the great works of Dostoyevsky, Tolstoy, and Turgeniev. But as no country can long maintain a standard of culture without a literature and drama related to its own soil, so Germany gradually began to develop a drama reflecting the life and the struggles of its own people.
Arno Holz, one of the youngest dramatists of that period, startled the Philistines out of their ease and comfort with his Familie Selicke. The play deals with society's refuse, men and women of the alleys, whose only subsistence consists of what they can pick out of the garbage barrels. A gruesome subject, is it not? And yet what other method is there to break through the hard shell of the minds and souls of people who have never known want, and who therefore assume that all is well in the world?
Needless to say, the play aroused tremendous indignation. The truth is bitter, and the people living on the Fifth Avenue of Berlin hated to be confronted with the truth.
Not that Familie Selicke represented anything that had not been written about for years without any seeming result. But the dramatic genius of Holz, together with the powerful interpretation of the play, necessarily made inroads into the widest circles, and forced people to think about the terrible inequalities around them.
Sudermann's Ehre[1] and Heimat[2] deal with vital subjects. I have0 already referred to the sentimental patriotism so completely turning the head of the average German as to create a perverted conception of
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