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 young proprietor evidently desired to ask some more questions of the peasants. He did not move from the bench; and he glanced irresolutely, now at Churis, now at the empty, unlighted stove. "Well, have you had dinner yet?" he asked at last. A mocking smile arose to Churis's lips, as though it were ridiculous to him for his master to ask such foolish questions; he made no reply. "What do you mean,—dinner, benefactor?" said the old woman, sighing deeply. "We've eaten a little bread; that's our dinner. We couldn't get any vegetables to-day so as to boil some soup, but we had a little kvas,—enough for the children." "To-day was a fast-day for us, your excellency," remarked Churis sarcastically, taking up his wife's words. "Bread and onions; that's the way we peasants live. Howsomever, praise be to the Lord, I have a little grain yet, thanks to your kindness; it's lasted till now; but there's plenty of our peasants as ain...
SEVASTOPOL IN DECEMBER, 1854. The flush of morning has but just begun to tinge the sky above Sapun Mountain; the dark blue surface of the sea has already cast aside the shades of night and awaits the first ray to begin a play of merry gleams; cold and mist are wafted from the bay; there is no snow—all is black, but the morning frost pinches the face and crackles underfoot, and the far-off, unceasing roar of the sea, broken now and then by the thunder of the firing in Sevastopol, alone disturbs the calm of the morning. It is dark on board the ships; it has just struck eight bells. Toward the north the activity of the day begins gradually to replace the nocturnal quiet; here the relief guard has passed clanking their arms, there the doctor is already hastening to the hospital, further on the soldier has crept out of his earth hut and is washing his sunburnt face in ice-encrusted water, and, turning towards the crimsoning east, crosses himself quickly...
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...
Between three and four o’clock in the afternoon Prince Andrew, who had persisted in his request to Kutúzov, arrived at Grunth and reported himself to Bagratión. Bonaparte’s adjutant had not yet reached Murat’s detachment and the battle had not yet begun. In Bagratión’s detachment no one knew anything of the general position of affairs. They talked of peace but did not believe in its possibility; others talked of a battle but also disbelieved in the nearness of an engagement. Bagratión, knowing Bolkónski to be a favorite and trusted adjutant, received him with distinction and special marks of favor, explaining to him that there would probably be an engagement that day or the next, and giving him full liberty to remain with him during the battle or to join the rearguard and have an eye on the order of retreat, “which is also very important.” “However, there will hardly be an en...