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Hauptmann and a host of others mirror in their
work as much of the spiritual and social revolt as is
expressed by the most fiery speech of the
propagandist. And more important still, they compel
far greater attention. Their creative genius,
imbued with the spirit of sincerity and truth, strikes
root where the ordinary word often falls on barren
soil.
The reason that many radicals as well as
conservatives fail to grasp the powerful message of art is
perhaps not far to seek. The average radical is
as hidebound by mere terms as the man devoid of
all ideas. "Bloated plutocrats," economic
determinism," "class consciousness," and similar
expressions sum up for him the symbols of revolt.
But since art speaks a language of its own, a
language embracing the entire gamut of human
emotions, it often sounds meaningless to those whose
hearing has been dulled by the din of stereotyped
phrases.
On the other hand, the conservative sees danger
only in the advocacy of the Red Flag. He has too
long been fed on the historic legend that it is only
the "rabble" which makes revolutions, and not
those who wield the brush or pen. It is therefore
legitimate to applaud the artist and hound the
rabble. Both radical and conservative have to learn
that any mode of creative work, which with true
perception portrays social wrongs earnestly and
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