摘要：Watch on the Rhine (1941) and The Searching Wind (1943) were both molded from Lillian Hellman's radical opposition to the totalitarism of Mussolini and Hitler. Neither of these two politically committed plays supplies a convincing guidance to the bewildered war years. Yet they both demonstrate the protest of the dramatist (and the audience who applauded them) against Fascism and Nazism. Watch on the Rhine (1941) e The Searching Wind (1913) foram fruto da oposição radical da teatróloga Lillian Hellman ao totalitarismo de Mussolini e Hitler. Essas peças, de cunho claramente político, não veiculam soluções, mas sim o protesto da autora (e da platéia que a aplaude) contra o Fascismo e o Nazismo.
