Герберт Джордж Уэллс
A Modern Utopia
§ 7
The effectual abolition of a labouring and servile class will make itself felt in every detail of the inn that will shelter us, of the bedrooms we shall occupy. You conceive my awakening to all these things on the morning after our arrival. I shall lie for a minute or so with my nose peeping over the coverlet, agreeably and gently coming awake, and with some vague nightmare of sitting at a common table with an unavoidable dustman in green and gold called Boffin, [Footnote: Vide William Morris's News from Nowhere.] fading out of my mind. Then I should start up. You figure my apprehensive, startled inspection of my chamber. “Where am I?” that classic phrase, recurs. Then I perceive quite clearly that I am in bed in Utopia.
Utopia! The word is enough to bring anyone out of bed, to the nearest window, but thence I see no more than the great mountain mass behind the inn, a very terrestrial looking mountain mass. I return to the contrivances about me, and make my examination as I dress, pausing garment in hand to hover over first this thing of interest and then that.
The room is, of course, very clear and clean and simple; not by any means cheaply equipped, but designed to economise the labour of redding and repair just as much as is possible. It is beautifully proportioned, and rather lower than most rooms I know on earth. There is no fireplace, and I am perplexed by that until I find a thermometer beside six switches on the wall. Above this switch-board is a brief instruction: one switch warms the floor, which is not carpeted, but covered by a substance like soft oilcloth; one warms the mattress (which is of metal with resistance coils threaded to and fro in it); and the others warm the wall in various degrees, each directing current through a separate system of resistances. The casement does not open, but above, flush with the ceiling, a noiseless rapid fan pumps air out of the room. The air enters by a Tobin shaft. There is a recess dressing-room, equipped with a bath and all that is necessary to one's toilette, and the water, one remarks, is warmed, if one desires it warm, by passing it through an electrically heated spiral of tubing. A cake of soap drops out of a store machine on the turn of a handle, and when you have done with it, you drop that and your soiled towels and so forth, which also are given you by machines, into a little box, through the bottom of which they drop at once, and sail down a smooth shaft. A little notice tells you the price of your room, and you gather the price is doubled if you do not leave the toilette as you found it. Beside the bed, and to be lit at night by a handy switch over the pillow, is a little clock, its face flush with the wall. The room has no corners to gather dirt, wall meets floor with a gentle curve, and the apartment could be swept out effectually by a few strokes of a mechanical sweeper. The door frames and window frames are of metal, rounded and impervious to draught. You are politely requested to turn a handle at the foot of your bed before leaving the room, and forthwith the frame turns up into a vertical position, and the bedclothes hang airing. You stand at the doorway and realise that there remains not a minute's work for anyone to do. Memories of the fœtid disorder of many an earthly bedroom after a night's use float across your mind.
And you must not imagine this dustless, spotless, sweet apartment as anything but beautiful. Its appearance is a little unfamiliar of course, but all the muddle of dust-collecting hangings and witless ornament that cover the earthly bedroom, the valances, the curtains to check the draught from the ill-fitting wood windows, the worthless irrelevant pictures, usually a little askew, the dusty carpets, and all the paraphernalia about the dirty, black-leaded fireplace are gone. But the faintly tinted walls are framed with just one clear coloured line, as finely placed as the member of a Greek capital; the door handles and the lines of the panels of the door, the two chairs, the framework of the bed, the writing table, have all that final simplicity, that exquisite finish of contour that is begotten of sustained artistic effort. The graciously shaped windows each frame a picture – since they are draughtless the window seats are no mere mockeries as are the window seats of earth – and on the sill, the sole thing to need attention in the room, is one little bowl of blue Alpine flowers.
The same exquisite simplicity meets one downstairs.
Our landlord sits down at table with us for a moment, and seeing we do not understand the electrically heated coffee-pot before us, shows us what to do. Coffee and milk we have, in the Continental fashion, and some excellent rolls and butter.
He is a swarthy little man, our landlord, and overnight we saw him preoccupied with other guests. But we have risen either late or early by Utopian standards, we know not which, and this morning he has us to himself. His bearing is kindly and inoffensive, but he cannot conceal the curiosity that possesses him. His eye meets ours with a mute inquiry, and then as we fall to, we catch him scrutinising our cuffs, our garments, our boots, our faces, our table manners. He asks nothing at first, but says a word or so about our night's comfort and the day's weather, phrases that have an air of being customary. Then comes a silence that is interrogative.
“Excellent coffee,” I say to fill the gap.
“And excellent rolls,” says my botanist.
Our landlord indicates his sense of our approval.
A momentary diversion is caused by the entry of an elfin-tressed little girl, who stares at us half impudently, half shyly, with bright black eyes, hesitates at the botanist's clumsy smile and nod, and then goes and stands by her father and surveys us steadfastly.
“You have come far?” ventures our landlord, patting his daughter's shoulder.
I glance at the botanist. “Yes,” I say, “we have.”
I expand. “We have come so far that this country of yours seems very strange indeed to us.”
“The mountains?”
“Not only the mountains.”
“You came up out of the Ticino valley?”
“No – not that way.”
“By the Oberalp?”
“No.”
“The Furka?”
“No.”
“Not up from the lake?”
“No.”
He looks puzzled.
“We came,” I say, “from another world.”
He seems trying to understand. Then a thought strikes him, and he sends away his little girl with a needless message to her mother.
“Ah!” he says. “Another world – eh? Meaning – ?”
“Another world – far in the deeps of space.”
Then at the expression of his face one realises that a Modern Utopia will probably keep its more intelligent citizens for better work than inn-tending. He is evidently inaccessible to the idea we think of putting before him. He stares at us a moment, and then remarks, “There's the book to sign.”
We find ourselves confronted with a book, a little after the fashion of the familiar hotel visitors' book of earth. He places this before us, and beside it puts pen and ink and a slab, upon which ink has been freshly smeared.
“Thumbmarks,” says my scientific friend hastily in English.
“You show me how to do it,” I say as quickly.
He signs first, and I look over his shoulder.
He is displaying more readiness than I should have expected. The book is ruled in broad transverse lines, and has a space for a name, for a number, and a thumbmark. He puts his thumb upon the slab and makes the thumbmark first with the utmost deliberation. Meanwhile he studies the other two entries. The “numbers” of the previous guests above are complex muddles of letters and figures. He writes his name, then with a calm assurance writes down his number, A.M.a.1607.2.αβ⊕. I am wrung with momentary admiration. I follow his example, and fabricate an equally imposing signature. We think ourselves very clever. The landlord proffers finger bowls for our thumbs, and his eye goes, just a little curiously, to our entries.
I decide it is advisable to pay and go before any conversation about our formulæ arises.
As we emerge into the corridor, and the morning sunlight of the Utopian world, I see the landlord bending over the book.
“Come on,” I say. “The most tiresome thing in the world is explanations, and I perceive that if we do not get along, they will fall upon us now.”
I glance back to discover the landlord and a gracefully robed woman standing outside the pretty simplicity of the Utopian inn, watching us doubtfully as we recede.
“Come on,” I insist.
§ 8
We should go towards the Schoellenen gorge, and as we went, our fresh morning senses would gather together a thousand factors for our impression of this more civilised world. A Modern Utopia will have done with yapping about nationality, and so the ugly fortifications, the barracks and military defilements of the earthly vale of Urseren will be wanting. Instead there will be a great multitude of gracious little houses clustering in college-like groups, no doubt about their common kitchens and halls, down and about the valley slopes. And there will be many more trees, and a great variety of trees – all the world will have been ransacked for winter conifers. Despite the height of the valley there will be a double avenue along the road. This high road with its tramway would turn with us to descend the gorge, and we should hesitate upon the adventure of boarding the train. But now we should have the memory of our landlord's curious eye upon us, and we should decide at last to defer the risk of explanations such an enterprise might precipitate.
We should go by the great road for a time, and note something of the difference between Utopian and terrestrial engineering.
The tramway, the train road, the culverts, and bridges, the Urnerloch tunnel, into which the road plunges, will all be beautiful things.
There is nothing in machinery, there is nothing in embankments and railways and iron bridges and engineering devices to oblige them to be ugly. Ugliness is the measure of imperfection; a thing of human making is for the most part ugly in proportion to the poverty of its constructive thought, to the failure of its producer fully to grasp the purpose of its being. Everything to which men continue to give thought and attention, which they make and remake in the same direction, and with a continuing desire to do as well as they can, grows beautiful inevitably. Things made by mankind under modern conditions are ugly, primarily because our social organisation is ugly, because we live in an atmosphere of snatch and uncertainty, and do everything in an underbred strenuous manner. This is the misfortune of machinery, and not its fault. Art, like some beautiful plant, lives on its atmosphere, and when the atmosphere is good, it will grow everywhere, and when it is bad nowhere. If we smashed and buried every machine, every furnace, every factory in the world, and without any further change set ourselves to home industries, hand labour, spade husbandry, sheep-folding and pig minding, we should still do things in the same haste, and achieve nothing but dirtiness, inconvenience, bad air, and another gaunt and gawky reflection of our intellectual and moral disorder. We should mend nothing.
But in Utopia a man who designs a tram road will be a cultivated man, an artist craftsman; he will strive, as a good writer, or a painter strives, to achieve the simplicity of perfection. He will make his girders and rails and parts as gracious as that first engineer, Nature, has made the stems of her plants and the joints and gestures of her animals. To esteem him a sort of anti-artist, to count every man who makes things with his unaided thumbs an artist, and every man who uses machinery as a brute, is merely a passing phase of human stupidity. This tram road beside us will be a triumph of design. The idea will be so unfamiliar to us that for a time it will not occur to us that it is a system of beautiful objects at all. We shall admire its ingenious adaptation to the need of a district that is buried half the year in snow, the hard bed below, curved and guttered to do its own clearing, the great arched sleeper masses, raising the rails a good two yards above the ground, the easy, simple standards and insulators. Then it will creep in upon our minds, “But, by Jove! This is designed!”
Indeed the whole thing will be designed.
Later on, perhaps, we may find students in an art school working in competition to design an electric tram, students who know something of modern metallurgy, and something of electrical engineering, and we shall find people as keenly critical of a signal box or an iron bridge as they are on earth of – ! Heavens! what are they critical about on earth?
The quality and condition of a dress tie!
We should make some unpatriotic comparisons with our own planet, no doubt.
CHAPTER THE FOURTH
The Voice of Nature
§ 1
Presently we recognise the fellow of the earthly Devil's Bridge, still intact as a footway, spanning the gorge, and old memories turn us off the road down the steep ruin of an ancient mule track towards it. It is our first reminder that Utopia too must have a history. We cross it and find the Reuss, for all that it has already lit and warmed and ventilated and cleaned several thousands of houses in the dale above, and for all that it drives those easy trams in the gallery overhead, is yet capable of as fine a cascade as ever it flung on earth. So we come to a rocky path, wild as one could wish, and descend, discoursing how good and fair an ordered world may be, but with a certain unformulated qualification in our minds about those thumb marks we have left behind.
“Do you recall the Zermatt valley?” says my friend, “and how on earth it reeks and stinks with smoke?”
“People make that an argument for obstructing change, instead of helping it forward!”
And here perforce an episode intrudes. We are invaded by a talkative person.
He overtakes us and begins talking forthwith in a fluty, but not unamiable, tenor. He is a great talker, this man, and a fairly respectable gesticulator, and to him it is we make our first ineffectual tentatives at explaining who indeed we are; but his flow of talk washes that all away again. He has a face of that rubicund, knobby type I have heard an indignant mineralogist speak of as botryoidal, and about it waves a quantity of disorderly blond hair. He is dressed in leather doublet and knee breeches, and he wears over these a streaming woollen cloak of faded crimson that give him a fine dramatic outline as he comes down towards us over the rocks. His feet, which are large and handsome, but bright pink with the keen morning air, are bare, except for sandals of leather. (It was the only time that we saw anyone in Utopia with bare feet.) He salutes us with a scroll-like waving of his stick, and falls in with our slower paces.
“Climbers, I presume?” he says, “and you scorn these trams of theirs? I like you. So do I! Why a man should consent to be dealt with as a bale of goods holding an indistinctive ticket – when God gave him legs and a face – passes my understanding.”
As he speaks, his staff indicates the great mechanical road that runs across the gorge and high overhead through a gallery in the rock, follows it along until it turns the corner, picks it up as a viaduct far below, traces it until it plunges into an arcade through a jutting crag, and there dismisses it with a spiral whirl. “No!” he says.
He seems sent by Providence, for just now we had been discussing how we should broach our remarkable situation to these Utopians before our money is spent.
Our eyes meet, and I gather from the botanist that I am to open our case.
I do my best.
“You came from the other side of space!” says the man in the crimson cloak, interrupting me. “Precisely! I like that – it's exactly my note! So do I! And you find this world strange! Exactly my case! We are brothers! We shall be in sympathy. I am amazed, I have been amazed as long as I can remember, and I shall die, most certainly, in a state of incredulous amazement, at this remarkable world. Eh?.. You found yourselves suddenly upon a mountain top! Fortunate men!” He chuckled. “For my part I found myself in the still stranger position of infant to two parents of the most intractable dispositions!”
“The fact remains,” I protest.
“A position, I can assure you, demanding Tact of an altogether superhuman quality!”
We desist for a space from the attempt to explain our remarkable selves, and for the rest of the time this picturesque and exceptional Utopian takes the talk entirely under his control…
§ 2
An agreeable person, though a little distracting, he was, and he talked, we recall, of many things. He impressed us, we found afterwards, as a poseur beyond question, a conscious Ishmaelite in the world of wit, and in some subtly inexplicable way as a most consummate ass. He talked first of the excellent and commodious trams that came from over the passes, and ran down the long valley towards middle Switzerland, and of all the growth of pleasant homes and châlets amidst the heights that made the opening gorge so different from its earthly parallel, with a fine disrespect. “But they are beautiful,” I protested. “They are graciously proportioned, they are placed in well-chosen positions; they give no offence to the eye.”
“What do we know of the beauty they replace? They are a mere rash. Why should we men play the part of bacteria upon the face of our Mother?”
“All life is that!”
“No! not natural life, not the plants and the gentle creatures that live their wild shy lives in forest and jungle. That is a part of her. That is the natural bloom of her complexion. But these houses and tramways and things, all made from ore and stuff torn from her veins – ! You can't better my image of the rash. It's a morbid breaking out! I'd give it all for one – what is it? – free and natural chamois.”
“You live at times in a house?” I asked.
He ignored my question. For him, untroubled Nature was the best, he said, and, with a glance at his feet, the most beautiful. He professed himself a Nazarite, and shook back his Teutonic poet's shock of hair. So he came to himself, and for the rest of our walk he kept to himself as the thread of his discourse, and went over himself from top to toe, and strung thereon all topics under the sun by way of illustrating his splendours. But especially his foil was the relative folly, the unnaturalness and want of logic in his fellow men. He held strong views about the extreme simplicity of everything, only that men, in their muddle-headedness, had confounded it all. “Hence, for example, these trams! They are always running up and down as though they were looking for the lost simplicity of nature. ‘We dropped it here!’” He earned a living, we gathered, “some considerable way above the minimum wage,” which threw a chance light on the labour problem – by perforating records for automatic musical machines – no doubt of the Pianotist and Pianola kind – and he spent all the leisure he could gain in going to and fro in the earth lecturing on “The Need of a Return to Nature,” and on “Simple Foods and Simple Ways.” He did it for the love of it. It was very clear to us he had an inordinate impulse to lecture, and esteemed us fair game. He had been lecturing on these topics in Italy, and he was now going back through the mountains to lecture in Saxony, lecturing on the way, to perforate a lot more records, lecturing the while, and so start out lecturing again. He was undisguisedly glad to have us to lecture to by the way.
He called our attention to his costume at an early stage. It was the embodiment of his ideal of Nature-clothing, and it had been made especially for him at very great cost. “Simply because naturalness has fled the earth, and has to be sought now, and washed out from your crushed complexities like gold.”
“I should have thought,” said I, “that any clothing whatever was something of a slight upon the natural man.”
“Not at all,” said he, “not at all! You forget his natural vanity!”
He was particularly severe on our artificial hoofs, as he called our boots, and our hats or hair destructors. “Man is the real King of Beasts and should wear a mane. The lion only wears it by consent and in captivity.” He tossed his head.
Subsequently while we lunched and he waited for the specific natural dishes he ordered – they taxed the culinary resources of the inn to the utmost – he broached a comprehensive generalisation. “The animal kingdom and the vegetable kingdom are easily distinguished, and for the life of me I see no reason for confusing them. It is, I hold, a sin against Nature. I keep them distinct in my mind and I keep them distinct in my person. No animal substance inside, no vegetable without; – what could be simpler or more logical? Nothing upon me but leather and allwool garments, within, cereals, fruit, nuts, herbs, and the like. Classification – order – man's function. He is here to observe and accentuate Nature's simplicity. These people” – he swept an arm that tried not too personally to include us – “are filled and covered with confusion.”
He ate great quantities of grapes and finished with a cigarette. He demanded and drank a great horn of unfermented grape juice, and it seemed to suit him well.
We three sat about the board – it was in an agreeable little arbour on a hill hard by the place where Wassen stands on earth, and it looked down the valley to the Uri Rothstock, and ever and again we sought to turn his undeniable gift of exposition to the elucidation of our own difficulties.
But we seemed to get little, his style was so elusive. Afterwards, indeed, we found much information and many persuasions had soaked into us, but at the time it seemed to us he told us nothing. He indicated things by dots and dashes, instead of by good hard assertive lines. He would not pause to see how little we knew. Sometimes his wit rose so high that he would lose sight of it himself, and then he would pause, purse his lips as if he whistled, and then till the bird came back to the lure, fill his void mouth with grapes. He talked of the relations of the sexes, and love – a passion he held in great contempt as being in its essence complex and disingenuous – and afterwards we found we had learnt much of what the marriage laws of Utopia allow and forbid.
“A simple natural freedom,” he said, waving a grape in an illustrative manner, and so we gathered the Modern Utopia did not at any rate go to that. He spoke, too, of the regulation of unions, of people who were not allowed to have children, of complicated rules and interventions. “Man,” he said, “had ceased to be a natural product!”
We tried to check him with questions at this most illuminating point, but he drove on like a torrent, and carried his topic out of sight. The world, he held, was overmanaged, and that was the root of all evil. He talked of the overmanagement of the world, and among other things of the laws that would not let a poor simple idiot, a “natural,” go at large. And so we had our first glimpse of what Utopia did with the feeble and insane. “We make all these distinctions between man and man, we exalt this and favour that, and degrade and seclude that; we make birth artificial, life artificial, death artificial.”
“You say We,” said I, with the first glimmering of a new idea, “but you don't participate?”
“Not I! I'm not one of your samurai, your voluntary noblemen who have taken the world in hand. I might be, of course, but I'm not.”
“Samurai!” I repeated, “voluntary noblemen!” and for the moment could not frame a question.
He whirled on to an attack on science, that stirred the botanist to controversy. He denounced with great bitterness all specialists whatever, and particularly doctors and engineers.
“Voluntary noblemen!” he said, “voluntary Gods I fancy they think themselves,” and I was left behind for a space in the perplexed examination of this parenthesis, while he and the botanist – who is sedulous to keep his digestion up to date with all the newest devices – argued about the good of medicine men.
“The natural human constitution,” said the blond-haired man, “is perfectly simple, with one simple condition – you must leave it to Nature. But if you mix up things so distinctly and essentially separated as the animal and vegetable kingdoms for example, and ram that in for it to digest, what can you expect?
“Ill health! There isn't such a thing – in the course of Nature. But you shelter from Nature in houses, you protect yourselves by clothes that are useful instead of being ornamental, you wash – with such abstersive chemicals as soap for example – and above all you consult doctors.” He approved himself with a chuckle. “Have you ever found anyone seriously ill without doctors and medicine about? Never! You say a lot of people would die without shelter and medical attendance! No doubt – but a natural death. A natural death is better than an artificial life, surely? That's – to be frank with you – the very citadel of my position.”
That led him, and rather promptly, before the botanist could rally to reply, to a great tirade against the laws that forbade “sleeping out.” He denounced them with great vigour, and alleged that for his own part he broke that law whenever he could, found some corner of moss, shaded from an excess of dew, and there sat up to sleep. He slept, he said, always in a sitting position, with his head on his wrists, and his wrists on his knees – the simple natural position for sleep in man… He said it would be far better if all the world slept out, and all the houses were pulled down.
You will understand, perhaps, the subdued irritation I felt, as I sat and listened to the botanist entangling himself in the logical net of this wild nonsense. It impressed me as being irrelevant. When one comes to a Utopia one expects a Cicerone, one expects a person as precise and insistent and instructive as an American advertisement – the advertisement of one of those land agents, for example, who print their own engaging photographs to instil confidence and begin, “You want to buy real estate.” One expects to find all Utopians absolutely convinced of the perfection of their Utopia, and incapable of receiving a hint against its order. And here was this purveyor of absurdities!
And yet now that I come to think it over, is not this too one of the necessary differences between a Modern Utopia and those finite compact settlements of the older school of dreamers? It is not to be a unanimous world any more, it is to have all and more of the mental contrariety we find in the world of the real; it is no longer to be perfectly explicable, it is just our own vast mysterious welter, with some of the blackest shadows gone, with a clearer illumination, and a more conscious and intelligent will. Irrelevance is not irrelevant to such a scheme, and our blond-haired friend is exactly just where he ought to be here.
Still —
