The Voice of the Machines Part 3

The main fact about the modern man as regards poetry is, that he prefers poetry that has this reserved turbine-wheel trait in it. It is because most of the poetry the modern man gets a chance to see to-day is merely going over the Falls that poetry is not supposed to appeal to the modern man. He supposes so himself. He supposes that a dynamo (forty street-cars on forty streets, flying through the dark) is not poetic, but its whir holds him, sense and spirit, spellbound, more than any poetry that is being written. The things that are hidden--the things that are spiritual and wondering--are the ones that appeal to him. The idle, foolish look of a magnet fascinates him. He gropes in his own body silently, harmlessly with the X-ray, and watches with awe the beating of his heart. He glories in inner essences, both in his life and in his art. He is the disciple of the X-ray, the defier of appearances. Why should a man who has seen the inside of matter care about appearances, either in little things or great? Or why argue about the man, or argue about the man's G.o.d, or quibble with words?

Perhaps he is matter. Perhaps he is spirit. If he is spirit, he is matter-loving spirit, and if he is matter, he is spirit-loving matter.

Every time he touches a spiritual thing, he makes it (as G.o.d makes mountains out of sunlight) a material thing. Every time he touches a material thing, in proportion as he touches it mightily he brings out inner light in it. He spiritualizes it. He abandons the glistening bra.s.s knocker--pleasing symbol to the outer sense--for a tiny k.n.o.b on his porch door and a far-away tinkle in his kitchen. The bra.s.s knocker does not appeal to the spirit enough for the modern man, nor to the imagination. He wants an inner world to draw on to ring a door-bell with. He loves to wake the unseen. He will not even ring a door-bell if he can help it. He likes it better, by touching a b.u.t.ton, to have a door-bell rung for him by a couple of metals down in his cellar chewing each other. He likes to reach down twelve flights of stairs with a thrill on a wire and open his front door. He may be seen riding in three stories along his streets, but he takes his engines all off the tracks and crowds them into one engine and puts it out of sight.

The more a thing is out of the sight of his eyes the more his soul sees it and glories in it. His fireplace is underground. Hidden water spouts over his head and pours beneath his feet through his house.

Hidden light creeps through the dark in it. The more might, the more subtlety. He hauls the whole human race around the crust of the earth with a vapor made out of a solid. He stops solids--sixty miles an hour--with invisible air. He photographs the tone of his voice on a platinum plate. His voice reaches across death with the platinum plate. He is heard of the unborn. If he speaks in either one of his worlds he takes two worlds to speak with. He will not be shut in with one. If he lives in either he wraps the other about him. He makes men walk on air. He drills out rocks with a cloud and he breaks open mountains with gas. The more perfect he makes his machines the more spiritual they are, the more their power hides itself. The more the machines of the man loom in human life the more they reach down into silence, and into darkness. Their foundations are infinity. The infinity which is the man's infinity is their infinity. The machines grasp all s.p.a.ce for him. They lean out on ether. They are the man's machines. The man has made them and the man wors.h.i.+ps with them. From the first breath of flame, burning out the secret of the Dust to the last shadow of the dust--the breathless, soundless shadow of the dust, which he calls electricity--the man wors.h.i.+ps the invisible, the intangible. Electricity is his prophet. It sums him up. It sums up his modern world and the religion and the arts of his modern world. Out of all the machines that he has made the electric machine is the most modern because it is the most spiritual. The empty and futile look of a trolley wire does not trouble the modern man. It is his instinctive expression of himself. All the habits of electricity are his habits.

Electricity has the modern man's temperament--the pa.s.sion of being invisible and irresistible. The electric machine fills him with brotherhood and delight. It is the first of the machines that he can not help seeing is like himself. It is the symbol of the man's highest self. His own soul beckons to him out of it.

And the more electricity grows the more like the man it grows, the more spirit-like it is. The telegraph wire around the globe is melted into the wireless telegraph. The words of his spirit break away from the dust. They envelop the earth like ether, and Human Speech, at last, unconquerable, immeasurable, subtle as the light of stars,--fights its way to G.o.d.

The man no longer gropes in the dull helpless ground or through the froth of heaven for the spirit. Having drawn to him the X-ray, which makes spirit out of dust, and the wireless telegraph, which makes earth out of air, he delves into the deepest sea as a cloud. He strides heaven. He has touched the hem of the garment at last of ELECTRICITY--the archangel of matter.

IV

ON MAKING PEOPLE PROUD OF THE WORLD

Religion consists in being proud of the Creator. Poetry is largely the same feeling--a kind of personal joy one takes in the way the world is made and is being made every morning. The true lover of nature is touched with a kind of cosmic family pride every time he looks up from his work--sees the night and morning, still and splendid, hanging over him. Probably if there were another universe than this one, to go and visit in, or if there were an extra Creator we could go to--some of us--and boast about the one we have, it would afford infinite relief among many cla.s.ses of people--especially poets.

The most common sign that poetry, real poetry, exists in the modern human heart is the pride that people are taking in the world. The typical modern man, whatever may be said or not said of his religion, of his att.i.tude toward the maker of the world, has regular and almost daily habits of being proud of the world.

In the twentieth century the best way for a man to wors.h.i.+p G.o.d is going to be to realize his own nature, to recognize what he is for, and be a G.o.d, too. We believe to-day that the best recognition of G.o.d consists in recognizing the fact that he is not a mere G.o.d who does divine things himself, but a G.o.d who can make others do them.

Looked at from the point of view of a mere G.o.d who does divine things himself, an earthquake, for instance, may be called a rather feeble affair, a slight jar to a ball going ---- miles an hour--a Creator could do little less, if He gave a bare thought to it--but when I waked a few mornings ago and felt myself swinging in my own house as if it were a hammock, and was told that some men down in Hazardville, Connecticut, had managed to shake the planet like that, with some gunpowder they had made, I felt a new respect for Messrs. ---- and Co.

I was proud of man, my brother. Does he not shake loose the Force of Gravity--make the very hand of G.o.d to tremble? To his thoughts the very hills, with their hearts of stone, make soft responses--when he thinks them.

The Corliss engine of Machinery Hall in '76, under its sky of iron and gla.s.s, is remembered by many people the day they saw it first as one of the great experiences of life. Like some vast, t.i.tanic spirit, soul of a thousand, thousand wheels, it stood to some of us, in its mighty silence there, and wrought miracles. To one twelve-year-old boy, at least, the thought of the hour he spent with that engine first is a thought he sings and prays with to this day. His lips trembled before it. He sought to hide himself in its presence. Why had no one ever taught him anything before? As he looks back through his life there is one experience that stands out by itself in all those boyhood years--the choking in his throat--the strange grip upon him--upon his body and upon his soul--as of some awful unseen Hand reaching down s.p.a.ce to him, drawing him up to Its might. He was like a dazed child being held up before It--held up to an infinite fact, that he might look at it again and again.

The first conception of what the life of man was like, of what it might be like, came to at least one immortal soul not from lips that he loved, or from a face behind a pulpit, or a voice behind a desk, but from a machine. To this day that Corliss engine is the engine of dreams, the appeal to destiny, to the imagination and to the soul. It rebuilds the universe. It is the opportunity of beauty throughout life, the symbol of freedom, the freedom of men, and of the unity of nations, and of the wors.h.i.+p of G.o.d. In silence--like the soft far running of the sky--it wrought upon him there; like some heroic human spirit, its finger on a thousand wheels, through miles of aisles, and crowds of gazers, it wrought. The beat and rhythm of it was as the beat and rhythm of the heart of man mastering matter, of the clay conquering G.o.d.

Like some wonder-crowded chorus its voices surrounded me. It was the first hearing of the psalm of life. The hum and murmur of it was like the spell of ages upon me; and the vision that floated in it--nay, the vision that was builded in it--was the vision of the age to be: the vision of Man, My Brother, after the singsong and dance and drone of his sad four thousand years, lifting himself to the stature of his soul at last, lifting himself with the sun, and with the rain, and with the wind, and the heat and the light, into comrades.h.i.+p with Creation morning, and into something (in our far-off, wistful fas.h.i.+on) of the might and gentleness of G.o.d.

There seem to be two ways to wors.h.i.+p Him. One way is to gaze upon the great Machine that He has made, to watch it running softly above us all, moonlight and starlight, and winter and summer, rain and snowflakes, and growing things. Another way is to wors.h.i.+p Him not only because He has made the vast and still machine of creation, in the beating of whose days and nights we live our lives, but because He has made a Machine that can make machines--because out of the dust of the earth He has made a Machine that shall take more of the dust of the earth, and of the vapor of heaven, crowd it into steel and iron and say, "Go ye now, depths of the earth--heights of heaven--serve ye me.

I, too, am G.o.d. Stones and mists, winds and waters and thunder--the spirit that is in thee is my spirit. I also--even I also--am G.o.d!"

V

A MODEST UNIVERSE

I have heard it objected that a machine does not take hold of a man with its great ideas while he stands and watches it. It does not make him feel its great ideas. And therefore it is denied that it is poetic.

The impressiveness of the bare spiritual facts of machinery is not denied. What seems to be lacking in the machines from the artistic point of view at present is a mere knack of making the faces plain and literal-looking. Gra.s.shoppers would be more appreciated by more people if they were made with microscopes on,--either the gra.s.shoppers or the people.

If the mere machinery of a gra.s.shopper's hop could be made plain and large enough, there is not a man living who would not be impressed by it. If gra.s.shoppers were made (as they might quite as easily have been) 640 feet high, the huge beams of their legs above their bodies towering like cranes against the horizon, the sublimity of a gra.s.shopper's machinery--the huge levers of it, his hops across valleys from mountain to mountain, shadowing fields and villages--would have been one of the impressive features of human life. Everybody would be willing to admit of the mere machinery of a gra.s.shopper, (if there were several acres of it) that there was creative sublimity in it. They would admit that the bare idea of having such a stately piece of machinery in a world at all, slipping softly around on it, was an idea with creative sublimity in it; and yet these same people because the sublimity, instead of being spread over several acres, is crowded into an inch and a quarter, are not impressed by it.

But it is objected, it is not merely a matter of spiritual size. There is something more than plainness lacking in the symbolism of machinery. "The symbolism of machinery is lacking in fitness. It is not poetic." "A thing can only be said to be poetic in proportion as its form expresses its nature." Mechanical inventions may stand for impressive facts, but such inventions, no matter how impressive the facts may be, cannot be called poetic unless their form expresses those facts. A horse plunging and champing his bits on the eve of battle, for instance, is impressive to a man, and a pill-box full of dynamite, with a spark creeping toward it, is not.

That depends partly on the man and partly on the spark. A man may not be impressed by a pill-box full of dynamite and a spark creeping toward it, the first time he sees it, but the second time he sees it, if he has time, he is impressed enough. He does not stand and criticise the lack of expression in pill-boxes, nor wait to remember the day when he all but lost his life because

A pill-box by the river's brim A simple pill-box was to him And nothing more.

Wordsworth in these memorable lines has summed up and brought to an issue the whole matter of poetry in machinery. Everything has its language, and the power of feeling what a thing means, by the way it looks, is a matter of experience--of learning the language. The language is there. The fact that the language of the machine is a new language, and a strangely subtle one, does not prove that it is not a language, that its symbolism is not good, and that there is not poetry in machinery.

The inventor need not be troubled because in making his machine it does not seem to express. It is written that neither you nor I, comrade nor G.o.d, nor any man, nor any man's machine, nor G.o.d's machine, in this world shall express or be expressed. If it is the meaning of life to us to be expressed in it, to be all-expressed, we are indeed sorry, dumb, plaintive creatures dotting a star awhile, creeping about on it, warmed by a heater ninety-five million miles away. The machine of the universe itself, does not express its Inventor. It does not even express the men who are under it. The ninety-five millionth mile waits on us silently, at the doorways of our souls night and day, and we wait on IT. Is it not THERE? Is it not HERE--this ninety-five millionth mile? It is ours. It runs in our veins. Why should Man--a being who can live forever in a day, who is born of a boundless birth, who takes for his fireside the immeasurable--express or expect to be expressed? What we would like to be--even what we are--who can say? Our music is an apostrophe to dumbness. The Pantomime above us rolls softly, resistlessly on, over the pantomime within us. We and our machines, both, hewing away on the infinite, beckon and are still.

I am not troubled because the machines do not seem to express themselves. I do not know that they can express themselves. I know that when the day is over, and strength is spent, and my soul looks out upon the great plain--upon the soft, night-blooming cities, with their huge machines striving in sleep, might lifts itself out upon me.

I rest.

I know that when I stand before a foundry hammering out the floors of the world, clas.h.i.+ng its awful cymbals against the night, I lift my soul to it, and in some way--I know not how--while it sings to me I grow strong and glad.

PART THREE

THE MACHINES AS POETS

I

PLATO AND THE GENERAL ELECTRIC WORKS

I have an old friend who lives just around the corner from one of the main lines of travel in New England, and whenever I am pa.s.sing near by and the railroads let me, I drop in on him awhile and quarrel about art. It's a good old-fas.h.i.+oned comfortable, disorderly conversation we have generally, the kind people used to have more than they do now--sketchy and not too wise--the kind that makes one think of things one wishes one had said, afterward.

We always drift a little at first, as if of course we could talk about other things if we wanted to, but we both know, and know every time, that in a few minutes we shall be deep in a discussion of the Things That Are Beautiful and the Things That Are Not.

Brim thinks that I have picked out more things to be beautiful than I have a right to, or than any man has, and he is trying to put a stop to it. He thinks that there are enough beautiful things in this world that have been beautiful a long while, without having people--well, people like me, for instance, poking blindly around among all these modern brand-new things hoping that in spite of appearances there is something one can do with them that will make them beautiful enough to go with the rest. I'm afraid Brim gets a little personal in talking with me at times and I might as well say that, while disagreeing in a conversation with Brim does not lead to calling names it does seem to lead logically to one's going away, and trying to find afterwards, some thing that is the matter with him.

"The trouble with you, my dear Brim, is," I say (on paper, afterwards, as the train speeds away), "that you have a false-cla.s.sic or Stucco-Greek mind. The Greeks, the real Greeks, would have liked all these things--trolley cars, cables, locomotives,--seen the beautiful in them, if they had to do their living with them every day, the way we do. You would say you were more Greek than I am, but when one thinks of it, you are just going around liking the things the Greeks liked 3000 years ago, and I am around liking the things a Greek would like now, that is, as well as I can. I don't flatter myself I begin to enjoy the wireless telegraph to-day the way Plato would if he had the chance, and Alcibiades in an automobile would get a great deal more out of it, I suspect, than anyone I have seen in one, so far; and I suspect that if Socrates could take Bliss Carman and, say, William Watson around with him on a tour of the General Electric Works in Schenectady they wouldn't either of them write sonnets about anything else for the rest of their natural lives."

I can only speak for one and I do not begin to see the poetry in the machines that a Greek would see, as yet.

But I have seen enough.

I have seen engineers go by, pounding on this planet, making it small enough, welding the nations together before my eyes.

I have seen inventors, still men by lamps at midnight with a whirl of visions, with a whirl of thoughts, putting in new drivewheels on the world.

I have seen (in Schenectady,) all those men--the five thousand of them--the grime on their faces and the great caldrons of melted railroad swinging above their heads. I have stood and watched them there with lightning and with flame hammering out the wills of cities, putting in the underpinnings of nations, and it seemed to me me that Bliss Carman and William Watson would not be ashamed of them ...

brother-artists every one ... in the glory ... in the dark ...