Part 26

Max Halbe's JUGEND and Wedekind's FRUHLING'S ERWACHEN are dramas which have disseminated radical thought in an altogether different direction. They treat of the child and the dense ignorance and narrow Puritanism that meet the awakening of nature. Particularly this is true of FRUHLING'S ERWACHEN. Young boys and girls sacrificed on the altar of false education and of our sickening morality that prohibits the enlightenment of youth as to questions so imperative to the health and well-being of society,--the origin of life, and its functions. It shows how a mother--and a truly good mother, at that--keeps her fourteen-year-old daughter in absolute ignorance as to all matters of sex, and when finally the young girl falls a victim to her own ignorance, the same mother sees her daughter killed by quack medicines. The inscription on her grave states that she died of anaemia, and morality is satisfied.

The fatality of our Puritanic hypocrisy in these matters is especially illumined by Wedekind in so far as our most promising children fall victims to sex ignorance and the utter lack of appreciation on the part of the teachers of the child's awakening.

Wendla, unusually developed and alert for her age, pleads with her mother to explain the mystery of life:

"I have a sister who has been married for two and a half years. I myself have been made an aunt for the third time, and I haven't the least idea how it all comes about.... Don't be cross, Mother, dear! Whom in the world should I ask but you? Don't scold me for asking about it. Give me an answer.--How does it happen?--You cannot really deceive yourself that I, who am fourteen years old, still believe in the stork."

Were her mother herself not a victim of false notions of morality, an affectionate and sensible explanation might have saved her daughter. But the conventional mother seeks to hide her "moral" shame and embarrassment in this evasive reply:

"In order to have a child--one must love--the man--to whom one is married.... One must love him, Wendla, as you at your age are still unable to love.--Now you know it!"

How much Wendla "knew" the mother realized too late. The pregnant girl imagines herself ill with dropsy. And when her mother cries in desperation, "You haven't the dropsy, you have a child, girl," the agonized Wendla exclaims in bewilderment: "But it's not possible, Mother, I am not married yet.... Oh, Mother, why didn't you tell me everything?"

With equal stupidity the boy Morris is driven to suicide because he fails in his school examinations. And Melchior, the youthful father of Wendla's unborn child, is sent to the House of Correction, his early sexual awakening stamping him a degenerate in the eyes of teachers and parents.

For years thoughtful men and women in Germany had advocated the compelling necessity of sex enlightenment. MUTTERSCHUTZ, a publication specially devoted to frank and intelligent discussion of the sex problem, has been carrying on its agitation for a considerable time. But it remained for the dramatic genius of Wedekind to influence radical thought to the extent of forcing the introduction of sex physiology in many schools of Germany.

Scandinavia, like Germany, was advanced through the drama much more than through any other channel. Long before Ibsen appeared on the scene, Bjornson, the great essayist, thundered against the inequalities and injustice prevalent in those countries. But his was a voice in the wilderness, reaching but the few. Not so with Ibsen. His BRAND, DOLL'S HOUSE, PILLARS OF SOCIETY, GHOSTS, and AN ENEMY OF THE PEOPLE have considerably undermined the old conceptions, and replaced them by a modern and real view of life. One has but to read BRAND to realize the modern conception, let us say, of religion,--religion, as an ideal to be achieved on earth; religion as a principle of human brotherhood, of solidarity, and kindness.

Ibsen, the supreme hater of all social shams, has torn the veil of hypocrisy from their faces. His greatest onslaught, however, is on the four cardinal points supporting the flimsy network of society. First, the lie upon which rests the life of today; second, the futility of sacrifice as preached by our moral codes; third, petty material consideration, which is the only god the majority worships; and fourth, the deadening influence of provincialism. These four recur as the LEITMOTIF in Ibsen's plays, but particularly in PILLARS OF SOCIETY, DOLL'S HOUSE, GHOSTS, and AN ENEMY OF THE PEOPLE.

Pillars of Society! What a tremendous indictment against the social structure that rests on rotten and decayed pillars,--pillars nicely gilded and apparently intact, yet merely hiding their true condition. And what are these pillars?

Consul Bernick, at the very height of his social and financial career, the benefactor of his town and the strongest pillar of the community, has reached the summit through the channel of lies, deception, and fraud. He has robbed his bosom friend, Johann, of his good name, and has betrayed Lona Hessel, the woman he loved, to marry her step-sister for the sake of her money. He has enriched himself by shady transactions, under cover of "the community's good," and finally even goes to the extent of endangering human life by preparing the INDIAN GIRL, a rotten and dangerous vessel, to go to sea.

But the return of Lona brings him the realization of the emptiness and meanness of his narrow life. He seeks to placate the waking conscience by the hope that he has cleared the ground for the better life of his son, of the new generation. But even this last hope soon falls to the ground, as he realizes that truth cannot be built on a lie. At the very moment when the whole town is prepared to celebrate the great benefactor of the community with banquet praise, he himself, now grown to full spiritual manhood, confesses to the assembled townspeople:

"I have no right to this homage-- ... My fellow-citizens must know me to the core. Then let everyone examine himself, and let us realize the prediction that from this event we begin a new time. The old, with its tinsel, its hypocrisy, its hollowness, its lying propriety, and its pitiful cowardice, shall lie behind us like a museum, open for instruction."

With A DOLL'S HOUSE Ibsen has paved the way for woman's emancipation. Nora awakens from her doll's role to the realization of the injustice done her by her father and her husband, Helmer Torvald.

"While I was at home with father, he used to tell me all his opinions, and I held the same opinions. If I had others I concealed them, because he would not have approved. He used to call me his doll child, and play with me as I played with my dolls. Then I came to live in your house. You settled everything according to your taste, and I got the same taste as you, or I pretended to. When I look back on it now, I seem to have been living like a beggar, from hand to mouth. I lived by performing tricks for you, Torvald, but you would have it so. You and father have done me a great wrong."

In vain Helmer uses the old philistine arguments of wifely duty and social obligations. Nora has grown out of her doll's dress into full stature of conscious womanhood. She is determined to think and judge for herself. She has realized that, before all else, she is a human being, owing the first duty to herself. She is undaunted even by the possibility of social ostracism. She has become sceptical of the justice of the law, the wisdom of the constituted. Her rebelling soul rises in protest against the existing. In her own words: "I must make up my mind which is right, society or I."

In her childlike faith in her husband she had hoped for the great miracle. But it was not the disappointed hope that opened her vision to the falsehoods of marriage. It was rather the smug contentment of Helmer with a safe lie--one that would remain hidden and not endanger his social standing.

When Nora closed behind her the door of her gilded cage and went out into the world a new, regenerated personality, she opened the gate of freedom and truth for her own sex and the race to come.

More than any other play, GHOSTS has acted like a bomb explosion, shaking the social structure to its very foundations.

In DOLL'S HOUSE the justification of the union between Nora and Helmer rested at least on the husband's conception of integrity and rigid adherence to our social morality. Indeed, he was the conventional ideal husband and devoted father. Not so in GHOSTS. Mrs. Alving married Captain Alving only to find that he was a physical and mental wreck, and that life with him would mean utter degradation and be fatal to possible offspring. In her despair she turned to her youth's companion, young Pastor Manders who, as the true savior of souls for heaven, must needs be indifferent to earthly necessities. He sent her back to shame and degradation,--to her duties to husband and home. Indeed, happiness--to him--was but the unholy manifestation of a rebellious spirit, and a wife's duty was not to judge, but "to bear with humility the cross which a higher power had for your own good laid upon you."

Mrs. Alving bore the cross for twenty-six long years. Not for the sake of the higher power, but for her little son Oswald, whom she longed to save from the poisonous atmosphere of her husband's home.

It was also for the sake of the beloved son that she supported the lie of his father's goodness, in superstitious awe of "duty and decency." She learned, alas! too late, that the sacrifice of her entire life had been in vain, and that her son Oswald was visited by the sins of his father, that he was irrevocably doomed. This, too, she learned, that "we are all of us ghosts. It is not only what we have inherited from our father and mother that walks in us. It is all sorts of dead ideas and lifeless old beliefs. They have no vitality, but they cling to us all the same and we can't get rid of them.... And then we are, one and all, so pitifully afraid of light. When you forced me under the yoke you called Duty and Obligation; when you praised as right and proper what my whole soul rebelled against as something loathsome; it was then that I began to look into the seams of your doctrine. I only wished to pick at a single knot, but when I had got that undone, the whole thing ravelled out. And then I understood that it was all machine-sewn."

How could a society machine-sewn, fathom the seething depths whence issued the great masterpiece of Henrik Ibsen? It could not understand, and therefore it poured the vials of abuse and venom upon its greatest benefactor. That Ibsen was not daunted he has proved by his reply in AN ENEMY OF THE PEOPLE.

In that great drama Ibsen performs the last funeral rites over a decaying and dying social system. Out of its ashes rises the regenerated individual, the bold and daring rebel. Dr. Stockman, an idealist, full of social sympathy and solidarity, is called to his native town as the physician of the baths. He soon discovers that the latter are built on a swamp, and that instead of finding relief the patients, who flock to the place, are being poisoned.

An honest man, of strong convictions, the doctor considers it his duty to make his discovery known. But he soon learns that dividends and profits are concerned neither with health nor principles. Even the reformers of the town, represented in the PEOPLE'S MESSENGER, always ready to prate of their devotion to the people, withdraw their support from the "reckless" idealist, the moment they learn that the doctor's discovery may bring the town into disrepute, and thus injure their pockets.

But Doctor Stockman continues in the faith he entertains for has townsmen. They would hear him. But here, too, he soon finds himself alone. He cannot even secure a place to proclaim his great truth. And when he finally succeeds, he is overwhelmed by abuse and ridicule as the enemy of the people. The doctor, so enthusiastic of his townspeople's assistance to eradicate the evil, is soon driven to a solitary position. The announcement of his discovery would result in a pecuniary loss to the town, and that consideration induces the officials, the good citizens, and soul reformers, to stifle the voice of truth. He finds them all a compact majority, unscrupulous enough to be willing to build up the prosperity of the town on a quagmire of lies and fraud. He is accused of trying to ruin the community. But to his mind "it does not matter if a lying community is ruined. It must be levelled to the ground. All men who live upon lies must be exterminated like vermin. You'll bring it to such a pass that the whole country will deserve to perish."