Герберт Джордж Уэллс
A Modern Utopia
§ 4
Wrapped up in these preoccupations as I am, it will certainly be the botanist who will notice the comparative absence of animals about us.
He will put it in the form of a temperate objection to the Utopian planet.
He is a professed lover of dogs and there are none. We have seen no horses and only one or two mules on the day of our arrival, and there seems not a cat in the world. I bring my mind round to his suggestion. “This follows,” I say.
It is only reluctantly that I allow myself to be drawn from my secret musings into a discussion of Utopian pets.
I try to explain that a phase in the world's development is inevitable when a systematic world-wide attempt will be made to destroy for ever a great number of contagious and infectious diseases, and that this will involve, for a time at any rate, a stringent suppression of the free movement of familiar animals. Utopian houses, streets and drains will be planned and built to make rats, mice, and such-like house parasites impossible; the race of cats and dogs – providing, as it does, living fastnesses to which such diseases as plague, influenza, catarrhs and the like, can retreat to sally forth again – must pass for a time out of freedom, and the filth made by horses and the other brutes of the highway vanish from the face of the earth. These things make an old story to me, and perhaps explicitness suffers through my brevity.
My botanist fails altogether to grasp what the disappearance of diseases means. His mind has no imaginative organ of that compass. As I talk his mind rests on one fixed image. This presents what the botanist would probably call a “dear old doggie” – which the botanist would make believe did not possess any sensible odour – and it has faithful brown eyes and understands everything you say. The botanist would make believe it understood him mystically, and I figure his long white hand – which seems to me, in my more jaundiced moments, to exist entirely for picking things and holding a lens – patting its head, while the brute looked things unspeakable…
The botanist shakes his head after my explanation and says quietly, “I do not like your Utopia, if there are to be no dogs.”
Perhaps that makes me a little malicious. Indeed I do not hate dogs, but I care ten thousand times more for a man than for all the brutes on the earth, and I can see, what the botanist I think cannot, that a life spent in the delightful atmosphere of many pet animals may have too dear a price…
I find myself back again at the comparison of the botanist and myself. There is a profound difference in our imaginations, and I wonder whether it is the consequence of innate character or of training and whether he is really the human type or I. I am not altogether without imagination, but what imagination I have has the most insistent disposition to square itself with every fact in the universe. It hypothesises very boldly, but on the other hand it will not gravely make believe. Now the botanist's imagination is always busy with the most impossible make-believe. That is the way with all children I know. But it seems to me one ought to pass out of it. It isn't as though the world was an untidy nursery; it is a place of splendours indescribable for all who will lift its veils. It may be he is essentially different from me, but I am much more inclined to think he is simply more childish. Always it is make-believe. He believes that horses are beautiful creatures for example, dogs are beautiful creatures, that some women are inexpressibly lovely, and he makes believe that this is always so. Never a word of criticism of horse or dog or woman! Never a word of criticism of his impeccable friends! Then there is his botany. He makes believe that all the vegetable kingdom is mystically perfect and exemplary, that all flowers smell deliciously and are exquisitely beautiful, that Drosera does not hurt flies very much, and that onions do not smell. Most of the universe does not interest this nature lover at all. But I know, and I am querulously incapable of understanding why everyone else does not know, that a horse is beautiful in one way and quite ugly in another, that everything has this shot-silk quality, and is all the finer for that. When people talk of a horse as an ugly animal I think of its beautiful moments, but when I hear a flow of indiscriminate praise of its beauty I think of such an aspect as one gets for example from a dog-cart, the fiddle-shaped back, and that distressing blade of the neck, the narrow clumsy place between the ears, and the ugly glimpse of cheek. There is, indeed, no beauty whatever save that transitory thing that comes and comes again; all beauty is really the beauty of expression, is really kinetic and momentary. That is true even of those triumphs of static endeavour achieved by Greece. The Greek temple, for example, is a barn with a face that at a certain angle of vision and in a certain light has a great calm beauty.
But where are we drifting? All such things, I hold, are cases of more and less, and of the right moment and the right aspect, even the things I most esteem. There is no perfection, there is no enduring treasure. This pet dog's beautiful affection, I say, or this other sensuous or imaginative delight, is no doubt good, but it can be put aside if it is incompatible with some other and wider good. You cannot focus all good things together.
All right action and all wise action is surely sound judgment and courageous abandonment in the matter of such incompatibilities. If I cannot imagine thoughts and feelings in a dog's brain that cannot possibly be there, at least I can imagine things in the future of men that might be there had we the will to demand them…
“I don't like this Utopia,” the botanist repeats. “You don't understand about dogs. To me they're human beings – and more! There used to be such a jolly old dog at my aunt's at Frognal when I was a boy – ”
But I do not heed his anecdote. Something – something of the nature of conscience – has suddenly jerked back the memory of that beer I drank at Hospenthal, and puts an accusing finger on the memory.
I never have had a pet animal, I confess, though I have been fairly popular with kittens. But with regard to a certain petting of myself – ?
Perhaps I was premature about that beer. I have had no pet animals, but I perceive if the Modern Utopia is going to demand the sacrifice of the love of animals, which is, in its way, a very fine thing indeed, so much the more readily may it demand the sacrifice of many other indulgences, some of which are not even fine in the lowest degree.
It is curious this haunting insistence upon sacrifice and discipline!
It is slowly becoming my dominant thought that the sort of people whose will this Utopia embodies must be people a little heedless of small pleasures. You cannot focus all good things at the same time. That is my chief discovery in these meditations at Lucerne. Much of the rest of this Utopia I had in a sort of way anticipated, but not this. I wonder if I shall see my Utopian self for long and be able to talk to him freely…
We lie in the petal-strewn grass under some Judas trees beside the lake shore, as I meander among these thoughts, and each of us, disregardful of his companion, follows his own associations.
“Very remarkable,” I say, discovering that the botanist has come to an end with his story of that Frognal dog.
“You'd wonder how he knew,” he says.
“You would.”
I nibble a green blade.
“Do you realise quite,” I ask, “that within a week we shall face our Utopian selves and measure something of what we might have been?”
The botanist's face clouds. He rolls over, sits up abruptly and puts his lean hands about his knees.
“I don't like to think about it,” he says. “What is the good of reckoning … might have beens?”
§ 5
It is pleasant to think of one's puzzling the organised wisdom of so superior a planet as this Utopia, this moral monster State my Frankenstein of reasoning has made, and to that pitch we have come. When we are next in the presence of our Lucerne official, he has the bearing of a man who faces a mystification beyond his powers, an incredible disarrangement of the order of Nature. Here, for the first time in the records of Utopian science, are two cases – not simply one but two, and these in each other's company! – of duplicated thumb-marks. This, coupled with a cock-and-bull story of an instantaneous transfer from some planet unknown to Utopian astronomy. That he and all his world exists only upon a hypothesis that would explain everyone of these difficulties absolutely, is scarcely likely to occur to his obviously unphilosophic mind.
The official eye is more eloquent than the official lips and asks almost urgently, “What in this immeasurable universe have you managed to do to your thumbs? And why?” But he is only a very inferior sort of official indeed, a mere clerk of the post, and he has all the guarded reserve of your thoroughly unoriginal man. “You are not the two persons I ascertained you were,” he says, with the note of one resigned to communion with unreason; “because you” – he indicates me – “are evidently at your residence in London.” I smile. “That gentleman” – he points a pen at the botanist in a manner that is intended to dismiss my smile once for all – “will be in London next week. He will be returning next Friday from a special mission to investigate the fungoid parasites that have been attacking the cinchona trees in Ceylon.”
The botanist blesses his heart.
“Consequently” – the official sighs at the burthen of such nonsense, “you will have to go and consult with – the people you ought to be.”
I betray a faint amusement.
“You will have to end by believing in our planet,” I say.
He waggles a negation with his head. He would intimate his position is too responsible a one for jesting, and both of us in our several ways enjoy the pleasure we poor humans have in meeting with intellectual inferiority. “The Standing Committee of Identification,” he says, with an eye on a memorandum, “has remitted your case to the Research Professor of Anthropology in the University of London, and they want you to go there, if you will, and talk to him.”
“What else can we do?” says the botanist.
“There's no positive compulsion,” he remarks, “but your work here will probably cease. Here – ” he pushed the neat slips of paper towards us – “are your tickets for London, and a small but sufficient supply of money,” – he indicates two piles of coins and paper on either hand of him – “for a day or so there.” He proceeds in the same dry manner to inform us we are invited to call at our earliest convenience upon our doubles, and upon the Professor, who is to investigate our case.
“And then?”
He pulls down the corners of his mouth in a wry deprecatory smile, eyes us obliquely under a crumpled brow, shrugs his shoulders, and shows us the palms of his hands.
On earth, where there is nationality, this would have been a Frenchman – the inferior sort of Frenchman – the sort whose only happiness is in the routine security of Government employment.
§ 6
London will be the first Utopian city centre we shall see.
We shall find ourselves there with not a little amazement. It will be our first experience of the swift long distance travel of Utopia, and I have an idea – I know not why – that we should make the journey by night. Perhaps I think so because the ideal of long-distance travel is surely a restful translation less suitable for the active hours.
We shall dine and gossip and drink coffee at the pretty little tables under the lantern-lit trees, we shall visit the theatre, and decide to sup in the train, and so come at last to the station. There we shall find pleasant rooms with seats and books – luggage all neatly elsewhere – and doors that we shall imagine give upon a platform. Our cloaks and hats and such-like outdoor impedimenta will be taken in the hall and neatly labelled for London, we shall exchange our shoes for slippers there, and we shall sit down like men in a club. An officious little bell will presently call our attention to a label “London” on the doorway, and an excellent phonograph will enforce that notice with infinite civility. The doors will open, and we shall walk through into an equally comfortable gallery.
“Where is the train for London?” we shall ask a uniformed fellow Utopian.
“This is the train for London,” he will say.
There will be a shutting of doors, and the botanist and I, trying not to feel too childish, will walk exploring through the capacious train.
The resemblance to a club will strike us both. “A good club,” the botanist will correct me.
When one travels beyond a certain speed, there is nothing but fatigue in looking out of a window, and this corridor train, twice the width of its poor terrestrial brother, will have no need of that distraction. The simple device of abandoning any but a few windows, and those set high, gives the wall space of the long corridors to books; the middle part of the train is indeed a comfortable library with abundant armchairs and couches, each with its green-shaded light, and soft carpets upon the soundproof floor. Further on will be a news-room, with a noiseless but busy tape at one corner, printing off messages from the wires by the wayside, and further still, rooms for gossip and smoking, a billiard room, and the dining car. Behind we shall come to bedrooms, bathrooms, the hairdresser, and so forth.
“When shall we start?” I ask presently, as we return, rather like bashful yokels, to the library, and the old gentleman reading the Arabian Nights in the armchair in the corner glances up at me with a sudden curiosity.
The botanist touches my arm and nods towards a pretty little lead-paned window, through which we see a village sleeping under cloudy moonlight go flashing by. Then a skylit lake, and then a string of swaying lights, gone with the leap of a camera shutter.
Two hundred miles an hour!
We resort to a dignified Chinese steward and secure our berths. It is perhaps terrestrial of us that we do not think of reading the Utopian literature that lines the middle part of the train. I find a bed of the simple Utopian pattern, and lie for a time thinking – quite tranquilly – of this marvellous adventure.
I wonder why it is that to lie securely in bed, with the light out, seems ever the same place, wherever in space one may chance to be? And asleep, there is no space for us at all. I become drowsy and incoherent and metaphysical…
The faint and fluctuating drone of the wheels below the car, re-echoed by the flying track, is more perceptible now, but it is not unpleasantly loud, merely a faint tinting of the quiet…
No sea crossing breaks our journey; there is nothing to prevent a Channel tunnel in that other planet; and I wake in London.
The train has been in London some time when I awake, for these marvellous Utopians have discovered that it is not necessary to bundle out passengers from a train in the small hours, simply because they have arrived. A Utopian train is just a peculiar kind of hotel corridor that flies about the earth while one sleeps.
§ 7
How will a great city of Utopia strike us?
To answer that question well one must needs be artist and engineer, and I am neither. Moreover, one must employ words and phrases that do not exist, for this world still does not dream of the things that may be done with thought and steel, when the engineer is sufficiently educated to be an artist, and the artistic intelligence has been quickened to the accomplishment of an engineer. How can one write of these things for a generation which rather admires that inconvenient and gawky muddle of ironwork and Flemish architecture, the London Tower Bridge. When before this, temerarious anticipators have written of the mighty buildings that might someday be, the illustrator has blended with the poor ineffectual splutter of the author's words, his powerful suggestion that it amounted simply to something bulbous, florid and fluent in the vein of the onion, and L'Art Nouveau. But here, it may be, the illustrator will not intervene.
Art has scarcely begun in the world.
There have been a few forerunners and that is all. Leonardo, Michael Angelo; how they would have exulted in the liberties of steel! There are no more pathetic documents in the archives of art than Leonardo's memoranda. In these, one sees him again and again reaching out as it were, with empty desirous hands, towards the unborn possibilities of the engineer. And Dürer, too, was a Modern, with the same turn towards creative invention. In our times these men would have wanted to make viaducts, to bridge wild and inaccessible places, to cut and straddle great railways athwart the mountain masses of the world. You can see, time after time, in Dürer's work, as you can see in the imaginary architectural landscape of the Pompeian walls, the dream of structures, lighter and bolder than stone or brick can yield… These Utopian town buildings will be the realisation of such dreams.
Here will be one of the great meeting places of mankind. Here – I speak of Utopian London – will be the traditional centre of one of the great races in the commonalty of the World State – and here will be its social and intellectual exchange. There will be a mighty University here, with thousands of professors and tens of thousands of advanced students, and here great journals of thought and speculation, mature and splendid books of philosophy and science, and a glorious fabric of literature will be woven and shaped, and with a teeming leisureliness, put forth. Here will be stupendous libraries, and a mighty organisation of museums. About these centres will cluster a great swarm of people, and close at hand will be another centre, for I who am an Englishman must needs stipulate that Westminster shall still be a seat of world Empire, one of several seats, if you will – where the ruling council of the world assembles. Then the arts will cluster round this city, as gold gathers about wisdom, and here Englishmen will weave into wonderful prose and beautiful rhythms and subtly atmospheric forms, the intricate, austere and courageous imagination of our race.
One will come into this place as one comes into a noble mansion. They will have flung great arches and domes of glass above the wider spaces of the town, the slender beauty of the perfect metal-work far overhead will be softened to a fairy-like unsubstantiality by the mild London air. It will be the London air we know, clear of filth and all impurity, the same air that gives our October days their unspeakable clarity and makes every London twilight mysteriously beautiful. We shall go along avenues of architecture that will be emancipated from the last memories of the squat temple boxes of the Greek, the buxom curvatures of Rome; the Goth in us will have taken to steel and countless new materials as kindly as once he took to stone. The gay and swiftly moving platforms of the public ways will go past on either hand, carrying sporadic groups of people, and very speedily we shall find ourselves in a sort of central space, rich with palms and flowering bushes and statuary. We shall look along an avenue of trees, down a wide gorge between the cliffs of crowded hotels, the hotels that are still glowing with internal lights, to where the shining morning river streams dawnlit out to sea.
Great multitudes of people will pass softly to and fro in this central space, beautiful girls and youths going to the University classes that are held in the stately palaces about us, grave and capable men and women going to their businesses, children meandering along to their schools, holiday makers, lovers, setting out upon a hundred quests; and here we shall ask for the two we more particularly seek. A graceful little telephone kiosk will put us within reach of them, and with a queer sense of unreality I shall find myself talking to my Utopian twin. He has heard of me, he wants to see me and he gives me clear directions how to come to him.
I wonder if my own voice sounds like that.
“Yes,” I say, “then I will come as soon as we have been to our hotel.”
We indulge in no eloquence upon this remarkable occasion. Yet I feel an unusual emotional stir. I tremble greatly, and the telephonic mouthpiece rattles as I replace it.
And thence the botanist and I walk on to the apartments that have been set aside for us, and into which the poor little rolls of the property that has accumulated about us in Utopia, our earthly raiment, and a change of linen and the like, have already been delivered. As we go I find I have little to say to my companion, until presently I am struck by a transitory wonder that he should have so little to say to me.
“I can still hardly realise,” I say, “that I am going to see myself – as I might have been.”
“No,” he says, and relapses at once into his own preoccupation.
For a moment my wonder as to what he should be thinking about brings me near to a double self-forgetfulness.
I realise we are at the entrance of our hotel before I can formulate any further remark.
“This is the place,” I say.
