Or - Humanism And Realism
The False Principle of Our Education Or - Humanism And Realism By Max Stirner Because our time is struggling toward the word with which it may express its spirit, many names come to the fore and all make claim to being the right name. On all sides our present time reveals the most chaotic partisan tumult and the eagles of the moment gather around the decaying legacy of the past. There is everywhere a great abundance of political, social, ecclesiastical, scientific, artistic, moral and other corpses, and until they are all consumed, the air will not be clean and the breath of living beings will be oppressed. Without our assistance, time will not bring the right word to light; we must all work together on it. If, however, so much depends upon... (From : Anarchy Archives.)
FREEDOM IS IT A CRIME? The Strange Case of the Tree Anarchists Jailed at the Old Bailey, April 1945 Two Speeches by HERBERT READ FORWARD by E. SILVERMAN FREEDOM PRESS DEFENSE COMMITTEE 2d. First Published by The Freedom Press Defense Committee, 17, St. George Street, London, W.1. June, 1945 And printed by Express Printers, London. The Publishers have asked me to write a foreword to this pamphlet. As an individual who cares about freedom of speech and freedom of the press I accept with pleasure the opportunity to say a word to the public. Three decent, useful and respectable citizens, who Mr. Justice Birkett said were of the highest character and who he was quite prepared to believe were actuated by the highest motives, are in prison. Their ... (From : Anarchy Archives.)
A Comedy in Four ActsThe entrance hall of a wealthy house in Moscow. There are three doors: the front door, the door of Leoníd Fyódoritch's study, and the door of Vasíly Leoníditch's room. A staircase leads up to the other rooms; behind it is another door leading to the servants' quarters. Scene 1. GREGORY [looks at himself in the glass and arranges his hair, &c.] I am sorry about those mustaches of mine! “Mustaches are not becoming to a footman,” she says! And why? Why, so that any one might see you're a footman,—else my looks might put her darling son to shame. He's a likely one! There's not much fear of his coming anywhere near me, mustaches or no mustaches! [Smiling into the glass] And what a lot of 'em swarm round me. And yet I don't care for any of them as much as for that Tánya. And she only a lady's-maid! Ah well, she's nicer than any young lady. [Smiles] She is a duck! [Liste...
THE HERALD OF LITERATURE. [PRICE TWO SHILLINGS.] THE HERALD OF LITERATURE; OR, A REVIEW OF THE MOST CONSIDERABLE PUBLICATIONS THAT WILL BE MADE IN THE COURSE OF THE ENSUING WINTER: WITH EXTRACTS. LONDON: PRINTED FOR J. MURRAY, NO. 32, FLEET-STREET. M DCC LXXXIV. TO THE... (From : Gutenberg.org.)
The following tales are, with one exception, taken from the second volume of Count L. N. Tolstoï's collected works, and are representative of his literary activity between 1852 and 1859. The first story, though only a fragment of a projected novel to be called "A Russian Proprietor," is perfect and complete in itself. One cannot help feeling that it is autobiographical; Count Tolstoï himself, it will be remembered, having suddenly quitted the University of Kazan, in spite of the entreaties of his friends, and retired to his paternal estate of Yasnaya Polyana, near Tula. The aunt whose letter is quoted in the first chapter must have been Count Tolstoï's aunt, mentioned in the second chapter of "My Confession." The "Recollections of a Scorer" and "Two Hussars" are both evidently reminiscent of Count Tolstoï's gambling-days. Both must have been suggested by some such terrible experience as that told of the count's gambling-debt in the Caucasus.
Prince Galtsin, Lieutenant-Colonel Neferdoff, and Praskukhin, whom no one had invited, to whom no one spoke, but who never left them, all went to drink tea with Adjutant Kalugin. “Well, you did not finish telling me about Vaska Mendel,” said Kalugin, as he took off his cloak, seated himself by the window in a soft lounging-chair, and unbuttoned the collar of his fresh, stiffly starched cambric shirt: “How did he come to marry?” “That's a joke, my dear fellow! There was a time, I assure you, when nothing else was talked of in Petersburg,” said Prince Galtsin, with a laugh, as he sprang up from the piano, and seated himself on the window beside Kalugin. “It is simply ludicrous, and I know all the details of the affair.” And he began to relate—in a merry, and skillful manner—a love story, which we will omit, because it possesses no interest for us. But it is worthy of note that not only Prince Galtsin...
Night in a prison cell! A chair, a bed, a small washstand, four blank walls, ghastly in the dim light from the corridor without, a narrow window, barred and sunken in the stone, a grated door! Beyond its hideous iron latticework, within the ghastly walls, -a man! An old man, gray-haired and wrinkled, lame and suffering. There he sits, in his great loneliness, shut in front all the earth. There he walks, to and fro, within his measured space, apart from all he loves! 'There, for every night in five long years to come, he will walk alone, while the white age-flakes drop upon his head, while the last years of the winter of life gather and pass, and his body draws near the ashes. Every night, for five long years to come, he will sit alone, this... (From : Anarchy Archives.)
In order to understand the social and dynamic significance of modern dramatic art it is necessary, I believe, to ascertain the difference between the functions of art for art's sake and art as the mirror of life. Art for art's sake presupposes an attitude of aloofness on the part of the artist toward the complex struggle of life: he must rise above the ebb and tide of life. He is to be merely an artistic conjurer of beautiful forms, a creator of pure fancy. That is not the attitude of modern art, which is preeminently the reflex, the mirror of life. The artist being a part of life cannot detach himself from the events and occurrences that pass panorama-like before his eyes, impressing themselves upon his emotional and intellectual vision. The modern artist is, in the words of August Strindberg, "a lay preacher popularizing the pressing questions of his time." Not necessarily because his aim is to proselyte, but because he can best express hims...
At the men’s end of the table the talk grew more and more animated. The colonel told them that the declaration of war had already appeared in Petersburg and that a copy, which he had himself seen, had that day been forwarded by courier to the commander in chief. “And why the deuce are we going to fight Bonaparte?” remarked Shinshín. “He has stopped Austria’s cackle and I fear it will be our turn next.” The colonel was a stout, tall, plethoric German, evidently devoted to the service and patriotically Russian. He resented Shinshín’s remark. “It is for the reasson, my goot sir,” said he, speaking with a German accent, “for the reasson zat ze Emperor knows zat. He declares in ze manifessto zat he cannot fiew wiz indifference ze danger vreatening Russia and zat ze safety and dignity of ze Empire as vell as ze sanctity of its alliances...” he spoke this last...