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and later to gain the doctorate of laic science. He always avoided ill-considered exaggerations, and, while conserving his mental equilibrium and rejecting all dogmas, he never lost sight of his inspiration, faith, and constancy. To the Comtistic enthusiasms he opposed delicate irony and his own reasoning. In his memorable addresses he used to remind the public that science is very far from reaching incontrovertible finalities, because its very axioms are not immune from continual debate, and even supposing present conclusions to be fixed and perfect, it is nothing more nor less than discipline and the knowledge of the relative, and has nothing to do with the objects in themselves. Systems and scientific hypotheses are, like philosophies, he declared, living organisms "which are continuously changing, and which need the perennial reparation of death."

Justo Sierra, who, from Jacobite romanticism, and, still further, from traditional faith, could pass to a clear comprehension of the problems of science and totally reform his mental orientation in conformity with the resultant new convictions; who dedicated his entire energy to a professorship and subsequently to general education, as minister of state and organizer of modern culture in the Republic, also foretold the new trend of thought. In his speech at the opening of the new university in the year in which Mexico celebrated the centenary of her independence, he recognized and welcomed the new French idealism and criticism engaged in by scholars and authors of science with the purpose of assigning to materialism its just place among the methods available in research, not, however, without qualifying it as a casual growth, like that which results from all unworthy alliances.

Already positivism had undergone a transformation which, adapting it to the particular requirements of every science, made it universal in scope, yet at the same time depreciating all learning. The Spencerianism imported by Don Ezequiel Chavez was the last scholastic synthesis of the conclusions of science. The doctrine of the noumenon, unacceptable to the majority of antiphilosophical persons, popularized itself in the crude form of agnosticism defined early in the present discussion; the evolution proved by Darwin provoked obstinate formulas extracted from Spencer's treatises; the traditional utilitarianism of the British, dissembled with forms of biological and moral law, invaded even the field of Roman law with its naturalistic tendencies enunciative of the concept of justice; in psychology the principles of the persistence of force and the gradual development of forms, as well as the narrow hatred of the strides humanity had taken in learning before Bacon left the lecture halls cold and profitless,

But outside of the classrooms, in the corridors of preparatory schools, thanks to that liberty which was the final gift of the reform

ers, other influences were at work. From discussions of the ironies and morose axioms of Schopenhauer people passed very quickly to studies of metaphysics, interest in which was revived by Schopenhauer in his commentaries on Kant, and reconsidered the problem of cognizance, in which science or, in fine, the standard of science, is one of the factors. Slowly metaphysics gained ground; criticism and pure reason became popular, and little by little the readers of Euskman and Boutroux, of Bergson, Poincaré, William James, and Wundt gained in number.

Another rebel, Nietszche, amazed us by his scientific Philistinisms and his eloquence, borne adown the centuries to him from the soul of Greece, in his "Geburt der Tragödie" and his "Also sprach Zarathustra," placed before us the absorbing problem of aesthetics, and, while not yet recognizing the meaning of music, made us laugh again. The fact that I know of no work that has been produced in aesthetics does not prove that the majority of modern authors feel less what they see, perceive less. Naturally Spencerianism exposed its theory of cunning and artifice as the basis of aesthetic phenomena, but this point of view was applied to certain branches only of thinking, and in others thinking was nurtured by the original doctrines of Schiller, Lessing, Winkelman, etc.

During the materialistic period Taine's intelligent criticism was dominant; later Ruskin occupied all minds; and then Oscar Wilde with his "Intentions," and, finally, Walter Pater became so popular that a Mexican translation was made of his works. The writings of Menéndez Pelayo and Benedeto Croce should be cited among didactic works much consulted at the time, and Hegel should not be neglected, although his philosophy never was accorded in Mexico the general acceptance given to his rival Schopenhauer.

The very promptness with which positivism declined proves one of its virtues; that is, its having engendered in every one of its converts, above all, an unconditional love of truth. In the eager search for this truth it was logical that speculative philosophy should be freely exercised again, but not without solid foundations of critical judgment. Convinced that the problem of metaphysics is eternal, but also that all metaphysics which does not recognize or which contradicts the laws of science, of which it is the legitimate outgrowth, is unacceptable, one is persuaded that philosophy is only the clarifying of the judgment through the teachings of science, after which one self-confidently realizes he has used his faculties to familiarize himself with the cognizable, and needs to imagine only that which transcends proof, as he ever struggles to discover the impossible.

You may ask me in what specific lines of endeavor the sons of Anahuac excel. I reply that, in the midst of desolation and restiveness, there flourishes a generation that has the right to call itself new,

not only in years, but more properly because it is inspired by a system of æthetics which varies widely from that of its immediate ancestors; by an ideal creed which criticism in time will properly weigh, and which is neither romantic nor yet modernistic, much less positive or realistic, except after the manner of mysticism growing out of worship of beauty, with a tendency to search for hitherto unuttered eternal facts. It is not a platonic faith in the immortality of ideas, but something entirely different; a nation of infinity and the rythm of an eternal and divine substance. I will list certain prominent figures in the new culture, not, however, necessarily in the order of merit.

Beginning with Alfonso Reyes-Euphorion we used to call him because, like the son of Faust and the classic beauty, he combined the noblest of attributes. His guidance into new paths of æstheticism, his literary zeal, his exclusive devotion to the ideal, are evident in his books and articles.

Antonio Caso, the mental liberator, maps out new paths for the spirit to follow; he takes particular delight in mocking, accepting, and strengthening all creeds in succession, if only for the pleasure later of destroying them with clever, pointed criticism. A single sentence from him dissipates groping doubt as the burst of sun after a lightning storm. His doctrine is that of the gardener who gives water, rich earth and light to his plants, and is rewarded by seeing them blossom forth in gayly variegated profusion.

Pedro Henríquez Ureña reveals the brilliance and rhythm of his very soul, which makes him a favorite in all Spanish America, although he remains faithful to his diminutive, beloved Santo Domingo alone. He gathered about him a group of disciples and friends in Mexico, and, as was natural, his strong, positive character made some enemies as well.

Julio Torri is a profound humorist and somewhat eccentric.

Enrique González Martínez is a philosopher who is also master of the art of making the idea accord with music and meter; a true poet. His intuition attains depths in which he barcs the secret hearts of men. Haughty and graceful, like the art of the Aztec goldsmiths, Moorish and also Tenoch-that is the poetry of Rafael López. Roberto Argüelles Bringas hypnotizes us with his powerful visions. Eduardo Colín, austere and noble, seeks exhuberance without trespassing proportion. Joaquin Méndez Rivas, now in New York, attempts meter in which to express his high inspirations; Méndez Bolio cultivates an eloquent though rather fanciful muse. Rafael Cabrera is sentimental. There are many other writers of verse whose qualities are not well defined.

Next and very close to the poets comes Alfonso Cravioto, an exquisite prose sculptor. Jesús Acevedo, the architect, has more

talent than can be well displayed in books, but, thanks to idleness and homesickness he is now in a retreat in Madrid writing what will some day startle the world.

Martín Luis Guzmán is a clear vigorous writer who soon will stand out with unmistakable distinctness on the literary horizon. He divides his attention between politics and criticisms of painters. One of the latter, his friend and our compatriot, Diego Rivera, known also in Europe, has left the classic style of which he was master for the modern love and intimate admiration of form and volume. Another painter, Roberto Montenegro, depicts the allurement of feminine lasciviousness in the midst of mysterious shadows which subdue the sensuality. Ramos Martínez paints dainty, profound women of the Creole type, and in the valley of Mexico and in Jalisco a dozen inspired interpreters of the incomparable landscape, which is one of the greatest gifts of Mexico, tranquilly translate to canvas the subtle grandeur of the tableland.

The musical compositions which Manuel Ponce produces tend to form a Mexican school with themes taken from the folk songs of various sections of the country. Señor Ponce composes dances, rhapsodies, and even symphonies, his intense, accurate work constituting one of the most genuine expressions of Mexican character which, natively reserved and almost taciturn, seeks unreserved expression in music.

One other musician, Julián Carillo, educated, like Ponce, in Germany, and also ostracized from Mexico for political reasons, is preparing to continue the educative work of the master Meneses, who has made us in Mexico City familiar with the classic symphony and the development of modern music.

Among the younger novelists Carlos González Peña stands alone, and among various story writers Isidro Fabela, narrator of pastoral customs and loves, is notable.

Manuel de la Parra, a poet incoherent at times and always sublime, modest, retiring, aloof from pettiness; Mariano Silva and Aceves, the Latinist, whose ideals of culture and perfection are so lofty that he hardly dares write, and who, like Federico Mariscal, is devoted to the colonial architectural accomplishments, which he catalogues and treats in admirable books, are worthy of detailed study. Many other notable writers I am obliged to omit in this limited sketch.

123428-19-Bull. 1

YESTERDAY AND TO-DAY'

T

HE constant evolution of progress has brought simultaneously the perfecting of the automobile and the displacement of the horse. Nowadays all large cities are invaded by the new method of locomotion, which is an essential in passing over great distances with the rapidity necessitated by modern business and society. In these times even the most conservative turn traitor to traditions and change opinions radically, as they allow themselves to be carried along in the tide of evolution. It is to be believed and devoutly hoped that we shall not again see traffic conducted by means of a filthy pack of worn animals, weighted down under their loads. The long, narrow cart drawn by dusty mules will never be revived. The horse competed successfully with it and was itself superseded by mechanical power. Modern paving will bury the litter accumulated during long years. Carriages and their accessories and all the gay trappings of the past will be relegated to historical museums alongside other musty relics..

The modern machine, ideal for long-distance transportation, has gained remarkable prestige in Chile. In order to appreciate its growing popularity it is well to remember that all automobiles in use in the country are of foreign manufacture, and as long as we may not boast of first-class automobile highways connecting towns in the interior, shorten the distances between cities, and facilitate commercial and social communication, we need not at this time agitate the installation of factories for automobiles for domestic use, because such plants would experience serious difficulties in obtaining necessary materials.

The foregoing statement or objection to domestic manufacture may be considered by some readers unsupported by facts, but I believe that all such undertakings will be possible for us within a short time, when the European war oppresses the capitalists of that continent, inducing them to seek more profitable and advantageous investments in foreign parts.

The automobile in Chile has already made considerable progress. The noticeable increase in the number of machines imported took place in 1915 and 1916, during which years European cars disappeared almost entirely from the market, North American makes being shipped in instead in great quantities. Undoubtedly the determin

1 From "Auto y Aero" of Santiago de Chile.

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