The Voice of the Machines | Page 3

piled around him where he stands, would be able, for the machines piled high around his life, to see the sky--to be sure there was a sky. It is then his privilege, looking up at this horizon of steel and iron and running belts, to read in a paper book the literary definition of what this heaven is, that spreads itself above him, and above the world, walled in forever with its irrevocable roar of wheels.
"No inspiring emotions," says the literary definition, "ideas or conceptions can possibly be connected with machinery--or ever will be."
What is to become of a world roofed in with machines for the rest of its natural life, and of the people who will have to live under the roof of machines, the literary definition does not say. It is not the way of literary definitions. For a time at least we feel assured that we, who are the makers of definitions, are poetically and personally safe. Can we not live behind the ramparts of our books? We take comfort with the medallions of poets and the shelves that sing around us. We sit by our library fires, the last nook of poetry. Beside our gates the great crowding chimneys lift themselves. Beneath our windows herds of human beings, flocking through the din, in the dark of the morning and the dark of the night, go marching to their fate. We have done what we could. Have we not defined poetry? Is it nothing to have laid the boundary line of beauty?... The huge, hurrying, helpless world in its belts and spindles--the people who are going to be obliged to live in it when the present tense has spoiled it a little more--all this--the great strenuous problem--the defense of beauty, the saving of its past, the forging of its future, the welding of it with life-all these?... Pull down the blinds, Jeems. Shut out the noises of the street. A little longer ... the low singing to ourselves. Then darkness. The wheels and the din above our graves shall be as the passing of silence.
Is it true that, in a few years more, if a man wants the society of his kind, he will have to look down through a hatchway? Or that, if he wants to be happy, he will have to stand on it and look away? I do not know. I only know how it is now.
They stay not in their hold These stokers, Stooping to hell To feed a ship. Below the ocean floors, Before their awful doors Bathed in flame, I hear their human lives Drip--drip.
Through the lolling aisles of comrades In and out of sleep, Troops of faces To and fro of happy feet, They haunt my eyes. Their murky faces beckon me From the spaces of the coolness of the sea Their fitful bodies away against the skies.

III
SOULS OF MACHINES
It does not make very much difference to the machines whether there is poetry in them or not. It is a mere abstract question to the machines.
It is not an abstract question to the people who are under the machines. Men who are under things want to know what the things are for, and they want to know what they are under them for. It is a very live, concrete, practical question whether there is, or can be, poetry in machinery or not. The fate of society turns upon it.
There seems to be nothing that men can care for, whether in this world or the next, or that they can do, or have, or hope to have, which is not bound up, in our modern age, with machinery. With the fate of machinery it stands or falls. Modern religion is a machine. If the characteristic vital power and spirit of the modern age is organization, and it cannot organize in its religion, there is little to be hoped for in religion. Modern education is a machine. If the principle of machinery is a wrong and inherently uninspired principle--if because a machine is a machine no great meaning can be expressed by it, and no great result accomplished by it--there is little to be hoped for in modern education.
Modern government is a machine. The more modern a government is, the more the machine in it is emphasized. Modern trade is a machine. It is made up of (1) corporations--huge machines employing machines, and (2) of trusts--huge machines that control machines that employ machines. Modern charity is a machine for getting people to help each other. Modern society is a machine for getting them to enjoy each other. Modern literature is a machine for supplying ideas. Modern journalism is a machine for distributing them; and modern art is a machine for supplying the few, very few, things that are left that other machines