumulative literary indictment of the social crimes perpetrated upon the prisoner. Yet with the exception of a few minor and comparatively insignificant reforms in some of our prisons, absolutely nothing has been accomplished. But at last this grave social wrong has found dramatic interpretation in Galworthy's JUSTICE.
The play opens in the office of James How and Sons, Solicitors. The senior clerk, Robert Cokeson, discovers that a check he had issued for nine pounds has been forged to ninety. By elimination, suspicion falls upon William Falder, the junior office clerk. The latter is in love with a married woman, the abused, ill-treated wife of a brutal drunkard. Pressed by his employer, a severe yet not unkindly man, Falder confesses the forgery, pleading the dire necessity of his sweetheart, Ruth Honeywill, with whom he had planned to escape to save her from the unbearable brutality of her husband. Notwithstanding the entreaties of young Walter, who is touched by modern ideas, his father, a moral and law-respecting citizen, turns Falder over to the police.
The second act, in the court-room, shows Justice in the very process of manufacture. The scene equals in dramatic power and psychologic verity the great court scene in RESURRECTION. Young Falder, a nervous and rather weakly youth of twenty-three, stands before the bar. Ruth, his married sweetheart, full of love and devotion, burns with anxiety to save the young man whose affection brought about his present predicament. The young man is defended by Lawyer Frome, whose speech to the jury is a masterpiece of deep social philosophy wreathed with the tendrils of human understanding and sympathy. He does not attempt to dispute the mere fact of Falder having altered the check; and though he pleads temporary aberration in defense of his client, that plea is based upon a social consciousness as deep and all-embracing as the roots of our social ills—"the background of life, that palpitating life which always lies behind the commission of a crime." He shows Falder to have faced the alternative of seeing the beloved woman murdered by her brutal husband, whom she cannot divorce; or of taking the law into his own hands. The defence pleads with the jury not to turn the weak young man into a criminal by condemning him to prison, for "justice is a machine that, when someone has given it a starting push, rolls on of itself.... Is this young man to be ground to pieces under this machine for an act which, at the worst, was one of weakness? Is he to become a member of the luckless crews that man those dark, ill-starred ships called prisons?... I urge you, gentlemen, do not ruin this young man. For as a result of those four minutes, ruin, utter and irretrievable, stares him in the face.... The rolling of the chariot wheels of Justice over this boy began when it was decided to prosecute him."
But the chariot of Justice rolls mercilessly on, for—as the learned Judge says—"the law is what it is—a majestic edifice, sheltering all of us, each stone of which rests on another."
Falder is sentenced to three years' penal servitude.