[Durito-devl] lesson in that school is looked upon as

[Amis <pi...@re...>]

X. 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.