Kitabı oku: «Twenty Years at Hull House; with Autobiographical Notes», sayfa 19
This effort to understand life through its dramatic portrayal, to see one's own participation intelligibly set forth, becomes difficult when one enters the field of social development, but even here it is not impossible if a Settlement group is constantly searching for new material.
A labor story appearing in the Atlantic Monthly was kindly dramatized for us by the author who also superintended its presentation upon the Hull-House stage. The little drama presented the untutored effort of a trades-union man to secure for his side the beauty of self-sacrifice, the glamour of martyrdom, which so often seems to belong solely to the nonunion forces. The presentation of the play was attended by an audience of trades-unionists and employers and those other people who are supposed to make public opinion. Together they felt the moral beauty of the man's conclusion that "it's the side that suffers most that will win out in this war—the saints is the only ones that has got the world under their feet—we've got to do the way they done if the unions is to stand," so completely that it seemed quite natural that he should forfeit his life upon the truth of this statement.
The dramatic arts have gradually been developed at Hull-House through amateur companies, one of which has held together for more than fifteen years. The members were originally selected from the young people who had evinced talent in the plays the social clubs were always giving, but the association now adds to itself only as a vacancy occurs. Some of them have developed almost a professional ability, although contrary to all predictions and in spite of several offers, none of them have taken to a stage career. They present all sorts of plays from melodrama and comedy to those of Shaw, Ibsen, and Galsworthy. The latter are surprisingly popular, perhaps because of their sincere attempt to expose the shams and pretenses of contemporary life and to penetrate into some of its perplexing social and domestic situations. Through such plays the stage may become a pioneer teacher of social righteousness.
I have come to believe, however, that the stage may do more than teach, that much of our current moral instruction will not endure the test of being cast into a lifelike mold, and when presented in dramatic form will reveal itself as platitudinous and effete. That which may have sounded like righteous teaching when it was remote and wordy, will be challenged afresh when it is obliged to simulate life itself.
This function of the stage, as a reconstructing and reorganizing agent of accepted moral truths, came to me with overwhelming force as I listened to the Passion Play at Oberammergau one beautiful summer's day in 1900. The peasants who portrayed exactly the successive scenes of the wonderful Life, who used only the very words found in the accepted version of the Gospels, yet curiously modernized and reorientated the message. They made clear that the opposition to the young Teacher sprang from the merchants whose traffic in the temple He had disturbed and from the Pharisees who were dependent upon them for support. Their query was curiously familiar, as they demanded the antecedents of the Radical who dared to touch vested interests, who presumed to dictate the morality of trade, and who insulted the marts of honest merchants by calling them "a den of thieves." As the play developed, it became clear that this powerful opposition had friends in Church and State, that they controlled influences which ramified in all directions. They obviously believed in their statement of the case and their very wealth and position in the community gave their words such weight that finally all of their hearers were convinced that the young Agitator must be done away with in order that the highest interests of society might be conserved. These simple peasants made it clear that it was the money power which induced one of the Agitator's closest friends to betray him, and the villain of the piece, Judas himself, was only a man who was so dazzled by money, so under the domination of all it represented, that he was perpetually blind to the spiritual vision unrolling before him. As I sat through the long summer day, seeing the shadows on the beautiful mountain back of the open stage shift from one side to the other and finally grow long and pointed in the soft evening light, my mind was filled with perplexing questions. Did the dramatization of the life of Jesus set forth its meaning more clearly and conclusively than talking and preaching could possibly do as a shadowy following of the command "to do the will"?
The peasant actors whom I had seen returning from mass that morning had prayed only to portray the life as He had lived it and, behold, out of their simplicity and piety arose this modern version which even Harnack was only then venturing to suggest to his advanced colleagues in Berlin. Yet the Oberammergau fold were very like thousands of immigrant men and women of Chicago, both in their experiences and in their familiarity with the hard facts of life, and throughout that day as my mind dwelt on my far-away neighbors, I was reproached with the sense of an ungarnered harvest.
Of course such a generally uplifted state comes only at rare moments, while the development of the little theater at Hull-House has not depended upon the moods of any one, but upon the genuine enthusiasm and sustained effort of a group of residents, several of them artists who have ungrudgingly given their time to it year after year. This group has long fostered junior dramatic associations, through which it seems possible to give a training in manners and morals more directly than through any other medium. They have learned to determine very cleverly the ages at which various types of the drama are most congruous and expressive of the sentiments of the little troupes, from the fairy plays such as "Snow-White" and "Puss-in-Boots" which appeal to the youngest children, to the heroic plays of "William Tell," "King John," and "Wat Tyler" for the older lads, and to the romances and comedies which set forth in stately fashion the elaborated life which so many young people admire. A group of Jewish boys gave a dramatic version of the story of Joseph and his brethren and again of Queen Esther. They had almost a sense of proprietorship in the fine old lines and were pleased to bring from home bits of Talmudic lore for the stage setting. The same club of boys at one time will buoyantly give a roaring comedy and five years later will solemnly demand a drama dealing with modern industrial conditions. The Hull-House theater is also rented from time to time to members of the Young People's Socialist League who give plays both in Yiddish and English which reduce their propaganda to conversation. Through such humble experiments as the Hull-House stage, as well as through the more ambitious reforms which are attempted in various parts of the country, the theatre may at last be restored to its rightful place in the community.
There have been times when our little stage was able to serve the theatre libre. A Chicago troupe, finding it difficult to break into a trust theater, used it one winter twice a week for the presentation of Ibsen and old French comedy. A visit from the Irish poet Yeats inspired us to do our share towards freeing the stage from its slavery to expensive scene setting, and a forest of stiff conventional trees against a gilt sky still remains with us as a reminder of an attempt not wholly unsuccessful, in this direction.
This group of Hull-House artists have filled our little foyer with a series of charming playbills and by dint of painting their own scenery and making their own costumes have obtained beguiling results in stage setting. Sometimes all the artistic resources of the House unite in a Wagnerian combination; thus, the text of the "Troll's Holiday" was written by one resident, set to music by another; sung by the Music School, and placed upon the stage under the careful direction and training of the dramatic committee; and the little brown trolls could never have tumbled about so gracefully in their gleaming caves unless they had been taught in the gymnasium.
Some such synthesis takes place every year at the Hull-House annual exhibition, when an effort is made to bring together in a spirit of holiday the nine thousand people who come to the House every week during duller times. Curiously enough the central feature at the annual exhibition seems to be the brass band of the boys' club which apparently dominates the situation by sheer size and noise, but perhaps their fresh boyish enthusiasm expresses that which the older people take more soberly.
As the stage of our little theater had attempted to portray the heroes of many lands, so we planned one early spring seven years ago, to carry out a scheme of mural decoration upon the walls of the theater itself, which should portray those cosmopolitan heroes who have become great through identification with the common lot, in preference to the heroes of mere achievement. In addition to the group of artists living at Hull-House several others were in temporary residence, and they all threw themselves enthusiastically into the plan. The series began with Tolstoy plowing his field which was painted by an artist of the Glasgow school, and the next was of the young Lincoln pushing his flatboat down the Mississippi River at the moment he received his first impression of the "great iniquity." This was done by a promising young artist of Chicago, and the wall spaces nearest to the two selected heroes were quickly filled with their immortal sayings.
A spirited discussion thereupon ensued in regard to the heroes for the two remaining large wall spaces, when to the surprise of all of us the group of twenty-five residents who had lived in unbroken harmony for more than ten years, suddenly broke up into cults and even camps of hero worship. Each cult exhibited drawings of its own hero in his most heroic moment, and of course each drawing received enthusiastic backing from the neighborhood, each according to the nationality of the hero. Thus Phidias standing high on his scaffold as he finished the heroic head of Athene; the young David dreamily playing his harp as he tended his father's sheep at Bethlehem; St. Francis washing the feet of the leper; the young slave Patrick guiding his master through the bogs of Ireland, which he later rid of their dangers; the poet Hans Sachs cobbling shoes; Jeanne d'Arc dropping her spindle in startled wonder before the heavenly visitants, naturally all obtained such enthusiastic following from our cosmopolitan neighborhood that it was certain to give offense if any two were selected. Then there was the cult of residents who wished to keep the series contemporaneous with the two heroes already painted, and they advocated William Morris at his loom, Walt Whitman tramping the open road, Pasteur in his laboratory, or Florence Nightingale seeking the wounded on the field of battle. But beyond the socialists, few of the neighbors had heard of William Morris, and the fame of Walt Whitman was still more apocryphal; Pasteur was considered merely a clever scientist without the romance which evokes popular affection and in the provisional drawing submitted for votes, gentle Florence Nightingale was said "to look more as if she were robbing the dead than succoring the wounded." The remark shows how high the feeling ran, and then, as something must be done quickly, we tried to unite upon strictly local heroes such as the famous fire marshal who had lived for many years in our neighborhood— but why prolong this description which demonstrates once more that art, if not always the handmaid of religion, yet insists upon serving those deeper sentiments for which we unexpectedly find ourselves ready to fight. When we were all fatigued and hopeless of compromise, we took refuge in a series of landscapes connected with our two heroes by a quotation from Wordsworth slightly distorted to meet our dire need, but still stating his impassioned belief in the efficacious spirit capable of companionship with man which resides in "particular spots." Certainly peace emanates from the particular folding of the hills in one of our treasured mural landscapes, yet occasionally when a guest with a bewildered air looks from one side of the theater to the other, we are forced to conclude that the connection is not convincing.
In spite of its stormy career this attempt at mural decoration connects itself quite naturally with the spirit of our earlier efforts to make Hull-House as beautiful as we could, which had in it a desire to embody in the outward aspect of the House something of the reminiscence and aspiration of the neighborhood life.
As the House enlarged for new needs and mellowed through slow-growing associations, we endeavored to fashion it from without, as it were, as well as from within. A tiny wall fountain modeled in classic pattern, for us penetrates into the world of the past, but for the Italian immigrant it may defy distance and barriers as he dimly responds to that typical beauty in which Italy has ever written its message, even as classic art knew no region of the gods which was not also sensuous, and as the art of Dante mysteriously blended the material and the spiritual.
Perhaps the early devotion of the Hull-House residents to the pre-Raphaelites recognized that they above all English speaking poets and painters reveal "the sense of the expressiveness of outward things" which is at once the glory and the limitation of the arts.
[Editor: Mary Mark Ockerbloom]
This chapter has been put on-line as part of the BUILD-A-BOOK Initiative at the Celebration of Women Writers. Initial text entry and proof-reading of this chapter were the work of volunteer Andrea Jeddi.
[Editor: Mary Mark Ockerbloom]
[A Celebration of Women Writers]
"Chapter XVII: Echoes of the Russian Revolution." by Jane Addams (1860-1935)
From: Twenty Years at Hull-House with Autobiographical Notes. by Jane Addams. New York: The MacMillan Company, 1912 (c.1910) pp. 400-426.
[Editor: Mary Mark Ockerbloom]
CHAPTER XVII
ECHOES OF THE RUSSIAN REVOLUTION
The residents of Hull-House have always seen many evidences of the Russian Revolution; a forlorn family of little children whose parents have been massacred at Kishinev are received and supported by their relatives in our Chicago neighborhood; or a Russian woman, her face streaming with tears of indignation and pity, asks you to look at the scarred back of her sister, a young girl, who has escaped with her life from the whips of the Cossack soldiers; or a studious young woman suddenly disappears from the Hull-House classes because she has returned to Kiev to be near her brother while he is in prison, that she may earn money for the nourishing food which alone will keep him from contracting tuberculosis; or we attend a protest meeting against the newest outrages of the Russian government in which the speeches are interrupted by the groans of those whose sons have been sacrificed and by the hisses of others who cannot repress their indignation. At such moments an American is acutely conscious of our ignorance of this greatest tragedy of modern times, and at our indifference to the waste of perhaps the noblest human material among our contemporaries. Certain it is, as the distinguished Russian revolutionists have come to Chicago, they have impressed me, as no one else ever has done, as belonging to that noble company of martyrs who have ever and again poured forth blood that human progress might be advanced. Sometimes these men and women have addressed audiences gathered quite outside the Russian colony and have filled to overflowing Chicago's largest halls with American citizens deeply touched by this message of martyrdom. One significant meeting was addressed by a member of the Russian Duma and by one of Russia's oldest and sanest revolutionists; another by Madame Breshkovsky, who later languished a prisoner in the fortress of St. Peter and St. Paul.
In this wonderful procession of revolutionists, Prince Kropotkin, or, as he prefers to be called, Peter Kropotkin, was doubtless the most distinguished. When he came to America to lecture, he was heard throughout the country with great interest and respect; that he was a guest of Hull-House during his stay in Chicago attracted little attention at the time, but two years later, when the assassination of President McKinley occurred, the visit of this kindly scholar, who had always called himself an "anarchist" and had certainly written fiery tracts in his younger manhood, was made the basis of an attack upon Hull-House by a daily newspaper, which ignored the fact that while Prince Kropotkin had addressed the Chicago Arts and Crafts Society at Hull-House, giving a digest of his remarkable book on "Fields, Factories, and Workshops," he had also spoken at the State Universities of Illinois and Wisconsin and before the leading literary and scientific societies of Chicago. These institutions and societies were not, therefore, called anarchistic. Hull-House had doubtless laid itself open to this attack through an incident connected with the imprisonment of the editor on an anarchistic paper, who was arrested in Chicago immediately after the assassination of President McKinley. In the excitement following the national calamity and the avowal by the assassin of the influence of the anarchistic lecture to which he had listened, arrests were made in Chicago of every one suspected of anarchy, in the belief that a widespread plot would be uncovered. The editor's house was searched for incriminating literature, his wife and daughter taken to a police station, and his son and himself, with several other suspected anarchists, were placed in the disused cells in the basement of the city hall.
It is impossible to overstate the public excitement of the moment and the unfathomable sense of horror with which the community regarded an attack upon the chief executive of the nation, as a crime against government itself which compels an instinctive recoil from all law-abiding citizens. Doubtless both the horror and recoil have their roots deep down in human experience; the earliest forms of government implied a group which offered competent resistance to outsiders, but assuming no protection was necessary between any two of its own members, promptly punished with death the traitor who had assaulted anyone within. An anarchistic attack against an official thus furnishes an accredited basis both for unreasoning hatred and for prompt punishment. Both the hatred and the determination to punish reached the highest pitch in Chicago after the assassination of President McKinley, and the group of wretched men detained in the old-fashioned, scarcely habitable cells, had not the least idea of their ultimate fate. They were not allowed to see an attorney and were kept "in communicado" as their excited friends called it. I had seen the editor and his family only during Prince Kropotkin's stay at Hull-House, when they had come to visit him several times. The editor had impressed me as a quiet, scholarly man, challenging the social order by the philosophic touchstone of Bakunin and of Herbert Spencer, somewhat startled by the radicalism of his fiery young son and much comforted by the German domesticity of his wife and daughter. Perhaps it was but my hysterical symptom of the universal excitement, but it certainly seemed to me more than I could bear when a group of his individualistic friends, who had come to ask for help, said: "You see what becomes of your boasted law; the authorities won't even allow an attorney, nor will they accept bail for these men, against whom nothing can be proved, although the veriest criminals are not denied such a right." Challenged by an anarchist, one is always sensitive for the honor of legally constituted society, and I replied that of course the men could have an attorney, that the assassin himself would eventually be furnished with one, that the fact that a man was an anarchist had nothing to do with his rights before the law! I was met with the retort that that might do for a theory, but that the fact still remained that these men had been absolutely isolated, seeing no one but policemen, who constantly frightened them with tales of public clamor and threatened lynching.
The conversation took place on Saturday night and, as the final police authority rests in the mayor, with a friend who was equally disturbed over the situation, I repaired to his house on Sunday morning to appeal to him in the interest of a law and order that should not yield to panic. We contended that to the anarchist above all men it must be demonstrated that law is impartial and stands the test of every strain. The mayor heard us through with the ready sympathy of the successful politician. He insisted, however, that the men thus far had merely been properly protected against lynching, but that it might now be safe to allow them to see some one; he would not yet, however, take the responsibility of permitting an attorney, but if I myself chose to see them on the humanitarian errand of an assurance of fair play, he would write me a permit at once. I promptly fell into the trap, if trap it was, and within half an hour was in a corridor in the city hall basement, talking to the distracted editor and surrounded by a cordon of police, who assured me that it was not safe to permit him out of his cell. The editor, who had grown thin and haggard under his suspense, asked immediately as to the whereabouts of his wife and daughter, concerning whom he had heard not a word since he had seen them arrested. Gradually he became composed as he learned, not that his testimony had been believed to the effect that he had never seen the assassin but once and had then considered him a foolish half-witted creature, but that the most thoroughgoing "dragnet" investigations on the part of the united police of the country had failed to discover a plot and that the public was gradually becoming convinced that the dastardly act was that of a solitary man with no political or social affiliations.
The entire conversation was simple and did not seem to me unlike, in motive or character, interviews I had had with many another forlorn man who had fallen into prison. I had scarce returned to Hull-House, however, before it was filled with reporters, and I at once discovered that whether or not I had helped a brother out of a pit, I had fallen into a deep one myself. A period of sharp public opprobrium followed, traces of which, I suppose, will always remain. And yet in the midst of the letters of protest and accusation which made my mail a horror every morning came a few letters of another sort, one from a federal judge whom I had never seen and another from a distinguished professor in the constitutional law, who congratulated me on what they termed a sane attempt to uphold the law in time of panic.
Although one or two ardent young people rushed into print to defend me from the charge of "abetting anarchy," it seemed to me at the time that mere words would not avail. I had felt that the protection of the law itself extended to the most unpopular citizen was the only reply to the anarchistic argument, to the effect that this moment of panic revealed the truth of their theory of government; that the custodians of law and order have become the government itself quite as the armed men hired by the medieval guilds to protect them in the peaceful pursuit of their avocations, through sheer possession of arms finally made themselves rulers of the city. At that moment I was firmly convinced that the public could only be convicted of the blindness of its course, when a body of people with a hundred-fold of the moral energy possessed by a Settlement group, should make clear that there is no method by which any community can be guarded against sporadic efforts on the part of half- crazed, discouraged men, save by a sense of mutual rights and securities which will include the veriest outcast.
It seemed to me then that in the millions of words uttered and written at that time, no one adequately urged that public-spirited citizens set themselves the task of patiently discovering how these sporadic acts of violence against government may be understood and averted. We do not know whether they occur among the discouraged and unassimilated immigrants who might be cared for in such a way as enormously to lessen the probability of these acts, or whether they are the result of anarchistic teaching. By hastily concluding that the latter is the sole explanation for them, we make no attempt to heal and cure the situation. Failure to make a proper diagnosis may mean treatment of a disease which does not exist, or it may furthermore mean that the dire malady from which the patient is suffering be permitted to develop unchecked. And yet as the details of the meager life of the President's assassin were disclosed, they were a challenge to the forces for social betterment in American cities. Was it not an indictment to all those whose business it is to interpret and solace the wretched, that a boy should have grown up in an American city so uncared for, so untouched by higher issues, his wounds of life so unhealed by religion that the first talk he ever heard dealing with life's wrongs, although anarchistic and violent, should yet appear to point a way of relief?
The conviction that a sense of fellowship is the only implement which will break into the locked purpose of a half-crazed creature bent upon destruction in the name of justice, came to me through an experience recited to me at this time by an old anarchist.
He was a German cobbler who, through all the changes in the manufacturing of shoes, had steadily clung to his little shop on a Chicago thoroughfare, partly as an expression of his individualism and partly because he preferred bitter poverty in a place of his own to good wages under a disciplinary foreman. The assassin of President McKinley on his way through Chicago only a few days before he committed his dastardly deed had visited all the anarchists whom he could find in the city, asking them for "the password" as he called it. They, of course, possessed no such thing, and had turned him away, some with disgust and all with a certain degree of impatience, as a type of the ill-balanced man who, as they put it, was always "hanging around the movement, without the slightest conception of its meaning." Among other people, he visited the German cobbler, who treated him much as the others had done, but who, after the event had made clear the identity of his visitor, was filled with the most bitter remorse that he had failed to utilize his chance meeting with the assassin to deter him from his purpose. He knew as well as any psychologist who has read the history of such solitary men that the only possible way to break down such a persistent and secretive purpose, was by the kindliness which might have induced confession, which might have restored the future assassin into fellowship with normal men.
In the midst of his remorse, the cobbler told me a tale of his own youth; that years before, when an ardent young fellow in Germany, newly converted to the philosophy of anarchism, as he called it, he had made up his mind that the Church, as much as the State, was responsible for human oppression, and that this fact could best be set forth "in the deed" by the public destruction of a clergyman or priest; that he had carried firearms for a year with this purpose in mind, but that one pleasant summer evening, in a moment of weakness, he had confided his intention to a friend, and that from that moment he not only lost all desire to carry it out, but it seemed to him the most preposterous thing imaginable. In concluding the story he said; "That poor fellow sat just beside me on my bench; if I had only put my hand on his shoulder and said, 'Now, look here, brother, what is on your mind? What makes you talk such nonsense? Tell me. I have seen much of life, and understand all kinds of men. I have been young and hot-headed and foolish myself,' if he had told me of his purpose then and there, he would never have carried it out. The whole nation would have been spared this horror." As he concluded he shook his gray head and sighed as if the whole incident were more than he could bear—one of those terrible sins of omission; one of the things he "ought to have done," the memory of which is so hard to endure.
The attempt a Settlement makes to interpret American institutions to those who are bewildered concerning them either because of their personal experiences, or because of preconceived theories, would seem to lie in the direct path of its public obligation, and yet it is apparently impossible for the overwrought community to distinguish between the excitement the Settlements are endeavoring to understand and to allay and the attitude of the Settlement itself. At times of public panic, fervid denunciation is held to be the duty of every good citizen, and if a Settlement is convinced that the incident should be used to vindicate the law and does not at the moment give its strength to denunciation, its attitude is at once taken to imply a championship of anarchy itself.
The public mind at such a moment falls into the old medieval confusion—he who feeds or shelters a heretic is upon prima facie evidence a heretic himself—he who knows intimately people among whom anarchists arise is therefore an anarchist. I personally am convinced that anarchy as a philosophy is dying down, not only in Chicago, but everywhere; that their leading organs have discontinued publication, and that their most eminent men in America have deserted them. Even those groups which have continued to meet are dividing, and the major half in almost every instance calls itself socialist-anarchists, an apparent contradiction of terms, whose members insist that the socialistic organization of society must be the next stage of social development and must be gone through with, so to speak, before the ideal state of society can be reached, so nearly begging the question that some orthodox socialists are willing to recognize them. It is certainly true that just because anarchy questions the very foundations of society, the most elemental sense of protection demands that the method of meeting the challenge should be intelligently considered.
