V
Sexual education, to be sure, does not necessarily mean education of young people only. The adults who know, the married men and women of the community, may not know enough to protect their sons and daughters. And the need for their full information may stretch far beyond their personal family interests. They are to form the public opinion which must stand behind every real reform, their consciences must be stirred, the hidden misery must be brought before them. Thus they need sexual education as much as the youngsters, only they need it in a form which appeals to them and makes them willing to listen; and our reformers have at last discovered the form. The public must be taught from the stage of the theatre. The magazine with its short stories on sex incidents, the newspaper with its sensational court reports, may help to carry the gruesome information to the masses, but the deepest impression will always be made when actual human beings are shown on the stage in their appealing distress, as living accusations against the rotten foundations of society. The stage is overcrowded with sexual drama and the social community inundated with discussions about it.
It is not easy to find the right attitude toward this red-light literature. Many different interests are concerned, and it is often extremely difficult to disentangle them. Three such interests stand out very clearly: the true æsthetic one, the purely commercial one, and the sociological one. It would be wonderful if the æsthetic culture of our community had reached a development at which the æsthetic attitude toward a play would be absolutely controlling. If we could trust this æsthetic instinct, no other question would be admissible but the one whether the play is a good work of art or not. The social inquiry whether the human fates which the poet shows us suggests legislative reforms or hygienic improvements would be entirely inhibited in the truly artistic consciousness. It would make no difference to the spectator whether the action played in Chicago or Petersburg, whether it dealt with men and women of to-day or of two thousand years ago. The human element would absorb our interest, and as far as the joys and the miseries of sexual life entered into the drama, they would be accepted as a social background, just as the landscape is the natural background. A community which is æsthetically mature enough to appreciate Ibsen does not leave “The Ghosts” with eugenic reform ideas. The inherited paralysis on a luetic basis is accepted there as a tragic element of human fate. On the height of true art the question of decency or indecency has disappeared, too. The nude marble statue is an inspiration, and not a possible stimulus to frivolous sensuality, if the mind is æsthetically cultivated. The nakedness of erotic passion in the drama of high æsthetic intent before a truly educated audience has not the slightest similarity to the half-draped chorus of sensual operetta before a gallery which wants to be tickled. But who would claim that the dramatic literature of the sexual problems with which the last seasons have filled the theatres from the orchestra to the second balcony has that sublime æsthetic intent, or that it was brought to a public which even posed in an æsthetic attitude! As far as any high aim was involved, it was the antiæsthetic moral value. The plays presented themselves as appeals to the social conscience, and yet this idealistic interpretation would falsify the true motives on both sides. The crowd went because it found the satisfaction of sexual curiosity and erotic tension through the unveiled discussion of social perversities. And the managers produced the plays because the lurid subjects with their appeal to the low instincts, and therefore with their sure commercial success, could here escape the condemnation of police and decent public as they were covered by the pretence of social reform. How far the writers of the play of prostitution prostituted art in order to share the commercial profits in this wave of sexual reform may better remain undiscussed.
What do these plays really teach us? I think I have seen almost all of them, and the composite picture in my mind is one of an absurdly distorted, exaggerated, and misleading view of actual social surroundings, suggesting wrong problems, wrong complaints, and wrong remedies. When I studied the reports of the vice commissions of the large American and European cities, the combined image in my consciousness was surely a stirring and alarming one, but it had no similarity with the character of those melodramatic vagaries. Even the best and most famous of these fabrications throw wrong sidelights on the social problems, and by a false emphasis inhibit the feeling for the proportions of life. If in “The Fight” the father, a senator, visits a disorderly house, unlocks the room in which the freshest fruit is promised him, and finds there his young daughter who has just been abducted by force, the facts themselves are just as absurd as the following scenes, in which this father shows that the little episode did not make the slightest impression on him. He coolly continues to fight against those politicians who want to remove such places from the town. In “Bought and Paid For” marriage itself is presented as white slavery. The woman has to tolerate the caresses of her husband, even when he has drunk more champagne than is wise for him. The play makes us believe that she must suffer his love because she was poor before she married and he has paid her with a life of luxury. Where are we to end if such logic in questions of sexual intercourse is to benumb common sense? England brought us “The Blindness of Virtue,” the story of a boy and a girl whom we are to believe to be constantly in grave danger because they are ignorant, while in reality nothing happens, and everything suggests that the moral danger for this particular girl would have been much greater if she had known how to enjoy love without consequences.
The most sensational specimen of the group was “The Lure.” It would be absurd to face this production from any æsthetic point of view. It would be unthinkable that a work of such crudeness could satisfy a metropolitan public, even if some of the most marked faults of construction were acknowledged as the results of the forceful expurgation of the police. Nevertheless, the only significance of the play lies outside of its artistic sphere, and belongs entirely to its effort to help in this great social reform. The only strong applause, which probably repeats itself every evening, broke out when the old, good-natured physician said that as soon as women have the vote the white slavers will be sent to the electric chair. But it is worth while to examine the sermon which a play of this type really preaches, and to become aware of the illusions with which the thoughtless public receives this message. All which we see there on the stage is taken by the masses as a remonstrance against the old, cowardly policy of silence, and the play is to work as a great proof that complete frankness and clear insight can help the daughters of the community.
The whole play contains the sad story of two girls. There is Nell. What happened to her? She is the daughter of a respectable banker in a small town. A scoundrel, a commercial white slaver, a typical Broadway “cadet” with luring manners, goes to the small town, finds access to the church parlours, is introduced to the girl, and after some courtship he elopes with her and makes her believe that they are correctly married. After the fraudulent marriage with a falsified license he brings her into a metropolitan disorderly house and holds her there by force. Of course this is brutal stage exaggeration, but even if this impossibility were true, what conclusion are we to draw, and what advice