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
_George._ Since the Pastor has so eloquently withdrawn, I will give
you a toast. For, you see, my dear Pastor, something of the old
pagan, a spark of heathenism, is still glowing somewhere within us
all. It has outlived century after century, from the time of the old
Teutons. Once every year that spark is fanned into flame--it flames
up high, and then it is called "The Fires of St. John." Once every
year we have "free night." Then the witches ride upon their
brooms--the same brooms with which their witchcraft was once driven
out of them--with scornful laughter the wild hordes sweep across the
tree-tops, up, up, high upon the Blocksberg! Then it is, when in our
hearts awake those wild desires which our fates could not
fulfill--and, understand me well, dared not fulfill--then, no matter
what may be the name of the law that governs the world on that day,
in order that one single wish may become a reality, by whose grace
we prolong our miserable existence, thousand others must miserably
perish, part because they were never attainable; but the others,
yes, the others, because we allowed them to escape us like wild
birds, which, though already in our hands, but too listless to
profit by opportunity, we failed to grasp at the right moment. But
no matter. Once every year we have "free night." And yonder tongues
of fire shooting up towards the heavens--do you know what they are?
They are the spirits of our dead perished wishes! That is the red
plumage of our birds of paradise we might have petted and nursed
through our entire lives, but have escaped us! That is the old
chaos, the heathenism within us; and though we be happy in sunshine
and according to law, to-night is St. John's night. To its ancient
pagan fires I empty this glass. To-night they shall burn and flame
up high--high and again high!
_George_ and _Marie_ meet. They, too, have had their instinct locked
away even from their own consciousness. And on this night they break
loose with tremendous, primitive force. They are driven into each
other's arms because they feel that they belong to each other; they know
that if they had the strength they could take each other by the hand,
face their benefactor and tell him the truth: tell him that it would be
an unpardonable crime for _George_ to marry _Gertrude_ when he loves
another woman.
Now they all but find courage and strength for it, when the pitiful
plaint reaches them, "Oh, mine Mamie, mine daughter, mine child." And
_Marie_ is cast down from the sublime height of her love and passion,
down to the realization that she also, like her pariah mother, must go
out into the world to struggle, to fight, to become free from the
bondage of gratitude, of charity and dependence.
Not so _George_. He goes to the altar, like many another man, with a lie
upon his lips. He goes to swear that all his life long he will love,
protect and shelter the woman who is to be his wife.
Public-domain text, read in full here on John Shaqi.
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