"For the Law has got long arms,
Priests and Parsons have long tongues
And the People have long ears,"
a Nekrassoff cursing the railroad built of men, a Hugo painting the battle of the individual man "with Nature, with the Law, with Society," a Lowell crying:
"Law is holy ay, but what law? Is there nothing more divine
Than the patched up broils of Congress,—venal, full of meat and wine?
Is there, say you, nothing higher—naught, God save us, that transcends
Laws of cotton texture wove by vulgar men for vulgar ends?
Law is holy: but not your law, ye who keep the tablets whole
While ye dash the Law in pieces, shatter it in life and soul."
and again,
"One faith against a whole world's unbelief,
One soul against the flesh of all mankind."
Nor do the master dramatists lag behind the lyric writers; they, too, feel the intense pressure within, which is, quoting the deathword of a man of far other stamp, "germinal." Ibsen's drama, intensely real, common, accepting none of the received rules as to the conventional plot, but having to do with serious questions of the lives of the plain people, holds ever before us the supreme duty of truth to one's inner being in defiance of Custom and Law; it is so in Nora, who renounces all notions of family duty to "find herself"; it is so in Dr. Stockman, who maintains the rectitude of his own soul against the authorities and against the mob; it should have been so in Mrs. Alving, who learns too late that her yielding to social custom has brought a fore-ruined life into the world besides wrecking her own; the Master Builder, John Gabriel Borkman, all his characters are created to vindicate the separate soul supreme within its sphere; those that are miserable and in evil condition are so because they have not lived true to themselves but in obedience to some social hypocrisy. Gerhart Hauptmann likewise feels the new pulsation: he has no hero, no heroine, no intrigue; his picture is the image of the headless and tailless body of struggle,—the struggle of the common man. It begins in the middle, it ends in nothing—as yet. To end in defeat would be to premise surrender—a surrender humanity does not intend; to triumph would be to anticipate the future, and paint life other than it is. Hence it ends where it began, in murmurs. Thus his "Weavers." Octave Mirbeau, likewise, offers his criticism on a world of sheep in "The Bad Shepherds," and Sara Bernhardt plays it. In England and America we have another phase of the rebel drama—the drama of the bad woman, as a distinct figure in social creation with a right to be herself. Have we not the "Second Mrs. Tanqueray" who comes to grief through an endeavor to conform to a moral standard that does not fit? And have we not Zaza, who is worth a thousand of her respectable lover and his respectable wife? And does not all the audience go home in love with her? And begin to quest the libraries for literary justifications of their preference?
And these are not hard to find, for it is in the novel particularly, the novel which is the special creation of the last century, that the new ideal is freest. In a recent essay in reply to Walter Besant, Henry James pleads most Anarchistically for his freedom in the novel. All such pleas will always come as justifications, for as to the freedom it is already won, and all the formalists from Besant to the end of days will never tempt the litterateurs into chains again. But the essay is well worth reading as a specimen of right reasoning on art. As in other modes of literary expression this tendency in the novel dates back; and it is strange enough that out of the mouth of a toady like Walter Scott should have spoken the free, devil-may-care, outlaw spirit (read notably "Quentin Durward"), which is, perhaps, the first phase of self-assertion that has the initial strength to declare itself against the tyranny of Custom; this is why it happens that the fore-runners of social change are often shocking in their rudeness and contempt of manners, and, in fact, more or less uncomfortable persons to have to do with. But they have their irresistible charm all the same, and Scott, who was a true genius despite his toadyism, felt it and responded to it, by always making us love his outlaws best no matter how gently he dealt with kings. Another phase of the free man appears in George Borrow's rollicking, full-blooded, out-of-door gypsies who do not take the trouble to despise law, but simply ignore it, live unconscious of it altogether. George Meredith, in another vein, develops the strong soul over-riding social barriers. Our own Hawthorne in his preface to the "Scarlet Letter," and still more in the "Marble Faun," depicts the vacuity of a life sucking a parasitic existence through government organization, and asserts over and over that the only strength is in him or her—and it is noteworthy that the strongest is in "her"—who resolutely chooses and treads an unbeaten path.
From far away Africa, there speaks again the note of soul rebellion in the exquisite "Dreams" of Olive Schreiner, wherethrough "The Hunter walks alone." Grant Allen, too, in numerous works, especially "The Woman Who Did," voices the demand for self-hood. Morris gives us his idyllic "News from Nowhere." Zola, the fertile creator of dungheaps crowned with lilies, whose pages reek with the stench of bodies, laboring, debauching, rotting, until the words of Christ cry loud in the ears of him who would put the vision away, "Whited sepulchres, full of dead men's bones and all uncleanliness"—Zola was more than an unconscious Anarchist, he is a conscious one, did so proclaim himself. And close beside him, Maxim Gorki, Spokesman of the Tramp, Visionary of the Despised, who whatever his personal political views may be, and notwithstanding the condemnations he has visited upon the Anarchist, is still an Anarchistic voice in literature. And over against these, austere, simple, but oh! so loving, the critic who shows the world its faults but does not condemn, the man who first took the way of renunciation and then preached it, the Christian whom the Church casts out, the Anarchist whom the worst government in the world dares not slay, the author of "Resurrection" and "The Slavery of Our Times."
They come together, from the side of passionate hate and limitless love—the volcano and the sea—they come together in one demand, freedom from this wicked and debasing tyranny called Government, which makes indescribable brutes of all who feel its touch, but worse still of all who touch it.
As for contemporaneous light literature, there are magazine articles and papers innumerable displaying here and there the grasp of the idea. Have we not the Philistine and its witty editor, boldly proclaiming in Anarchistic spelling, "I am an Anarkist?" By the way, he may now expect a visitation of the Criminal Anarchy law. And a few years since, Julian Hawthorne, writing in the Denver Post, inquired, "Did you ever notice that all the interesting people you meet are Anarchists?" Reason why: there is no other living dream to him who has character enough to be interesting. It is the uninteresting, the dull, the ready-made minds who go on accepting "Dead limbs of gibbeted gods," as they accept their dinner and their bed, which someone else prepares. Let two names, standing for strangely opposing appeals yet standing upon common ground, close this sketch—two strong flashes of the prismatic fires which blent together in the white ray of our Ideal. The first, Nietzsche, he who proclaims "the Overman," the receiver of the mantle of Max Stirner, the scintillant rhetorician, the pride of Young Germany, who would have the individual acknowledge nothing, neither science, nor logic, nor any other creation of his thought, as having authority over him, its creator. The last, Whitman, the great sympathetic, all-inclusive Quaker, whose love knew no limits, who said to Society's most utterly despised outcast,