If there is one sign rather than another of religious possibility and spiritual worth in the men who do the world"s work with machines to-day, it is that these men are never persuaded to attend a church that despises that work.
Symposiums on how to reach the ma.s.ses are pitiless irony. There is no need for symposiums. It is an open secret. It cries upon the house-tops. It calls above the world in the Sabbath bells. A church that believes less than the world believes shall lose its leadership in the world. "Why should I pay pew rent," says the man who sings with his hands, "to men who do not believe in me, to worship, with men who do not believe in me, a G.o.d that does not believe in me?" If heaven itself (represented as a rich and idle place,--seats free in the evening) were opened to the true laboring man on the condition that he should despise his hands by holding palms in them, he would find some excuse for staying away. He feels in no wise different with regard to his present life. "Unless your G.o.d," says the man who sings with his hands, to those who pity him and do him good,--"unless your G.o.d is a G.o.d I can worship in a factory, He is not a G.o.d I care to worship in a church."
Behold it is written: The church that does not delight in these men and in what these men are for, as much as the street delights in them, shall give way to the street. The street is more beautiful. If the street is not let into the church, it shall sweep over the church and sweep around it, shall pile the floors of its strength upon it, above it. From the roofs of labor--radiant and beautiful labor--shall men look down upon its towers. Only a church that believes more than the world believes shall lead the world. It always leads the world. It cannot help leading it. The religion that lives in a machine age, and that cannot see and feel, and make others see and feel, the meaning of that machine age, is a religion which is not worthy of us. It is not worthy of our machines. One of the machines we have made could make a better religion than this. Even now, almost everywhere in almost every town or city where one goes, if one will stop or look up or listen, one hears the chimneys teaching the steeples. It would be blind for more than a few years more to be discouraged about modern religion.
The telephone, the wireless telegraph, the X-rays, and all the other great believers are singing up around it. The very railroads are surrounding it and taking care of it. A few years more and the steeples will stop hesitating and tottering in the sight of all the people. They will no longer stand in fear before what the crowds of chimneys and railways and the miles of smokestacks sweeping past are saying to the people.
They will listen to what the smokestacks are saying to the people.
They will say it better.
In the meantime they are not listening.
Religion and art at the present moment, both blindfolded and both with their ears stopped, are being swept to the same irrevocable issue. By all poets and prophets the same danger signal shall be seen spreading before them both jogging along their old highways. It is the arm that reaches across the age.
RAILROAD CROSSING LOOK OUT FOR THE ENGINE!
PART II.
THE LANGUAGE OF THE MACHINES
I
AS GOOD AS OURS
One is always hearing it said that if a thing is to be called poetic it must have great ideas in it, and must successfully express them.
The idea that there is poetry in machinery, has to meet the objection that, while a machine may have great ideas in it, "it does not look it." The average machine not only fails to express the idea that it stands for, but it generally expresses something else. The language of the average machine, when one considers what it is for, what it is actually doing, is not merely irrelevant or feeble. It is often absurd. It is a rare machine which, when one looks for poetry in it, does not make itself ridiculous.
The only answer that can be made to this objection is that a steam-engine (when one thinks of it) really expresses itself as well as the rest of us. All language is irrelevant, feeble, and absurd. We live in an organically inexpressible world. The language of everything in it is absurd. Judged merely by its outer signs, the universe over our heads--with its cunning little stars in it--is the height of absurdity, as a self-expression. The sky laughs at us. We know it when we look in a telescope. Time and s.p.a.ce are G.o.d"s jokes. Looked at strictly in its outer language, the whole visible world is a joke. To suppose that G.o.d has ever expressed Himself to us in it, or to suppose that He could express Himself in it, or that any one can express anything in it, is not to see the point of the joke.
We cannot even express ourselves to one another. The language of everything we use or touch is absurd. Nearly all of the tools we do our living with--even the things that human beings amuse themselves with--are inexpressive and foolish-looking. Golf and tennis and football have all been accused in turn, by people who do not know them from the inside, of being meaningless. A golf-stick does not convey anything to the uninitiated, but the bare sight of a golf-stick lying on a seat is a feeling to the one to whom it belongs, a play of sense and spirit to him, a subtle thrill in his arms. The same is true of a new fiery-red baby, which, considering the fuss that is made about it, to a comparative outsider like a small boy, has always been from the beginning of the world a ridiculous and inadequate object. A man could not possibly conceive, even if he gave all his time to it, of a more futile, reckless, hapless expression of or pointer to an immortal soul than a week-old baby wailing at time and s.p.a.ce. The idea of a baby may be all right, but in its outer form, at first, at least, a baby is a failure, and always has been. The same is true of our other musical instruments. A horn caricatures music. A flute is a man rubbing a black stick with his lips. A trombone player is a monster. We listen solemnly to the violin--the voice of an archangel with a board tucked under his chin--and to Girardi"s "cello--a whole human race laughing and crying and singing to us between a boy"s legs. The eye-language of the violin has to be interpreted, and only people who are cultivated enough to suppress whole parts of themselves (rather useful and important parts elsewhere) can enjoy a great opera--a huge conspiracy of symbolism, every visible thing in it standing for something that can not be seen, beckoning at something that cannot be heard. Nothing could possibly be more grotesque, looked at from the outside or by a tourist from another planet or another religion, than the celebration of the Lord"s Supper in a Protestant church. All things have their outer senses, and these outer senses have to be learned one at a time by being flashed through with inner ones. Except to people who have tried it, nothing could be more grotesque than kissing, as a form of human expression. A reception--a roomful of people shouting at each other three inches away--is comical enough. So is handshaking. Looked at from the outside, what could be more unimpressive than the spectacle of the greatest dignitary of the United States put in a vise in his own house for three hours, having his hand squeezed by long rows of people? And, taken as a whole, scurrying about in its din, what could possibly be more grotesque than a great city--a city looked at from almost any adequate, respectable place for an immortal soul to look from--a star, for instance, or a beautiful life?
Whether he is looked at by ants or by angels, every outer token that pertains to man is absurd and unfinished until some inner thing is put with it. Man himself is futile and comic-looking (to the other animals), rushing empty about s.p.a.ce. New York is a spectacle for a squirrel to laugh at, and, from the point of view of a mouse, a man is a mere, stupid, sitting-down, skull-living, desk-infesting animal.
All these things being true of expression--both the expression of men and of G.o.d--the fact that machines which have poetry in them do not express it very well does not trouble me much. I do not forget the look of the first ocean-engine I ever saw--four or five stories of it; nor do I forget the look of the ocean-engine"s engineer as in its mighty heart-beat he stood with his strange, happy, helpless "Twelve thousand horse-power, sir!" upon his lips.
That first night with my first engineer still follows me. The time seems always coming back to me again when he brought me up from his whirl of wheels in the hold to the deck of stars, and left me--my new wonder all stumbling through me--alone with them and with my thoughts.
The engines breathe.
No sound but cinders on the sails And the ghostly heave, The voice the wind makes in the mast-- And dainty gales And fluffs of mist and smoking stars Floating past-- From night-lit funnels.
In the wild of the heart of G.o.d I stand.
Time and s.p.a.ce Wheel past my face.
Forever. Everywhere.
I alone.
Beyond the Here and There Now and Then Of men, Winds from the unknown Round me blow Blow to the unknown again.
Out in its solitude I hear the prow Beyond the silence-crowded decks Laughing and shouting At Night, Lashing the heads and necks Of the lifted seas, That in their flight Urge onward And rise and sweep and leap and sink To the very brink Of Heaven.
Timber and steel and smoke And Sleep Thousand-souled A quiver, A deadened thunder, A vague and countless creep Through the hold, The weird and dusky chariot lunges on Through Fate.
From the lookout watch of my soul"s eyes Above the houses of the deep Their shadowy haunches fall and rise --O"er the glimmer-gabled roofs The flying of their hoofs, Through the wonder and the dark Where skies and waters meet The shimmer of manes and knees Dust of seas...
The sound of breathing, urge, confusion And the beat, the starlight beat Soft and far and stealthy-fleet Of the dim unnumbered trampling of their feet.
II
ON BEING BUSY AND STILL
One of the hardest things about being an inventor is that the machines (excepting the poorer ones) never show off. The first time that the phonograph (whose talking had been rumored of many months) was allowed to talk in public, it talked to an audience in Metuchen, New Jersey, and, much to Mr. Edison"s dismay, everybody laughed. Instead of being impressed with the real idea of the phonograph--being impressed because it could talk at all--people were impressed because it talked through its nose.
The more modern a machine is, when a man stands before it and seeks to know it,--the more it expects of the man, the more it appeals to his imagination and his soul,--the less it is willing to appeal to the outside of him. If he will not look with his whole being at a twin-screw steamer, he will not see it. Its poetry is under water.
This is one of the chief characteristics of the modern world, that its poetry is under water. The old sidewheel steamer floundering around in the big seas, pounding the air and water both with her huge, showy paddles, is not so poetic-looking as the sailboat, and the poetry in the sailboat is not so obvious, so plainly on top, as in a gondola.
People who do not admit poetry in machinery in general admit that there is poetry in a Dutch windmill, because the poetry is in sight. A Dutch windmill flourishes. The American windmill, being improved so much that it does not flourish, is supposed not to have poetry in it at all. The same general principle holds good with every machine that has been invented. The more the poet--that is, the inventor--works on it, the less the poetry in it shows. Progress in a modern machine, if one watches it in its various stages, always consists in making a machine stop posing and get down to work. The earlier locomotive, puffing helplessly along with a few cars on its crooked rails, was much more fire-breathing, dragon-like and picturesque than the present one, and the locomotive that came next, while very different, was more impressive than the present one. Every one remembers it,--the important-looking, bell-headed, woodpile-eating locomotive of thirty years ago, with its noisy steam-blowing habits and its ceaseless water-drinking habits, with its grim, spreading cowcatcher and its huge plug-hat--who does not remember it--fussing up and down stations, ringing its bell forever and whistling at everything in sight? It was impossible to travel on a train at all thirty years ago without always thinking of the locomotive. It shoved itself at people. It was always doing things--now at one end of the train and now at the other, ringing its bell down the track, blowing in at the windows, it fumed and spread enough in hauling three cars from Boston to Concord to get to Chicago and back. It was the poetic, old-fashioned way that engines were made. One takes a train from New York to San Francisco now, and scarcely knows there is an engine on it. All he knows is that he is going, and sometimes the going is so good he hardly knows that.
The modern engines, the short-necked, pin-headed, large-limbed, silent ones, plunging with smooth and splendid leaps down their aisles of s.p.a.ce--engines without any faces, blind, grim, conquering, lifting the world--are more poetic to some of us than the old engines were, for the very reason that they are not so poetic-looking. They are less showy, more furtive, suggestive, modern and perfect.
In proportion as a machine is modern it hides its face. It refuses to look as poetic as it is; and if it makes a sound, it is almost always a sound that is too small for it, or one that belongs to some one else. The trolley-wire, lifting a whole city home to supper, is a giant with a falsetto voice. The large-sounding, the poetic-sounding, is not characteristic of the modern spirit. In so far as it exists at all in the modern age, either in its machinery or its poetry, it exists because it is accidental or left over. There was a deep ba.s.s steamer on the Mississippi once, with a very small head of steam, which any one would have admitted had poetry in it--old-fashioned poetry. Every time it whistled it stopped.
III
ON NOT SHOWING OFF
It is not true to say that the modern man does not care for poetry. He does not care for poetry that bears on--or for eloquent poetry. He cares for poetry in a new sense. In the old sense he does not care for eloquence in anything. The lawyer on the floor of Congress who seeks to win votes by a show of eloquence is turned down. Votes are facts, and if the votes are to be won, facts must be arranged to do it. The doctor who stands best with the typical modern patient is not the most agreeable, sociable, jogging-about man a town contains, like the doctor of the days gone by. He talks less. He even prescribes less, and the reason that it is hard to be a modern minister (already cut down from two hours and a half to twenty or thirty minutes) is that one has to practise more than one can preach.
To be modern is to be suggestive and symbolic, to stand for more than one says or looks--the little girl with her loom clothing twelve hundred people. People like it. They are used to it. All life around them is filled with it. The old-fashioned prayer-meeting is dying out in the modern church because it is a mere specialty in modern life.
The prayer-meeting recognizes but one way of praying, and people who have a gift for praying that way go, but the majority of people--people who have discovered that there are a thousand other ways of praying, and who like them better--stay away.
When the telegraph machine was first thought of, the words all showed on the outside. When it was improved it became inner and subtle. The messages were read by sound. Everything we have which improves at all improves in the same way. The exterior conception of righteousness of a hundred years ago--namely, that a man must do right because it is his duty--is displaced by the modern one, the morally thorough one--namely, that a man must do right because he likes it--do it from the inside. The more improved righteousness is, the less it shows on the outside. The more modern righteousness is, the more it looks like selfishness, the better the modern world likes it, and the more it counts.
On the whole, it is against a thing rather than in its favor, in the twentieth century, that it looks large. Time was when if it had not been known as a matter of fact that Galileo discovered heaven with a gla.s.s three feet long, men would have said that it would hardly do to discover heaven with anything less than six hundred feet long. To the ancients, Galileo"s instrument, even if it had been practical, would not have been poetic or fitting. To the moderns, however, the fact that Galileo"s star-tool was three feet long, that he carried a new heaven about with him in his hands, was half the poetry and wonder of it. Yet it was not so poetic-looking as the six-hundred-foot telescope invented later, which never worked.
Nothing could be more impressive than the original substantial R---- typewriter. One felt, every time he touched a letter, as if he must have said a sentence. It was like saying things with pile-drivers. The machine obtruded itself at every point. It flourished its means and ends. It was a gesticulating machine. One commenced every new line with his foot.
The same general principle may be seen running alike through machinery and through life. The history of man is traced in water-wheels. The overshot wheel belonged to a period when everything else--religion, literature, and art--was overshot. When, as time pa.s.sed on, common men began to think, began to think under a little, the Reformation came in--and the undershot wheel, as a matter of course. There is no denying that the overshot wheel is more poetic-looking--it does its work with twelve quarts of water at a time and shows every quart--but it soon develops into the undershot wheel, which shows only the drippings of the water, and the undershot wheel develops into the turbine wheel, which keeps everything out of sight--except its work.
The water in the six turbine wheels at Niagara has sixty thousand horses in it, but it is not nearly as impressive and poetic-looking as six turbine wheels" worth of water would be--wasted and going over the Falls.