The passengers whose train has come to a standstill on a steep up-grade owing to the inefficiency of the engine, will not fail to greet with a hearty cheer the approach of a more powerful locomotive. In the same way, Socialist workingmen, though they know that no human act deserves either praise or blame, though they know, in the words of the wise old Frenchman, that "_comprendre tout, c'est pardonner tout_," or, better yet, that to understand all is to understand that there is nothing to pardon, will not be chary of their cheers to him who is able to advance their cause, nor of their curses upon him who betrays it. And in so doing they will not be inconsistent, but will be acting in strict accordance with that law of cause and effect which is the very fundament of all proletarian reasoning; for those cheers and curses will be potent factors in causing such conduct as will speed the social revolution. While we have no respect for current morality, we must not fall into the error of supposing that there are no criteria by which to judge conduct, that there are, so to say, no valid distinctions between the acts of a hero and those of a blackguard. By referring to the ethic inspiring the actor we can always pronounce some conduct to be fine and other acts base. It is this power of a fine or noble action to thrill the human heart that makes the triumphs of dramatic art possible. The dramatists, like Shakespeare, whose characters accept the current moral code, appeal to a wide audience--to nearly all. But those dramatists, such as Ibsen, Shaw, Maeterlinck, and above all, Sudermann, whose heroes and heroines attempt to put into practice the ideals of to-morrow in the environment of to-day, are misunderstood and disliked by the majority, and understood and appreciated only by the few who, like themselves, have rejected the current code and adopted the criteria of to-morrow. But those of us who call Sudermann the first of living dramatists, do so on account of the extreme nobility of his heroines' conduct judged by the criteria of the future. While there will be no morality in Socialist society; while in the perfect solidarity of a classless society there can be no conflict of individual with social interests; there will nevertheless be certain actions exceptionally fitted to increase the welfare and augment the happiness of the community, and the men and women who perform these acts will undoubtedly be rewarded by the plaudits and the love of their comrades. Indeed, we with our debased standards are incapable of conceiving how dear to them this reward will be. It is because I believe that this love of one's fellows under Socialism will be a joy far exceeding in intensity any pleasure known to us, that I look for dramatic art to reach under Socialism a perfection and influence to-day inconceivable.