of the play and would have put it just on the level of a dramatized story about scarlet fever or typhoid.
Yet here, too, the fundamental mistake remains the psychological one. The play hopes to reform by the appeal to fear, while the whole mental mechanism of man is so arranged that in the emotional tension of the sexual desire the argument of the fear that we may have bad luck will always be outbalanced by the hope and conviction that we will not be the one who draws the black ball. And together with this psychological fact goes the other stubborn feature of the mind, which no sermon can remove, that the focussing of the attention on the sexual problems, even in their repelling form, starts too often a reaction of glands and with it sexual thoughts which ultimately lead to a desire for satisfaction.
The cleverest of this group of plays strictly intended for sexual education—as Shaw's “Mrs. Warren's Profession” or plays of Pinero and similar ones would belong only indirectly in this circle—is probably Wedekind's “Spring's Awakening.” It brought to Germany, and especially to Berlin, any education which the Friedrichstrasse had failed to bring. To prohibit it would have meant the reactionary crushing of a distinctly literary work by a brilliant writer; to allow it meant to fill the Berlin life for seasons with a new spirit which showed its effects. The sexual discussion became the favourite topic; the girls learned to look out for their safety: and it was probably only a chance that at the same time a wave of immorality overflooded the youth of Berlin. The times of naïve flirtation were over; any indecency seemed allowable if only conception was artificially prevented. The social life of Berlin from the fashionable quarters of Berlin West to the factory quarters of Berlin East was never more rotten and more perverse than in those years in which sexual education from the stage indulged in its orgies.
The central problem is not whether the facts are distorted or not, and whether the suggestions are wise or not, and whether the remedies are practicable or not. All this is secondary to the fundamental question of whether it is wise to spread out such problems before the miscellaneous public of our theatres. No doubt a few of the social reformers are sprinkled over the audiences. There are a few in the boxes as well as in the galleries who discern the realities and who hear the true appeal, even through those grotesque melodramas. But with the overwhelming majority it is quite different. For them it is entertainment, and as such it is devastating. It is quite true that many a piquant comic opera shows more actual frivolity, and no one will underestimate the shady influence of such voluptuous vulgarities in their multicoloured stage setting. Yet from a psychological point of view the effect of the pathetic treatment is far more dangerous than that of the frivolous. A good many well-meaning reformers do not see that, because they know too little of the deeper layers of the sexual imagination. The intimate connection between sexuality and cruelty, perversion and viciousness, may produce much more injurious results in the mind of the average man when he sees the tragedy of the white slave than when he laughs at the farce of the chorus girl. Moreover, even the information which such plays divulge may stimulate some model citizens to help the police and the doctors, but it may suggest to a much larger number hitherto unknown paths of viciousness. The average New Yorker would hear with surprise from the Rockefeller Report on Commercialized Prostitution in New York City that the commission has visited in Manhattan a hundred and forty parlour houses, twenty of which were known to the trade as fifty-cent houses, eighty as one-dollar houses, six as two-dollar houses, and thirty-four as five- and ten-dollar houses. Yet the chances are great that essentially persons with serious interests in social hygiene turn to such books of sober study. But to cry out such information to those Broadway crowds which seek a few hours' fun before they go to the next lobster palace or to the nearest cabaret cannot possibly serve social hygiene.
Worst of all, the theatre, more than any other source of so-called information, has been responsible for the breakdown of the barriers of social reserve in sexual discussions, and that means ultimately in erotic behaviour. The book which the individual man or woman reads at his fireside has no socializing influence, but the play which they see together is naturally discussed, views are exchanged, and all which in old-fashioned times was avoided, even in serious discussion, becomes daily more a matter of the most superficial gossip. When recently at a dinner party a charming young woman whom I had hardly met before asked me, when we were at the oysters, how prostitution is regulated in Germany, and did not conclude the subject before we had reached the ice cream, I saw the natural consequences of this new era of theatre influence. Society, which with the excuse of philanthropic sociology favours erotically tainted problems, must sink down to a community in which the sexual relations become chaotic and turbulent. Finally, the theatre is not open only to the adult. Its filthy message reaches the ears of boys and girls, who, even if they take it solemnly, are forced to think of these facts and to set the whole mechanism of sexual associations and complex reactions into motion. The playwriters know that well, but they have their own theory. When I once remonstrated against the indecencies which are injected into the imagination of the adolescent by the plays, Mr. Bayard Veiller, the talented author of “The Fight,” answered in a Sunday newspaper. He said that he could not help thinking of the insane man who objected to throwing a bucket of salt water into the ocean for fear it would turn the ocean salt. “Does not Professor Münsterberg know that you can't put more sex thoughts into the minds of young men and women, because their minds contain nothing else?” If the present movement is not brought to a stop, the time may indeed come when those young minds will not contain anything else. But is that really true of to-day, and, above all, was it true of yesterday, before the curtain was raised on the red-light drama?
VI
How is it possible that with such obvious dangers and such evident injurious effects, this movement on the stage and in literature, in the schools and in the homes, is defended and furthered by so many well-meaning and earnest thinking men and women in the community? A number of causes may have worked together there. It cannot be overlooked that one of the most effective ones was probably the new enthusiasm for the feministic movement. We do not want to discuss here the right and wrong of this worldwide advance toward the fuller liberation of women. If we have to touch on it here, it is only to point out that this connection between the sound elements of the feministic movement and the propaganda for sex education on the new-fashioned lines is really not necessary at all. I do not know whether the feminists are entirely right, but I feel sure that their own principles ought rather to lead them to an opposition to this breaking down of the barriers. It is nothing but a superficiality if they instinctively take their stand on the side of those who spread broadcast the knowledge about sex.
The feminists vehemently object to the dual standard, but if they help everything which makes sex an object of common gossip, it may work indeed toward a uniform standard; only the uniformity will not consist in the men's being chaste like the women, but in the women's being immoral like the men. The feministic enthusiasm turns passionately against those scandalous places of women's humiliation; and yet its chief influence on female education is the effort to give more freedom to the individual girl, and that means to remove her from the authority and discipline of the parental home, to open the door for her to the street, to leave her to her craving for amusement, to smooth the path which leads to ruin. The sincere feminists may say that some of the changes which they hope for are so great that they are ready to pay the price for them and to take in exchange a rapid increase of sexual vice and of erotic disorderliness. But to fancy that the liberation of women and the protection of women can be furthered by the same means is a psychological illusion. The community which opens the playhouses to the lure of the new dramatic art may protect 5 per cent. of those who are in danger to-day, but throws 50 per cent. more into abysses. The feminists who see to the depths of their ideals ought to join full-heartedly the ranks of those who entirely object to this distribution of the infectious germs of sexual knowledge.
Some stray support may come to the new movement also from another side. Some believe that this great emphasis on sexual interests may intensify æsthetic longings in the American commonwealth. No doubt this interrelation exists. No civilization has known a great artistic rise without a certain freedom and joy in sensual life. Prudery always has made true æsthetic unfolding impossible. Yet if we yielded here, we would again be pushed away from
