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Show Published Every Saturday. BY GOODWIN8 WEEKLY PUBLISHING CO., INC. L. J. BRATAGER, Business Mgr. F. P. GALLAGHER, Editor and Mgr. SUBSCRIPTION PRICE: in United 8tates, Canada and Mexico $2.00 per year, the Including postage $1.25 for six months. Subscriptions to all foreign countries, within the Postal Union, $3.50 per year. ' 8ingle copies, 5 cents. Payment should be made by Check, Money Order or Registered Letter, pay able to The Citizen. Address all communications to The Citizen. Entered as second-clas- s matter, June 21, 1919, at the Postoffice at Salt Lake March 3, 1879. Act of City, Utah, under the Ness Bldg. Phone Wasatch 5409. 8alt Lake City, Utah. 311-12-- 13 WATCH SENOR IBANEZ E VANGEL OF CHA OS familiar with the writings of Vicente Blasco Ibanez, of The Four Horsemen of the Apocalypse, a work that took this country by storm, will await with interest his commentaries on art, government, politics and especially the social revolution. Although few traces of his radical views are to be found in his realistic novel of the war Senor Ibanez has been famed in his own country as one of the most brilliant, if not the most profound, of the philosophic radicals-o-ne is almost tempted to say philosophic anarchists. One imagines that he must have been a devoted intellectual comrade of Professor Ferrer who was placed against a blank wall and shot to death a few years ago as an enemy of the monarchy of Spain. Few in our own country but sympathized vaguely with Professor Ferrer. Unacquainted with European forms of revolution most of us fancied that Ferrer was a sort of Tom Paine among the revolution-- " ists of Spain. Not many of us were quite conscious of the extremes to which radicalism had gone in Europe among the intellectuals until Bolshevism burst like a million bombs in Russia and set up its demoni-- . acal rule amid a welter of blood and a chaos of shattered institutions. In his earlier novels Ibanez exploited those views which have becdme the subject of daily conversation among us when we discuss Bolshevism. His inspired characters speak to us out of his pages the language of hell with the tongues of angels. Perhaps Senor Ibanez is, or was, a superior parlor Bolshevist, for, so far as we are aware, no one has recorded his active participation in any of those uprisings or revolutionary outbursts which the lives of their leaders. We would not do him an injustice by supposing that he was unwilling to share the martyrdom of those mad zealots who invited death if they could but rid the earth of a ruler. And yet the fragmentary biographical sketches of his life do not picture him as leading mobs against the barricades or even consorting with conspirators in dimly-lighte- d quarters at ghostly mid- THOSE . ... cob-webb- ed . en-dange- red night. Perhaps Senor Ibanez did not realize, and now regrets, that in his earlier days as a master artist, he was luring men into the paths of free love and anarchy. Perchance, basking in the artistic environments of Madrid and Paris, he fancied himself simply the realistic xponent of revolution, one who set art above propaganda and had no intention of inciting mobs or spurring on to attempt the lives of rulers. Yet who shall say that his sympathetic n portrayals of revolutionists and his expression of their destructive ideals, were not the potent instrumentalities of that glass war which he now seems, however mildly, to deplore. bomb-throwe- rs high-flow- T Interviewed in New York, he told the reporters that a social war in Europe, more terrible than the world war, seemed to impend more terrible, he said, because instead of being fought with scientific instruments of defense and attack it would occur between class and class in city, town and country. It is because Ibanez has made himself an evangel not only of art but of radical ideals that his utterances 'will be listened to with interest. Nor shall we, apparently, wait long to discover his opinions, for he is to lecture at one of our leading universities. If he confines himself to art he will practice that species of practical wisdom which has been keenly cultivated in the United States and which we sometimes allude to as Safety First. But if he tells us his real views mayhap he will suddenly stand before us as a flaming herald of the class war. At all events it will be well for us to watch Senor Ibanez. He may do much good or much harm. In Europe he has done both. As an author he has attained a much higher goal than Zola and stands beside Flaubert in the enchanting clarity of his artistic expression. As a revolutionist he is responsible, no doubt, for some of the madness which now afflicts Europe and which he tells us may develop into a conflict which will throw even the world war into the background as a tragedy of frightfulness. Senor Ibanez said sonic things in his interview which lead us to believe that he no longer looks upon the class war with serene artistic detachment. The United States, he said, has a perfect government within the limit of human perfection. It is the most perfect government that exists. It is progressive and it cures its own defects. In the old in time world, in the monarchies, the defects become institutions and it becomes necessary to overthrow them. hen he Thus does the great man cajole us with subtle flattery. our hand, clutchpraises our government as the most perfect on earth sides. But perha j ing the shafts of criticism, falls nerveless to our -we are capitulating too easily before the charms of Latin court sy. he sti Let us keep watch together on Senor Ibanez and see whether is a champion of those ugly and frightful things which leered tliroug all the beauties of his earlier work. Perhaps lie may be as dangerous without to us as the dust of lotus flowers, as dangerous as lie was, quite realizing it, to Europe. monIf it tvere simply a question of ridding the earth of the effete maledictions upon Senor archy of Spain none of us would call down has lifte Ibanez. But he himself has made the issue broader. He of marriage his literary weapons against religion and the institutions |