The end result of all the separate elements, the land, the people, the departure from Europe, the struggle for wealth, the fight against wealth, was to make us a people of unbounding optimism, which was our Horatio Alger substitute for religious faith. The cool realistic appraisal of man's fate which an average Frenchman makes, the trust of the Englishman that he will "muddle through", the ancient indifference of the Russian peasant, the resignation of the Orient, are matched in America by an intense and confident appeal to _action_, in the faith that action will bring far better things than have been known. The vulgar side of this is bustle and activity for its own sake and a childish confusion between what is better and what is merely bigger or newer or more expensive or cheaper; we have to accept all this because on the other side our faith in action has broken the vise of poverty in which man has been held since the beginning of modern history; it has destroyed tyranny and set free the bodies and the minds of the hundred millions who have lived in a new world. We have rejected some of the most desirable and beautiful creations of other peoples, the arts of Europe, the Asiatic life of contemplation, the wisdom of philosophers, the exaltation of saints--but we have also rejected the slavery on which these rest or the negation of life to which they tend. The "materialism" of America is not as terrible as it looks; and it must be respected by those who want us to make sacrifices. What aristocratic Europeans call gross in us is a hundred million hands reaching for the very things the aristocrats held dear. In the scuffle, some harm is done; the first pictures reproduced on magazine covers were not equal to the Mona Lisa; within fifty years the Mona Lisa could be reproduced in a magazine for ten million readers, but the aristocrats still complained of vulgarizing. The first music popularized by records or radio was popular in itself; within fifty years records and radio will have multiplied the audience for the greatest music, popular or sublime, ten thousand fold; it is possible that on one Saturday or Sunday afternoon music, good even by pedantic standards, is heard by more people than used to hear it in an entire year. And both of these instances have another special point of interest: each is creating new works on its own terms, so that pictures, very good ones, are painted for multiple reproduction and music, as good as any other, is specially composed for radio.