Even so glowing an account, however, hardly does it justice. It had the pomp and majesty of the Day of Judgment itself. Rockets climbed the skies and peppered them with a thousand stars, fireworks blazed on all sides, garlanded and beflagged ships moved up and down the river, chariots bearing the emblems of prosperity, grapes and corn, travelled slowly along the road. The Eastern peoples came carrying gifts and emblems. The actors, massed upon the steps, waved triumphant hands, trumpets sounded, and the song of the “International” from ten thousand throats rose like a mighty wave engulfing the whole.
Though the end of this drama may have erred on the side of the grandiose, this may perhaps be forgiven the organizers in view of the occasion for which they prepared it. Nothing, however, could detract from the beauty and dramatic power of the opening and of many of the scenes. Moreover, the effects obtained by movement in the mass were almost intoxicating. The first entrance of the masses gave a sense of dumb and patient force that was moving in the extreme, and the frenzied delight of the dancing crowd at the victory of the French communards stirred one to ecstasy. The pageant lasted for five hours or more, and was as exhausting emotionally as the Passion Play is said to be. I had the vision of a great period of Communist art, more especially of such open-air spectacles, which should have the grandeur and scope and eternal meaning of the plays of ancient Greece, the medieval mysteries, or the Shakespearean theatre. In building, writing, acting, even in painting, work would be done, as it once was, by groups, not by one hand or mind, and evolution would proceed slowly until once again the individual emerged from the mass.
In considering Education under the Bolshevik regime, the same two factors which I have already dealt with in discussing art, namely industrial development and the communist doctrine, must be taken into account. Industrial development is in reality one of the tenets of Communism, but as it is one which in Russia is likely to endanger the doctrine as a whole I have thought it better to consider it as a separate item.
As in the matter of art, so in education, those who have given unqualified praise seem to have taken the short and superficial view. It is hardly necessary to launch into descriptions of the crèches, country homes or palaces for children, where Montessori methods prevail, where the pupils cultivate their little gardens, model in plasticine, draw and sing and act, and dance their Eurythmic dances barefoot on floors once sacred to the tread of the nobility. I saw a reception and distributing house in Petrograd with which no fault could be found from the point of view of scientific organization. The children were bright-eyed and merry, and the rooms airy and clean. I saw, too, a performance by school children in Moscow which included some quite wonderful Eurythmic dancing, in particular an interpretation of Grieg’s “Tanz in der Halle des Bergkönigs” by the Dalcroze method, but with a colour and warmth which were Russian, and in odd contrast to the mathematical precision associated with most Dalcroze performances.
But in spite of the obvious merit of such institutions as exist, misgivings would arise. To begin with, it must be remembered that it is necessary first to admit that children should be delivered up almost entirely to the State. Nominally, the mother still comes to see her child in these schools, but in actual fact, the drafting of children to the country must intervene, and the whole temper of the authorities seemed to be directed towards breaking the link between mother and child. To some this will seem an advantage, and it is a point which admits of lengthy discussion, but as it belongs rather to the question of women and the family under Communism, I can do no more than mention it here.
Then, again, it must be remembered that the tactics of the Bolsheviks towards such schools as existed under the old regime in provincial towns and villages, have not been the same as their tactics towards the theatres. The greater number of these schools are closed, in part, it would seem, from lack of personnel, and in part from fear of counterrevolutionary propaganda. The result is that, though those schools which they have created are good and organized on modern lines, on the whole there would seem to be less diffusion of child education than before. In this, as in most other departments, the Bolsheviks show themselves loath to attempt anything which cannot be done on a large scale and impregnated with Communist doctrine. It goes without saying that Communist doctrine is taught in schools, as Christianity has been taught hitherto, moreover the Communist teachers show bitter hostility to other teachers who do not accept the doctrine. At the children’s entertainment alluded to above, the dances and poems performed had nearly all some close relation to Communism, and a teacher addressed the children for something like an hour and a half on the duties of Communists and the errors of Anarchism.
This teaching of Communism, however necessary it may appear for the building of the Communist state of the future, does seem to me to be an evil in that it is done emotionally and fanatically, with an appeal to hate and militant ardour rather than to constructive reason. It binds the free intellect and destroys initiative. An industrial state needs not only obedient and patient workers and artists, it needs also men and women with initiative in scientific research. It is idle to provide channels for scientific research later if it is to be choked at the source. That source is an enquiring and free intellect unhampered by iron dogma. Beneficial to artistic
