need, her unhesitating reply was, "No, I say. I take nothing from strangers."
Far better is the case of the workingman attracted by the socialist ideal. The Nihilism of Socialism has no deterrent terrors for him, for, as Karl Marx said long ago, "he has nothing to lose but his chains, and a whole world to gain." He has long since lost all interest in religion; the factory by enlisting his wife and children as workers has already destroyed his home; and to him the State means nothing but the club of the policeman, the injunction of the judge, and the rifle of the militiaman.
But for the man of the "educated and professional classes" leaving the doll's house is indeed a difficult task. For its performance three things are requisite: a free and open mind, courage, and a vivid imagination. The Russian genius, Peshkoff (Maxim Gorky), did it, and did it with relative ease because he was a workingman before he became an educated man. For the same reason, though in a less degree, Jack London has also done it successfully, though here and there he still lapses into the doll's mode of thought. The sex-interest in the latter part of "The Sea Wolf" is obviously treated from the dolls' point of view; but it
