LITERATURE AND PROPAGANDA.

Evening Star, Issue 21628, 25 January 1934, Page 8

LITERATURE AND PROPAGANDA.

Whex the Nobel Prize Committee a few w'eeks ago wished to honour a Russian with its prize for literature it had to find one who had had as little connection as possible with Bolshevism and whose reputation was made before it came into power. No society has yet been formed which gives prizes for propaganda* and one of the minor tragedies of the world in these latest days has been the completeness with which literature has been displaced by propaganda in countries that were once famous for the former. In Germany the displacement has included history, and a sample of a German book for children, telling how the envious war was made against the Fatherland and why the plot succeeded, is discussed most naturally by a British paper under the headings ‘ Hitler’s Bedtime Stories ’ and ‘ A Grimm Story.’ Mr St. John Ervine makes great play in the ‘ Observer ’ with the account given by one Popoff, a Russian dramatist “ who really ought to,” as to how he proposes to put Shakespeare’s ‘ Romeo and Juliet ’ on the stage of the Moscow Theatre of Revolution. Naturally this good disciple of Communism announces that “ray first step was to consult the Communist Academy and . the Marx-Engels-Lenin Institute, because the solo way to understand this genius’s strength and weakness is by determining his revolutionary class attitude.” Upon that, Mr Ervine comments: “ Good for Alexei Popoff! He has provided all of us with a valuable guide to the proper production of plays. If ever I have to put,a play by a modern Russian author on a stage, I w!II go first to the secretary of the Primrose League and ask him for advice. I recommend Mr Cochran to consult the president of the Mothers’ Union before he produces another piece. If any German theatre manager thinks of putting on a play by, say, the late Israel Zangwill, he will first, I hope, be careful to take counsel with Herr Hitler about it.” Popoff secured the official ' endorsement of his bold proposal, which was given as follows:—“Shakespeare’s artistic power is due to his destructive criticism of Capitalism, which at that time was in the full process of growth, and to the remorseless way in which he, as a representative of the old order of feudalism, attacks the venal and rapacious middle class. His artistic vision foresaw in Capitalism those disgusting traits which became evident when once this system was firmly established, and that is why the bourgeoisie fears the real William Shakespeare.” There has been nothing to equal that, Mr Ervine suggests, since Mr Shaw, in ‘ The Perfect Wagnerite,’ proved that Wagner was advocating the nationalisation of the means of production, distribution, and exchange when he wrote ‘ The King.’ It is much more than a love story which M. Popoff offers to expectant Russians. In his own words, “ Romeo’s love, ns well as Juliet’s, is litmus paper, registering the social conflicts of their epoch. The real drama is their conflict with their class, and they perish because thev cannot spring out of their class.” Mr Ervine has no -difficulty in

imagining how this idea can he developed. “ Consider the revolutionary incitement in Romeo’s soliloquy when he first catches sight of Juliet: “ U she doth teach the torches ta burn bright!’ In those words, undoubtedly, we hear the first rumbles of discontent with established things. Romeo is contemplating incendiarism. He is ready to make a fire-bug of Juliet. With so inflammatoty a lady by his side, what upsetting deeds Romeo will bo able to perform! . . . Attend to the incitement to class-war in Romeo’s speech in Capulet's orchard: But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid are far more fair than she: Be not her maid, since she is envious ; Her vestal livery is but sick and green, And none but fools do wear it; cast it off. Was there ever such a clear indication of the rise of Bolshevism or so clarion a call to revolutionary acts as that speech is? ‘ But, soft! what light through yonder window breaks? It is the east! . . Russia is in the east, and the Russians are mainly Asiatic. How easy for a naive mind to suppose that Juliet is the Russian sun which will arise and kill European Capitalism, the envious moon, ‘ already sick and pale with grief.’ ” If there are passages in the play—and there are certainly passages in other plays—which would be fatal to this Communist conception of Shakespeare, they can be omitted.