potent factors in causing such conduct as will speed the social revolution.
While we have no respect for current morality, we must not fall into the error of supposing that there are no criteria by which to judge conduct, that there are, so to say, no valid distinctions between the acts of a hero and those of a blackguard. By referring to the ethic inspiring the actor we can always pronounce some conduct to be fine and other acts base. It is this power of a fine or noble action to thrill the human heart that makes the triumphs of dramatic art possible. The dramatists, like Shakespeare, whose characters accept the current moral code, appeal to a wide audience—to nearly all. But those dramatists, such as Ibsen, Shaw, Maeterlinck, and above all, Sudermann, whose heroes and heroines attempt to put into practice the ideals of to-morrow in the environment of to-day, are misunderstood and disliked by the majority, and understood and appreciated only by the few who, like themselves, have rejected the current code and adopted the criteria of to-morrow. But those of us who call Sudermann the first of living dramatists, do so on account of the extreme nobility of his heroines' conduct judged by the criteria of the future.
