see only in the distance-sometimes quite near, again in the far-off distance. These are the lonely lives.
This drama also emphasizes the important point that not only the parents and the wife of John Vockerat fail to understand him, but even his own comrade, one of his own world, the painter Braun,-the type of fanatical revolutionist who scorns human weaknesses and ridicules those who make concessions and compromises But not even this arch-revolutionist can grasp the needs of John. Referring to his chum's friendship with Anna, Braun upbraids him. He charges John with causing his wife's unhappiness and hurting the feelings of his parents. This very man who, as a propagandist, demands that every one live up to his ideal, is quick to condemn his friend when the latter, for the first time in his life, tries to be consistent, to be true to his own innermost being.
The revolutionary, the social and human significance of " Lonely Lives " consists in the lesson that the real revolutionist,-the dreamer, the creative artist, the iconoclast in whatever line,- is fated to be misunderstood, not only by his own kin, but often by his own comrades. That is the doom of all great spirits: they are detached from their environment. Theirs is a lonely life -the life of the transition stage, the hardest and
