The sphere of the drama has widened most marvellously in all directions, and only ends where human limitations begin. Together with this, a marked deepening of the inner world has taken place. Still there are those who have much to say about the vulgarity contained in the modern drama, and how its inaugurators and following present the ugly and untruthful. Untrue and ugly, indeed, for those who are buried under a mass of inherited views and prejudices. The growth of the scope of the drama has increased the number of the participants therein. Formerly it was assumed that the fate of the ordinary man, the man of the masses, was altogether too obscure, too indifferent to serve as material for anything tragic; since those who had never dwelt in the heights of material splendor could not go down to the darkest and lowest abyss. Because of that assumption, the low and humble never gained access to the center of the stage; they were only utilized to represent mobs. Those that were of importance were persons of high position and standing, persons who represented wealth and power with superiority and dignity, yet with shallow and superficial airs. The ensemble was but a mechanism and not an organism; and each participant was stiff and lifeless; each movement was forced and strained. The old fate and hero drama did not spring from within Man and the things about him; it was merely manufactured. Most remarkable incidents, unheard of situations had to be invented, if only to produce, externally, an appearance of coinciding cause and effect; and not a single plot could be without secret doors and vaults, terrible oaths and perjury. If Ibsen, Gorky, Hauptmann, Gabrielle D'Annunzio and others had brought us nothing else but liberation from such grotesque ballast, from such impossibilities as destroy every illusion as to the life import of a play, they would still be entitled to our gratitude and the gratitude of posterity. But they have done more. Out of the confusion of trap doors, secret passages, folding screens, they have led us into the light of day, of undisguised events, with their simple distinct outlines. In this light, the man of the heap gains in life force, importance and depth. The stage no longer offers a place for impossible deeds and the endless monologues of the hero, the important feature is harmonious concert of action. The hero, on a stage that conscientiously stands for real art and aims to produce life, is about as superfluous as the clown who amused the audience between the acts. After all the spectacle of one star display, one cannot help but hail the refreshing contrast, shown in the "Man of Destiny," by the clever Bernard Shaw, where he presents the legend-hero, Napoleon, as a petty intriguer, with all the inner fear and uneasiness of a plotter. In these days of concerted energy, of the co-operation of numerous hands and brains; in the days when the most far-reaching effect can only be accomplished through the summons of a manifold physical and mental endeavor, the existence of these loud heroes is circumscribed within rather limited lines.
Previous generations could never have grasped the deep tragedy in that famous painting of Millet that inspired Edwin Markham to write his "Man with the Hoe." Our generation, however, is thrilled by it. And is there not something terribly tragic about the lives of the great masses who pierced the colossal stone cliffs of the Simplon, or who are building the Panama Canal? They have and are performing a task that may safely be compared with the extraordinary achievements of Hercules; works which, according to human conception, will last into eternity. The names and the characters of these workmen are unknown. The historians, coldly and disinterestedly, pass them by.
The new drama has unveiled this kind of tragedy. It has done away with the lie that sought to produce a violent dramatic effect through a plunge from the sublime to the ridiculous. Those who understand Tolstoy's "Power of Darkness," wherein but those of the lowest strata appear, will be overwhelmed by the terrible tragedy in their lives, in comparison with which the worries of some crowned head or the money troubles of some powerful speculator will appear insignificant indeed. That which this master unfolds before us is no longer a plunge from heaven to hell; the entire life of these people is an Inferno. The terrible darkness and ignorance of these people, forced on them by the social misery of dull necessity, produces greater soul sensations in the spectator than the stilted tragedy of a Corneille. Those who witness a performance of Gerhart Hauptmann's "Hannele" and fail to be stirred by the grandeur and depth of that masterpiece, regardless of its petty poorhouse atmosphere, deserve to see nothing else than the "Wizard of Oz." And again is not the long thunderous march of hungry strikers in Zola's "Germinal" as awe-inspiring to those who feel the heart beat of our age even as the heroic deeds of Hannibal's warriors were to his contemporaries?
The world stage ever represents a change of participants. The one who played the part of leading man in one century, may become a clown in another. Entire social classes and casts that formerly commanded first parts, are to-day utilized to make up stage decorations or as figurantes. Plays representing the glory of knighthood or minnesingers would only amuse to-day, no matter how serious they were intended to appear. Once anything lies buried under the bulk of social changes, it can affect coming generations only so far as the excavated skeleton affects the geologist. This must be borne in mind by sincere stage art, if it is not to remain in the stifling atmosphere of tradition, if it does not wish to degrade a noble method, that helps to recognize and disclose all that is rich and deep in the human into a commonplace, hypocritical and stupid method. If the artist's creation is to have any effect, it must contain elements of real life, and must turn its gaze toward the dawn of the morn of a more beautiful and joyous world, with a new and healthy generation, that feels deeply its relationship with all human beings over the universe.
In a report of the Russian government, it is stated that the conduct of the soldiers in the struggles of the streets was such, that in no instance did they transgress the limit which is prescribed to them in their oath as soldiers. This is true. The soldier's oath prescribes murder and cruelty as their patriotic duty.
If government, were it even an ideal Revolutionary government, creates no new force and is of no use whatever in the work of demolition which we have to accomplish, still less can we count on it for the work of reorganization which must follow that of demolition. The economic change which will result from the Social Revolution will be so immense and so profound, it must so change all the relations based to-day on property and exchange, that it is impossible for one or any individual to elaborate the different social forms, which must spring up in the society of the future. This elaboration of new social forms can only be made by the collective work of the masses. To satisfy the immense variety of conditions and needs which will spring up as soon as private property shall be abolished, it is necessary to have the collective suppleness of mind of the whole people. Any authority external to it will only be an obstacle, only a trammel on the organic labor which must be accomplished, and beside that a source of discord and hatred.
Kropotkine.
