STRIFE, by John Galsworthy. Nothing is more striking in Galsworthy's work as a drama tist than the skill with which he combines the functions of the artist and the social critic without prejudice to either. In all but two of his plays he has chosen for his theme some one of the outstanding problems of modern social organization and clothed it in dramatic form of compelling interest. In 'Strife' it is the conflict between capital and labor as ex emplified in a prolonged strike at the Trenartha Tin Works. The directors of the company have been summoned down from London for a conference with the men and the action takes place during a single afternoon. The company is losing money; the men and their families are starving; both are ready to come to terms but their indomitable leaders, old John An thony, founder and president of the company, and David Roberts of the workmen's committee, will not hear of compromise. Both men are fighters and both are fighting for a principle; it is a clear-cut °conflict of wills° such as few dramas present. When Anthony talks to his frightened directors we feel that nothing can balk that iron will. But Roberts' passionate appeal to his fellow workers to hold out in order that their sacrifices and suffering shall not be in vain is still more moving and no less force ful. Although the struggle finally ends in com promise between employers and men, the tense emotional interest is maintained to the very end. Roberts comes from the death bed of
his wife to fling defiance at the board only to learn that the agreement has just been signed, and he and Anthony face defeat together with a like scorn of their weaker followers and a re luctant sympathy and respect for each other. While these two are the chief protagonists, Galsworthy uses no less than 30 speaking parts to fill in his picture and at least half of these are clearly defined individual characters, yet his canvas is neither crowded nor confused. his is largely due to his masterly command of natural and characteristic dialogue. His personages are never mere mouthpieces for his own ideas but speak their own thoughts in their own language.
An interesting comparison suggests itself with certain plays of other nationalities based on the same theme, such as Bjornson's