Use the following passage to answer questions : (1) In order to understand the social and dynamic significance of modern dramatic art it is necessary, I believe, to ascertain the difference between the functions of art for art's sake and art as the mirror of life. (2) Art for art's sake presupposes an attitude of aloofness on the part of the artist toward the complex struggle of life: he must rise above the ebb and tide of life. He is to be merely an artistic conjurer of beautiful forms, a creator of pure fancy. (3) That is not the attitude of modern art, which is preeminently the reflex,... Show more

Use the following passage to answer questions :

(1) In order to understand the social and dynamic significance of modern dramatic art it is necessary, I believe, to ascertain the difference between the functions of art for art's sake and art as the mirror of life.
(2) Art for art's sake presupposes an attitude of aloofness on the part of the artist toward the complex struggle of life: he must rise above the ebb and tide of life. He is to be merely an artistic conjurer of beautiful forms, a creator of pure fancy.
(3) That is not the attitude of modern art, which is preeminently the reflex, the mirror of life. The artist, being a part of life, cannot detach himself from the events and occurrences that pass panorama-like before his eyes, impressing themselves upon his emotional and intellectual vision.
(4) The modern artist is, in the words of August Strindberg, 'a lay preacher popularizing the pressing questions of his time.' Not necessarily because his aim is to proselytize, but because he can best express himself by being true to life.
(5) Millet, Meunier, Turgenev, Dostoyevsky, Emerson, Walt Whitman, Tolstoy, Ibsen, Strindberg, 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.
(6) 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.
(7) 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 boldly, may be a greater menace to our social fabric and a more powerful inspiration than the wildest harangue of the soapbox orator.
(8) Unfortunately, we in America have so far looked upon the theater as a place of amusement only, exclusive of ideas and inspiration. Because the modern drama of Europe has until recently been inaccessible in printed form to the average theatergoer in this country, he had to content himself with the interpretation, or rather misinterpretation, of our dramatic critics. As a result the social significance of the Modern Drama has well nigh been lost to the general public.

— Emma Goldman, The Social Significance of the Modern Drama

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