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Anarchism and Other Essays

No subject of equal social import has received such extensive consideration within the last few years as the question of prison and punishment. Hardly any magazine of consequence that has not devoted its columns to the discussion of this vital theme. A number of books by able writers, both in America and abroad, have discussed this topic from the historic, psychologic, and social standpoint, all agreeing that present penal institutions and our mode of coping with crime have in every respect proved inadequate as well as wasteful. One would expect that something very radical should result from the cumulative literary indictment of the social crimes perpetrated upon the prisoner. Yet with the exception of a few minor and comparatively insignificant reforms in some of our prisons, absolutely nothing has been accomplished. But at last this grave social wrong has found dramatic interpretation in Galworthy's JUSTICE. The play opens in the office of James How and Sons, Solicitors. The senior clerk, Robert Cokeson, discovers that a check he had issued for nine pounds has been forged to ninety. By elimination, suspicion falls upon William Falder, the junior office clerk. The latter is in love with a married woman, the abused, ill-treated wife of a brutal drunkard. Pressed by his employer, a severe yet not unkindly man, Falder confesses the forgery, pleading the dire necessity of his sweetheart, Ruth Honeywill, with whom he had planned to escape to save her from the unbearable brutality of her husband. Notwithstanding the entreaties of young Walter, who is touched by modern ideas, his father, a moral and law-respecting citizen, turns Falder over to the police. The second act, in the court-room, shows Justice in the very process of manufacture. The scene equals in dramatic power and psychologic verity the great court scene in RESURRECTION. Young Falder, a nervous and rather weakly youth of twenty-three, stands before the bar. Ruth, his married sweetheart, full of love and devotion, burns with anxiety to save the young man whose affection brought about his present predicament. The young man is defended by Lawyer Frome, whose speech to the jury is a masterpiece of deep social philosophy wreathed with the tendrils of human understanding and sympathy. He does not attempt to dispute the mere fact of Falder having altered the check; and though he pleads temporary aberration in defense of his client, that plea is based upon a social consciousness as deep and all-embracing as the roots of our social ills—"the background of life, that palpitating life which always lies behind the commission of a crime." He shows Falder to have faced the alternative of seeing the beloved woman murdered by her brutal husband, whom she cannot divorce; or of taking the law into his own hands. The defence pleads with the jury not to turn the weak young man into a criminal by condemning him to prison, for "justice is a machine that, when someone has given it a starting push, rolls on of itself.... Is this young man to be ground to pieces under this machine for an act which, at the worst, was one of weakness? Is he to become a member of the luckless crews that man those dark, ill-starred ships called prisons?... I urge you, gentlemen, do not ruin this young man. For as a result of those four minutes, ruin, utter and irretrievable, stares him in the face.... The rolling of the chariot wheels of Justice over this boy began when it was decided to prosecute him." But the chariot of Justice rolls mercilessly on, for—as the learned Judge says—"the law is what it is—a majestic edifice, sheltering all of us, each stone of which rests on another." Falder is sentenced to three years' penal servitude. In prison, the young, inexperienced convict soon finds himself the victim of the terrible "system." The authorities admit that young Falder is mentally and physically "in bad shape," but nothing can be done in the matter: many others are in a similar position, and "the quarters are inadequate." The third scene of the third act is heart-gripping in its silent force. The whole scene is a pantomime, taking place in Falder's prison cell. "In fast-falling daylight, Falder, in his stockings, is seen standing motionless, with his head inclined towards the door, listening. He moves a little closer to the door, his stockinged feet making no noise. He stops at the door. He is trying harder and harder to hear something, any little thing that is going on outside. He springs suddenly upright—as if at a sound—and remains perfectly motionless. Then, with a heavy sigh, he moves to his work, and stands looking at it, with his head down; he does a stitch or two, having the air of a man so lost in sadness that each stitch is, as it were, a coming to life. Then, turning abruptly, he begins pacing his cell, moving his head, like an animal pacing its cage. He stops again at the door, listens, and, placing the palms of his hands against it with his fingers spread out, leans his forehead against the iron. Turning from it, presently, he moves slowly back towards the window, holding his head, as if he felt that it were going to burst, and stops under the window. But since he cannot see out of it he leaves off looking, and, picking up the lid of one of the tins, peers into it, as if trying to make a companion of his own face. It has grown very nearly dark. Suddenly the lid falls out of his hand with a clatter—the only sound that has broken the silence—and he stands staring intently at the wall where the stuff of the shirt is hanging rather white in the darkness—he seems to be seeing somebody or something there. There is a sharp tap and click; the cell light behind the glass screen has been turned up. The cell is brightly lighted. Falder is seen gasping for breath. A sound from far away, as of distant, dull beating on thick metal, is suddenly audible. Falder shrinks back, not able to bear this sudden clamor. But the sound grows, as though some great tumbril were rolling towards the cell. And gradually it seems to hypnotize him. He begins creeping inch by inch nearer to the door. The banging sound, traveling from cell to cell, draws closer and closer; Falder's hands are seen moving as if his spirit had already joined in this beating, and the sound swells till it seems to have entered the very cell. He suddenly raises his clenched fists. Panting violently, he flings himself at his door, and beats on it." Finally Falder leaves the prison, a broken ticket-of-leave man, the stamp of the convict upon his brow, the iron of misery in his soul. Thanks to Ruth's pleading, the firm of James How and Son is willing to take Falder back in their employ, on condition that he give up Ruth. It is then that Falder learns the awful news that the woman he loves had been driven by the merciless economic Moloch to sell herself. She "tried making skirts ... cheap things.... I never made more than ten shillings a week, buying my own cotton, and working all day. I hardly ever got to bed till past twelve.... And then ... my employer happened—he's happened ever since." At this terrible psychologic moment the police appear to drag him back to prison for failing to report himself as ticket-of-leave man. Completely overwhelmed by the inexorability of his environment, young Falder seeks and finds peace, greater than human justice, by throwing himself down to death, as the detectives are taking him back to prison. It would be impossible to estimate the effect produced by this play. Perhaps some conception can be gained from the very unusual circumstance that it had proved so powerful as to induce the Home Secretary of Great Britain to undertake extensive prison reforms in England. A very encouraging sign this, of the influence exerted by the modern drama. It is to be hoped that the thundering indictment of Mr. Galsworthy will not remain without similar effect upon the public sentiment and prison conditions of America. At any rate, it is certain that no other modern play has borne such direct and immediate fruit in wakening the social conscience. Another modern play, THE SERVANT IN THE HOUSE, strikes a vital key in our social life. The hero of Mr. Kennedy's masterpiece is Robert, a coarse, filthy drunkard, whom respectable society has repudiated. Robert, the sewer cleaner, is the real hero of the play; nay, its true and only savior. It is he who volunteers to go down into the dangerous sewer, so that his comrades "can 'ave light and air." After all, has he not sacrificed his life always, so that others may have light and air? The thought that labor is the redeemer of social well-being has been cried from the housetops in every tongue and every clime. Yet the simple words of Robert express the significance of labor and its mission with far greater potency. America is still in its dramatic infancy. Most of the attempts along this line to mirror life, have been wretched failures. Still, there are hopeful signs in the attitude of the intelligent public toward modern plays, even if they be from foreign soil. The only real drama America has so far produced is THE EASIEST WAY, by Eugene Walter. It is supposed to represent a "peculiar phase" of New York life. If that were all, it would be of minor significance. That which gives the play its real importance and value lies much deeper. It lies, first, in the fundamental current of our social fabric which drives us all, even stronger characters than Laura, into the easiest way—a way so very destructive of integrity, truth, and justice. Secondly, the cruel, senseless fatalism conditioned in Laura's sex. These two features put the universal stamp upon the play, and characterize it as one of the strongest dramatic indictments against society. The criminal waste of human energy, in economic and social conditions, drives Laura as it drives the average girl to marry any man for a "home"; or as it drives men to endure the worst indignities for a miserable pittance. Then there is that other respectable institution, the fatalism of Laura's sex. The inevitability of that force is summed up in the following words: "Don't you know that we count no more in the life of these men than tamed animals? It's a game, and if we don't play our cards well, we lose." Woman in the battle with life has but one weapon, one commodity—sex. That alone serves as a trump card in the game of life. This blind fatalism has made of woman a parasite, an inert thing. Why then expect perseverance or energy of Laura? The easiest way is the path mapped out for her from time immemorial. She could follow no other. A number of other plays could be quoted as characteristic of the growing role of the drama as a disseminator of radical thought. Suffice to mention THE THIRD DEGREE, by Charles Klein; THE FOURTH ESTATE, by Medill Patterson; A MAN'S WORLD, by Ida Croutchers,—all pointing to the dawn of dramatic art in America, an art which is discovering to the people the terrible diseases of our social body. It has been said of old, all roads lead to Rome. In paraphrased application to the tendencies of our day, it may truly be said that all roads lead to the great social reconstruction. The economic awakening of the workingman, and his realization of the necessity for concerted industrial action; the tendencies of modern education, especially in their application to the free development of the child; the spirit of growing unrest expressed through, and cultivated by, art and literature, all pave the way to the Open Road. Above all, the modern drama, operating through the double channel of dramatist and interpreter, affecting as it does both mind and heart, is the strongest force in developing social discontent, swelling the powerful tide of unrest that sweeps onward and over the dam of ignorance, prejudice, and superstition. [1] HONOR. [2] MAGDA. [3] BEFORE SUNRISE. [4] THE WEAVERS. [5] THE SUNKEN BELL. [6] YOUTH. [7] THE AWAKENING OF SPRING. <div style="break-after:column;"></div>

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