The Social Significance of the Modern DramaGoldman, Emma
History
The Social Significance of the Modern Drama
Goldman, Emma
Drama -- Social aspects; European drama -- History and criticism
_Magda._ H'm! I didn't reproach you. And now I will tell you why I
owe you thanks. I was a stupid, unsuspecting thing, enjoying freedom
like a runaway monkey. Through you I became a woman. For whatever I
have done in my art, for whatever I have become in myself, I have
you to thank. My soul was like--yes, down below there, there used to
be an Æolian harp which was left moldering because my father could
not bear it. Such a silent harp was my soul; and through you it was
given to the storm. And it sounded almost to breaking,--the whole
scale of passions which bring us women to maturity,--love and hate
and revenge and ambition, and need, need, need,--three times
need--and the highest, the strongest, the holiest of all, the
mother's love!--All I owe to you!
_Von Keller._ My child!
_Magda._ Your child? Who calls it so? Yours? Ha, ha! Dare to claim
portion in him and I'll kill you with these hands. Who are you?
You're a strange man who gratified his lust and passed on with a
laugh. But I have a child,--my son, my God, my all! For him I lived
and starved and froze and walked the streets; for him I sang and
danced in concert-halls,--for my child who was crying for his
bread!
_Von Keller._ For Heaven's sake, hush! someone's coming.
_Magda._ Let them come! Let them all come! I don't care, I don't
care! To their faces I'll say what I think of you,--of you and your
respectable society. Why should I be worse than you, that I must
prolong my existence among you by a lie! Why should this gold upon
my body, and the lustre which surrounds my name, only increase my
infamy? Have I not worked early and late for ten long years? Have I
not woven this dress with sleepless nights? Have I not built up my
career step by step, like thousands of my kind? Why should I blush
before anyone? I am myself, and through myself I have become what I
am.
_Magda's_ father learns about the affair and immediately demands that
the _Councillor_ marry his daughter, or fight a duel. _Magda_ resents
the preposterous idea. _Von Keller_ is indeed glad to offer _Magda_ his
hand in marriage: she is so beautiful and fascinating; she will prove a
great asset to his ambitions. But he stipulates that she give up her
profession of singer, and that the existence of the child be kept
secret. He tells _Magda_ that later on, when they are happily married
and firmly established in the world, they will bring their child to
their home and adopt it; but for the present respectability must not
know that it is theirs, born out of wedlock, without the sanction of the
Church and the State.
That is more than _Magda_ can endure. She is outraged that she, the
mother, who had given up everything for the sake of her child, who had
slaved, struggled and drudged in order to win a career and economic
independence--all for the sake of the child--that she should forswear
her right to motherhood, her right to be true to herself!
Public-domain text, read in full here on John Shaqi.
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