Census of 1900 shows greater increase of workingwomen than of men and increasing youth of working women 189 Concerted action of women necessary to bring about industrial protection 191 Women can control surroundings of their work only by means of franchise 192 Unfair to put task of industrial protection upon women’s trades unions as it often confuses issues 194 Closer connection between industry and government would result if working women were enfranchised 196 Failure to educate women to industrial life disastrous to industry itself and to women as employers 197 Situation must be viewed in relation to recent immigration and in connection with present stage of factory system in America 199 NEWER IDEALS OF PEACE CHAPTER I INTRODUCTION The following pages present the claims of the newer, more aggressive ideals of peace, as over against the older dovelike ideal. These newer ideals are active and dynamic, and it is believed that if their forces were made really operative upon society, they would, in the end, quite as a natural process, do away with war. The older ideals have required fostering and recruiting, and have been held and promulgated on the basis of a creed. Their propaganda has been carried forward during the last century in nearly all civilized countries by a small body of men who have never ceased to cry out against war and its iniquities and who have preached the doctrines of peace along two great lines. The first has been the appeal to the higher imaginative pity, as it is found in the modern, moralized man. This line has been most effectively followed by two Russians, Count Tolstoy in his earlier writings and Verestchagin in his paintings. With his relentless power of reducing all life to personal experience Count Tolstoy drags us through the campaign of the common soldier in its sordidness and meanness and constant sense of perplexity. We see nothing of the glories we have associated with warfare, but learn of it as it appears to the untutored peasant who goes forth at the mandate of his superior to suffer hunger, cold, and death for issues which he does not understand, which, indeed, can have no moral significance to him. Verestchagin covers his canvas with thousands of wretched wounded and neglected dead, with the waste, cruelty, and squalor of war, until he forces us to question whether a moral issue can ever be subserved by such brutal methods.