Anarchism and Other Essays

by Emma Goldman

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.

Wendell Phillips said fifty years ago: "In our country of absolute democratic equality, public opinion is not only omnipotent, it is omnipresent. There is no refuge from its tyranny, there is no hiding from its reach, and the result is that if you take the old Greek lantern and go about to seek among a hundred, you will not find a single American who has not, or who does not fancy at least he has, something to gain or lose in his ambition, his social life, or business, from the good opinion and the votes of those around him. And the consequence is that instead of being a mass of individuals, each one fearlessly blurting out his own conviction, as a nation compared to other nations we are a mass of cowards. More than any other people we are afraid of each other." Evidently we have not advanced very far from the condition that confronted Wendell Phillips.

Today, as then, public opinion is the omnipresent tyrant; today, as then, the majority represents a mass of cowards, willing to accept him who mirrors its own soul and mind poverty. That accounts for the unprecedented rise of a man like Roosevelt. He embodies the very worst element of mob psychology. A politician, he knows that the majority cares little for ideals or integrity. What it craves is display. It matters not whether that be a dog show, a prize fight, the lynching of a "nigger," the rounding up of some petty offender, the marriage exposition of an heiress, or the acrobatic stunts of an ex-president. The more hideous the mental contortions, the greater the delight and bravos of the mass. Thus, poor in ideals and vulgar of soul, Roosevelt continues to be the man of the hour.