and produced by the poetry of prayers, hymns, painting, by the sculpture of images and of statues, by singing, by organs, by music, by architecture, and even by dramatic art in religious ceremonies. Patriotic superstitions are supported and produced by verses and stories, which are supplied even in schools, by music, by songs, by triumphal processions, by royal meetings, by martial pictures, and by monuments.

Were it not for this continual activity in all departments of art, perpetuating the ecclesiastical and patriotic intoxication and embitterment of the people, the masses would long ere this have attained to true enlighten

ment.

But it is not only in Church matters and patriotic matters that art depraves; it is art in our time that serves as the chief cause of the perversion of people in the most important question of social life,

in their sexual relations. We nearly all know by our own experience, and those who are fathers and mothers know in the case of their grown-up children also, what fearful mental and physical suffering, what useless waste of strength, people suffer merely as a consequence of dissoluteness in sexual desire.

Since the world began, since the Trojan war, which sprang from that same sexual dissoluteness, down to and including the suicides and murders of lovers described in almost every newspaper, a great proportion of the sufferings of the human race have come from this source.

And what is art doing? All art, real and counterfeit, with very few exceptions, is devoted to describing, depicting, and inflaming sexual love in every shape and form. When one remembers all those novels and their lustkindling descriptions of love, from the most refined to the grossest, with which the literature of our society overflows; if one only remembers all those pictures and statues representing women's naked bodies, and all sorts of abominations which are reproduced in illustrations and advertisements; if one only remembers all the filthy operas and operettas, songs, and romances with which our world teems, involuntarily it seems as if existing art

had but one definite aim, -to disseminate vice as widely as possible.

Such, though not all, are the most direct consequences of that perversion of art which has occurred in our society. So that what in our society is called art not only does not conduce to the progress of mankind, but, more than almost anything else, hinders the attainment of goodness in our lives.

And therefore the question which involuntarily presents itself to every man free from artistic activity and therefore not bound to existing art by self-interest, the question asked by me at the beginning of this work: Is it just that to what we call art, to a something belonging to but a small section of society, should be offered up such sacrifices of human labor, of human lives, and of goodness as are now being offered up? receives the natural reply: No; it is unjust, and these things should not be! So also replies sound sense and unperverted moral feeling. Not only should these things not be, not only should no sacrifices be offered up to what among us is called art, but, on the contrary, the efforts of those who wish to live rightly should be directed toward the destruction of this art, for it is one of the most cruel of the evils that harass our section of humanity. So that, were the question put: Would it be preferable for our Christian world to be deprived of all that is now esteemed to be art, and, together with the false, to lose all that is good in it? I think that every reasonable and moral man would again decide the question as Plato decided it for his "Republic," and as all the Church Christian and Mohammedan teachers of mankind decided it, i.e. would say, "Rather let there be no art at all than continue the depraving art, or simulation of art, which now exists." Happily, no one has to face this question, and no one need adopt either solution. All that man can do, and that we the so-called educated people, who are so placed that we have the possibility of understanding the meaning of the phenomena of our life-can and should do, is to understand the error we are involved in, and not harden our hearts in it, but seek for a way of escape.

CHAPTER XVIII

THE cause of the lie into which the art of our society has fallen was that people of the upper classes, having ceased to believe in the Church teaching (called Christian), did not resolve to accept true Christian teaching in its real and fundamental principles of sonship to God and brotherhood to man, but continued to live on without any belief, endeavoring to make up for the absence of belief some by hypocrisy, pretending still to believe in the nonsense of the Church creeds; others by boldly asserting their disbelief; others by refined agnosticism; and others, again, by returning to the Greek worship of beauty, proclaiming egotism to be right, and elevating it to the rank of a religious doctrine.

The cause of the malady was the non-acceptance of Christ's teaching in its real, i.e. its full, meaning. And the only cure for the illness lies in acknowledging that teaching in its full meaning. And such acknowledgment in our time is not only possible, but inevitable. Already to-day a man, standing on the height of the knowledge of our age, whether he be nominally a Catholic or a Protestant, cannot say that he really believes in the dogmas of the Church in God being a Trinity, in Christ being God, in the scheme of redemption, and so forth; nor can he satisfy himself by proclaiming his unbelief or skepticism, nor by relapsing into the worship of beauty and egotism. Above all, he can no longer say that we do not know the real meaning of Christ's teaching. That meaning has not only become accessible to all men of our times, but the whole life of man to-day is permeated by the spirit of that teaching, and, consciously or unconsciously, is guided by it.

However differently in form people belonging to our Christian world may define the destiny of man; whether they see it in human progress in whatever sense of the words, in the union of all men in a socialistic realm, or in the establishment of a commune; whether they look forward to the union of mankind under the guidance of

one universal Church, or to the federation of the world, however various in form their definitions of the destination of human life may be, all men in our times already admit that the highest well-being attainable by men is to be reached by their union with one another.

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However people of our upper classes (feeling that their ascendancy can only be maintained as long as they separate themselves - the rich and learned from the laborers, the poor, and the unlearned) may seek to devise new conceptions of life by which their privileges may be perpetuated, now the ideal of returning to antiquity, now mysticism, now Hellenism, now the cult of the superior person (over-man-ism), - they have, willingly or unwillingly, to admit the truth which is elucidating itself from all sides, voluntarily and involuntarily, namely, that our welfare lies only in the unification and the brotherhood of man.

Unconsciously this truth is confirmed by the construction of means of communication,- telegraphs, telephones, the press, and the ever increasing attainability of material well-being for every one, and consciously it is affirmed by the destruction of superstitions which divide men, by the diffusion of the truths of knowledge, and by the expression of the ideal of the brotherhood of man in the best works of art of our time.

Art is a spiritual organ of human life which cannot be destroyed, and therefore, notwithstanding all the efforts made by people of the upper classes to conceal the religious ideal by which humanity lives, that ideal is more and more clearly recognized by man, and even in Your perverted society is more and more often partially expressed by science and by art. During the present century works of the higher kind of religious art have appeared more and more frequently, both in literature and in painting, permeated by a truly Christian spirit, as also works of the universal art of common life, accessible to all. So that even art knows the true ideal of our times, and tends toward it. On the one hand, the best works of art of our times transmit religious feelings urging toward the union and the brotherhood of man (such

are the works of Dickens, Hugo, Dostoievsky; and in painting, of Millet, Bastien Lepage, Jules Breton, L'Hermitte, and others); on the other hand, they strive toward the transmission, not of feelings which are natural to people of the upper classes only, but of such feelings as may unite every one without exception. There are as yet few such works, but the need of them is already acknowledged. In recent times we also meet more and more frequently with attempts at publications, pictures, concerts, and theaters for the people. All this is still very far from accomplishing what should be done, but already the direction in which good art instinctively presses forward to regain the path natural to it can be discerned.

The religious perception of our time-which consists in acknowledging that the aim of life (both collective and individual) is the union of mankind — is already so sufficiently distinct that people have now only to reject the false theory of beauty, according to which enjoyment is considered to be the purpose of art, and religious perception will naturally take its place as the guide of the art of our time.

And as soon as the religious perception, which already unconsciously directs the life of man, is consciously acknowledged, then immediately and naturally the division of art, into art for the lower and art for the upper classes, will disappear. There will be one common, brotherly, universal art; and first, that art will naturally be rejected which transmits feelings incompatible with the religious perception of our time, feelings which do not unite, but divide men, and then that insignificant, exclusive art will be rejected to which an importance is now attached to which it has no right.

And as soon as this occurs, art will immediately cease to be what it has been in recent times, a means of making people coarser and more vicious; and it will become, what it always used to be and should be, a means by which humanity progresses toward unity and blessedness.

Strange as the comparison may sound, what has hap