Mother Earth, Vol. 1 No. 3, May 1906

Gerhart Hauptmann remained to the Schweidnitzer prison administration the most dangerous, prohibited author.

DISAPPOINTED ECONOMISTS

Teachers and economists represent the bees as models of diligence. Behold how these little hard workers gather the honey together! Not a sign of obstinacy. They never insist on a certain number of hours for their workday, nor do they crave time for leisure, meditation or rest. Indeed, they employ all their energies, so that the owner of the beehive shall gain high profits.

No matter if they gather a thousandfold as much honey as they can consume, they never seek iniquity. Man takes all their wealth from them, and in the spring, in the beautiful month of May, when the flower cups begin to fill, the little hustlers resume their work again without complaint and without murmur.

Probably some economists regret that workmen are not endowed by nature with such an instinct for work as would let them feel nothing else but the desire to accumulate wealth for others.

It is too bad, indeed, that house builders, railroad workers, miners, garment workers and farmers are creatures with thinking faculties. That they should be able to analyze, to compare, to draw conclusions is really very unfortunate for the "Captains of Industry."

Next to the bee, the Asiatic coolie is the favorite ideal of the every-day economist. In one respect he surpasses the bee—he does not destroy drones.

How smoothly everything might run along in this world of material supremacy, if only the workers were made up of such a desirable mixture as the bees and coolies.

Fortunately, Fate hath not willed it so.

VITAL ART

Anny Mali Hicks

IN order to estimate the value of any movement, whether social, economic, ethical or esthetic, it must be studied in its relation and attitude to general progress. Its effectiveness should be judged by what it contributes to the growth of the universal conscience. That "no man liveth unto himself alone" is never so true as now, because now it is more generally realized. Therefore, any expression which concerns itself solely with its own special field of action finds itself soon set aside, and presently becoming divorced from reality, ends as a sporadic type. Any expression, however, which responds to the larger life gains a vitality which insures its continuance.

Thus, the effort to apply certain truths not new in themselves, is a tendency to work in harmony with progress. The effort to apply principle, however imperfectly expressed, is important, not because of its results, but because of the desire to relate theory and action in a conduct of life. Almost every type of expression is undergoing its phase of application. Esthetics have somewhat aligned themselves to the others, but at last there is a movement, known as the arts and crafts movement, more properly called applied esthetics, which is the effort to relate art to life. The old banality, "Art for Art's sake," is obsolete, and the vital meaning of art is in a more rational and beautiful expression of life, as it were, the continent art of living well.

This is the ideal and educational aspect of applied esthetics. Within the limits of its exclusive circle and within the radius of its special activities there is a trend to contentment with the production of objects of "worth and virtue." The object of luxury, which in fact has no vital meaning to either the producer or consumer. Were the production of such things to be its only aim, it would soon defeat its own end. But this movement has in reality wider and more democratic ideals. Because of its power to stimulate self-expression and the creative impulses, its greatest and most vital influence is more social than artistic. It principally concerns itself with the desire of the worker to express in his work whatever impulse for beauty may be his. There is no surer way of feeling the pressure of present economic conditions. The value of applied esthetics is as a medicine to stir up social unrest and discontent. Its keynote is self-expression, and it is when men and women begin to think and act for themselves that they most keenly feel social and economic restrictions, and are made to suffer under them. But if suffering is necessary to growth, let us have it and have it over with by all means. No sane being will stand much of it without making an effort to get at its cause. It has been said that the most important part of progress is to make people think; it is vastly more important that they should feel. The average individual is not discontented with his surroundings, else he would go to work to change them. As a product of them he is benumbed by their mechanical influence, and consequently expresses himself within their limits. He is the mouthpiece of existing conditions, and, accordingly, acts in law-abiding fashion.

The larger emotional life, or inner social impulse emanates from those pioneers who, living beyond existing conditions, are the dynamics of society. Through them life pushes onward. The inner impulse becomes public opinion, public opinion becomes custom, custom crystallizes into law. Now the fresh impulse is needed for new growth; where shall it be sought if not in the expression of the emotional life? What form shall the expression take unless it be the purest and most spontaneous form of art, which is without purpose other than the expression of an impulse? This alone fosters the growth of the emotions.

Art, like justice, has many crimes committed in its name, and much called so that is merely a methodical and imitative performance. It is in no wise that spontaneous expression of life which, coming simply and directly as an impulse, takes a decorative or applied form. All the beginnings of art grew up in this way. In primitive peoples it is the first expression of emotional life, which comes after the material need is satisfied. The savage makes his spade or fish spear from the necessity of physical preservation. Thus from the joy of living he applies to it his feeling for beauty.

The earliest forms of art were all applied. Stone carving was applied to architecture, thus colored stones, called mosaics, as wall decorations; from these to the fresco; from the fresco to the pictorial form of painting. To-day the final degeneration of art is in the easel picture, which as an object detached and disassociated from its surroundings, takes refuge in the story-telling phase to justify its raison d'être. But, alas for the easel picture! alas, also, for the usual illustration, without which most literature would be so difficult to understand. In each case the one is there to help out the other's deficiency. Two important expressions of art, in a state of insubordination. It is the opera over again, where music and drama keep up an undignified race for prominence. Supposing an illustration were decorative in character echoing in a minor manner the suggested theme, would that not be a fitting background for the story-telling art? The Greeks knew very well what they were about when they introduced the relatively subordinate but decoratively important chorus into their dramas. This as well expresses their sense of relative proportion as does their sculpture and architecture.

What is decorative art, if not a sense of beauty applied to objects of use? That these need the emotional element as well as their element of service is as essential as the life breath in the body. It is the spark of divine fire which relates the actual to the ideal, resulting in the reality. It removes from our surroundings any influence which is solely mechanical. Applied art is alike because of its association with that which is necessary to life.

The test is necessity, not alone the physical, but likewise the emotional necessity, for all sides of our nature must be developed if life is to have full meaning and come to its maturity. The influence of applied esthetics is more vital because it is unconsciously absorbed through constant association. Imagine surroundings where everything which did not have a distinct use were eliminated and where everything else was distinctly fitted to its use. If this were put into practice in the usual household, a certain simplicity would be the result, to say the least. Most things with which we surround ourselves are neither useful nor beautiful. They are either so absurdly over-ornamented as to have their usefulness completely impaired, or else they are the usual mechanical device equally complicated and hideous. Ornament is usually an anomaly, added to cover structural defect. If the relation of the parts to the whole is perfect, beauty is there. But being accustomed to the over-ornamented and wholly mechanical, we do not resent their presence. For what, indeed, is habit not responsible? Even such innocent objects as pictures hang on our walls until they are scarcely noticed by us. Why not change them to suit our moods? Why not, indeed? There are so many of them, in the first place—and one remembers the time and trouble, even the family dissension which it took to hang them. But no one cares much, no one is alive enough to care much—the economic struggle which deadens our other senses is responsible for this also.

No unit of the social body can disentangle itself from existing conditions. Each is affected by all its influences. Some are more, some less, some are so much a part that they are not conscious. These last also suffer, but without knowing why. Vital education would show them. But the factory system pervades the school and art school as well as the factory.

What if the underlying force of education were spontaneous expression, instead of the limited method or system? The cry of the teacher is always, "It is very well to be spontaneous, but we must deal with the child en masse." The remedy for that is simple, because there is no real necessity to deal with children en masse. It is so much easier to apply the same system to each varied unit of a mass than to discover and help the individual expression of each. The basis of vital art, of vital education, is self-expression; from it and through it comes self-control. Self-repression is as socially uneconomic as jails and standing armies. If, instead of building prisons where human life is entombed, libraries where literature moulds, museums where art becomes archaic, why not establish centers of education, where spontaneous expression is encouraged, and where the soul, mind, and hand are simultaneously developed.

Think of a state where each individual working out from its own standpoint, truly without hypocrisy, would contribute his quota of individual life to the life of the whole. Pleasing himself in his work without fear. Then would come the true democracy, possible only under just economic conditions, where each has equal opportunity for self-expression. Then can the higher emotional life develop necessary to all human growth.

KRISTOFER HANSTEEN

By Voltairine De Cleyre

"OF the earth, unearthly—"

The sentence remained unfinished as I had written it two years and a half ago when Disease laid its hand on me, and all my MSS. ended in a dash. It was a description of Kristofer Hansteen, an explanation of his work in Norway. And now that I am ready to pick up the thread of life again, I read that he is dead—of the earth no more, he who hardly ever belonged to it. At this moment the most insistent memory I have of that delicate, half-aërial personality are the words: "When the doctors told me that I might perhaps not live longer than spring, I thought: 'If I die, what will become of Anarchism in Norway?'" He had no other idea of his meaning in life than this.

Somewhere fluctuant in my memory runs broken music—you have heard it?—"an ineffectual angel, beating his luminous wings within the void,"—something like that,—words descriptive of Shelley—they haunt me whenever I would recall Kristofer Hansteen. Perhaps to those who had known him in his youth, before his body was consumed like a half-spent taper, he might have seemed less spirit-like; but when I met him, three years ago this coming August, his eyes were already burning with ethereal fires, the pallor of waste was on the high, fine forehead, the cough racked him constantly, and there was upon the whole being the unnameable evanescence of the autumn leaf; only—his autumn came in summer.

The utter incapacity of the man before the common, practical requirements of life would have been irritating to ordinary individuals. The getting of a meal or the clothing of the body with reference to the weather, were things that he thought of vaguely, uncomfortably, only with forced attention. What he saw clearly, entranced by the vision, was the future—the free future. He had been touched by the wan wizard of Olive Schreiner's Dream of Wild Bees, and "the ideal was real to him." The things about him, other people's realities, were shadows—oppressive shadows, indeed, but they did not concern him deeply. It was the great currents of life he saw as real things, and among all the confusion of world-movements he could trace the shining stream that ran towards liberty; and with his hectic face and burning eyes he followed it, torn by the cough and parched by the fever.

The Hansteens are a well-known family in Norway, clever and often eccentric, Kristofer's aunt, Aosta Hansteen, at the time of my visit an old lady over eighty, having fought many a battle for the equality of woman both in Norway and America. Artist, linguist, and literary woman of marked ability, but, after the manner of her cotemporaries, rather outlandish and even outrageous in her attacks on masculine prerogative, she is a target for satirists and wits, few of whom, however, approach her virility of intellect. Her father, Kristofer's grandfather, was an astronomer and mathematician. In his youth Kristofer had gone afoot through the "dals" of Norway, and when he took me through the art galleries of Kristiania he was a most interesting guide, through his actual acquaintance with the scenes and the characters of the dalesmen depicted. He knew the lights upon the snow and rocks, just what time of the year shone on the leaves, where the wood-paths wound, the dim glories of the mist upon the fjords, the mountain stairways in their craggy walls, and the veiled colors of the summer midnight. And he knew the development of Norwegian art life and literary life, as one who wanders always in those paths, mysteriously lit.

Our hours of fraternization were few but memorable. He was a frequent visitor at the house of Olav Kringen, the editor of the daily Social Democrat, a big, kindly Norseman, who had remembered me from America, and who had defended me in his paper against the ridiculous charge in the ordinary press that I had come there to assassinate Kaiser Wilhelm. Through the efforts of Hansteen and the kindliness and largemindedness of Kringen and his Socialistic comrades, I spoke before the Socialistic League of Youth in their hall in Kristiania. The hall was crowded, over eight hundred being present, and there was some little money in excess of expenses, which was given to me. I shared it with Hansteen, and he looked up with a bright flash in his dark eyes: "Now," said he, "'Til Frihet' will come out one month sooner." "Til Frihet" (Towards Freedom) was his paper; and would you know how it came out? He set it up in his free moments, he did the mechanical work; and then, being too poor to pay for its delivery through the post, except the few copies that were sent abroad, he took it from house to house himself, over the hills of Kristiania!—he, a consumptive, the cough rending him!

There was a driving rain the night I left the city; he wore no rubbers or gum-coat. I was in hopes that he might think the propaganda deserved that its one active worker should get a pair of rubbers, since he must carry papers through the rain. I reminded him that he should keep his feet dry; he only glanced at them as if they were no concern of his, and—"'Til Frihet' will come out one month sooner."

It was in "Til Frihet" that he had been guilty of high treason. It happened once that King Oscar, in temporary retirement from public king-business, had left over to the Crown Prince the execution of certain matters, which according to the "Ground Law" of Norway could not be so left; whereupon Comrade Hansteen printed an editorial saying, "Oscar has broken the ground-law, and there is no more a King in Norway." For this he was charged with high treason, and to escape imprisonment he went to England, where he remained about a year among the London comrades. On his return, there was some threat of carrying out the prosecution, but, probably to avoid wider publication of the king's "treason," the matter was dropped. Previous to that Comrade Hansteen had had experience of prison life. In a May-day procession, ostensibly to include all labor reform or revolutionary parties, he, declaring that Anarchists should be given place too, marched, carrying a red flag. The chief of police directed a subordinate to take the flag away from him. Easily enough done, but not, as an evidence of unwilling submission, before he had struck the official in the face with his hand. That little hand, weak and delicate as a woman's! An ordinary man would have pushed it aside like a feather and thought no more of it; but the official paid tribute to the big will behind the puny flesh by sentencing him to seven months in prison.

My ignorance of Norwegian prevents my giving any adequate idea of his work. I know he was the author of a little pamphlet, "Det frie samfund" (Free Society), and that he had translated and published one of Krapotkin's works (whether "The State" or "The Conquest of Bread," I do not now remember), which he had issued in a series of instalments, intended ultimately to be bound together. As I recall the deep earnestness of his face in speaking of the difficulties he had had in getting it out, and the unsolved difficulties still facing its completion, I find myself wanting to pray that he saw that precious labor finished. It was so much to him. And I prophecy that the time will come when young Norwegians will treasure up those sacrificial fragments as dearer than any richer and fuller literature. They are the heart's blood of a dying man—the harbinger of the anarchistic movement in Norway.

I cannot say good-bye to him forever without a word concerning his personal existence, as incomprehensible to the practical as his social dreams perhaps. He had strong love of home and children; and once he said, the tone touched with melancholy: "It used to pain me to think that I should die and have no son; but now I am contented that I have no son." One knew it was the wrenching cough that made him "contented." A practical man would have rejoiced to be guiltless of transmitting the inheritance, but one could see the dreamer grieved. His eyes would grow humid looking at his little daughters; and indeed they were bright, beautiful children, though not like him. In his early wanderings he had met and loved a simple peasant woman, unlettered, but with sound and serviceable common sense, and with the beauty of perfect honesty shining in her big Norse-blue eyes. It was then and it is now a wonder to me how in that mystical brain of his, replete with abstractions, generalizations, idealizations, he placed his love for wife and children; strong and tender as it was, one could appreciate at once that he had no sense of the burden of practical life which his wife seemed to have taken up as naturally hers. The whole world of the imagination wherein he so constantly moved seemed entirely without her ken, yet this did not seem to trouble either. Nor did the fact that his unworldliness doubled her portion of responsibility seem to cause him to reflect that she was kept too busy, like Martha of old, to "choose that good part" which he had chosen. Thinking of it now, still with some sense of puzzlement, I believe his love for human creatures, and especially within the family relation, were of that deep, still, yearning kind we feel towards the woods and hills of home; the silent, unobtrusive presence fills us with rest and certainty, and we are all unease when we miss it; yet we take it for granted, and seldom dwell upon it in our active thoughts, or realize the part it plays in us; it belongs to the dark wells of being.

Dear, falling star of the northland,—so you have gone out, and—it was not yet morning.

FIFTY YEARS OF BAD LUCK

By Sadakichi Hartmann

EVERY occupant of the ramshackle, old-fashioned studio building on Broadway knew old Melville, the landscape painter, who had roughed life within its dilapidated walls for more than a score of years. In former years the studio building had been quite fashionable and respectable; there is hardly a painter of reputation in New York to-day who has not, once in his life, occupied a room on the top floor. But in these days of "modern improvements," of running water and steam heat, of elevators and electric lights, it has lost its standing and is inhabited by a rather precarious and suspicious clan of pseudo artists, mountebanks who vegetate on the outskirts of art; "buckeye painters," who turn out a dozen 20x30 canvases a day for the export trade to Africa and Australia; unscrupulous fabricators of Corots and Daubignys, picture drummers who make such rascality profitable, illustrators of advertising pamphlets, and so-called frescoe painters, who ornament ceilings with sentimental clouds, with two or three cupids thrown in according to the price they extort from ignorant parvenues.

And yet, no matter on what by-roads these soldiers of fortune wandered to earn their dubious livelihood, they all respected the white-bearded tenant, in his shabby gray suit, a suit which he wore at all seasons, and which time seemed to have treated just as unkindly as the bent and emaciated form of its wearer. Old Melville gave offense to nobody, and always had a pleasant word for everybody, but, as he was not talkative, and the other tenants were too busy to bother an old man painting, nobody knew much about his mode of living, the standard of his art, or his past history.

Very few had ever entered his studio—he had neither patrons nor intimate friends—and very likely they would not have enjoyed their visit. A peculiar gloomy atmosphere pervaded the room, almost sickening in its frugality, and as its skylight lay north, the sun never touched it. It had something chilly and uncanny about it even in summer. The floor was bare, furniture there was none, except an old worn-out kitchen table and chair, an easel and an old box which served as a bookcase for a few ragged unbound volumes. The comfort of a bed was an unknown luxury to him; he slept on the floor, on a mattress which in daytime was hidden with his scant wardrobe and cooking utensils in a corner, behind a gray faded curtain. His pictures, simple pieces of canvas with tattered edges, nailed to the four walls, leaving hardly an inch uncovered, were the only decoration and furnished a most peculiar wall paper, which heightened the dreariness of the room.

There was after all a good deal of merit to old Melville's landscapes; on an average they were much better than many of those hung "on the line"; the only disagreeable quality was their sombreness of tone. He invariably got them hopelessly muddy in color, despite their resembling the color dreams of a young impressionist painter at the start. He worked at them so long until they became blurred and blotchy, dark like his life, a sad reflection of his unprofitable career.

It was nearly thirty years ago that he had left his native town and had come to New York as a boy of sixteen. He already knew something of life then; at an early age he had been obliged to help to support his family, and had served an apprenticeship as printer and sign painter. In New York he determined to become an artist: a landscape painter, who would paint sunshine as had never been done before; but many years elapsed before he could pursue his ambition. Any amount of obstacles were put in his way. He had married and had children, and could only paint in leisure hours, all his other time being taken up in the endeavor to provide for his family, by inferior work, inferior decoration, etc. Not before years of incessant vicissitudes, heart-rending domestic troubles and sorrow, not before his poor wife had died of consumption—that awful day when he had to run about all day in the rain to borrow money enough to bury her!—and his children had been put in a charitable institution, he took up painting as a profession. Then the hard times, which are proverbial with struggling artists without means, began; only they were easier to bear, as he was suffering alone. In days of dispossess and starvation he had at least his art to console him, and he remained true to her in all those years of misery, and never degraded himself again to "pot boiling." In hours of despair, he also tried his hand at it, but simply "couldn't do it." Now and then he had a stroke of luck, a moderate success, but popularity and fame would not come. His pictures were steadily refused by the Academy. Every year he made a new effort, but in vain.