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    칼럼에 따르면, 한국과 미국은 중국에 "사드는 중국이 아니라 북한 미사일을 겨냥하는 것"이라고 누누이 설명하지만 중국은 "사드가 미국과 일본의 미사일 요격망(MD)에 편입될 한·미·일 공동 방어체계의 한 부분"이라고 인식하고 있다.

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    © AP Photo/ Koji Sasahara
    Жительница Японии вернулась в свой дом после аварии на АЭС "Фукусима-1"

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    The Teutonic grimness of the work puzzled the Parisians, who are not used to having philosophy thrust at them over the footlights; but in Germany "Frühlings Erwachen" proved much more successful. In Berlin, indeed, it has become part of the regular stock of plays acted at "Das Neue Theater," where it is said to be certain of drawing a crowded audience.

    That the play is radically different from anything given on the American stage is undoubtedly true. It must be remembered, however, that the Continental European playwright regards the stage as a medium of instruction, as well as a place of amusement. The dictum of the Swedish dramatist, August Strindberg, that the playwright should be a lay priest preaching on vital topics of the day in a way to make them intelligible to mediocre intellects, is not appreciated in this country as it

    should be; but once admit the kinship of dramatist and priest, and the position taken by Wedekind in writing "Frühlings Erwachen" becomes self-evident. There should be no question concerning the importance of his topic, nor should it be forgotten that the evident lesson he seeks to inculcate is one now preached by numerous ethical teachers. In order to estimate the relationship of this play toward modern thought in Germany, it must be [Pg viii] understood that Wedekind's tragedy is merely one of the documents in a paper war which has resulted at last in having the physiology of sex taught in many German schools. The fact that Wedekind's dialogue is frank to a remarkable degree only makes his preachment more effective: "One does not cure the pest with attar of roses," as St. Augustine remarked.

    Conditions in this country are not so very different from those depicted in this play, and evidence is not lacking that gradually, very gradually, we are beginning to realize that ignorance and innocence are not synonymous; that an evil is not palliated by ignoring its existence; the Podsnappian wave of the hand has not disappeared entirely, but it is not quite as fashionable as of yore. All things considered, the moment seems appropriate for the publication, of "Frühlings Erwachen" in an English version. The translation given in this volume follows the German original as closely as the translator can reconcile the nature of the two languages.

    Considered as a work of literature, "Frühlings Erwachen" is remarkable as one of the few realistic studies of adolescence. Its deceptive simplicity is the hall mark of that supreme literary ability which knows how to conceal art by art. Dealing with adolescence, an unformed period of human life, it is necessarily without the climaxes we expect in dramas in which the characters are adult, and the gruesome scene in the churchyard with which the play closes-a scene with such peculiar symbolism could spring only from a Teutonic imagination-leaves much unended.

    It is interesting to note, by the way, that Wedekind [Pg ix] himself appears as the Masked Man when "Frühlings Erwachen" is given in Berlin, a fact which gives this scene somewhat the nature of a parabasis.

    Frank Wedekind's name is just beginning to be heard in America. In Germany he has been recognized for some time as one of the leaders in the new art of the theatre. Naturally enough, his plays are too outspoken in their realism to appeal to all his fellow-countrymen. But, if certain Germans reject this mental pabulum, others become intoxicated by it, and, waxing enthusiastic with a flow of language almost bacchic, hail Wedekind as the forerunner of a new drama-as a power destined to infuse fresh strength into the German stage. "With this drink in its body," writes one admirer, "the public will never more endure lyrical lemonade, nor the dregs of dramatic penury."

    Again, these enthusiasts compare Wedekind's work to that of the pre-Shakesperian dramatists, or even to that of the Bard of Avon himself, both of which comparisons are difficult to grasp by an English-speaking student of the British drama.

    • Yelena Isinbayeva
      Yelena Isinbayeva
      © Sputnik/ Iliya Pitalev
    • Медведев подписал закон, приравнивающий пиво к алкоголю
      Медведев подписал закон, приравнивающий пиво к алкоголю
      © Sputnik/
    • An underwater test-fire of strategic submarine ballistic missile is pictured in this undated photo released by North Korea's Korean Central News Agency (KCNA) in Pyongyang on April 24, 2016.
      An underwater test-fire of strategic submarine ballistic missile is pictured in this undated photo released by North Korea's Korean Central News Agency (KCNA) in Pyongyang on April 24, 2016.
      © REUTERS/ KCNA
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    © Sputnik/ Iliya Pitalev
    Yelena Isinbayeva

    Wedekind, it is true, has a habit of using the news of the day as material for plays, just as the old English dramatists did when they wrote "domestic tragedies." He has a fondness, moreover, for gruesome situations such as we can imagine appealing to the melancholy genius of Webster; but of the childlike simplicity which marks much of the Elizabethan drama there is not a particle.

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