Chapter 7

Now it is only in the last three hundred years that any human being seems to have anticipated this. It stimulates the imagination to remark how entirely it was overlooked as a modifying cause in human development. [Footnote: It is interesting to note how little even Bacon seems to see of this, in his New Atlantis.] Plato clearly had no ideas about machines at all as a force affecting social organisation. There was nothing in his world to suggest them to him. I suppose there arose no invention, no new mechanical appliance or method of the slightest social importance through all his length of years. He never thought of a State that did not rely for its force upon human muscle, just as he never thought of a State that was not primarily organised for warfare hand to hand. Political and moral inventions he saw enough of and to spare, and in that direction he still stimulates the imagination. But in regard to all material possibilities he deadens rather than stimulates. [Footnote: The lost Utopia of Hippodamus provided rewards for inventors, but unless Aristotle misunderstood him, and it is certainly the fate of all Utopias to be more or less misread, the inventions contemplated were political devices.] An infinitude of nonsense about the Greek mind would never have been written if the distinctive intellectual and artistic quality of Plato's time, its extraordinarily clear definition of certain material conditions as absolutely permanent, coupled with its politico-social instability, had been borne in mind. The food of the Greek imagination was the very antithesis of our own nourishment. We are educated by our circumstances to think no revolution in appliances and economic organisation incredible, our minds play freely about possibilities that would have struck the men of the Academy as outrageous extravagance, and it is in regard to politico-social expedients that our imaginations fail. Sparta, for all the evidence of history, is scarcely more credible to us than a motor-car throbbing in the agora would have been to Socrates.

By sheer inadvertence, therefore, Plato commenced the tradition of Utopias without machinery, a tradition we find Morris still loyally following, except for certain mechanical barges and such-like toys, in his News from Nowhere. There are some foreshadowings of mechanical possibilities in the New Atlantis, but it is only in the nineteenth century that Utopias appeared in which the fact is clearly recognised that the social fabric rests no longer upon human labour. It was, I believe, Cabet [Footnote: Cabet, Voyage en Icarie, 1848.] who first in a Utopian work insisted upon the escape of man from irksome labours through the use of machinery. He is the great primitive of modern Utopias, and Bellamy is his American equivalent. Hitherto, either slave labour (Phaleas), [Footnote: Aristotle's Politics, Bk. II., Ch. VIII.] or at least class distinctions involving unavoidable labour in the lower class, have been assumed--as Plato does, and as Bacon in the New Atlantis probably intended to do (More gave his Utopians bondsmen sans phrase for their most disagreeable toil); or there is--as in Morris and the outright Return-to-Nature Utopians--a bold make-believe that all toil may be made a joy, and with that a levelling down of all society to an equal participation in labour. But indeed this is against all the observed behaviour of mankind. It needed the Olympian unworldliness of an irresponsible rich man of the shareholding type, a Ruskin or a Morris playing at life, to imagine as much. Road-making under Mr. Ruskin's auspices was a joy at Oxford no doubt, and a distinction, and it still remains a distinction; it proved the least contagious of practices. And Hawthorne did not find bodily toil anything more than the curse the Bible says it is, at Brook Farm. [Footnote: The Blythedale Experiment, and see also his Notebook.]

If toil is a blessing, never was blessing so effectually disguised, and the very people who tell us that, hesitate to suggest more than a beautiful ease in the endless day of Heaven. A certain amount of bodily or mental exercise, a considerable amount of doing things under the direction of one's free imagination is quite another matter. Artistic production, for example, when it is at its best, when a man is freely obeying himself, and not troubling to please others, is really not toil at all. It is quite a different thing digging potatoes, as boys say, "for a lark," and digging them because otherwise you will starve, digging them day after day as a dull, unavoidable imperative. The essence of toil is that imperative, and the fact that the attention _must_ cramp itself to the work in hand--that it excludes freedom, and not that it involves fatigue. So long as anything but a quasi-savage life depended upon toil, so long was it hopeless to expect mankind to do anything but struggle to confer just as much of this blessing as possible upon one another. But now that the new conditions physical science is bringing about, not only dispense with man as a source of energy but supply the hope that all routine work may be made automatic, it is becoming conceivable that presently there may be no need for anyone to toil habitually at all; that a labouring class--that is to say, a class of workers without personal initiative--will become unnecessary to the world of men.

The plain message physical science has for the world at large is this, that were our political and social and moral devices only as well contrived to their ends as a linotype machine, an antiseptic operating plant, or an electric tram-car, there need now at the present moment be no appreciable toil in the world, and only the smallest fraction of the pain, the fear, and the anxiety that now makes human life so doubtful in its value. There is more than enough for everyone alive. Science stands, a too competent servant, behind her wrangling underbred masters, holding out resources, devices, and remedies they are too stupid to use. [Footnote: See that most suggestive little book, Twentieth Century Inventions, by Mr. George Sutherland.] And on its material side a modern Utopia must needs present these gifts as taken, and show a world that is really abolishing the need of labour, abolishing the last base reason for anyone's servitude or inferiority.

Section 7

The effectual abolition of a labouring and servile class will make itself felt in every detail of the inn that will shelter us, of the bedrooms we shall occupy. You conceive my awakening to all these things on the morning after our arrival. I shall lie for a minute or so with my nose peeping over the coverlet, agreeably and gently coming awake, and with some vague nightmare of sitting at a common table with an unavoidable dustman in green and gold called Boffin, [Footnote: Vide William Morris's News from Nowhere.] fading out of my mind. Then I should start up. You figure my apprehensive, startled inspection of my chamber. "Where am I?" that classic phrase, recurs. Then I perceive quite clearly that I am in bed in Utopia.

Utopia! The word is enough to bring anyone out of bed, to the nearest window, but thence I see no more than the great mountain mass behind the inn, a very terrestrial looking mountain mass. I return to the contrivances about me, and make my examination as I dress, pausing garment in hand to hover over first this thing of interest and then that.

The room is, of course, very clear and clean and simple; not by any means cheaply equipped, but designed to economise the labour of redding and repair just as much as is possible. It is beautifully proportioned, and rather lower than most rooms I know on earth. There is no fireplace, and I am perplexed by that until I find a thermometer beside six switches on the wall. Above this switch-board is a brief instruction: one switch warms the floor, which is not carpeted, but covered by a substance like soft oilcloth; one warms the mattress (which is of metal with resistance coils threaded to and fro in it); and the others warm the wall in various degrees, each directing current through a separate system of resistances. The casement does not open, but above, flush with the ceiling, a noiseless rapid fan pumps air out of the room. The air enters by a Tobin shaft. There is a recess dressing-room, equipped with a bath and all that is necessary to one's toilette, and the water, one remarks, is warmed, if one desires it warm, by passing it through an electrically heated spiral of tubing. A cake of soap drops out of a store machine on the turn of a handle, and when you have done with it, you drop that and your soiled towels and so forth, which also are given you by machines, into a little box, through the bottom of which they drop at once, and sail down a smooth shaft. A little notice tells you the price of your room, and you gather the price is doubled if you do not leave the toilette as you found it. Beside the bed, and to be lit at night by a handy switch over the pillow, is a little clock, its face flush with the wall. The room has no corners to gather dirt, wall meets floor with a gentle curve, and the apartment could be swept out effectually by a few strokes of a mechanical sweeper. The door frames and window frames are of metal, rounded and impervious to draught. You are politely requested to turn a handle at the foot of your bed before leaving the room, and forthwith the frame turns up into a vertical position, and the bedclothes hang airing. You stand at the doorway and realise that there remains not a minute's work for anyone to do. Memories of the foetid disorder of many an earthly bedroom after a night's use float across your mind.

And you must not imagine this dustless, spotless, sweet apartment as anything but beautiful. Its appearance is a little unfamiliar of course, but all the muddle of dust-collecting hangings and witless ornament that cover the earthly bedroom, the valances, the curtains to check the draught from the ill-fitting wood windows, the worthless irrelevant pictures, usually a little askew, the dusty carpets, and all the paraphernalia about the dirty, black-leaded fireplace are gone. But the faintly tinted walls are framed with just one clear coloured line, as finely placed as the member of a Greek capital; the door handles and the lines of the panels of the door, the two chairs, the framework of the bed, the writing table, have all that final simplicity, that exquisite finish of contour that is begotten of sustained artistic effort. The graciously shaped windows each frame a picture--since they are draughtless the window seats are no mere mockeries as are the window seats of earth--and on the sill, the sole thing to need attention in the room, is one little bowl of blue Alpine flowers.

The same exquisite simplicity meets one downstairs.

Our landlord sits down at table with us for a moment, and seeing we do not understand the electrically heated coffee-pot before us, shows us what to do. Coffee and milk we have, in the Continental fashion, and some excellent rolls and butter.

He is a swarthy little man, our landlord, and overnight we saw him preoccupied with other guests. But we have risen either late or early by Utopian standards, we know not which, and this morning he has us to himself. His bearing is kindly and inoffensive, but he cannot conceal the curiosity that possesses him. His eye meets ours with a mute inquiry, and then as we fall to, we catch him scrutinising our cuffs, our garments, our boots, our faces, our table manners. He asks nothing at first, but says a word or so about our night's comfort and the day's weather, phrases that have an air of being customary. Then comes a silence that is interrogative.

"Excellent coffee," I say to fill the gap.

"And excellent rolls," says my botanist.

Our landlord indicates his sense of our approval.

A momentary diversion is caused by the entry of an elfin-tressed little girl, who stares at us half impudently, half shyly, with bright black eyes, hesitates at the botanist's clumsy smile and nod, and then goes and stands by her father and surveys us steadfastly.

"You have come far?" ventures our landlord, patting his daughter's shoulder.

I glance at the botanist. "Yes," I say, "we have."

I expand. "We have come so far that this country of yours seems very strange indeed to us."

"The mountains?"

"Not only the mountains."

"You came up out of the Ticino valley?"

"No--not that way."

"By the Oberalp?"

"No."

"The Furka?"

"No."

"Not up from the lake?"

"No."

He looks puzzled.

"We came," I say, "from another world."

He seems trying to understand. Then a thought strikes him, and he sends away his little girl with a needless message to her mother.

"Ah!" he says. "Another world--eh? Meaning----?"

"Another world--far in the deeps of space."

Then at the expression of his face one realises that a Modern Utopia will probably keep its more intelligent citizens for better work than inn-tending. He is evidently inaccessible to the idea we think of putting before him. He stares at us a moment, and then remarks, "There's the book to sign."

We find ourselves confronted with a book, a little after the fashion of the familiar hotel visitors' book of earth. He places this before us, and beside it puts pen and ink and a slab, upon which ink has been freshly smeared.

"Thumbmarks," says my scientific friend hastily in English.

"You show me how to do it," I say as quickly.

He signs first, and I look over his shoulder.

He is displaying more readiness than I should have expected. The book is ruled in broad transverse lines, and has a space for a name, for a number, and a thumbmark. He puts his thumb upon the slab and makes the thumbmark first with the utmost deliberation. Meanwhile he studies the other two entries. The "numbers" of the previous guests above are complex muddles of letters and figures. He writes his name, then with a calm assurance writes down his number, A.M.a.1607.2.ab+. I am wrung with momentary admiration. I follow his example, and fabricate an equally imposing signature. We think ourselves very clever. The landlord proffers finger bowls for our thumbs, and his eye goes, just a little curiously, to our entries.

I decide it is advisable to pay and go before any conversation about our formulae arises.

As we emerge into the corridor, and the morning sunlight of the Utopian world, I see the landlord bending over the book.

"Come on," I say. "The most tiresome thing in the world is explanations, and I perceive that if we do not get along, they will fall upon us now."

I glance back to discover the landlord and a gracefully robed woman standing outside the pretty simplicity of the Utopian inn, watching us doubtfully as we recede.

"Come on," I insist.

Section 8

We should go towards the Schoellenen gorge, and as we went, our fresh morning senses would gather together a thousand factors for our impression of this more civilised world. A Modern Utopia will have done with yapping about nationality, and so the ugly fortifications, the barracks and military defilements of the earthly vale of Urseren will be wanting. Instead there will be a great multitude of gracious little houses clustering in college-like groups, no doubt about their common kitchens and halls, down and about the valley slopes. And there will be many more trees, and a great variety of trees--all the world will have been ransacked for winter conifers. Despite the height of the valley there will be a double avenue along the road. This high road with its tramway would turn with us to descend the gorge, and we should hesitate upon the adventure of boarding the train. But now we should have the memory of our landlord's curious eye upon us, and we should decide at last to defer the risk of explanations such an enterprise might precipitate.

We should go by the great road for a time, and note something of the difference between Utopian and terrestrial engineering.

The tramway, the train road, the culverts, and bridges, the Urnerloch tunnel, into which the road plunges, will all be beautiful things.

There is nothing in machinery, there is nothing in embankments and railways and iron bridges and engineering devices to oblige them to be ugly. Ugliness is the measure of imperfection; a thing of human making is for the most part ugly in proportion to the poverty of its constructive thought, to the failure of its producer fully to grasp the purpose of its being. Everything to which men continue to give thought and attention, which they make and remake in the same direction, and with a continuing desire to do as well as they can, grows beautiful inevitably. Things made by mankind under modern conditions are ugly, primarily because our social organisation is ugly, because we live in an atmosphere of snatch and uncertainty, and do everything in an underbred strenuous manner. This is the misfortune of machinery, and not its fault. Art, like some beautiful plant, lives on its atmosphere, and when the atmosphere is good, it will grow everywhere, and when it is bad nowhere. If we smashed and buried every machine, every furnace, every factory in the world, and without any further change set ourselves to home industries, hand labour, spade husbandry, sheep-folding and pig minding, we should still do things in the same haste, and achieve nothing but dirtiness, inconvenience, bad air, and another gaunt and gawky reflection of our intellectual and moral disorder. We should mend nothing.

But in Utopia a man who designs a tram road will be a cultivated man, an artist craftsman; he will strive, as a good writer, or a painter strives, to achieve the simplicity of perfection. He will make his girders and rails and parts as gracious as that first engineer, Nature, has made the stems of her plants and the joints and gestures of her animals. To esteem him a sort of anti-artist, to count every man who makes things with his unaided thumbs an artist, and every man who uses machinery as a brute, is merely a passing phase of human stupidity. This tram road beside us will be a triumph of design. The idea will be so unfamiliar to us that for a time it will not occur to us that it is a system of beautiful objects at all. We shall admire its ingenious adaptation to the need of a district that is buried half the year in snow, the hard bed below, curved and guttered to do its own clearing, the great arched sleeper masses, raising the rails a good two yards above the ground, the easy, simple standards and insulators. Then it will creep in upon our minds, "But, by Jove! This is designed!"

Indeed the whole thing will be designed.

Later on, perhaps, we may find students in an art school working in competition to design an electric tram, students who know something of modern metallurgy, and something of electrical engineering, and we shall find people as keenly critical of a signal box or an iron bridge as they are on earth of----! Heavens! what _are_ they critical about on earth?

The quality and condition of a dress tie!

We should make some unpatriotic comparisons with our own planet, no doubt.

CHAPTER THE FOURTH

The Voice of Nature

Section 1

Presently we recognise the fellow of the earthly Devil's Bridge, still intact as a footway, spanning the gorge, and old memories turn us off the road down the steep ruin of an ancient mule track towards it. It is our first reminder that Utopia too must have a history. We cross it and find the Reuss, for all that it has already lit and warmed and ventilated and cleaned several thousands of houses in the dale above, and for all that it drives those easy trams in the gallery overhead, is yet capable of as fine a cascade as ever it flung on earth. So we come to a rocky path, wild as one could wish, and descend, discoursing how good and fair an ordered world may be, but with a certain unformulated qualification in our minds about those thumb marks we have left behind.

"Do you recall the Zermatt valley?" says my friend, "and how on earth it reeks and stinks with smoke?"

"People make that an argument for obstructing change, instead of helping it forward!"

And here perforce an episode intrudes. We are invaded by a talkative person.

He overtakes us and begins talking forthwith in a fluty, but not unamiable, tenor. He is a great talker, this man, and a fairly respectable gesticulator, and to him it is we make our first ineffectual tentatives at explaining who indeed we are; but his flow of talk washes that all away again. He has a face of that rubicund, knobby type I have heard an indignant mineralogist speak of as botryoidal, and about it waves a quantity of disorderly blond hair. He is dressed in leather doublet and knee breeches, and he wears over these a streaming woollen cloak of faded crimson that give him a fine dramatic outline as he comes down towards us over the rocks. His feet, which are large and handsome, but bright pink with the keen morning air, are bare, except for sandals of leather. (It was the only time that we saw anyone in Utopia with bare feet.) He salutes us with a scroll-like waving of his stick, and falls in with our slower paces.

"Climbers, I presume?" he says, "and you scorn these trams of theirs? I like you. So do I! Why a man should consent to be dealt with as a bale of goods holding an indistinctive ticket--when God gave him legs and a face--passes my understanding."

As he speaks, his staff indicates the great mechanical road that runs across the gorge and high overhead through a gallery in the rock, follows it along until it turns the corner, picks it up as a viaduct far below, traces it until it plunges into an arcade through a jutting crag, and there dismisses it with a spiral whirl. "_No_!" he says.

He seems sent by Providence, for just now we had been discussing how we should broach our remarkable situation to these Utopians before our money is spent.

Our eyes meet, and I gather from the botanist that I am to open our case.

I do my best.

"You came from the other side of space!" says the man in the crimson cloak, interrupting me. "Precisely! I like that--it's exactly my note! So do I! And you find this world strange! Exactly my case! We are brothers! We shall be in sympathy. I am amazed, I have been amazed as long as I can remember, and I shall die, most certainly, in a state of incredulous amazement, at this remarkable world. Eh? ... You found yourselves suddenly upon a mountain top! Fortunate men!" He chuckled. "For my part I found myself in the still stranger position of infant to two parents of the most intractable dispositions!"

"The fact remains," I protest.

"A position, I can assure you, demanding Tact of an altogether superhuman quality!"

We desist for a space from the attempt to explain our remarkable selves, and for the rest of the time this picturesque and exceptional Utopian takes the talk entirely under his control....

Section 2

An agreeable person, though a little distracting, he was, and he talked, we recall, of many things. He impressed us, we found afterwards, as a poseur beyond question, a conscious Ishmaelite in the world of wit, and in some subtly inexplicable way as a most consummate ass. He talked first of the excellent and commodious trams that came from over the passes, and ran down the long valley towards middle Switzerland, and of all the growth of pleasant homes and chalets amidst the heights that made the opening gorge so different from its earthly parallel, with a fine disrespect. "But they are beautiful," I protested. "They are graciously proportioned, they are placed in well-chosen positions; they give no offence to the eye."

"What do we know of the beauty they replace? They are a mere rash. Why should we men play the part of bacteria upon the face of our Mother?"

"All life is that!"