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
His parents are simple folk, religious and devoted. To them the world is
a book with seven seals. Having lived all their life on a farm,
everything with them is regulated and classified into simple ideas--good
or bad, great or small, strong or weak. How can they know the infinite
shades between strong and weak, how could they grasp the endless
variations between the good and the bad? To them life is a daily routine
of work and prayer. God has arranged everything, and God manages
everything. Why bother your head? Why spend sleepless nights? "Leave it
all to God." What pathos in this childish simplicity!
They love their son _John_, they worship him, and they consecrate their
lives to their only boy; and because of their love for him, also to his
wife and the newly born baby. They have but one sorrow: their son has
turned away from religion. Still greater their grief that _John_ is an
admirer of Darwin, Spencer and Haeckel and other such men,--sinners,
heathens all, who will burn in purgatory and hell. To protect their
beloved son from the punishment of God, the old folks continuously pray,
and give still more devotion and love to their erring child.
_Kitty_, _Dr. Vockerat's_ wife, is a beautiful type of the Gretchen,
reared without any ideas about life, without any consciousness of her
position in the world, a tender, helpless flower. She loves _John_; he
is her ideal; he is her all. But she cannot understand him. She does not
live in his sphere, nor speak his language. She has never dreamed his
thoughts,--not because she is not willing or not eager to give the man
all that he needs, but because she does not understand and does not
know how.
Into this atmosphere comes _Anna Mahr_ like a breeze from the plains.
_Anna_ is a Russian girl, a woman so far produced in Russia only,
perhaps because the conditions, the life struggles of that country have
been such as to develop a different type of woman. _Anna Mahr_ has spent
most of her life on the firing line. She has no conception of the
personal: she is universal in her feelings and thoughts, with deep
sympathies going out in abundance to all mankind.
When she comes to the Vockerats, their whole life is disturbed,
especially that of _John Vockerat_, to whom she is like a balmy spring
to the parched wanderer in the desert. She understands him, for has she
not dreamed such thoughts as his, associated with men and women who, for
the sake of the ideal, sacrificed their lives, went to Siberia, and
suffered in the underground dungeons? How then could she fail a
Vockerat? It is quite natural that _John_ should find in _Anna_ what his
own little world could not give him,--understanding, comradeship, deep
spiritual kinship.
The Anna Mahrs give the same to any one, be it man, woman or child. For
theirs is not a feeling of sex, of the personal; it is the selfless, the
human, the all-embracing fellowship.
Public-domain text, read in full here on John Shaqi.
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