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
_Chantecler_ finds himself in a trying situation when he comes into the
gathering at the _guinea hen's_ five o'clock tea, to meet the pompous,
overbearing cocks representing the various governments. When he arrives
in the midst of these distinguished society people, he is plied with the
query, "How do you sing? Do you sing the Italian school or the French
school or the German school?" Poor _Chantecler_, in the simplicity of
his idealism, replies, "I don't know how I sing, but I know why I sing."
Why need the chanteclers know how they sing? They represent the truth,
which needs no stylish clothes or expensive feathers. That is the
difference between truth and falsehood. Falsehood must deck herself out
beyond all semblance of nature and reality.
_Chantecler._ I say ... that these resplendent gentlemen are
manufactured wares, the work of merchants with highly complex
brains, who to fashion a ridiculous chicken have taken a wing from
that one, a topknot from this. I say that in such Cocks nothing
remains of the true Cock. They are Cocks of shreds and patches, idle
bric-a-brac, fit to figure in a catalogue, not in a barnyard with
its decent dunghill and its dog. I say that those befrizzled,
beruffled, bedeviled Cocks were never stroked and cherished by
Nature's maternal hand.... And I add that the whole duty of a Cock
is to be an embodied crimson cry! And when a Cock is not that, it
matters little that his comb be shaped like a toadstool, or his
quills twisted like a screw, he will soon vanish and be heard of no
more, having been nothing but a variety of a variety!
The _Game Cock_ appears. He greets _Chantecler_ with the announcement
that he is the Champion fighter, that he has killed so and so many Cocks
in one day and an equal number on other occasions. _Chantecler_ replies
simply, "I have never killed anything. But as I have at different times
succored, defended, protected this one and that, I might perhaps be
called, in my fashion, brave."
The fight begins. _Chantecler_ is wounded and about to succumb, when
suddenly all the guests present rush to _Chantecler_ for protection: the
common enemy, the _Hawk_ is seen to approach. _Chantecler_ mistakes the
cowardice of those who come to seek his aid, for friendship; but the
moment the danger is over, the crowd again circles around the fighters,
inciting the _Game Cock_ to kill _Chantecler_. But at the critical
moment the _Game Cock_ mortally wounds himself with his own spurs, and
is jeered and driven off the scene by the same mob that formerly cheered
him on. _Chantecler_, weak and exhausted from loss of blood,
disillusioned and stung to the very soul, follows the _pheasant hen_ to
the Forest.
Soon he finds himself a henpecked husband: he may not crow to his
heart's content any more, he may not wake the sun, for his lady love is
jealous. The only time he can crow is when her eyes are closed in sleep.
Public-domain text, read in full here on John Shaqi.
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