In politics, naught but quantity counts. In proportion to its increase, however, principles, ideals, justice, and uprightness are completely swamped by the array of numbers. In the struggle for supremacy the various political parties outdo each other in trickery, deceit, cunning, and shady machinations, confident that the one who succeeds is sure to be hailed by the majority as the victor. That is the only god,--Success. As to what expense, what terrible cost to character, is of no moment. We have not far to go in search of proof to verify this sad fact.
Never before did the corruption, the complete rottenness of our government stand so thoroughly exposed; never before were the American people brought face to face with the Judas nature of that political body, which has claimed for years to be absolutely beyond reproach, as the mainstay of our institutions, the true protector of the rights and liberties of the people.
Yet when the crimes of that party became so brazen that even the blind could see them, it needed but to muster up its minions, and its supremacy was assured. Thus the very victims, duped, betrayed, outraged a hundred times, decided, not against, but in favor of the victor. Bewildered, the few asked how could the majority betray the traditions of American liberty? Where was its judgment, its reasoning capacity? That is just it, the majority cannot reason; it has no judgment. Lacking utterly in originality and moral courage, the majority has always placed its destiny in the hands of others.
Incapable of standing responsibilities, it has followed its leaders even unto destruction. Dr. Stockman was right: "The most dangerous enemies of truth and justice in our midst are the compact majorities, the damned compact majority." Without ambition or initiative, the compact mass hates nothing so much as innovation. It has always opposed, condemned, and hounded the innovator, the pioneer of a new truth.
The oft repeated slogan of our time is, among all politicians, the Socialists included, that ours is an era of individualism, of the minority. Only those who do not probe beneath the surface might be led to entertain this view. Have not the few accumulated the wealth of the world? Are they not the masters, the absolute kings of the situation? Their success, however, is due not to individualism, but to the inertia, the cravenness, the utter submission of the mass.
The latter wants but to be dominated, to be led, to be coerced. As to individualism, at no time in human history did it have less chance of expression, less opportunity to assert itself in a normal, healthy manner.
The individual educator imbued with honesty of purpose, the artist or writer of original ideas, the independent scientist or explorer, the non-compromising pioneers of social changes are daily pushed to the wall by men whose learning and creative ability have become decrepit with age.
Educators of Ferrer's type are nowhere tolerated, while the dietitians of predigested food, a la Professors Eliot and Butler, are the successful perpetuators of an age of nonentities, of automatons.
In the literary and dramatic world, the Humphrey Wards and Clyde Fitches are the idols of the mass, while but few know or appreciate the beauty and genius of an Emerson, Thoreau, Whitman; an Ibsen, a Hauptmann, a Butler Yeats, or a Stephen Phillips. They are like solitary stars, far beyond the horizon of the multitude.
Publishers, theatrical managers, and critics ask not for the quality inherent in creative art, but will it meet with a good sale, will it suit the palate of the people? Alas, this palate is like a dumping ground; it relishes anything that needs no mental mastication. As a result, the mediocre, the ordinary, the commonplace represents the chief literary output.
Need I say that in art we are confronted with the same sad facts?
One has but to inspect our parks and thoroughfares to realize the hideousness and vulgarity of the art manufacture. Certainly, none but a majority taste would tolerate such an outrage on art. False in conception and barbarous in execution, the statuary that infests American cities has as much relation to true art, as a totem to a Michael Angelo. Yet that is the only art that succeeds. The true artistic genius, who will not cater to accepted notions, who exercises originality, and strives to be true to life, leads an obscure and wretched existence. His work may some day become the fad of the mob, but not until his heart's blood had been exhausted; not until the pathfinder has ceased to be, and a throng of an idealless and visionless mob has done to death the heritage of the master.
It is said that the artist of today cannot create because Prometheus-like he is bound to the rock of economic necessity.
This, however, is true of art in all ages. Michael Angelo was dependent on his patron saint, no less than the sculptor or painter of today, except that the art connoisseurs of those days were far away from the madding crowd. They felt honored to be permitted to worship at the shrine of the master.
The art protector of our time knows but one criterion, one value,--the dollar. He is not concerned about the quality of any great work, but in the quantity of dollars his purchase implies.
Thus the financier in Mirbeau's LES AFFAIRES SONT LES AFFAIRES points to some blurred arrangement in colors, saying "See how great it is;it cost 50,000 francs." Just like our own parvenues. The fabulous figures paid for their great art discoveries must make up for the poverty of their taste.
The most unpardonable sin in society is independence of thought.
That this should be so terribly apparent in a country whose symbol is democracy, is very significant of the tremendous power of the majority.
