It is my contention that the constant exposure of capitalism to such primitive lusts and forays is what makes it so lamentably extortionate and unconscionable in democratic countries, and particularly in the United States. The capitalist, warned by experience, collars all he can while the getting is good, regardless of the commonest honesty and decorum, because he is haunted by an uneasy feeling that his season will not be long. His dominating passion is to pile up the largest amount of capital possible, by fair means or foul, so that he will have ample reserves when the next raid comes, and he has to use part of it to bribe one part of the proletariat against the other. In the long run, of course, he always wins, for this bribery is invariably feasible; in the United States, indeed, every fresh struggle leaves capital more secure than it was before. But though the capitalist thus has no reason to fear actual defeat and disaster, he is well aware that victory is always expensive, and his natural prudence causes him to discount the cost in advance, even when he has planned to shift it to other shoulders. I point, in example, to the manner in which capital dealt with the discharged American soldiers after the war. Its first effort was to cajole them into its service,as they had been cajoled by the politicians after the Civil War. To this end, it borrowed the machine erected by Dr. Wilson and his agents for debauching the booboisie during the actual war, and by the skillful use of that machine it quickly organized the late conscripts into the American Legion, alarmed them with lies about a Bolshevist scheme to make slaves of them (i. e., to cut off forever their hope of getting money), and put them to clubbing and butchering their fellow proletarians. The business done, the conscripts found themselves out of jobs: their gallant war upon Bolshevism had brought down wages, and paralysed organized labor. They now demanded pay for their work, and capital had to meet the demand. It did so by promising them a bonus—i. e., loot—out of the public treasury, and by straightway inventing a scheme whereby the ultimate cost would fall chiefly upon poor folk.
Throughout the war, indeed, capital exhibited an inordinately extortionate spirit, and thereby revealed its underlying dread. First it robbed the Allies in the manner of bootleggers looting a country distillery, then it swindled the plain people at home by first bribing them with huge wages and then taking away all their profits and therewith all their savings, and then it seized and made away with the impounded property of enemy nationals—propertytheoretically held in trust for them, and the booty, if it was booty at all, of the whole American people. This triple burglary was excessive, to be sure, but who will say that it was not prudent? The capitalists of the Republic are efficient, and have foresight. They saw some lean and hazardous years ahead, with all sorts of raids threatening. They took measures to fortify their position. To-day their prevision is their salvation. They are losing some of their accumulation, of course, but they still have enough left to finance an effective defense of the remainder. There was never any time in the history of any country, indeed, when capital was so securely intrenched as it is to-day in the United States. It has divided the proletariat into two bitterly hostile halves, it has battered and crippled unionism almost beyond recognition, it has a firm grip upon all three arms of the government, and it controls practically every agency for the influencing of public opinion, from the press to the church. Had it been less prudent when times were good, and put its trust in God alone, the I. W. W. would have rushed it at the end of the war.
As I say, I often entertain the thought that it would be better, in the long run, to make terms with a power so hard to resist, and thereby purge it of its present compulsory criminality. I doubt that capitalists, as a class, are naturally vicious; certainlythey are no more vicious than, say, lawyers and politicians—upon whom the plain people commonly rely, in their innocence, to save them. I have known a good many men of great wealth in my time, and most of them have been men showing all the customary decencies. They deplore the harsh necessities of their profession quite as honestly as a judge deplores the harsh necessities of his. You will never convince me that the average American banker, during the war, got anything properly describable as professional satisfaction out of selling Liberty bonds at 100 to poor stenographers, and then buying them back at 83. He knew that he’d need his usurious profit against the blue day when the boys came home, and so he took it, but it would have given him ten times as much pleasure if it had come from the reluctant gizzard of some other banker. In brief, there is a pride of workmanship in capitalists, just as there is in all other men above the general. They get the same spiritual lift out of their sordid swindles that Swinburne got out of composing his boozy dithyrambs, and I often incline to think that it is quite as worthy of respect. In a democratic society, with the arts adjourned and the sciences mere concubines of money, it is chiefly the capitalists, in fact, who keep pride of workmanship alive. In their principal enemies, the trades-unionists, it is almost extinct. Unionism seldom, if ever, uses such poweras it has to insure better work; almost always it devotes a large part of that power to safeguarding bad work. A union man who, moved by professional pride, put any extra effort into his job would probably be punished by his union as a sort of scab. But a capitalist is still able to cherish some of the old spirit of the guildsman. If he invents a new device for corralling the money of those who have earned it, or operates an old device in some new and brilliant way, he is honored and envied by his colleagues. The late J. Pierpont Morgan was thus honored and envied, not because he made more actual money than any other capitalist of his time—in point of fact, he made a good deal less than some, and his own son, a much inferior man, has made more since his death than he did during his whole life—but because his operations showed originality, daring, coolness, and imagination—in brief, because he was a great virtuoso in the art he practiced.
What I contend is that the democratic system of government would be saner and more effective in its dealings with capital if it ceased to regard all capitalists as criminalsipso facto, and thereby ceased to make their armed pursuit the chief end of practical politics—if it gave over this vain effort to put them down by force, and tried to bring them to decency by giving greater play and confidence to the pride of workmanship that I have described. They would beless ferocious and immoderate, I think, if they were treated with less hostility, and put more upon their conscience and honor. No doubt the average democrat, brought up upon the prevailing superstitions and prejudices of his faith, will deny at once that they are actually capable of conscience or honor, or that they have any recognizable pride of workmanship. Well, let him deny it. He will make precisely the same denial with respect to kings. Nevertheless, it must be plain to every one who has read history attentively that the majority of the kings of the past, even when no criticism could reach them, showed a very great pride of workmanship—that they tried to be good kings even when it was easier to be bad ones. The same thing is true of the majority of capitalists—the kings of to-day. They are criminals by our democratic law, but their criminality is chiefly artificial and theoretical, like that of a bootlegger. If it were abolished by repealing the laws which create it—if it became legally just as virtuous to organize and operate a great industrial corporation, or to combine and rehabilitate railroads, or to finance any other such transactions as it is to organize a trades-union, aBauverein, or a lodge of Odd Fellows—then I believe that capitalists would forthwith abandon a great deal of the scoundrelism which now marks their proceedings, that they could be trusted to police their order at least as vigilantly as physicians orlawyers police theirs, and that the activities of those members of it who showed no pride of workmanship at all would be effectively curbed.
The legal war upon them under democracy is grounded upon the false assumption that it would be possible, given laws enough, to get rid of them altogether. TheUr-Americanos, who set the tone of our legislation and provided examples for the legislation of every other democratic country, were chiefly what would be called Bolsheviki to-day. They dreamed of a republic wholly purged of capitalism—and taxes. They were have-nots of the most romantic and ambitious variety, and saw Utopia before them. Every man of their time who thought capitalistically—that is, who believed that things consumed had to be paid for—was a target for their revilings: for example, Alexander Hamilton. But they were wrong, and their modern heirs and assigns are wrong just as surely. That wrongness of theirs, in truth, has grown enormously since it was launched, for the early Americans were a pastoral people, and could get along with very little capital, whereas the Americans of to-day lead a very complex life, and need the aid of capitalism at almost every breath they draw. Most of their primary necessities—the railroad, the steamship lines, the trolley car, the telephone, refrigerated meats, machine-made clothes, phonograph records, moving-picture shows, and so on—arewholly unthinkable save as the products of capital in large aggregations. No man of to-day can imagine doing without them, or getting them without the aid of such aggregations. The most even the wildest Socialist can think of is to take the capital away from the capitalists who now have it and hand it over to the state—in other words, to politicians. A century ago there were still plenty of men who, like Thoreau, proposed to abolish it altogether. But now even the radicals of the extreme left assume as a matter of course that capital is indispensible, and that abolishing it or dispersing it would cause a collapse of civilization.
What ails democracy, in the economic department, is that it proceeds upon the assumption that the contrary is true—that it seeks to bring capitalism to a state of innocuous virtue by grossly exaggerating its viciousness—that it penalizes ignorantly what is, at bottom, a perfectly natural and legitimate aspiration, and one necessary to society. Such penalizings, I need not argue, never destroy the impulse itself; surely the American experience with Prohibition should make even a democrat aware of that. What they do is simply to make it evasive, intemperate, and relentless. If it were legally as hazardous in the United States to play a string quartette as it is to build up a great bank or industrial enterprise—if the performers, struggling with their parts, had towatch the windows in constant fear that a Bryan, a Roosevelt, a Lloyd-George or some other such predatory mountebank would break in, armed with a club and followed by a rabble—then string quartette players would become as devious and anti-social in their ways as the average American capitalist is to-day, and when, by a process of setting one part of the mob against the rest, they managed to get a chance to play quartettes in temporary peace, despite the general mob hatred of them, they would forget the lovely music of Haydn and Mozart altogether, and devote their whole time to afortissimoplaying of the worst musical felonies of Schönberg, Ravel and Strawinsky.
The old anthropomorphic notion that the life of the whole universe centers in the life of man—that human existence is the supreme expression of the cosmic process—this notion seems to be on its way toward the Sheol of exploded delusions. The fact is that the life of man, as it is more and more studied in the light of general biology, appears to be more and more empty of significance. Once apparently the chief concern and masterpiece of the gods, the human race now begins to bear the aspect of an accidental by-product of their vast, inscrutable and probably nonsensical operations. A blacksmith making a horse-shoe produces something almost as brilliant and mysterious—the shower of sparks. But his eye and thought, as we know, are not on the sparks, but on the horse-shoe. The sparks, indeed, constitute a sort of disease of the horse-shoe; theirexistence depends upon a wasting of its tissue. In the same way, perhaps, man is a local disease of the cosmos—a kind of pestiferous eczema or urethritis. There are, of course, different grades of eczema, and so are there different grades of men. No doubt a cosmos afflicted with nothing worse than an infection of Beethovens would not think it worth while to send for the doctor. But a cosmos infested by prohibitionists, Socialists, Scotsmen and stockbrokers must suffer damnably. No wonder the sun is so hot and the moon is so diabetically green!
As I say, the anthropomorphic theory of the world is made absurd by modern biology—but that is not saying, of course, that it will ever be abandoned by the generality of men. To the contrary, they will cherish it in proportion as it becomes more and more dubious. To-day, indeed, it is cherished as it was never cherished in the Ages of Faith, when the doctrine that man was god-like was at least ameliorated by the doctrine that woman was vile. What else is behind charity, philanthropy, pacifism, Socialism, the uplift, all the rest of the current sentimentalities? One and all, these sentimentalities are based upon the notion that man is aglorious and ineffable animal, and that his continued existence in the world ought to be facilitated and insured. But this notion is obviously full of fatuity. As animals go, even in so limited a space as our world, man is botched and ridiculous. Few other brutes are so stupid or so cowardly. The commonest yellow dog has far sharper senses and is infinitely more courageous, not to say more honest and dependable. The ants and the bees are, in many ways, far more intelligent and ingenious; they manage their government with vastly less quarreling, wastefulness and imbecility. The lion is more beautiful, more dignified, more majestic. The antelope is swifter and more graceful. The ordinary house-cat is cleaner. The horse, foamed by labor, has a better smell. The gorilla is kinder to his children and more faithful to his wife. The ox and the ass are more industrious and serene. But most of all, man is deficient in courage, perhaps the noblest quality of them all. He is not only mortally afraid of all other animals of his own weight or half his weight—save a few that he has debased by artificial inbreeding—; he is even mortally afraid of his own kind—and not only of their fists and hooves, but even of their sniggers.
No other animal is so defectively adapted to its environment. The human infant, as it comes into the world, is so puny that if it were neglected fortwo days running it would infallibly perish, and this congenital infirmity, though more or less concealed later on, persists until death. Man is ill far more than any other animal, both in his savage state and under civilization. He has more different diseases and he suffers from them oftener. He is easier exhausted and injured. He dies more horribly and usually sooner. Practically all the other higher vertebrates, at least in their wild state, live longer and retain their faculties to a greater age. Here even the anthropoid apes are far beyond their human cousins. An orang-outang marries at the age of seven or eight, raises a family of seventy or eighty children, and is still as hale and hearty at eighty as a European at forty-five.
All the errors and incompetencies of the Creator reach their climax in man. As a piece of mechanism he is the worst of them all; put beside him, even a salmon or a staphylococcus is a sound and efficient machine. He has the worst kidneys known to comparative zoology, and the worst lungs, and the worst heart. His eye, considering the work it is called upon to do, is less efficient than the eye of an earth-worm; an optical instrument maker who made an instrument so clumsy would be mobbed by his customers. Alone of all animals, terrestrial, celestial or marine, man is unfit by nature to go abroad in the world he inhabits. He must clothe himself, protecthimself, swathe himself, armor himself. He is eternally in the position of a turtle born without a shell, a dog without hair, a fish without fins. Lacking his heavy and cumbersome trappings, he is defenseless even against flies. As God made him he hasn’t even a tail to switch them off.
I now come to man’s one point of unquestionable natural superiority: he has a soul. This is what sets him off from all other animals, and makes him, in a way, their master. The exact nature of that soul has been in dispute for thousands of years, but regarding its function it is possible to speak with some authority. That function is to bring man into direct contact with God, to make him aware of God, above all, to make him resemble God. Well, consider the colossal failure of the device! If we assume that man actually does resemble God, then we are forced into the impossible theory that God is a coward, an idiot and a bounder. And if we assume that man, after all these years, doesnotresemble God, then it appears at once that the human soul is as inefficient a machine as the human liver or tonsil, and that man would probably be better off, as the chimpanzee undoubtedlyisbetter off, without it.
Such, indeed, is the case. The only practical effect of having a soul is that it fills man with anthropomorphic and anthropocentric vanities—in brief with cocky and preposterous superstitions.He struts and plumes himself because he has this soul—and overlooks the fact that it doesn’t work. Thus he is the supreme clown of creation, thereductio ad absurdumof animated nature. He is like a cow who believed that she could jump over the moon, and ordered her whole life upon that theory. He is like a bullfrog boasting eternally of fighting lions, of flying over the Matterhorn, and of swimming the Hellespont. And yet this is the poor brute we are asked to venerate as a gem in the forehead of the cosmos! This is the worm we are asked to defend as God’s favorite on earth, with all its millions of braver, nobler, decenter quadrupeds—its superb lions, its lithe and gallant leopards, its imperial elephants, its honest dogs, its courageous rats! This is the insect we are besought, at infinite trouble, labor and expense, to reproduce!
Man’s capacity for abstract thought, which most other mammals seem to lack, has undoubtedly given him his present mastery of the land surface of the earth—a mastery disputed only by several hundred species of microscopic organisms. It is responsible for his feeling of superiority, and under that feeling there is undoubtedly a certain measure of reality, atleast within narrow limits. But what is too often overlooked is that the capacity to perform an act is by no means synonymous with its salubrious exercise. The simple fact is that most of man’s thinking is stupid, pointless, and injurious to him. Of all animals, indeed, he seems the least capable of arriving at accurate judgments in the matters that most desperately affect his welfare. Try to imagine a rat, in the realm of rat ideas, arriving at a notion as violently in contempt of plausibility as the notion, say, of Swedenborgianism, or that of homeopathy, or that of infant damnation, or that of mental telepathy. Try to think of a congregation of educated rats gravely listening to such disgusting intellectual rubbish as was in the public bulls of Dr. Woodrow Wilson. Man’s natural instinct, in fact, is never toward what is sound and true; it is toward what is specious and false. Let any great nation of modern times be confronted by two conflicting propositions, the one grounded upon the utmost probability and reasonableness and the other upon the most glaring error, and it will almost invariably embrace the latter. It is so in politics, which consists wholly of a succession of unintelligent crazes, many of them so idiotic that they exist only as battle-cries and shibboleths and are not reducible to logical statement at all. It is so in religion, which, like poetry, is simply a concerted effort to deny the most obviousrealities. It is so in nearly every field of thought. The ideas that conquer the race most rapidly and arouse the wildest enthusiasm and are held most tenaciously are precisely the ideas that are most insane. This has been true since the first “advanced” gorilla put on underwear, cultivated a frown and began his first lecture tour in the first chautauqua, and it will be so until the high gods, tired of the farce at last, obliterate the race with one great, final blast of fire, mustard gas and streptococci.
No doubt the imagination of man is to blame for this singular weakness. That imagination, I daresay, is what gave him his first lift above his fellow primates. It enabled him to visualize a condition of existence better than that he was experiencing, and bit by bit he was able to give the picture a certain crude reality. Even to-day he keeps on going ahead in the same manner. That is, he thinks of something that he would like to be or to get, something appreciably better than what he is or has, and then, by the laborious, costly method of trial and error, he gradually moves toward it. In the process he is often severely punished for his discontent with God’s ordinances. He mashes his thumb, he skins his shin; he stumbles and falls; the prize he reaches out for blows up in his hands. But bit by bit he moves on, or, at all events, his heirs and assigns move on. Bit by bit he smooths the path beneath his remainingleg, and achieves pretty toys for his remaining hand to play with, and accumulates delights for his remaining ear and eye.
Alas, he is not content with this slow and sanguinary progress! Always he looks further and further ahead. Always he imagines things just over the sky-line. This body of imaginings constitutes his stock of sweet beliefs, his corpus of high faiths and confidences—in brief, his burden of errors. And that burden of errors is what distinguishes man, even above his capacity for tears, his talents as a liar, his excessive hypocrisy and poltroonery, from all the other orders of mammalia. Man is the yokelpar excellence, the booby unmatchable, the king dupe of the cosmos. He is chronically and unescapably deceived, not only by the other animals and by the delusive face of nature herself, but also and more particularly by himself—by his incomparable talent for searching out and embracing what is false, and for overlooking and denying what is true.
The capacity for discerning the essential truth, in fact, is as rare among men as it is common among crows, bullfrogs and mackerel. The man who shows it is a man of quite extraordinary quality—perhaps even a man downright diseased. Exhibit a new truth of any natural plausibility before the great masses of men, and not one in ten thousand will suspect its existence, and not one in a hundred thousand willembrace it without a ferocious resistance. All the durable truths that have come into the world within historic times have been opposed as bitterly as if they were so many waves of smallpox, and every individual who has welcomed and advocated them, absolutely without exception, has been denounced and punished as an enemy of the race. Perhaps “absolutely without exception” goes too far. I substitute “with five or six exceptions.” But who were the five or six exceptions? I leave you to think of them; myself, I can’t.... But I think at once of Charles Darwin and his associates, and of how they were reviled in their time. This reviling, of course, is less vociferous than it used to be, chiefly because later victims are in the arena, but the underlying hostility remains. Within the past two years the principal Great Thinker of Britain, George Bernard Shaw, has denounced the hypothesis of natural selection to great applause, and a three-times candidate for the American Presidency, William Jennings Bryan, has publicly advocated prohibiting the teaching of it by law. The great majority of Christian ecclesiastics in both English-speaking countries, and with them the great majority of their catachumens, are still committed to the doctrine that Darwin was a scoundrel, and Herbert Spencer another, and Huxley a third—and that Nietzsche is to the three of them what Beelzebub himself is to a trio of bad boys.This is the reaction of the main body of respectable folk in two puissant and idealistic Christian nations to the men who will live in history as the intellectual leaders of the Nineteenth Century. This is the immemorial attitude of men in the mass, and of their chosen prophets, to whatever is honest, and important, and most probably true.
But if truth thus has hard sledding, error is given a loving welcome. The man who invents a new imbecility is hailed gladly, and bidden to make himself at home; he is, to the great masses of men, thebeau idealof mankind. Go back through the history of the past thousand years and you will find that ninetenths of the popular idols of the world—not the heroes of small sects, but the heroes of mankind in the mass—have been merchants of palpable nonsense. It has been so in politics, it has been so in religion, and it has been so in every other department of human thought. Every such hawker of the not-true has been opposed, in his time, by critics who denounced and refuted him; his contention has been disposed of immediately it was uttered. But on the side of every one there has been the titanic force of human credulity, and it has sufficed in every case to destroy his foes and establish his immortality.
Of all the unsound ideas thus preached by great heroes and accepted by hundreds of millions of their eager dupes, probably the most patently unsound is the one that is most widely held, to wit, the idea that man has an immortal soul—that there is a part of him too ethereal and too exquisite to die. Absolutely the only evidence supporting this astounding notion lies in the hope that it is true—which is precisely the evidence underlying the late theory that the Great War would put an end to war, and bring in an era of democracy, freedom, and peace. But even archbishops, of course, are too intelligent to be satisfied permanently by evidence so unescapably dubious; in consequence, there have been efforts in all ages to give it logical and evidential support. Well, all I ask is that you give some of that corroboration your careful scrutiny. Examine, for example, the proofs amassed by five typical witnesses in five widely separated ages: St. John, St. Augustine, Martin Luther, Emanuel Swedenborg and Sir Oliver Lodge. Approach these proofs prayerfully, and study them well. Weigh them in the light of the probabilities, the ordinary intellectual decencies. And then askyourself if you could imagine a mud-turtle accepting them gravely.
To sum up:
1. The cosmos is a gigantic fly-wheel making 10,000 revolutions a minute.2. Man is a sick fly taking a dizzy ride on it.3. Religion is the theory that the wheel was designed and set spinning to give him the ride.
1. The cosmos is a gigantic fly-wheel making 10,000 revolutions a minute.
2. Man is a sick fly taking a dizzy ride on it.
3. Religion is the theory that the wheel was designed and set spinning to give him the ride.
I open the memoirs of General Grant, Volume II, at the place where he is describing the surrender of General Lee, and find the following:
I was without a sword, as I usually was when on horseback on(sic)the field, and wore a soldier’s blouse for a coat, with the shoulder straps of my rank to indicate to the army who I was.
I was without a sword, as I usually was when on horseback on(sic)the field, and wore a soldier’s blouse for a coat, with the shoulder straps of my rank to indicate to the army who I was.
Anno 1865. I look out of my window and observe an officer of the United States Army passing down the street. Anno 1922. Like General Grant, he is without a sword. Like General Grant, he wears a sort of soldier’s blouse for a coat. Like General Grant, he employs shoulder straps to indicate to the army who he is. But there is something more. On the left breast of this officer, apparently a major, there blazes so brilliant a mass of color that, as the sun strikes it and the flash bangs my eyes, I wink, catch my breath and sneeze. There are two long strips, each starting at the sternum and disappearing into the shadows of the axillia—every hue in the rainbow, the spectroscope, the kaleidoscope—imperial purples,sforzandoreds, wild Irish greens, romantic blues, loud yellows and oranges, rich maroons, sentimental pinks, all the half-tones from ultra-violet to infra-red, all the vibrations from the impalpable to the unendurable. A gallantSoldat, indeed! How he would shame a circus ticket-wagon if he wore all the medals and badges, the stars and crosses, the pendants and lavallières, that go with those ribbons!... I glance at his sleeves. A simple golden stripe on the one—six months beyond the raging main. None on the other—the Kaiser’s cannon missed him.
Just what all these ribbons signify I am sure I don’t know; probably they belong to campaign medals and tell the tale of butcheries in foreign and domestic parts—mountains of dead Filipinos, Mexicans, Haitians, Dominicans, West Virginia miners, perhaps even Prussians. But in addition to campaign medals and the Distinguished Service Medal there are now certainly enough foreign orders in the United States to give a distinct brilliance to the national scene, viewed, say, from Mars. The Frederician tradition, borrowed by the ragged Continentals and embodied in Article I, Section 9, of the Constitution, lasted until 1918, and then suddenly blew up; to mention it to-day is a sort of indecorum, and to-morrow, no doubt, will be a species of treason. Down with Frederick; up with John Philip Sousa!Imagine what General Pershing would look like at a state banquet of his favorite American order, the Benevolent and Protective one of Elks, in all the Byzantine splendor of his casket of ribbons, badges, stars, garters, sunbursts and cockades—the lordly Bath of the grateful motherland, with its somewhat disconcerting “Ich dien”; the gorgeous tricolor baldrics, sashes and festoons of the Légion d’Honneur; the grand cross of SS. Maurizio e Lazzaro of Italy; the sinister Danilo of Montenegro, with its cabalistic monogram of Danilo I and its sinister hieroglyphics; the breastplate of the Paulownia of Japan, with its rising sun of thirty-two white rays, its blood-red heart, its background of green leaves and its white ribbon edged with red; the mystical St. Saviour of Greece, with its Greek motto and its brilliantly enameled figure of Christ; above all, the Croix de Guerre of Czecho-Slovakia, a new one and hence not listed in the books, but surely no shrinking violet! Alas, Pershing was on the wrong side—that is, for one with a fancy for gauds of that sort. The most blinding of all known orders is the Medijie of Turkey, which not only entitles the holder to four wives, but also absolutely requires him to wear a red fez and a frozen star covering his whole façade. I was offered this order by Turkish spies during the war, and it wabbled me a good deal. The Alexander of Bulgaria is almost as seductive. The badge consists of anpointed white cross, with crossed swords between the arms and a red Bulgarian lion over the swords. The motto is “Za Chrabrost!” Then there are the Prussian orders—the Red and Black Eagles, the Pour le Mérite, the Prussian Crown, the Hohenzollern and the rest. And the Golden Fleece of Austria—the noblest of them all. Think of the Golden Fleece on a man born in Linn County, Missouri!... I begin to doubt that the General would have got it, even supposing him to have taken the other side. The Japs, I note, gave him only the grand cordon of the Paulownia, and the Belgians and Montenegrins were similarly cautious. There are higher classes. The highest of the Paulownia is only for princes, which is to say, only for non-Missourians.
Pershing is the champion, with General March a bad second. March is a K. C. M. G., and entitled to wear a large cross of white enamel bearing a lithograph of the Archangel Michael and the motto, “Auspicium Melioris Aevi,” but he is not a K. C. B. Admirals Benson and Sims are also grand crosses of Michael and George, and like most other respectable Americans, members of the Legion of Honor, but they seem to have been forgotten by the Greeks, the Montenegrins, the Italians and the Belgians. The British-born and extremely Anglomaniacal Sims refused the Distinguished Service Medal of his adopted country, but is careful to mention in “Who’sWho in America” that his grand cross of Michael and George was conferred upon him, not by some servile gold-stick, but by “King George of England”; Benson omits mention of His Majesty, as do Pershing and March. It would be hard to think of any other American officer, real or bogus, who would refuse the D. S. M., or, failing it, the grand decoration of chivalry of the Independent Order of Odd Fellows. I once saw the latter hung, with ceremonies of the utmost magnificence, upon a bald-headed tinner who had served the fraternity long and faithfully; as he marched down the hall toward the throne of the Supreme Exalted Pishposh a score of little girls, the issue of other tinners, strewed his pathway with roses, and around the stem of each rose was a piece of glittering tinfoil. The band meanwhile played “The Rosary,” and, at the conclusion of the spectacle, as fried oysters were served, “Wien Bleibt Wien.”
It was, I suspect, by way of the Odd Fellows and other such gaudy heirs to the Deutsche Ritter and Rosicrucians that the lust to gleam and jingle got into the arteries of the American people. For years the austere tradition of Washington’s day served to keep the military bosom bare of spangles, but all the while a weakness for them was growing in the civil population. Rank by rank, they became Knights of Pythias, Odd Fellows, Red Men, Nobles of the Mystic Shrine, Knights Templar, Patriarchs Militant,Elks, Moose, Woodmen of the World, Foresters, Hoo-Hoos, Ku Kluxers—and in every new order there were thirty-two degrees, and for every degree there was a badge, and for every badge there was a yard of ribbon. The Nobles of the Mystic Shrine, chiefly paunchy wholesalers of the Rotary Club species, are not content with swords, baldrics, stars, garters and jewels; they also wear red fezes. The Elks run to rubies. The Red Men array themselves like Sitting Bull. The patriotic ice-wagon drivers and Methodist deacons of the Ku Klux Klan carry crosses set with incandescent lights. An American who is forced by his profession to belong to many such orders—say a life insurance solicitor, a bootlegger or a dealer in Oklahoma oil stock—accumulates a trunk full of decorations, many of them weighing a pound. There is an undertaker in Hagerstown, Md., who has been initiated eighteen times. When he robes himself to plant a fellow joiner he weighs three hundred pounds and sparkles and flashes like the mouth of hell itself. He is entitled to bear seven swords, all jeweled, and to hang his watch chain with the golden busts of nine wild animals, all with precious stones for eyes. Put beside this lowly washer of the dead, Pershing newly polished would seem almost like a Trappist.
But even so the civil arm is robbed of its just dues in the department of gauds and radioactivity, nodoubt by the direct operation of military vanity and jealousy. Despite a million proofs (and perhaps a billion eloquent arguments) to the contrary, it is still the theory at the official ribbon counter that the only man who serves in a war is the man who serves in uniform. This is soft for the Bevo officer, who at least has his service stripes and the spurs that gnawed into his desk, but it is hard upon his brother Irving, the dollar-a-year man, who worked twenty hours a day for fourteen months buying soap-powder, canned asparagus and raincoats for the army of God. Irving not only labored with inconceivable diligence; he also faced hazards of no mean order, for on the one hand was his natural prejudice in favor of a very liberal rewarding of commercial enterprise, and on the other hand were his patriotism and his fear of Atlanta Penitentiary. I daresay that many and many a time, after working his twenty hours, he found it difficult to sleep the remaining four hours. I know, in fact, survivors of that obscure service who are far worse wrecks to-day than Pershing is. Their reward is—what? Winks, sniffs, innuendos. If they would indulge themselves in the now almost universal American yearning to go adorned, they must join the Knights of Pythias. Even the American Legion fails them, for though it certainly does not bar non-combatants, it insists that they shall have done their non-combatting in uniform.
What I propose is a variety of the Distinguished Service Medal for civilians,—perhaps, better still, a distinct order for civilians, closed to the military and with badges of different colors and areas, to mark off varying services to democracy. Let it run, like the Japanese Paulownia, from high to low—the lowest class for the patriot who sacrificed only time, money and a few nights’ sleep; the highest for the great martyr who hung his country’s altar with his dignity, his decency and his sacred honor. For Irving and his nervous insomnia, a simple rosette, with an iron badge bearing the national motto, “Safety First”; for the university president who prohibited the teaching of the enemy language in his learned grove, heaved the works of Goethe out of the university library, cashiered every professor unwilling to support Woodrow for the first vacancy in the Trinity, took to the stump for the National Security League, and made two hundred speeches in moving-picture theaters—for this giant of loyal endeavor let no 100 per cent. American speak of anything less than the grand cross of the order, with a gold badge in polychrome enamel and stained glass, a baldric of the national colors, a violet plug hat with a sunburst on the side, the privilege of the floor of Congress, and a pension of $10,000 a year. After all, the cost would not be excessive; there are not many of them. Such prodigies of patriotism are possible only torare and gifted men. For the grand cordons of the order,e. g., college professors who spied upon and reported the seditions of their associates, state presidents of the American Protective League, alien property custodians, judges whose sentences of conscientious objectors mounted to more than 50,000 years, members of Dr. Creel’s herd of 2,000 American historians, the authors of the Sisson documents, etc.—pensions of $10 a day would be enough, with silver badges and no plug hats. For the lower ranks, bronze badges and the legal right to the title of “the Hon.,” already every true American’s by courtesy.
Not, of course, that I am insensitive to the services of the gentlemen of those lower ranks, but in such matters one must go by rarity rather than by intrinsic value. If the grand cordon or even the nickel-plated eagle of the third class were given to every patriot who bored a hole through the floor of his flat to get evidence against his neighbors, the Krausmeyers, and to every one who visited the Hofbräuhaus nightly, denounced the Kaiser in searing terms, and demanded assent from Emil and Otto, the waiters, and to every one who notified the catchpolls of the Department of Justice when the wireless plant was open in the garret of the Arion Liedertafel, and to all who took a brave and forward part in slacker raids, and to all who lent their stenographers funds at 6 per cent., to buy Liberty bonds at 4¼ per cent.,and to all who sold out at 99 and then bought in again at 83.56 and to all who served as jurors or perjurers in cases against members and ex-members of the I. W. W., and to the German-American members of the League for German Democracy, and to all the Irish who snitched upon the Irish—if decorations were thrown about with any such lavishness, then there Would be no nickel left for our bathrooms. On the civilian side as on the military side the great rewards of war go, not to mere dogged industry and fidelity, but to originality—to the unprecedented, the arresting, the bizarre. The New YorkTribuneliar who invented the story about the German plant for converting the corpses of the slain into soap did more for democracy and the Wilsonian idealism, and hence deserves a more brilliant recognition, than a thousand uninspired hawkers of atrocity stories supplied by Viscount Bryce and his associates. For that great servant of righteousness the grand cordon, with two silver badges and the chair of history at Columbia, would be scarcely enough; for the ordinary hawkers any precious metal would be too much.
Whether or not the Y. M. C. A. has decorated its chocolate pedlars and soul-snatchers I do not know; since the chief Y. M. C. A. lamasery in my town of Baltimore became the scene of a homo-sexual scandal I have ceased to frequent evangelical society. If not, then there should be some governmental recognitionof those highly characteristic heroes of the war for democracy. The veterans of the line, true enough, dislike them excessively, and have a habit of denouncing them obscenely when the corn-juice flows. They charged too much for cigarettes; they tried to discourage the amiability of the ladies of France; they had a habit of being absent when the shells burst in air. Well, some say this and some say that. A few, at least, of the pale and oleaginous brethren must have gone into the Master’s work because they thirsted to save souls, and not simply because they desired to escape the trenches. And a few, I am told, were anything but unpleasantly righteous, as a round of Wassermanns would show. If, as may be plausibly argued, these Soldiers of the Double Cross deserve to live at all, then they surely deserve to be hung with white enameled stars of the third class, with gilt dollar marks superimposed. Motto: “Glory, glory, hallelujah!”
But what of the vaudeville actors, the cheer leaders, the doughnut fryers, the camp librarians, the press agents? I am not forgetting them. Let them be distributed among all the classes from the seventh to the eighth, according to their sufferings for the holy cause. And the agitators against Beethoven, Bach, Brahms, Wagner, Richard Strauss, all the rest of the cacophonous Huns? And the specialists in the crimes of the German professors? And thecollectors for the Belgians, with their generous renunciation of all commissions above 80 per cent.? And the pathologists who denounced Johannes Müller as a fraud, Karl Ludwig as an imbecile, and Ehrlich as a thief? And the patriotic chemists who discovered arsenic in dill pickles, ground glass in pumpernickel, bichloride tablets in Bismarck herring, pathogenic organisms in aniline dyes? And the inspired editorial writers of the New YorkTimesandTribune, the BostonTranscript, the PhiladelphiaLedger, the MobileRegister, the Jones CornersEagle?And the headline writers? And the Columbia, Yale and Princeton professors? And the authors of books describing how the Kaiser told them the whole plot in 1913, while they were pulling his teeth or shining his shoes? And the ex-ambassadors? And theNietzschefresser?And the chautauqua orators? And the four-minute men? And the Methodist pulpit pornographers who switched so facilely from vice crusading to German atrocities? And Dr. Newell Dwight Hillis? And Dr. Henry van Dyke? And the master minds of theNew Republic?And Tumulty? And the Vigilantes? Let no grateful heart forget them!
Palmer and Burleson I leave for special legislation. If mere university presidents, such as Nicholas Murray Butler, are to have the grand cross, then Palmer deserves to be rolled in malleable gold fromhead to foot, and polished until he blinds the cosmos—then Burleson must be hung with diamonds like Mrs. Warren and bathed in spotlights like Gaby Deslys.... Finally, I reserve a special decoration, to be conferred in camera and worn only in secret chapter, for husbands who took chances and refused to read anonymous letters from Paris: the somber badge of the Ordre de la Cuculus Canorus, first and only class.
A good prose style says Prof. Dr. Otto Jespersen in his great work, “Growth and Structure of the English Language,” “is everywhere a late acquirement, and the work of whole generations of good authors is needed to bring about the easy flow of written prose.” The learnedSprachwissenschaftleris here speaking of Old English, or, as it used to be called when you and I were at the breast of enlightenment, Anglo-Saxon. An inch or so lower down the page he points out that what he says of prose is by no means true of verse—that poetry of very respectable quality is often written by peoples and individuals whose prose is quite as crude and graceless as that, say of the Hon. Warren Gamaliel Harding—that even the so-called Anglo-Saxons of Beowulf’s time, a race as barbarous as the modern Jugo-Slavs or Mississippians, were yet capable, on occasion, of writing dithyrambs of an indubitable sweet gaudiness.
The point needs no laboring. A glance at the history of any literature will prove its soundness.Moreover, it is supported by what we see around us every day—that is, if we look in literary directions. Some of the best verse in the modern movement, at home and abroad, has been written by intellectual adolescents who could no more write a first-rate paragraph in prose then they could leap the Matterhorn —girls just out of Vassar and Newnham, young army officers, chautauqua orators, New England old maids, obscure lawyers and doctors, newspaper reporters, all sorts of hollow dilettanti, male and female. Nine-tenths of the best poetry of the world has been written by poets less than thirty years old; a great deal more than half of it has been written by poets under twenty-five. One always associates poetry with youth, for it deals chiefly with the ideas that are peculiar to youth, and its terminology is quite as youthful as its content. When one hears of a poet past thirty-five, he seems somehow unnatural and even a trifle obscene; it is as if one encountered a graying man who still played the Chopin waltzes and believed in elective affinities. But prose, obviously, is a sterner and more elderly matter. All the great masters of prose (and especially of English prose, for its very resilience and brilliance make it extraordinarily hard to write) have had to labor for years before attaining to their mastery of it. The early prose of Abraham Lincoln was remarkable only for its badness; it was rhetorical and bombastic, andfull of supernumerary words; in brief, it was a kind of poetry. It took years and years of hard striving for Abe to develop the simple and exquisite prose of his last half-decade. So with Thomas Henry Huxley, perhaps the greatest virtuoso of plain English who has ever lived. His first writings were competent but undistinguished; he was almost a grandfather before he perfected his superb style. And so with Anatole France, and Addison, and T. B. Macaulay, and George Moore, and James Branch Cabell, and Æ., and Lord Dunsany, and Nietzsche, and to go back to antiquity, Marcus Tullius Cicero. I have been told that the average age of the men who made the Authorized Version of the Bible was beyond sixty years. Had they been under thirty they would have made it lyrical; as it was, they made it colossal.
The reason for all this is not far to seek. Prose, however powerful its appeal to the emotions, is always based primarily upon logic, and is thus scientific; poetry, whatever its so-called intellectual content is always based upon mere sensation and emotion, and is thus loose and disorderly. A man must have acquired discipline over his feelings before he can write sound prose; he must have learned how to subordinate his transient ideas to more general and permanent ideas; above all, he must have acquired a good head for words, which is to say, a capacity for resisting their mere lascivious lure. But to write acceptablepoetry, or even good poetry, he needs none of these things. If his hand runs away with his head it is actually a merit. If he writes what every one knows to be untrue, in terms that no sane adult would ever venture to use in real life, it is proof of his divine afflation. If he slops over and heaves around in a manner never hitherto observed on land or sea, the fact proves his originality. The so-called forms of verse and the rules of rhyme and rhythm do not offer him difficulties; they offer him refuges. Their purpose is not to keep him in order, but simply to give him countenance by providing him with a formal orderliness when he is most out of order. Using them is like swimming with bladders. The first literary composition of a quick-minded child is always some sort of jingle. It starts out with an inane idea—half an idea. Sticking to prose, it could go no further. But to its primary imbecility it now adds a meaningless phrase which, while logically unrelated, provides an agreeable concord in mere sound—and the result is the primordial tadpole of a sonnet. All the sonnets of the world, save a few of miraculous (and perhaps accidental) quality, partake of this fundamental nonsensicality. In all of them there are ideas that would sound idiotic in prose, and phrases that would sound clumsy and uncouth in prose. But the rhyme scheme conceals this nonsensicality. As a substitute for the missing logicalplausibility it provides a sensuous harmony. Reading the thing, one gets a vague effect of agreeable sound, and so the logical feebleness is overlooked. It is, in a sense, like observing a pretty girl, competently dressed and made up, across the footlights. But translating the poem into prose is like meeting and marrying her.
Much of the current discussion of poetry—and what, save Prohibition, is more discussed in America?—is corrupted by a fundamental error. That error consists in regarding the thing itself as a simple entity, to be described conveniently in a picturesque phrase. “Poetry,” says one critic, “is the statement of overwhelming emotional values.” “Poetry,” says another, “is an attempt to purge language of everything except its music and its pictures.” “Poetry,” says a third, “is the entering of delicately imaginative plateaus.” “Poetry,” says a fourth, “is truth carried alive into the heart by a passion.” “Poetry,” says a fifth, “is compacted of what seems, not of what is.” “Poetry,” says a sixth, “is the expression of thought in musical language.” “Poetry,” says a seventh, “is the language of a state of crisis.” And so on, and so on.Quod est poetica?They all answer, and yet they all fail to answer. Poetry, in fact, is two quite distinct things. It may be either or both. One is aseries of words that are intrinsically musical, in clang-tint and rhythm, as the single wordcellar-dooris musical. The other is a series of ideas, false in themselves, that offer a means of emotional and imaginative escape from the harsh realities of everyday. In brief, (I succumb, like all the rest, to phrase-making), poetry is a comforting piece of fiction set to more or less lascivious music—a slap on the back in waltz time—a grand release of longings and repressions to the tune of flutes, harps, sackbuts, psalteries and the usual strings.
As I say, poetry may be either the one thing or the other—caressing music or caressing assurance. It need not necessarily be both. Consider a familiar example from “Othello”:
Not poppy, nor mandragora,Nor all the drowsy syrups of the worldShall ever medicine thee to that sweet sleepWhich thou owed’st yesterday.
Here the sense, at best, is surely very vague. Probably not one auditor in a hundred, hearing an actor recite those glorious lines, attaches any intelligible meaning to the archaic wordowed’st, the cornerstone of the whole sentence. Nevertheless, the effect is stupendous. The passage assaults and benumbs the faculties like Schubert’s “Ständchen” or the slow movement of Schumann’s Rhenish symphony; hearingit is a sensuous debauch; the man anæsthetic to it could stand unmoved before Rheims cathedral or the Hofbräuhaus at Munich. One easily recalls many other such bursts of pure music, almost meaningless but infinitely delightful—in Poe, in Swinburne, in Marlowe, even in Joaquin Miller. Two-thirds of the charm of reading Chaucer (setting aside the Rabelaisian comedy) comes out of the mere burble of the words; the meaning, to a modern, is often extremely obscure, and sometimes downright undecipherable. The whole fame of Poe, as a poet, is based upon five short poems. Of them, three are almost pure music. Their intellectual content is of the vaguest. No one would venture to reduce them to plain English. Even Poe himself always thought of them, not as statements of poetic ideas, but as simple utterances of poetic (i.e., musical) sounds.
It was Sidney Lanier, himself a competent poet, who first showed the dependence of poetry upon music. He had little to say, unfortunately, about the clang-tint of words; what concerned him almost exclusively was rhythm. In “The Science of English Verse,” he showed that the charm of this rhythm could be explained in the technical terms of music—that all the old gabble about dactyls and spondees was no more than a dog Latin invented by men who were fundamentally ignorant of the thing they discussed.Lanier’s book was the first intelligent work ever published upon the nature and structure of the sensuous content of English poetry. He struck out into such new and far paths that the professors of prosody still lag behind him after forty years, quite unable to understand a poet who was also a shrewd critic and a first-rate musician. But if, so deeply concerned with rhythm, he marred his treatise by forgetting clang-tint, he marred it still more by forgetting content. Poetry that is all music is obviously relatively rare, for only a poet who is also a natural musician can write it, and natural musicians are much rarer in the world than poets. Ordinary poetry, average poetry, thus depends in part upon its ideational material, and perhaps even chiefly. It is theideaexpressed in a poem, and not the mellifluousness of the words used to express it, that arrests and enchants the average connoisseur. Often, indeed, he disdains this mellifluousness, and argues that the idea ought to be set forth without the customary pretty jingling, or, at most, with only the scant jingling that lies in rhythm—in brief, he wants his ideas in the altogether, and so advocatesvers libre.
It was another American, this time Prof. Dr. F. C. Prescott, of Cornell University, who first gave scientific attention to the intellectual content of poetry. His book is called “Poetry and Dreams.” Its virtue lies in the fact that it rejects all the customary mysticaland romantic definitions of poetry, and seeks to account for the thing in straightforward psychological terms. Poetry, says Prescott, is simply the verbal materialization of a day-dream, the statement of a Freudian wish, an attempt to satisfy a subconscious longing by saying that it is satisfied. In brief, poetry represents imagination’s bold effort to escape from the cold and clammy facts that hedge us in—to soothe the wrinkled and fevered brow with beautiful balderdash. On the precise nature of this beautiful balderdash you can get all in the information you need by opening at random the nearest book of verse. The ideas you will find in it may be divided into two main divisions. The first consists of denials of objective facts; the second of denials of subjective facts. Specimen of the first sort:
God’s in His heaven,All’s well with the world.
Specimen of the second:
I am the master of my fate;I am the captain of my soul.
It is my contention that all poetry (forgetting, for the moment, its possible merit as mere sound) may be resolved into either the one or the other of these frightful imbecilities—that its essential character lies in its bold flouting of what every reflective adult knows to be the truth. The poet, imagining him to besincere, is simply one who disposes of all the horrors of life on this earth, and of all the difficulties presented by his own inner weaknesses no less, by the childish device of denying them. Is it a well-known fact that love is an emotion that is almost as perishable as eggs—that it is biologically impossible for a given male to yearn for a given female more than a few brief years? Then the poet disposes of it by assuring his girl that he will nevertheless love her forever—more, by pledging his word of honor that he believes thatshewill lovehimforever. Is it equally notorious that there is no such thing as justice in the world—that the good are tortured insanely and the evil go free and prosper? Then the poet composes a piece crediting God with a mysterious and unintelligible theory of jurisprudence, whereby the torture of the good is a sort of favor conferred upon them for their goodness. Is it of almost equally widespread report that no healthy man likes to contemplate his own inevitable death—that even in time of war, with a vast pumping up of emotion to conceal the fact, every soldier hopes and believes that he, personally, will escape? Then the poet, first carefully introducing himself into a bomb-proof, achieves strophes declaring that he is free from all such weakness—that he will deliberately seek a rendezvous with death, and laugh ha-ha when the bullet finds him.
The precise nature of the imbecility thus solemnly set forth depends, very largely, of course, upon the private prejudices and yearnings of the poet, and the reception that is given it depends, by the same token, upon the private prejudices and yearnings of the reader. That is why it is often so difficult to get any agreement upon the merits of a definite poem,i. e., to get any agreement upon its capacity to soothe. There is the man who craves only the animal delights of a sort of Moslem-Methodist paradise: to him “The Frost is on the Pumpkin” is a noble poem. There is the man who yearns to get out of the visible universe altogether and tread the fields of asphodel: for him there is delight only in the mystical stuff of Crashaw, Thompson, Yeats and company. There is the man who revolts against the sordid Christian notion of immortality—an eternity to be spent flapping wings with pious green-grocers and oleaginous Anglican bishops; he findshisescape in the gorgeous blasphemies of Swinburne. There is, to make an end of examples, the man who, with an inferiority complex eating out his heart, is moved by a great desire to stalk the world in heroic guise: he may go to the sonorous swanking of Kipling, or he may go to something more subtle, to some poem in which the boasting is more artfully concealed, say Christina Rosetti’s “When I am Dead.” Many men, many complexes, many secret yearnings! They collect, ofcourse, in groups; if the group happens to be large enough the poet it is devoted to becomes famous. Kipling’s great fame is thus easily explained. He appeals to the commonest of all types of men, next to the sentimental type—which is to say, he appeals to the bully and braggart type, the chest-slapping type, the patriot type. Less harshly described, to the boy type. All of us have been Kiplingomaniacs at some time or other. I was myself a very ardent one at 17, and wrote many grandiloquent sets of verse in the manner of “Tommy Atkins” and “Fuzzy-Wuzzy.” But if the gifts of observation and reflection have been given to us, we get over it. There comes a time when we no longer yearn to be heroes, but seek only peace—maybe even hope for quick extinction. Then we turn to Swinburne and “The Garden of Proserpine”—more false assurances, more mellifluous play-acting, another tinkling make-believe—but how sweet on blue days!
One of the things to remember here (too often it is forgotten, and Dr. Prescott deserves favorable mention for stressing it) is that a man’s conscious desires are not always identical with his subconscious longings; in fact, the two are often directly antithetical. No doubt the real man lies in the depths of the subconscious, like a carp lurking inmud. His conscious personality is largely a product of his environment—the reaction of his subconscious to the prevailing notions of what is meet and seemly. Here, of course, I wander into platitude, for the news that all men are frauds was already stale in the days of Hammurabi. The ingenious Freud simply translated the fact into pathological terms, added a bed-room scene, and so laid the foundations for his psychoanalysis. Incidentally, it has always seemed to me that Freud made a curious mistake when he brought sex into the foreground of his new magic. He was, of course, quite right when he set up the doctrine that, in civilized societies, sex impulses were more apt to be suppressed than any other natural impulses, and that the subconscious thus tended to be crowded with their ghosts. But in considering sex impulses, he forgot sex imaginings. Digging out, by painful cross-examination in a darkened room, some startling tale of carnality in his patient’s past, he committed the incredible folly of assuming it to be literally true. More often than not, I believe, it was a mere piece of boasting, a materialization of desire—in brief, a poem. It is astonishing that this possibility never occurred to the venerable professor; it is more astonishing that it has never occurred to any of his disciples. He should have psychoanalyzed a few poets instead of wasting all his time upon psychopathic women with sclerotichusbands. He would have dredged amazing things out of their subconsciouses, heroic as well as amorous. Imagine the billions of Boers, Germans, Irishmen and Hindus that Kipling would have confessed to killing!
But here I get into morbid anatomy, and had better haul up. What I started out to say was that a man’s preferences in poetry constitute an excellent means of estimating his inner cravings and credulities. The music disarms his critical sense, and he confesses to cherishing ideas that he would repudiate with indignation if they were put into plain words. I say he cherishes those ideas. Maybe he simply tolerates them unwillingly; maybe they are no more than inescapable heritages from his barbarous ancestors, like his vermiform appendix. Think of the poems you like, and you will come upon many such intellectual fossils—ideas that you by no means subscribe to openly, but that nevertheless give you a strange joy. I put myself on the block as Exhibit A. There is my delight in Lizette Woodworth Reese’s sonnet, “Tears.” Nothing could do more violence to my conscious beliefs. Put into prose, the doctrine in the poem would exasperate and even enrage me. There is no man in Christendom who is less a Christian than I am. But here the dead hand grabs me by the ear. My ancestors were converted to Christianity in the year 1535, andremained of that faith until near the middle of the eighteenth century. Observe, now, the load I carry; more than two hundred years of Christianity, and perhaps a thousand years (maybe even two, or three thousand years) of worship of heathen gods before that—at least twelve hundred years of uninterrupted belief in the immortality of the soul. Is it any wonder that, betrayed by the incomparable music of Miss Reese’s Anglo-Saxon monosyllables, my conscious faith is lulled to sleep, thus giving my subconscious a chance to wallow in its immemorial superstition?
Even so, my vulnerability to such superstitions is very low, and it tends to grow less as I increase in years and sorrows. As I have said, I once throbbed to the drum-beat of Kipling; later on, I was responsive to the mellow romanticism of Tennyson; now it takes one of the genuinely fundamental delusions of the human race to move me. But progress is not continuous; it has interludes. There are days when every one of us experiences a sort of ontogenetic back-firing, and returns to an earlier stage of development. It is on such days that grown men break down and cry like children; it is then that they play games, or cheer the flag, or fall in love. And it is then that they are in the mood for poetry, and get comfort out of its asseverations of the obviously not true. A truly civilized man, when he is wholly himself, derives nopleasure from hearing a poet state, as Browning stated, that this world is perfect. Such tosh not only does not please him; it definitely offends him, as he is offended by an idiotic article in a newspaper; it roils him to encounter so much stupidity in Christendom. But he may like it when he is drunk, or suffering from some low toxemia, or staggering beneath some great disaster. Then, as I say, the ontogenetic process reverses itself, and he slides back into infancy. Then he goes to poets, just as he goes to women, “glad” books, and dogmatic theology. The very highest orders of men, perhaps, never suffer from such malaises of the spirit, or, if they suffer from them, never succumb to them. These are men who are so thoroughly civilized that even the most severe attack upon the emotions is not sufficient to dethrone their reason. Charles Darwin was such a man. There was never a moment in his life when he sought religious consolation, and there was never a moment when he turned to poetry; in fact, he regarded all poetry as silly. Other first-rate men, more sensitive to the possible music in it, regard it with less positive aversion, but I have never heard of a truly first-rate man who got any permanent satisfaction out of its content. The Browning Societies of the latter part of the nineteenth century (and I choose the Browning Societies because Browning’s poetry was often more or less logical in content, and thus abovethe ordinary intellectually) were not composed of such men as Huxley, Spencer, Lecky, Buckle and Travelyn, but of third-rate schoolmasters, moony old maids, candidates for theosophy, literary vicars, collectors of Rogers groups, and other such Philistines. The chief propagandist for Browning in the United States was not Henry Adams, or William Summer, or Daniel C. Gilman, but an obscure professor of English who was also an ardent spook-chaser. And what is thus true ontogenetically is also true phylogenetically. That is to say, poetry is chiefly produced and esteemed by peoples that have not yet come to maturity. The Romans had a dozen poets of the first talent before they had a single prose writer of any skill whatsoever. So did the English. So did the Germans. In our own day we see the negroes of the South producing religious and secular verse of such quality that it is taken over by the whites, and yet the number of negroes who show a decent prose style is still very small, and there is no sign of it increasing. Similarly, the white authors of America, during the past ten or fifteen years, have produced a great mass of very creditable poetry, and yet the quality of our prose remains very low, and the Americans with prose styles of any distinction could be counted on the fingers of two hands.
So far I have spoken chiefly of the content of poetry. In its character as a sort of music it is plainly a good deal more respectable, and makes an appeal to a far higher variety of reader, or, at all events, to a reader in a state of greater mental clarity. A capacity for music—by which I mean melody, harmony and clang-tint—comes late in the history of every race. The savage can apprehend rhythm, but he is quite incapable of carrying a tune in any intelligible scale. The negro roustabouts of our own South, who are commonly regarded as very musical, are actually only rhythmical; they never invent melodies, but only rhythms. And the whites to whom their barbarous dance-tunes chiefly appeal are in their own stage of culture. When one observes a room full of well-dressed men and women swaying and wriggling to the tune of some villainous mazurka from the Mississippi levees, one may assume very soundly that they are all the sort of folk who play golf and bridge, and prefer “The Sheik” to “Heart of Darkness” and believe in the League of Nations. A great deal of superficial culture is compatible with that pathetic barbarism, and even a high degree of æsthetic sophistication in other directions. The Greeks whobuilt the Parthenon knew no more about music than a hog knows of predestination; they were almost as ignorant in that department as the modern Iowans or New Yorkers. It was not, indeed, until the Renaissance that music as we know it appeared in the world, and it was not until less than two centuries ago that it reached a high development. In Shakespeare’s day music was just getting upon its legs in England; in Goethe’s day it was just coming to full flower in Germany; in France and America it is still in the savage state. It is thus the youngest of the arts, and the most difficult, and hence the noblest. Any sane young man of twenty-two can write an acceptable sonnet, or design a habitable house or draw a horse that will not be mistaken for an automobile, but before he may write even a bad string quartet he must go through a long and arduous training, just as he must strive for years before he may write prose that is instantly recognizable as prose, and not as a string of mere words.
The virtue of such great poets as Shakespeare does not lie in the content of their poetry, but in its music. The content of the Shakespearean plays, in fact, is often puerile, and sometimes quite incomprehensible. No scornful essays by George Bernard Shaw and Frank Harris were needed to demonstrate the fact; it lies plainly in the text. One snickers sourly over the spectacle of generations of pedants debatingthe question of Hamlet’s mental processes; the simple fact is that Shakespeare gave him no more mental processes than a Fifth avenue rector has, but merely employed him as a convenient spout for some of the finest music ever got into words. Assume that he has all the hellish sagacity of a Nietzsche, and that music remains unchanged; assume that he is as idiotic as a Grand Worthy Flubdub of the Freemasons, and it still remains unchanged. As it is intoned on the stage by actors, the poetry of Shakespeare commonly loses content altogether. One cannot make out what thecabotinis saying; one can only observe that it is beautiful. There are whole speeches in the Shakespearean plays whose meaning is unknown ever to scholars—and yet they remain favorites, and well deserve to. Who knows, again, what the sonnets are about? Is the bard talking about the inn-keeper’s wife at Oxford, or about a love affair of a pathological, Y. M. C. A. character? Some say one thing, and some say the other. But all who have ears must agree that the sonnets are extremely beautiful stuff—that the English language reaches in them, the topmost heights of conceivable beauty. Shakespeare thus ought to be ranked among the musicians, along with Beethoven. As a philosopher he was a ninth-rater—but so was old Ludwig. I wonder what he would have done with prose? I can’t make up my mind about it. One day I believe that he wouldhave written prose as good as Dryden’s, and the next day I begin to fear that he would have produced something as bad as Swinburne’s. He had the ear, but he lacked the logical sense. Poetry has done enough when it charms, but prose must also convince.