# Realism in Literature and Art

Originally published in December, 1893 in The Arena Vol. 9:1, pp. 98–113.
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REALISM IN LITERATURE AND ART
Clarence S. Darrow
Pocket Library of Socialism
Published by CHARLES H. KERR & COMPANY (CO-OPERATIVE)
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REALISM IN LITERATURE AND ART.
Man is Nature's last and most perfect work, but, however high his development or great his achievements, he is yet a child of the earth and the rude forces that have formed all the life that exists thereon. He cannot Separate himself from the environment that gave him birth, and a thousand ties of nature bind him back to the long forgotten past and prove his kinship to all the lower forms of life that have sprung from the great universal mother, Earth.
As there is a common law of being, which controls all living things, from the aimless motions of the mollusk in the sea to the most perfect conduct of the best developed man, so all the activities of human life, from the movements of the savage digging roots, to the work of the greatest artist with his brush, are controlled by universal law, and are good or bad, perfect or imperfect, as they conform to the highest condition nature has imposed.
​The early savage dwelt in caves and cliffs and spent his life in seeking food and providing a rude shelter from the cold. He looked upon the earth, the sun, the sea, the sky, the mountain peak, the forest and the plain, and all he saw and heard formed an impression on his brain and aided in his growth. Like a child he marveled at the storm and flood; he stood in awe as he looked upon disease and death; and to explain the things he could not understand, he peopled earth and air and sea with gods and demons, and a thousand other weird creations of his brain. All these mysterious creatures were made in the image of the natural objects that came within his view. The gods were men grown large and endowed with marvelous powers, while tree and bird and beast alike were used as models for a being greater far than any nature ever formed.
An angry god it was that made the rivers overrun their banks and leave destruction in their path; an offended god it was that hurled his thunderbolts upon a wicked world or sent disease and famine to the sinning children of the earth, and to coax these rulers to be merciful to man, the weak and trembling children of the ancient world turned their minds to sacrifice and prayer. And the first dim thoughts of these rude men that were transcribed on monu​ment and stone, or carved in wood, or painted with the colors borrowed from the sun and earth and sky; in short, the first rude art was born to sing the praise, and tell the fame, and paint the greatness of the gods. But all of this was natural to the time and place; the graven images, the chiseled hieroglyphics, and all this rude beginning of literature and art were formed upon what men saw and heard and felt, enlarged and magnified to fit the stature of the gods.
As the world grew older art was used to celebrate the greatness and achievements of kings and rulers as well as gods, and their tombs were ornamented with such decorations as these early ages could create; and yet all literature and art were only for the gods and the rulers of the world. Then, even more than now, wealth and power brought intellect to do its will, and all its force was spent to Sing the praises of the rulers of the earth and air. The basis of all this art of pen and brush was the reality of the world, but this was so magnified and distorted for the base use of kings and priests that realism, in the true sense, could not exist. It would not do to paint a picture of a king resembling a man of flesh and blood, and, of course, a god must be far greater than a king. It would not do to write a tale in which kings and princes, ​lords and ladies, should act like men and women, else what difference between the ruler and the ruled? The marvelous powers that romance and myth had given to gods and angels were transferred to those of royal blood, The wonderful achievements of these kings and princes could be equaled only by the gods, and the poor dependents of the world, who lived for the glory of the great, were fed with legends and with tales that sung the praises of the strong.
Literature, sculpture, painting, music, and architecture, indeed all forms of art, were the exclusive property of the great, and the artist then like most of those to-day, was retained to serve the strong and maintain the status of the weak. No one dreamed that there was any beauty in a common human life or any romance in a fact. The greatest of the earth had not as yet learned to know that every life is a mystery and every death a tragedy; that the spark of the infinite, which alone transforms clay to life, animates alike the breast of the peasant and the soul of the prince. The world had not yet learned that the ant hill is as great as Mont Blanc, and the blade of grass as mysterious as the oak. It is only now that the world is growing so delicate and refined that it can see the beauty of a fact; that it is developing a taste so rare as to distinguish between the false and the true; that it ​can be moved by the gentle breeze as well as by the winter's gale; that it can see greater beauty in a statement true to life than in the inflated tales, which children read.
Most of the art and literature the world has known has been untrue. The pictures of the past have been painted from the distorted minds of visionists, and the pliant brains of tools. They have represented impossible gods and unthinkable saints; angels and cherubs and demons; everything but men and women. Saints may be all right in their place, but a saint with a halo around his head was born of myth and not of art. Angels may be well enough, but all rational men prefer an angel with arms to an angel with wings. When these artists were not drawing saints and madonnas, they were spending their time in painting kings and royal knaves; and the pictures of the rulers were as unlike the men and women that they were said to represent as the servile attitude of the painter was unlike that of the true artist of to-day. Of course an artist would not paint the poor; these had no clothes that would adorn a work of art, and no money or favors that would remunerate the toil. An ancient artist could no more afford to serve the poor than a modern lawyer could afford to defend the weak.
After literature had so far advanced as to con​cern other beings than gods and kings the authors of these ancient days told of wondrous characters endowed with marvelous powers; knights with giant strength and magic swords; princes with wondrous palaces and heaps of gold; travelers that met marvelous beasts and slew them in extraordinary ways; giants with forms like mountains and strength like oxen, who vanquished all but little dwarfs. Railroads were not yet invented in those early days, but travel was facilitated by the use of seven league boots. Balloons and telescopes were not yet known, but this did not keep favored heroes from peering at the stars or looking down from on high upon the earth; they, had but to plant a magic bean before they went to bed at night, and in the morning it had grown so tall that it reached up to the sky; and the hero, although not skilled in climbing, needed to simply grasp the stock and say, "Hitchety, hatchety, up I go. Hitchety, hatchety, up I go," and by this means soon vanish in the clouds. Tales of this sort used once to delight the world, and the readers half believed them true. We give them to the children now, and the best of these view them with a half contempt.
The modern man does not enjoy these myths. He relishes a lie, but it must not be too big; it must be so small that, although he knows in his ​inmost soul that it is not true, he can yet half make himself believe it is not false. Most of us have cherished a pleasing, waking dream, and have fondly clung to the sweet illusion while we really knew it was not life. The modern literary stomach is becoming so healthy that it a wants a story at least half true; should the falsehood be too strong, it acts as an emetic, instead of food. These old fairy tales have lost their power to charm, as the stories of the gods and kings went down before. They have lost their charm, for, as we read them now, they wake no answering chord born of the experiences that make up what we know of human life.
When the beauty of realism shall be truly known we shall read the book, or look upon the work of art, and in the light of all we know of life, shall ask our beings whether the picture that the author or the painter creates for us is like the image that is born of the consciousness that moves our soul and the experiences that have made us know.
Realism worships at the shrine of nature; it does not: say that there may not be a sphere in which beings higher than man can live, or that sometime an eye may not rest upon a fairer sunset than was ever born behind the clouds and sea, but it knows that through countless ages ​nature has slowly fitted the brain and eye of man to the earth on which we live and the objects that we see; and the perfect earthly eye must harmonize with the perfect earthly scene.
To say that realism is coarse and vulgar is to declare against nature and her works, and to assert that the man she made may dream of things higher and grander than nature could unfold. The eye of the great sculptor reveals to him the lines that make the most perfect human form, and he chisels out the marble block until it resembles this image so completely that it almost seems to live. Nature, through ages of experiment and devolpment, has made this almost faultless, form. It is perfect because every part is best fitted for the separate work it has to do. The artist knows that he could not improve a single organ if he would, for all the rest of nature must be adjusted to, the change. He has the skill to reproduce this shape in lasting stone, and the human brain, could not conceive a form more beautiful and fair. Here is a perfect image of the highest work that countless centuries of nature‘s toil has made, and yet some would seek to beautify and sanctify this work by dressing it in the garb that shifting fashion and changing fancy makes for man.
Only the vulgar supersitition of the past ever ​suggested that the reproduction of the human form in stone was an unholy work. Through long dark centuries religion taught that the flesh was vile and bad, and that the soul of man was imprisoned in a charnel house, unfit for human sight. The early Christians wounded, bruised, and maimed their house of clay; they covered it with skins, which under no circumstances could be removed, and many ancient saints lived and died without ever having looked upon the bodies nature gave. The images of saints and martyrs, which in the name of religion were scattered through Europe, were covered with paint and clothes, and were nearly as hideous as the monks that placed them there. When the condition of Europe and its religious thought are clearly understood, it is not difficult to imagine the reception that greeted the first dawn of modern realistic art. Sculpture and painting deified the material. They told of beauty in the human form which hundreds of years of religious fanaticism had taught was bad and vile. If the flesh was beautiful, what of the monks and priests, who had hidden it from sight, who kept it covered night and day through all their foolish lives, who maimed and bruised, cut and lacerated, for the glory of the spirit, which they thought was chained within. The church had taught that the death of the flesh was the birth ​of the soul, and it therefore believed that the artist's resurrection of the flesh was the death of the soul. This old religious prejudice, born of a misty, superstitious past, has slowly faded from the minds of men, but we find its traces even yet. The origin of the feeling against realistic art has well nigh been forgot, but much of the feeling still remains. No one would now pretend to say that all the body was unholy or unfit for sight, and yet years of custom and inherited belief have made us think that a part is good and the rest is bad; that nature, in her work of building up the human form, has made one part sacred and another vile. It is easy to mistake custom for nature and inherited prejudice for morality. There is scarcely a portion of the human body but that some people have thought it holy, and scarcely a single portion but that some have believed it vile.
It was not shame that made clothing, but clothing that made shame. If we would eradicate from our beliefs all that inheritance and environment have given it would be hard for us to guess how much should still remain. Custom has made most things good and most things bad, according to the whim of time and place. To find solid ground we must turn to nature and ask her what it is that conduces to the highest happiness and the longest life.
​The realistic artist cannot accept the popular belief, whatever that may be, as to just where the dead line on the human body should be drawn that separates the sacred and profane. There are realists that look at all the beauty and loveliness of the world, and all its maladjustments, too, and do not seek to answer the old, old question whether back of this is any all-controlling and designing power; they do not answer, for they cannot know; but they strive to touch the subtle chord that makes their individual lives vibrate in harmony with the great heart of that nature which they love; and they cannot think but that all parts of life are good, and that, while men may differ, nature must know best.
Other realists there are that believe they see in nature the work of a divine maker, who created man in his own image, as the last and highest triumph of his skill; that the minutest portion of the universe exists because he wished it thus. To the realist that accepts this all-controlling power, any imputation against a portion of his master's work must reach back to the author that designed it all.
We need not say that the human body might not be better than it is; we need only to know that it is the best that man can have, and that its wondrous mechanism has been constructed ​with infinitely more than human skill; that every portion is adapted for its work, and through the harmony of every part the highest good is reached; and that all is beautiful, for it makes the being best adapted to the earth. Those who denounce realistic art deny that knowledge is power and that wisdom only can make harmony, and they insist instead that there are some things vital to life and happiness that we should not know, but that if we must know these things we should at all events pretend that we do not. One day the world will learn that all things are, good or bad, according to the service they perform. One day it ought to learn that the power to create immortality, through infinite, succeeding links of human life, is the finest and most terrible that nature ever gave to man, and that to ignore this power or call it bad, or fail to realize the great responsibility of this tremendous fact, is to cry out against the power that gave us life and commit the greatest human sin, for it may be one that never dies.
The true artist does not find all beauty in the human face or form. He looks upon the sunset, painting all the clouds with rosy hue, and his highest wish is to create another scene like this. He never dreams that he could paint a sunset fairer than that which lights the fading ​world., A fairer sunset would be something else. He sees beauty in the quiet lake, the grassy field, and running brook; he sees majesty in the cataract and mountain peak. He knows that he can paint no streams and mountain peaks more perfect than those that nature made.
The growth of letters has been like the growth of art from the marvelous and mythical to the natural and true. The tales and legends of the ancient past were not of common men and common scenes. These could not impress the undeveloped intellect of long ago. A man of letters could not deify a serf, or tell the simple story of the poor. He must write to maintain the status of the world, and please the prince that gave him food; so he told of kings and queens, of knights and ladies, of strife and conquest; and the coloring he used was human blood.
The world has grown accustomed to those ancient tales, to scenes of blood and war, and novels that would thrill the soul and cause the hair to stand on end. It has read these tales so long that the true seems commonplace and unfit to fill the pages of a book. But all the time we forget the fact that the story could not charm unless we half believed it true. The men and women in the tale we learn to love and on hate; we take an interest in their lives; we hope they may succeed or fail; we must not be told ​at every page that the people of the book are men of straw, that no such beings ever lived upon the earth. We would take no interest in men and women that are myths conjured up to play their parts, and remind us in every word they speak that, regardless of the happiness or anguish the author makes them feel, they are but myths and can know neither joy nor pain.
It may be that the realistic tale is commonplace, but so is life, and the realistic tale is true. Among the countless millions of the earth it is only here and there, and now and then, that some soul is born from out the mighty depths that does not soon return to the great sea and leave no ripple on the waves.
In the play of life each actor seems important to himself; the world he knows revolves around him as the central figure of the scene; his friends rejoice in all the fortune he attains and weep with him in all his grief. To him, the world is bounded by the faces that he knows and the scenes in which he lives. He forgets the great surging world, outside, and cannot think how small a space he fills in that infinity which bounds his life. He dies, and a few sorrowing friends mourn him for a day, and the world does not know he ever lived or ever died. In the ordinary life nearly all the events are commonplace; but a few important days are thinly ​sprinkled in amongst all of those that intervene between the cradle and the grave. We eat and drink, we work and sleep, and here and there a great joy or sorrow creeps in upon our lives and leaves a day that stands out against the monotony of all the rest, like the pyramids upon the level plains; but these events are very few and are important only to ourselves, and for the rest we walk with steady pace and slow along the short and narrow path of life, and rely upon the common things alone to occupy our minds and hide from view the marble stone that here and there gleams through the overhanging trees just where the road leaves off.
The old novel which we used to read and to which the world so fondly clings had no idea of relation or perspective. It had a hero and a heroine, and sometimes more than one. The revolutions of the planets were less important than their love. War, shipwreck,and conflagration, all conspired to produce the climax of the scene, and the whole world stood still until the lovers' hearts and hands were joined. Wide oceans, burning deserts, arctic seas, impassable jungles, irate fathers, and even designing mothers, were helpless against the decree that fate had made, and when all the barriers were passed and love had triumphed over impossibilities, the tale was done; through the rest of life nothing ​of interest could occur. Sometimes in the progress of the story, if the complications were too great, a thunderbolt or an earthquake was introduced to destroy the villain and help on the match. Earthquakes sometimes happen, and the realistic novelist might write a tale of a scene like this, but then the love affair would be an incident of the earthquake, and not the earthquake an incident of the love affair.
In real life the affections have played an important part and sometimes great things have been done in the name of love, but most of the affairs of the human heart have been as natural as the other events of life.
The true love story is generally a simple thing. "Beside a country road, on a sloping hill lives a farmer, in the house his father owned before. He has a daughter, who skims the milk and makes the beds, and goes to singing school at night. There are other members of the household, but our tale is no concern of theirs. In the meadow back of the house a woodchuck has dug its hole and reared a family in its humble home. Across the valley, only a mile away, another farmer lives. He has a son, who plows the fields and does the chores and goes to singing school at night. He cannot sing, but attends the school as regularly as if he could. Of course he does not let the girl go home alone, and in ​the spring, when singing school is out, he visits her on Sunday eve without excuse. If the girl had not lived so near the boy would have fancied another girl about the same age, who also went to singing school. Back of the second farmer's house is another woodchuck hole and woodchuck home. After a year or two of courtship the boy and girl are married, as their parents were before, and they chose a pretty spot beside the road, and built another house near by, and settle down to common life; and so the world moves on. And the woodchuck on one farm meets a woodchuck on the other, and they choose a quiet place beside a stump, in no once way, where they think they have a right to be, and dig another hole and make another home." For, after all, men and animals are much alike, and nature loves them both and loves them all, and sends them forth to drive the loneliness from off the earth, and then takes them back into her loving breast to sleep.
It may be that there are few great incidents in the realistic tale, but each event appeals to life and cannot fail to wake our memories and make us live the past again. The great authors of the natural school—Tolstoi, Hardy, Howells, Daudet, Ibsen, Flaubert, Zola and their kind, have made us think and live. Their words have burnished up our minds and re​vealed a thousand pictures that hang upon the walls of memory, covered with the dust of years and hidden from our sight. Sometimes, of course, We cry with pain at the picture that is thrown before our view, but life consists of emotions, and we cannot truly live unless the depths are stirred. These great masters may sometimes shock the over-sensitive with the tales they tell of life, but if the tale is true, why hide it from our sight?
There is nothing more common than the protest against the wicked stories of the realistic school, filled with tales of passion and of sin; but he that denies passion denies all the life that exists upon the earth, and cries out against the mother that gave him birth. And he that ignores this truth passes with contempt the greatest fact that nature has impressed upon the world.
Those who condemn as sensual the tales of Tolstoi and Daudet still defend the love stories of which our literature is full. Those weak and silly tales that make women fit only to be the plaything of the world, and deny to them a single thought or right except to serve their master—man. These objectors do not contend that tales dealing with the feelings and affections shall not be told; they approve these tales; they simply insist that they shall be false instead of ​true. The old novel filled the mind of the school-girl with a thousand thoughts that had no place in life—with ten thousand pictures she could never see. It taught that some time she would meet a prince in disguise to whom she would freely give her hand and heart. So she went out upon the road to find this prince, and the more disguised he was the more certain did she feel that he was the prince for whom she sought. The realist paints the passions and affections as they are. Both man and woman can see their beauty and their terror, their true position, and the relation that they bear to all the rest of life. He would not beguile the girl into the belief that her identity should be destroyed and merged for the sake of this feeling, which not once in ten thousand times could realize the promises the novel made; but he would leave her as an individual to make the most she can, and all she can, of life, with all the hopes and chance of conquest, which men have taken for themselves. Neither would the realist cry out blindly against these deep passions, which have moved men and women in the past, and which must continue fierce and, strong as long as life exists. He is taught by the scientist that the fiercest heat may be transformed to light, and is taught by life that from the strongest pas​sions are sometimes born the sweetest and purest souls.
In these days of creeds and theories, of preachers in the pulpit and of preachers out, we are told that all novels should have a moral and be written to serve some end. So we have novels on religion, war, marriage, divorce, socialism, theosophy, woman's rights, and other topics without end. It is not enough that the preachers and lecturers shall tell us how to think and act; the novelist must try his hand at preaching, too. He starts out with a theory, and every scene and incident must be bent to make it plain that the author believes certain things. The doings of the men and women in the book are secondary to the views the author holds. The theories may be true, but the poor characters that must adjust their lives to these ideal states are sadly warped and twisted out of shape. The realist would teach a lesson, too, but he would not violate a single fact for all the theories in the world—for a theory could not be true if it did violence to life. He paints his picture so true and perfect that all men who look upon it know it is a likeness of the world that they have seen; they know that these are men and women and little children, that they meet upon the streets; they see the conditions of ​their lives and the moral of the picture sinks deep into their minds.
There are so-called scientists that make a theory and then gather facts to prove their theory true; the real scientist patiently and impartially gathers facts, and then forms a theory to explain and harmonize these facts. All life bears a moral, and the true artist must teach a lesson with his every fact. Some contend that the moral teacher must not tell the truth; the realist holds that there can be no moral teaching like the truth. The world has grown tired of preachers and sermons; to-day it asks for facts. It has grown tired of fairies and angels, and asks for flesh and blood. It looks on life as it exists, both its beauty and its horrors, its joys and its sorrows, it wishes to see it all; not the prince and the millionaire alone, but the laborer and the beggar, the master and the slave. We see the beautiful and the ugly, and with it know what the world is and what it ought to be; and the true picture, which the author saw and painted, stirs the heart to holier feelings and to grander thoughts.
It is from the realities of life that the highest idealists are born. The philosopher may reason with unerring logic, and show us where the world is wrong. The economist may tell us of the progress and the poverty that go hand in ​hand; but these are theories, and the abstract cannot suffer pain. Dickens went out into the streets of the great city and found poor little Joe sweeping the crossing with his broom. All around was the luxury and the elegance, which the rich have ever appointed to themselves; great mansions, fine carriages, beautiful dresses, but in all the great city of houses. and homes poor little Joe could find no place to lay his head. His home was in the street, and every time he halted for a moment in the throng the policeman touched him with his club and bade him "Move on." At last, ragged, wretched, almost dead with "moving on," he sank down upon the cold stone steps of a magnificent building erected for "The Propagation of the Gospel in Foreign Parts." As we think of wretched, ragged Joe in the midst of all this luxury and wealth, we see the tens of thousands of other waifs in the great cities of the world, and we condemn the so-called civilization of the earth that builds the mansions of the rich and great upon the rags and miseries of the poor.
The true realist cannot worship at the shrine of power, nor prostitute his gifts for gold. With an artist's eye he sees the world exactly as it is, and tells the story faithful unto life. He feels for every heart that beats, else he could not paint them as he does. It takes a soul to warm ​a statue into life and make living flesh and coursing blood, and each true picture that he paints or draws makes the world a better place in which to live.
The artists of the realistic school have a sense so fine that they cannot help but catch the inspiration that is filling all the world's best minds with the hope of greater justice and more equal social life. With the vision of the seer they see the coming dawn, when true equality shall reign upon the earth; the time when democracy shall no more be confined to constitutions and to laws, but will be a part of human life. The greatest artists of the world to-day are telling facts and painting scenes that cause humanity to stop and think and ask why one should be a master and another be a serf; why a portion of the world should toil and spin, should wear away its strength and life, that the rest should live in idleness and ease.
The old-time artists thought they served humanity by painting saints and madonnas and angels from the myths they conjured in their brains. They painted war with long lines of soldiers dressed in uniforms and looking plump and gay; and a battle scene was always drawn from the side of the victorious camp, with the ensign proudly planting his bright colors on the rampart of the foe. One or two were dying, ​but always in their comrades' arms, and listening to the shouts of victory that filled the air, and thinking of the righteous cause for which they fought and died. In the last moments they dreamed of pleasant burial yards at home, and of graves kept green by loving, grateful friends; and a smile of joy shone on their wasted faces that was so sweet it seemed a hardship not to die in war. They painted peace as a white winged dove settling down upon a cold and fading earth. Between the two it was plain which choice a boy would make, and thus art served the state and king.
But Verestchagin painted war; he painted war so true to life that as we look upon the scene we long for peace. He painted war as war has ever been, and as war will ever be—a horrible and ghastly scene, where men, drunk with blind frenzy, which rulers say is patriotic pride, and made mad by drums and fifes and smoke and shot and shell and flowing blood, seek to maim and wound and kill, because a ruler gives the word. He paints a battlefield, a field of life and death, a field of carnage and of blood; and who are these that fight like fiends and devils driven to despair? What cause is this that makes these men forget that they are men, and vie with beasts to show their cruel thirst for blood? They shout of home and native land, ​put they have no homes, and the owners of their native land exist upon their toil and blood. The nobles and princes for whom this fight is waged are far away upon a hill beyond the reach of shot and shell, and from this spot they watch their slaves pour out their blood to satisfy their rulers' pride and lust of power. What is the enemy they fight? Men like themselves, who blindly go to death at another king’s command; slaves, who have no land, who freely give their toil or blood, whichever one their rulers may demand. These fighting soldiers have no cause for strife, but their rulers live by kindling in their hearts a love of native land—a love that makes them hate their brother laborers of other lands, and dumbly march to death to satisfy a king's caprice. But let us look once more after the battle has been fought. Here we see the wreck and ruin of the strife; the field is silent now, given to the dead, the beast of prey and night. A young soldier lies upon the ground; the snow is falling fast around his form; the lonely mountain peaks rise up on every side; the wreck of war is all about. His uniform is soiled and stained, a spot of red is seen upon his breast. It is not the color that his country wove upon his coat to catch his eye and bait him to his death: it is hard and jagged and cold. It is his life's blood, which leaked out ​through a hole that followed the point of a sabre to his heart. His form is stiff and cold for he is dead. The cruel wound and icy air have done their work. The government that took his life taught this poor boy to love his native land; as a child he dreamed of scenes of glory and of power and the great, wide world just waiting to fall captive to his magic strength. He dreamed of war and strife, of victory and fame; if he should die kind hands would smooth his brow, and loving hearts would keep his grave and memory green, because he died in war. But no human eye is there at last, as the mist of night and mist of death shut out the lonely mountains from his sight. The snow is all around and the air above is gray with falling flakes, which soon will hide him from the world; and when the summer time shall come again none can tell his bleaching bones from all the rest. The only life upon the scene is the buzzard slowly circling in the air above his head, waiting to make sure that death has come. The bird looks down upon the boy into the eyes through which he first looked out upon the great wide world and which his mother fondly kissed; upon these eyes the buzzard will commence his meal.
Not all the world is beautiful, and not all of life is good. The true artist has no right to ​choose the lovely spots alone and make us think that this is life. He must bring the world before our eyes and make us read and learn. AS he loves the pure and noble, he must show the false and bad. As he yearns for true equality, he must paint the master and the slave. He must tell the truth, and tell it all; must tell it o'er and o'er again, till the deafest ear will listen and the dullest mind will think. He must not swerve to please the world by painting only pleasant sights and telling only lovely tales. He must think, and paint, and write, and work, until the world shall learn so much and grow so good that the true will all be beautiful and all the real be ideal.
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7. The Making of the World. By Dr. M. Wilhelm Meyer. Illustrated.
Any one of these books will be sold separately at 50 cents. Catalog of sociological works and sample copy of the International Socialist Review mailed free on request.
CHARLES H. KERR & COMPANY (Co-operative) Chicago
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Evolution, Social and Organic
By Arthur M. Lewis
A volume of ten popular lectures explaining the relation of modern evolutionary science to the International Socialist movement. The titles of the lectures are:
| I. | Thales to Linnæus. |
| II. | Linnæus to Lamarck. |
| III. | Darwin's "Natural Selection." |
| IV. | Weismann's Theory of Heredity. |
| V. | DeVries' "Mutation." |
| VI. | Kropotkin's "Mutual Aid." |
| VII. | A Reply to Haeckel. |
| VIII. | Spencer's "Social Organism." |
| IX. | Spencer's Individualism. |
| X. | Civilization—Ward and Dietzgen. |
It is impossible to understand modern socialism without some knowledge of modern Science, and this book is one that nearly every socialist needs to read. It is, the 25th volume of the Standard Socialist series, tastefully bound in cloth, price 50 cents postpaid.
CHARLES H. KERR & COMPANY (Co-operative) Chicago
This work is in the public domain in the United States because it was published in 1899, before the cutoff of January 1, 1929.
The longest-living author of this work died in 1938, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 85 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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