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.