If blows have been showered upon the political "eternal truths" in the name of which the present epoch came into existence social and ethical ideals have by no means escaped attack. Revolt has been the watchword of artist and theologian alike. The pre-Rafaelite school, a not altogether unworthy child of the Chartist movement, raised the cry of artistic revolt against absolutism and the revolt spread in ever widening circles until it has exhausted itself in the sickly egotism of the "art nouveau." Even Engels, with all his independence and glorification of change as a philosophy, can find an opportunity to fling a sneer at Wagner and the "music of the future." The remnants of early Victorianism cling persistently to Engels. He cannot release himself altogether from the bonds of the bourgeois doctrine which he is so anxious to despise. He is in many respects the revolutionist of '48, a bourgeois politician possessed at intervals by a proletarian ghost, such as he says himself ever haunts the bourgeois. The younger generation without any claims to revolutionism has gone further than he in the denunciation of authority and without the same self consciousness. The scorn of Bernard Shaw for the moguls of the academies and for social ideals is greater than the scorn of Engels for "eternal truths." Says Mr. Shaw, "The great musician accepted by his unskilled listener is vilified by his fellow musician. It was the musical culture of Europe that pronounced Wagner the inferior of Mendelssohn and Meyerbeer. The great artist finds his foes among the painters and not among the men in the street. It is the Royal Academy that places Mr. Marcus Stone above Mr. Burne Jones. It is not rational that it should be so but it is so for all that. The realist at last loses patience with ideals altogether and finds in them only something to blind us, something to numb us, something to murder self in us. Something whereby instead of resisting death we disarm it by committing suicide." Here is a note of modernity which Engels was hardly modern enough to appreciate and yet it was written before he died. Nietzsche, Tolstoy and a host of minor writers have all had their fling at "eternal truths" and modern ideals. The battle has long since rolled away from the ground on which Engels fought. His arguments on the dialectic are commonplaces to-day which it would be a work of supererogation to explain to anyone except the persistent victim of Little Bethel. The world has come to accept them with the equanimity with which it always accepts long disputed truths.