Page:Emma Goldman - The Social Significance of the Modern Drama - 1914.djvu/93



ERHART HAUPTMANN is the dramatist of whom it may be justly said that he revolutionized the spirit of dramatic art in Germany: the last Mohican of a group of four—Ibsen, Strindberg, Tolstoy, and Hauptmann—who illumined the horizon of the nineteenth century. Of these Hauptmann, undoubtedly the most human, is also the most universal.

It is unnecessary to make comparisons between great artists: life is sufficiently complex to give each his place in the great scheme of things. If, then, I consider Hauptmann more human, it is because of his deep kinship with every stratum of life. While Ibsen deals exclusively with one attitude, Hauptmann embraces all, understands all, and portrays all, because nothing human is alien to him.

Whether it be the struggle of the transition stage in "Lonely Lives," or the conflict between the Ideal and the Real in "The Sunken Bell," or