الدلالة الاجتماعية للدراما الحديثة

In order to understand the social and dynamic significance of modern dramatic art it is necessary, I believe, to ascertain the difference between the functions of art for art's sake and art as the mirror of life. Art for art's sake presupposes an attitude of aloofness on the part of the artist toward the complex struggle of life: he must rise above the ebb and tide of life. He is to be merely an artistic conjurer of beautiful forms, a creator of pure fancy. That is not the attitude of modern art, which is preëminently the reflex, the mirror of life. The artist being a part of life cannot detach himself from the events and occurrences that pass panorama-like before his eyes, impressing themselves upon his emotional and intellectual vision. The modern artist is, in the words of August Strindberg, "a lay preacher popularizing the pressing questions of his time." Not necessarily because his aim is to proselyte, but because he can best express himself by being true to life. Millet, Meunier, Turgenev, Dostoyevsky, Emerson, Walt Whitman, Tolstoy, Ibsen, Strindberg, Hauptmann and a host of others mirror in their work as much of the spiritual and social revolt as is expressed by the most fiery speech of the propagandist. And more important still, they compel far greater attention. Their creative genius, imbued with the spirit of sincerity and truth, strikes root where the ordinary word often falls on barren soil. The reason that many radicals as well as conservatives fail to grasp the powerful message of art is perhaps not far to seek. The average radical is as hidebound by mere terms as the man devoid of all ideas. "Bloated plutocrats," "economic determinism," "class consciousness," and similar expressions sum up for him the symbols of revolt.…