Page:The New Negro.pdf/183



President-Emeritus Charles William Eliot of Harvard University recently expressed the inspiring thought that America should not be a "melting-pot" for the diverse races gathered on her soil but that each race should maintain its essential integrity and contribute its own special and peculiar gift to our composite civilization: not a "melting-pot" but a symphony where each instrument contributes its particular quality of music to an ensemble of harmonious sounds. Whatever else the Negro may offer as his part there is already the general recognition that his folk-music, born of the pangs and sorrows of slavery, has made America and the world his eternal debtor. The same racial characteristics that are responsible for this music are destined to express themselves with similar excellence in the kindred art of drama. The recent notable successes of Negro actors and of plays of Negro life on Broadway point to vast potentialities in this field. Eugene O'Neill, who more than any other person has dignified and popularized Negro drama, gives testimony to the possibilities of the future development of Negro drama as follows: "I believe as strongly as you do that the gifts the Negro can—and will—bring to our native drama are invaluable ones. The possibilities are limitless and to a dramatist open up new and intriguing opportunities." Max Reinhardt, the leading continental producer, while on his recent visit to New York commented enthusiastically upon the virgin riches of Negro drama and expressed a wish to utilize elements of it in one of his projected dramas.