|
Jim Cooperkop (Copperhead) is
the name of the mechanical man invented by Edgar Howard.
In the Prologue, Howard is
seen in a lofty attitude declaiming the glories of America,
the marvels of modern technique of which his own creation,
Jim Cooperkop, is the crowning achievement. This is followed
by an outcry of a jobless worker begging for a coin to still
his pangs of hunger. His plight is commented upon by a
series of masks each representing a phase of capitalist
business, the quack, the pleasure-business, the insurance
broker, the funeral director, etc., each praising his wars
in florid language. A woman appears calling for jazz to
drown out her sorrow brought about by the loss of a child
who was killed in an accident. The jobless worker dies with
a last piercing cry. The masks pronounce him a sinner and a
useless man, one of the poor. The Spectre sounds a note of
warning, that there are millions of such "sinners," millions
of unemployed, who will soon be heard from.
Act I. Private office of the
super-capitalist and king of industry Woodrow Rockford. The
industrial dictator is worried by the spread of the
revolutionary movment. He challenges the doctrine of Karl
Marx and undertakes to establish universal contentment. He
bids Tom, his Negro butler, to enact the Spectre stalking
the European continent, the servant sullenly obeying.
Professor Li, psychiatrist, is alarmed by the condition of
his distinguished patient, but Rockford is too busy planning
the destruction of the Spectre to be worried about his
health. The inventor of Jim Cooperkop calls upon the
industrial ruler and the two discuss the new invention.
Rockford wants Jim to serve as a model worker and objects to
the brain and heart which the inventor put into Jim, saying
that these are "nests of harmful emotions." Howard is
finally prevailed upon to remove the heart and the brain of
the automaton. Mr. Langston, another capitalist leader,
visits Rockford and refuses to merge his concern with
Rockford's. Mr. Langston has a monopoly of the "pleasure"
industry. Jessie, mistress of Rockford, is unhappy because
she is a mulatto and cannot attain the standing of a white
woman. She is the daughter of Tom, and has only contempt for
her ... father. William Tornes, Communist leader, arrives at
Rockford's invitation and is asked to cooperate in the
scheme of establishing world contentment. ...curing
the workers of the "mania" ... class struggle. Tornes
remains noncommittal while listening attentively to
Rockford's plans. The Communist leader is finally moved to
comment upon Rockford's scheme, saying that in order to
accomplish universal contentment, capitalism has to be
destroyed first. Rockford replies that he is willing to
sacrifice capitalism, if need be. Tornes realizes the
contradictory position of the capitalist, but promises to
cooperate with him as far as the destructive capitalism is
concerned. Rockford worked himself into a fit and as
collapses all in a heap. Tornes contemptuously bids the
"master" good night.
Act II. Scene 1. Thump, active
Negro worker, arrives a the editorial office of a Communist
paper and discovered that the place has been raided by
fascist hoodlums. She executes a dance of defiance. Tornes,
Granek Schmidt, Betty and Robert come to discuss plans to
strike in Langston's plants. Robert is against the strike,
contrary to the decision of a leading committee. He is
taken to task by the others and ordered not to block the
strike. Thump discovers a bomb planted by the fascists. She
hurries to the roof to put the bomb in a water tank while
Betty anxiously counts the seconds. Robert realizes his
error and rushes to address a demonstration of the strikers.
Scene 2. Rockford's Reception
Room. Jim Cooperkop, the mechanical man, demonstrated before
a group of financial rulers and their wives. Jim is found to
be capable of feeling, and Rockford orders Howard to remove
the brain and heart of the robot at once.
Scene 3. Workers in a Rockford
plant discuss the chances of Jim Cooperkop's taking their
places. Li Ho, a Chinese worker, one of a half-million
imported by Rockford, is greatly worried at the prospect of
losing his job. He is militant and ready to rise against the
masters. A fight breaks out between Li Ho and Jack, an
American who sneers at Li. His calling him "yellow mouse."
All workers take Li Ho's side, the latter protesting against
Jack's joining the militant organization for fear he might
turn traitor. Tornes arrives with final instructions about
the strike. Jack and Cotter, a Negro worker, are opposed to
the strike. In the turmoil, Jack pushes Li Ho into a mass of
molten metal, blaming Cotter for the act and shouting:
"Lynch the black devil." Li Ho, badly burned, accuses Jack
Cotter, aroused, joins in the strike.
Act III. Scene 1. Rockford's
Office. Jessie expresses her contempt for Howard, who has
sold himself to Rockford for money. Rockford is greatly
alarmed by the rising tide of revolt among his workers.
Foreseeing his defeat, he plans to blow up his plants all
over the world. A machine in his office is to set off the
explosions. He asks Tom the help him with the machine. Tom
refuses, recalling Rockford's treachery years ago in robbing
him of his invention, then of his wife and later of his
daughter. Before Rockford has a chance to set the machine in
motion, Jim Cooperkop, released by Tom, crushes both
Rockford and Jessie.
Finale. Langston, chief
competitor of Rockford, celebrates the downfall of his
rival. The celebration takes place in a public square. Jim
Cooperkop is to be placed atop a building and laugh
continuously as a symbol of America's gaiety and
contentment. The celebration is interrupted by ominous
voices announcing the revolt of the workers in Langston's
plants and the refusal of the soldiers to fire upon the
strikers. As the demonstration of the workers gathers force,
Jim's laughter becomes more animated and, with his eyes
suddenly lighted, Jim joins in the march of revolution.
The Idea of the Play
"Jim Cooperkop" is not a realistic play depicting the class
struggle in the United States, but rather the dramatization
of an idea and a forecast. The idea is interesting and the
forecast is plausible. Woodrow Rockford is not the portrait
of any one American industrial dictator. He is the
embodiment of capitalist dictatorship in its final stage, in
its stage of fascism. While the atmosphere and the
characters of the play may not be "typically American," its
mood of revolt and social conflict is universal, and the
American background, even if only formal, gives greater
resonance to the clashes and contradictions within
capitalism on one hand and the struggle of class against
class on the other. Jim, the mechanical man, is the last
word in capitalist mechanization and efficiency; he is the
pivotal point in Rockford's scheme of "curing" the workers
of their "mania" of class struggle. But Jim, symbol of
rationalization and efficiency, himself becomes a cause of
discontent and revolt. In the last scene, at trhe approach
of the revolution, Jim joins in the march of revolt -- to
become an instrument of progress in the hands of the
victorious proletariat. |
