# The Social Significance of the Modern Drama/John Galsworthy

Part II of The English Drama
JOHN GALSWORTHY
THE power of the modern drama as an interpreter of the pressing questions of our time is perhaps nowhere evident as clearly as it is in England to-day.
Indeed, while other countries have come almost to a standstill in dramatic art, England is the most productive at the present time. Nor can it be said that quantity has been achieved at the expense of quality, which is only too often the case.
The most prolific English dramatist, John Galsworthy, is at the same time a great artist whose dramatic quality can be compared with that of only one other living writer, namely, Gerhart Hauptmann. Galsworthy, even as Hauptmann, is neither a propagandist nor a moralist. His background is life, "that palpitating life," which is the root of all sorrow and joy.
His attitude toward dramatic art is given in the following words:
"I look upon the stage as the great beacon light of civilization, but the drama should lead the social thought of the time and not direct or dictate it.
"The great duty of the dramatist is to, present life as it really is. A true story, if told sincerely, ​is the strongest moral argument that can be put on the stage. It is the business of the dramatist so to present the characters in his picture of life that the inherent moral is brought to light without any lecturing on his part."
"Moral codes in themselves are, after all, not lasting, but a true picture of life is. A man may preach a strong lesson in a play which may exist for a day, but if he succeeds in presenting real life itself in such a manner as to carry with it a certain moral inspiration, the force of the message need never be lost, for a new interpretation to fit the spirit of the time can renew its vigor and power."
John Galsworthy has undoubtedly succeeded in presenting real life. It is this that makes him so thoroughly human and universal.

#### STRIFE

NOT since Hauptmann's "Weavers" was placed before the thoughtful public, has there apt peered anything more stirring than "Strife."
Its theme is a strike in the Trenartha Tin Plate Works, on the borders of England and Wales. The play largely centers about the two dominant figures: John Anthony, the President of the Company, rigid, autocratic and uncompromising; he is unwilling to make the slightest concession, although the men have been out for six ​months and are in a condition of semi-starvation. On the other hand there is David Roberts, an uncompromising revolutionist, whose devotion to the workers and the cause of freedom is at redwhite heat. Between them are the strikers, worn and weary with the terrible struggle, driven and tortured by the awful sight of poverty at home.
At a directors' meeting, attended by the Company's representatives from London, Edgar Anthony, the President's son and a man of kindly feeling, pleads in behalf of the strikers.
Edgar. I don't see how we can get over it that to go on like this means starvation to the men's wives and families . . . It won't kill the shareholders to miss a dividend or two; I don't see that that's reason enough for knuckling under.
Wilder. H'm! Shouldn't be a bit surprised if that brute Roberts hadn't got us down here with the very same idea. I hate a man with a grievance.
Edgar. We didn't pay him enough for his discovery. I always said that at the time.
Wilder. We paid him five hundred and a bonus of two hundred three years later. If that's not enough! What does he want, for goodness' sake?
Tench. Company made a hundred thousand out of his brains, and paid him seven hundred—that's the way he goes on, sir.
Wilder. The man's a rank agitator! Look here, I hate the Unions. But now we've got Harness here let's get him to settle the whole thing.
​Harness, the trade union official, speaks in favor of compromise. In the beginning of the strike the union had withdrawn its support, because the workers had used their own judgment in deciding to strike. Harness. I'm quite frank with you. We were forced to withhold our support from your men because some of their demands are in excess of current rates. I expect to make them withdraw those demands to-day.... Now, I want to see something fixed upon before I go back tonight. Can't we have done with this old-fashioned tug-of-war business ? What good's it doing you ? Why don't you recognize once for all that these people are men like yourselves, and want what's good for them just as you want what's good for you.... There's just one very simple question I'd like to put to you. Will you pay your men one penny more than they force you to pay them?
Of course not. With trade unionism lacking in true solidarity, and the workers not conscious of their power, why should the Company pay one penny more? David Roberts is the only one who fully understands the situation. Roberts. Justice from London? What are you talking about, Henry Thomas? Have you gone silly? We know very well what we are—discontented dogs—never satisfied. What did the Chairman tell me up in London ? That I didn't know what I was talking about. I was a foolish, uneducated man, that knew nothing of ​the wants of the men I spoke for.... I have this to say—and first as to their condition.... Ye can't squeeze them any more. Every man of us is well nigh starving. Ye wonder why I tell ye that? Every man of us is going short. We can't be no worse off than we've been these weeks past. Ye needn't think that by waiting ye'll drive us to come in. We'll die first, the whole lot of us. The men have sent for ye to know, once and for all, whether ye are going to grant them their demands.... Ye know best whether ye can afford your tyranny—but this I tell ye: If ye think the men will give way the least part of an inch, ye're making the worst mistake ye ever made. Ye think because the Union is not supporting us—more shame to it!—that we'll be coming on our knees to you one fine morning. Ye think because the men have got their wives an' families to think of—that it's just a question of a week or two— . . .
The appalling state o f the strikers is demonstrated by the women: Anna Roberts, sick with heart trouble and slowly dying for want of warmth and nourishment; Mrs. Rous, so accustomed to privation that her present poverty seems easy compared with the misery of her whole life.
Into this dismal environment comes Enid, the President's daughter, with delicacies and jams for Annie. Like many women of her station she imagines that a little sympathy will bridge the chasm between the classes, or as her father says, "You ​think with your gloved hands you can cure the troubles of the century."
Enid does not know the life of Annie Roberts' class: that it is all a gamble from the "time 'e 's born to the time 'e dies."
Mrs. Roberts. Roberts says workin' folk have always lived from hand to mouth. Sixpence to-day is worth more than a shillin' to-morrow, that's what they say. . . . He says.that when a working man's baby is born, it's a toss-up from breath to breath whether it ever draws another, and so on all 'is life; an' when he comes to be old, it's the workhouse or the grave. He says that without a man is very near, and pinches and stints 'imself and 'is children to save, there can be neither surplus nor security. That's why he wouldn't have no children, not though I wanted them.
The strikers' meeting is a masterly study of mass psychology,-the men swayed hither and thither by the different speakers and not knowing whither to go. It is the smooth-tongued Harness who first weakens their determination to hold out.
Harness. Cut your demands to the right pattern, and we'll see you through; refuse, and don't expect me to waste my time coming down here again. I'm not the sort that speaks at random, as you ought to know by this time. If you're the sound men I take you for-no matter who advises you against it—you'll make up your minds to come in, and trust to us to get your terms. ​Which is it to be? Hands together, and victory—or—the starvation you've got now?
Then Old Thomas appeals to their religious sentiments:
Thomas. It iss not London; it iss not the Union—it iss Nature. It iss no disgrace whateffer to a potty to give in to Nature. For this Nature iss a fery pig thing; it is pigger than what a man is. There is more years to my hett than to the hett of anyone here. It is a man's pisness to pe pure, honest, just, and merciful. That's what Chapel tells you.... We're going the roat to tamnation. An' so I say to all of you. If ye co against Chapel I will not pe with you, nor will any other Got-fearing man.
At last Roberts makes his plea, Roberts who has given his all—brain, heart and blood—aye, sacrificed even his wife to the cause. By sheer force of eloquence and sincerity he stays his fickle comrades long enough at least to listen to him, though they are too broken to rise to his great dignity and courage.
Roberts. You don't want to hear me then? You'll listen to Rous and to that old man, but not to me. You'll listen to Sim Harness of the Union that's treated you so fair; maybe you'll listen to those men from London. . . . You love their feet on your necks, don't you? . . . Am I a liar, a coward, a traitor? If only I were, ye'd listen to me, I'm sure. Is there a man of you here who has ​less to gain by striking? Is there a man of you that had more to lose? Is there a man among you who has given up eight hundred pounds since this trouble began ? Come, now, is there? How much has Thomas given up—ten pounds or five or what? You listened to him, ant what had he to say? "None can pretend," he said,"that I'm not a believer in principle—but when Nature says: 'No further,' 'tes going against Nature!" I tell you if a man cannot say to Nature: "Budge me from this if ye can I"—his principles are but his belly. "Oh, but," Thomas says, "a man can be pure and honest, just and merciful, and take off his hat to Nature." I tell you Nature's neither pure nor honest, just nor merciful. You chaps that live over the hill, an' go home dead beat in the dare on a snowy night—don't ye fight your way every inch of it? Do ye-go lyin' down an' trustin' to the tender mercies of this merciful Nature? Try it and you'll soon know with what ye've got to deal. 'Tes only by that (he strikes a blow with his clenched fist) in Nature's face that a man can be a man. "Give in," says Thomas; "go down on your knees; throw up your foolish fight, an' perhaps," he said, "perhaps your enemy will chuck you down a crust." . . . And what did he say about Chapel? "Chapel's against it," he said. "She's against it." Well, if Chapel and Nature go hand in hand, it's the first I've ever heard of it. Surrendering's the world of cowards and traitors.... You've felt the pinch o't in your bellies. You've forgotten what that fight 'as been; many times I have told you; I will tell you now this once again. The fight o' the country's body and blood against a blood-sucker. The fight of those that spend ​themselves with every blow they strike and every breath they draw, against a thing that fattens on them, and grows and grows by the law of merciful Nature. That thing is Capital! A thing that buys the sweat o' men's brows, and the tortures o' their brains, at its own price. Don't I know that ? Wasn't the work o' my brains bought for seven hundred pounds, and hasn't one hundred thousand pounds been gained them by that seven hundred without the stirring of a finger. It is a thing that will take as much and give you as little as it can. That's Capital! A thing that will say—"I'm very sorry for you, poor fellows—you have a cruel time of it, I know," but will not give one sixpence of its dividends to help you have a better time. That's Capital! Tell me, for all their talk, is there one of them that will consent to another penny on the Income Tax to help the poor ? That's Capital! A white-faced, stony-hearted monster! Ye have got it on its knees; are ye to give up at the last minute to save your miserable bodies pain? When I went this morning to those old men from London, I looked into their very 'earts. One of them was sitting there—Mr. Scantlebury, a mass of flesh nourished on us: sittin' there for all the world like the shareholders in this Company, that sit not moving tongue nor finger, takin' dividends—a great dumb ox that can only be roused when its food is threatened. I looked into his eyes and I saw he was afraid—afraid for himself and his dividends, afraid for his fees, afraid of the very shareholders he stands for; and all but one of them's afraid—like children that get into a wood at night, and start at every rustle of the leaves. I ask you, men—give me a ​free hand to tell them: "Go you back to London. The men have nothing for you!" Give me that, and I swear to you, within a week you shall have from London all you want. 'Tis not for this little moment of time we're fighting, not for ourselves, our own little bodies, and their wants, 'tis for all those that come after throughout all time. Oh! Men—for the love o' them, don't roll up another stone upon their heads, don't help to blacken the sty, an' let the bitter sea in over them. They're welcome to the worst that can happen to me, to the worst that can happen to us all, aren't they—aren't they? If we can shake the white-faced monster with the bloody lips, that has sucked the life out of ourselves, our wives, and children, since the world began. If we have not the hearts of men to stand against it breast to breast, and eye to eye, and force it backward till it cry for mercy, it will go on sucking life; and we shall stay forever what we are, less than the very dogs.
Consistency is the greatest crime of our commercial age. No matter how intense the spirit or how important the man, the moment he will not allow himself to be used or sell his principles, he is thrown on the dust heap. Such is the fate of Anthony, the President of the Company, and of David Roberts. To be sure they represent opposite poles—poles antagonistic to each other, poles divided by a terrible gap that can never be bridged over. Yet they share a common fate. Anthony is the embodiment of conservatism, of old ideas, of iron methods:
​Anthony. I have been Chairman of this Company since its inception two and thirty years ago. . . . I have had to do with "men" for fifty years; I've always stood up to them; I have never been beaten yet. I have fought the men of this Company four times, and four times I have beaten them.... The men have been treated justly, they have had fair wages, we have always been ready to listen to complaints. It has been said that times have changed; if they have, I have not changed with them. Neither will I. It has been said that masters and men are equal! Cant! There can only be one master in a house! Where two men meet the better man will rule. It has been said that Capital and Labor have the same interests. Cant! Their interests are as wide asunder as the poles. It has been said that the Board is only part of a machine. Cant! We are the machine; its brains and sinews; it is for us to lead and to determine what is to be done; and to do it without fear or favor. Fear of the men! Fear of the shareholders! Fear of our own shadows! Before I am like that, I hope to die. There is only one way of treating "men"—with the iron hand. This half-and-half business, the half-and-half manners of this generation, has brought all this upon us. Sentiments and softness and what this young man, no doubt, would call his social policy. You can't eat cake and have it! This middle-class sentiment, or socialism, or whatever it may be, is rotten. Masters are masters, men are men! Yield one demand, and they will make it six. They are like Oliver Twist, asking for more. If I were in their place I should be the same. But I am not in their place. . . . I have been accused of being a ​domineering tyrant, thinking only of my pride—I am thinking of the future of this country, threatened with the black waters of confusion, threatened with mob government, threatened with what I cannot say. If by any conduct of mine I help to bring this on us, I shall be ashamed to look my fellows in the face. Before I put this amendment to the Board, I have one more word to say. If it is carried, it means that we shall fail in what we set ourselves to do. It means that we shall fail in the duty that we owe to all Capital. It means that we shall fail in the duty that we owe ourselves.
We may not like this adherence to old, reactionary notions, and yet there is something admirable in the courage and consistency of this man; nor is he half as dangerous to the interests of the oppressed as our sentimental and soft reformers who rob with nine fingers, and give libraries with the tenth; who grind human beings and spend millions of dollars in social research work. Anthony is a worthy foe; to fight such a foe, one must learn to meet him in open battle.
David Roberts has all the mental and moral attributes of his adversary, coupled with the spirit of revolt and the inspiration of modern ideas. He, too, is consistent: he wants nothing for his class short of complete victory.
It is inevitable that compromise and petty interest should triumph until the masses become imbued with the spirit of a David Roberts. Will ​they ever? Prophecy is not the vocation of the dramatist, yet the moral lesson is evident. One cannot help realizing that the workingmen will have to use methods hitherto unfamiliar to them; that they will have to discard the elements in their midst that are forever seeking to reconcile the irreconcilable—Capital and Labor. They will have to learn that men like David Roberts are the very forces that have revolutionized the world and thus paved the way for emancipation out of the clutches of the "white-faced monster with bloody lips," toward a brighter horizon, a freer life, and a truer recognition of human values.

#### JUSTICE

NO subject of equal social import has received such thoughtful consideration in recent years as the question of Crime and Punishment. A number of books by able writers, both in Europe and this country—preëminently among them "Prison Memoirs of an Anarchist," by Alexander Berkman—discuss this topic from the historic, psychologic, and social standpoint, the consensus of opinion being that present penal institutions and our methods of coping with crime have in every respect proved inadequate as well as wasteful. This new attitude toward one of the gravest social ​wrongs has now also found dramatic interpretation in Galsworthy's "Justice."
The play opens in the office of James How & 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 and 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.
Falder. Oh! sir, look over it! I'll pay the money back—I will, I promise.
Notwithstanding the entreaties of young Walter How, who holds 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 ​faithful sweetheart, full of love and devotion, burns with anxiety to save the young man, whose affection for her has brought about his present predicament. Falder is defended by Lawyer Frome, whose speech to the jury is a masterpiece of social philosophy. He does not attempt to dispute the mere fact that his client had altered the check; and though he pleads temporary aberration in his defense, the argument is based on a social consciousness as fundamental 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. He pleads with the jury not to turn the weak young man into a criminal by condemning him to prison.
Frome. Men like the prisoner are destroyed daily under our law for want of that human insight which sees them as they are, patients, and not criminals. . . . 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—
"Your counsel has made an attempt to trace your offense back to what he seems to suggest is a defect in the marriage law; he has made an attempt also to show that to punish you with further imprisonment would be unjust. I do not follow him in these flights. The Law what it is—a majestic edifice, sheltering all of us, each stone of which rests on another. I am concerned only with its administration. The crime you have committed is a very serious one. I cannot feel it in accordance with my duty to Society to exercise the powers I have in your favor. You will go to penal servitude for three years."
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, tracing his way with his finger along the top line of the distemper that runs round the wall. He stops under the window, and, picking up the lid of one of the tins, peers into it. 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 sounds grows, as though some great tumbrel 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 until 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."
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.
Falder. I seem to be struggling against a thing that's all round me. I can't explain it: it's as if I was in a net; as fast as I cut it here, it grows up there. I didn't act as I ought to have, about references; but what are you to do? You must have them. And that made me afraid, and I left. In fact, I'm—I'm afraid all the time now.
Thanks to Ruth's pleading, the firm of James How & Son is willing to take Falder back in their ​employ, on condition that he give up Ruth. Falder resents this: Falder. I couldn't give her up. I couldn't! Oh, sir! I'm all she's got to look to. And I'm sure she's all I've got.
It is then that Falder learns the awful news that the woman he loves had been driven by the chariot wheel of Justice to sell herself.
Ruth. I tried making skirts. . . cheap things. It was the best I could get, but 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. I kept at it for nine months.... It was starvation for the children.... And then ... my employer happened—he's happened ever since.
At this terrible psychologic moment the police appear to drag Falder back to prison for failing to report to the authorities as ticket-of-leave man. Completely overcome by the inexorability of his fate, Falder throws himself down the stairs, breaking his neck.
The socio-revolutionary significance of "Justice" consists not only in the portrayal of the in-human system which grinds the Falders and Honeywills, but even more so in the utter helplessness of society as expressed in the words of the Senior Clerk, Cokeson, "No one'll touch him ​now! Never again! He's safe with gentle Jesus!"

#### THE PIGEON

JOHN GALSWORTHY calls this play a fantasy. To me it seems cruelly real: it demonstrates that the best human material is crushed in the fatal mechanism of our life. "The Pigeon" also discloses to us the inadequacy of charity, individual and organized, to cope with poverty, as well as the absurdity of reformers and experimenters who attempt to patch up effects while they ignore the causes.
Christopher Wellwyn, an artist, a man deeply in sympathy with all human sorrow and failings, generously shares his meager means with everyone who applies to him for help.
His daughter Ann is of a more practical turn of mind. She cannot understand that giving is as natural and necessary to her father as light and air; indeed, the greatest joy in life.
Perhaps Ann is actuated by anxiety for her father who is so utterly "hopeless" that he would give away his "last pair of trousers." From her point of view "people who beg are rotters": decent folk would not stoop to begging. But Christopher Wellwyn's heart is too full of humanity to admit of such a straightlaced attitude. "We're ​not all the same.... One likes to be friendly. What's the use of being alive if one isn't?"
Unfortunately most people are not alive to the tragedies around them. They are often unthinking mechanisms, mere tabulating machines, like Alfred Calway, the Professor, who believes that "we're to give the State all we can spare, to make the undeserving deserving." Or as Sir Hoxton, the Justice of the Peace, who insists that "we ought to support private organizations for helping the deserving, and damn the undeserving." Finally there is the Canon who religiously seeks the middle road and "wants a little of both."
When Ann concludes that her father is the despair of all social reformers, she is but expressing a great truism; namely, that social reform is a cold and bloodless thing that can find no place in the glowing humanity of Christopher Wellwyn.
It is Christmas Eve, the birth of Him who came to proclaim "Peace on earth, good will to all." Christopher Wellwyn is about to retire when he is disturbed by a knock on the door.
The snow-covered, frost-pinched figure of Guinevere Megan appears. She is a flower-seller to whom Wellwyn had once given his card that she might find him in case of need. She comes to him when the rest of the world has passed her by, ​forlorn and almost as dead as her violets which no one cares to buy.
At sight of her misery Wellwyn forgets his daughter's practical admonition and his promise to her not to be "a fool." He treats the flowerseller tenderly, makes her warm and comfortable. He has barely time to show Guinevere into his model's room, when another knock is heard. This time it is Ferrand, "an alien," a globe trotter without means,—a tramp whom Wellwyn had once met in the Champs-Elysees. Without food for days and unable to endure the cold, Ferrand too comes to the artist.
Ferrand. If I had not found you, Monsieur—I would have been a little hole in the river to-night-I was so discouraged.... And to think that in a few minutes He will be born! . . . The world would reproach you for your goodness to me. Monsieur, if He himself were on earth now, there would be a little heap of gentlemen writing to the journals every day to call him sloppee sentimentalist! And what is veree funny, these gentlemen they would all be most strong Christians. But that will not trouble you, Monsieur; I saw well from the first that you are no Christian. You have so kind a face.
Ferrand has deeper insight into the character of Christopher Wellwyn than his daughter. He knows that the artist would not judge nor could he ​refuse one whom misery stares in the face. Even the third visitor of Wellwyn, the old cabman Timson, with more whiskey than bread in his stomach, receives the same generous reception as the other two.
The next day Ann calls a council of war. The learned Professor, Alfred Calway; the wise judge, Sir Thomas Hoxton; and the professional Christian, Edward Bertley—the Canon—are summoned to decide the fate of the three outcasts.
There are few scenes in dramatic literature so rich in satire, so deep in the power of analysis as the one in which these eminent gentlemen discuss human destiny. Canon Bertley is emphatic that it is necessary to "remove the temptation and reform the husband of the flower-seller."
Bertley. Now, what is to be done?
Mrs. Megan. I could get an unfurnished room, if I'd the money to furnish it.
Bertley. Never mind the money. What I want to find in you is repentance.
Those who are engaged in saving souls cannot be interested in such trifles as money matters, nor to understand the simple truth that if the Megans did not have to bother with making a "livin'," repentance would take care of itself.
The other two gentlemen are more worldly, since law and science cannot experiment with ​such elusive things as the soul. Professor Calway opines that Timson is a congenital case, to be put under observation, while Judge Hoxton-decides that he must be sent to prison.
Calway. Is it, do you think, chronic unemployment with a vagrant tendency? Or would it be nearer the mark to say: Vagrancy— Dipsomaniac?. .. By the look of his face, as far as one can see it, I should say there was a leaning towards mania. I know the treatment.
Hoxton. Hundreds of these fellows before me in my time. The only thing is a sharp lesson!
Calway. I disagree. I've seen the man; what he requires is steady control, and the Dobbins treatment.
Hoxton. Not a bit of it! He wants one for his knob! Bracing him up! It's the only thing!
Calway. You're moving backwards, Sir Thomas. I've told you before, convinced reactionaryism, in these days—The merest sense of continuity—a simple instinct for order—
Hoxton. The only way to get order, sir, is to bring the disorderly up with a round turn. You people without practical experience—
Calway. The question is a much wider one, Sir Thomas.
Hoxton. No, sir, I repeat, if the country once commits itself to your views of reform, it's as good as doomed.
Calway. I seem to have heard that before, Sir Thomas. And let me say at once that your hitty-missy cart-load of bricks regime—
​Hoxton. Is a deuced sight better, sir, than your grandmotherly methods. What the old fellow wants is a shock! With all this socialistic molly-coddling, you're losing sight of the individual.
Calway. You, sir, with your "devil take the hindmost," have never seen him.
The farce ends by each one insisting on the superiority of his own pet theory, while misery continues to stalk white-faced through the streets.
Three months later Ann determines to rescue her father from his disreputable proclivities by removing with him to a part of the city where their address will remain unknown to his beggar friends and acquaintances.
While their belongings are being removed, Canon Bertley relates the trouble he had with Mrs. Megan.
Bertley. I consulted with Calway and he advised me to try a certain institution. We got her safely in—excellent place; but, d'you know, she broke out three weeks ago. And since—I've heard—hopeless, I'm afraid—quite! . . . I'm sometimes tempted to believe there's nothing for some of these poor folk but to pray for death.
Wellwyn. The Professor said he felt there was nothing for some of these poor devils but a lethal chamber.
What is science for if not to advise a lethal chamber ? It's the easiest way to dispose of "the ​unfit" and to supply learned professors with the means of comfortable livelihood.
Yet there is Ferrand, the vagabond, the social outcast who has never seen the inside of a university, propounding a philosophy which very few professors even dream of:
Ferrand. While I was on the road this time I fell ill of a fever. It seemed to me in my illness that I saw the truth—how I was wasting in this world—I would never be good for anyone—nor anyone for me-all would go by, and I never of it—fame, and fortune, and peace, even the necessities of life, ever mocking me. And I saw, so plain, that I should be vagabond all my days, and my days short; I dying in the end the death of a dog. I saw it all in my fever—clear as that flame-there was nothing for us others, but the herb of death. And so I wished to die. I told no one of my fever. I lay out on the ground—it was verree cold. But they would not let me die on the roads of their parishes-They took me to an Institution. I looked in their eyes while I lay there, and I saw more clear than the blue heaven that they thought it best that I should die, although they would not let me. Then naturally my spirit rose, and I said: "So much the worse for you. I will live a little more." One is made like that! Life is sweet. That little girl you had here, Monsieur—in her too there is something of wild savage. She must have joy of life. I have seen her since I came back. She has embraced the life of joy. It is not quite the same thing. She is lost, Monsieur, as a stone that sinks in water. I can ​see, if she cannot.... For the great part of mankind, to see anything—is fatal. No, Monsieur. To be so near to death has done me good; I shall not lack courage any more till the wind blows on my grave. Since I saw you, Monsieur, I have been in three Institutions. They are palaces.... One little thing they lack—those palaces. It is understanding of the 'uman heart. In them tame birds pluck wild birds naked. Ah! Monsieur, I am loafer, waster—what you like—for all that, poverty is my only crime. If I were rich, should I not be simply verree original, 'ighly respected, with soul above commerce, traveling to see the world? And that young girl, would she not be "that charming ladee," "veree chic, you know!" And the old Tims—good old-fashioned gentleman—drinking his liquor well. Eh! bien—what are we now ? Dark beasts, despised by all. That is life, Monsieur. Monsieur, it is just that. You understand. When we are with you we feel something-here—If I had one prayer to make, it would be, "Good God, give me to understand!" Those sirs, with their theories, they can clean our skins and chain our 'abits—that soothes for them the aesthetic sense; it gives them too their good little importance. But our spirits they cannot touch, for they nevare understand. Without that, Monsieur, all is dry as a parched skin of orange. Monsieur, of their industry I say nothing. They do a good work while they attend with their theories to the sick and the tame old, and the good unfortunate deserving. Above all to the little children. But, Monsieur, when all is done, there are always us hopeless ones. What can they do with me, Monsieur, with that girl, or ​with that old man? Ah! Monsieur, we too, 'ave our qualities, we others—it wants you courage to undertake a career like mine, or like that young girl's. We wild ones—we know a thousand times more of life than ever will those sirs. They waste their time trying to make rooks white. Be kind to us if you will, or let us alone like Mees Ann, but do not try to change our skins. Leave us to live, or leave us to die when we like in the free air. If you do not wish of us, you have but to shut your pockets and your doors—we shall die the faster. . . . If you cannot, how is it our fault? The harm we do to others—is it so much? If I am criminal, dangerous—shut me up! I would not pity myself—nevare. But we in whom something moves—like that flame, Monsieur, that cannot keep still—we others—we are not many—that must have motion in our lives, do not let them make us prisoners, with their theories, because we are not like them—it is life itself they would enclose! . . . The good God made me so that I would rather walk a whole month of nights, hungry, with the stars, than sit one single day making round business on an office stool! It is not to my advantage. I cannot help it that I am a vagabond. What would you have? It is stronger than me. Monsieur, I say to you things I have never said. Monsieur! Are you really English? The English are so civilized.
Truly the English are highly "civilized"; else it would be impossible to explain why of all the nations on earth, the Anglo-Saxons should be the only ones to punish attempts at suicide.
​Society makes no provision whatever for the Timsons, the Ferrands and Mrs. Megans. It has closed the door in their face, denying them a seat at the table of life. Yet when Guinevere Megan attempts to drown herself, a benevolent constable drags her out and a Christian Judge sends her to the workhouse.
Constable. Well, sir, we can't get over the facts, can we? . . . You know what soocide amounts to—it's an awkward job.
Wellwyn. But look here, Constable, as a reasonable man—This poor wretched little girl-you know what that life means better than anyone! Why! It's to her credit to try and jump out of it!
Constable. Can't neglect me duty, sir; that's impossible.
Wellwyn. Of all the d—d topsy-turvy—! Not a soul in the world wants her alive—and now she is to be prosecuted for trying to go where everyone wishes her.
Is it necessary to dwell on the revolutionary significance of this cruel reality? It is so all-embracing in its sweep, so penetrating of the topsy-turviness of our civilization, with all its cant and artifice, so powerful in its condemnation of our cheap theories and cold institutionalism which freezes the soul and destroys the best and finest in our being. The Wellwyns, Ferrands, and Megans are the stuff out of which a real humanity might be fashioned. They feel the needs of their fellows, and whatever ​is in their power to give, they give as nature does, unreservedly. But the Hoxtons, Calways and Bertleys have turned the world into a dismal prison and mankind into monotonous, gray, dull shadows.
The professors, judges, and preachers cannot meet the situation. Neither can Wellwyn, to be sure. And yet his very understanding of the differentiation of human nature, and his sympathy with the inevitable reaction of conditions upon it, bring the Wellwyns much closer to the solution of our evils than all the Hoxtons, Calways and Bertleys put together. This deep conception of social factors is in itself perhaps the most significant lesson taught in "The Pigeon."