THE GERMAN DRAMA
HERMANN SUDERMANN
IT has been said that military conquest generally goes hand in hand with the decline of creative genius, with the retrogression of culture. I believe this is not a mere assertion. The history of the human race repeatedly demonstrates that whenever a nation achieved great military success, it invariably involved the decline of art, of literature, of the drama; in short, of culture in the deepest and finest sense. This has been particularly borne out by Germany after its military triumph in the Franco-Prussian War.
For almost twenty years after that war, the country of poets and thinkers remained, intellectually, a veritable desert, barren of ideas. Young Germany had to go for its intellectual food to France, -Daudet, Maupassant, and Zola; or to Russia -Tolstoy, Turgenev, and Dostoyevski; finally also to Ibsen and Strindberg. Nothing thrived in Germany during that period, except a sickening patriotism and sentimental romanticism, perniciously misleading the people and giving
