As for 1875, "Many things have happened since then" as Beaconsfield used to say, but of all that has happened nothing could have given more cynical pleasure to the "Old Jew" than the lack of faith. in its own shibboleths which has seized the cocksure pompous society in which he disported himself. The rhetoric of a Gladstone based upon the "eternal truths" which constituted always the foundations of his political appeals would fail to affect the masses to-day with any other feeling than that of ridicule. We have already arrived at the "Twilight of the Idols" at least so far as "eternal truths" are concerned. They still find however an insecure roosting place in the pulpits of the protestant sects.
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 him self altogether from the bonds of the bourgeois doctrine which he is so anxious to despise. He is in many re spects 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 with-
