Indeed it is to a great extent the thought of these strange souls in crude American garb that gives a meaning to the masquerade of New York. In the hotel where I stayed the head waiter in one room was a Bohemian; and I am glad to say that he called himself a Bohemian. I have already protested sufficiently, before American audiences, against the pedantry of perpetually talking about Czecho-Slovakia. I suggested to my American friends that the abandonment of the word Bohemian in its historical sense might well extend to its literary and figurative sense. We might be expected to say, ‘I’m afraid Henry has got into very Czecho-Slovakian habits lately,’ or ‘Don’t bother to dress; it’s quite a Czecho-Slovakian affair.’ Anyhow my Bohemian would have nothing to do with such nonsense; he called himself a son of Bohemia, and spoke as such in his criticisms of America, which were both favourable and unfavourable. He was a squat man, with a sturdy figure and a steady smile; and his eyes were like dark pools in the depth of a darker forest, but I do not think he had ever been deceived by the lights of Broadway.
But I found something like my real innocent abroad, my real peasant among the sky-signs, in another part of the same establishment. He was a much leaner man, equally dark, with a hook nose, hungry face, and fierce black moustaches. He also was a waiter, and was in the costume of a waiter, which is a smarter edition of the costume of a lecturer. As he was serving me with clam chowder or some such thing, I fell into speech with him and he told me he was a Bulgar. I said something like, ‘I’m afraid I don’t know as much as I ought to about Bulgaria. I suppose most of your people are agricultural, aren’t they?’ He did not stir an inch from his regular attitude, but he slightly lowered his low voice and said, ‘Yes. From the earth we come and to the earth we return; when people get away from that they are lost.’
To hear such a thing said by the waiter was alone an epoch in the life of an unfortunate writer of fantastic novels. To see him clear away the clam chowder like an automaton, and bring me more iced water like an automaton or like nothing on earth except an American waiter (for piling up ice is the cold passion of their lives), and all this after having uttered something so dark and deep, so starkly incongruous and so startlingly true, was an indescribable thing, but very like the picture of the peasant admiring Broadway. So he passed, with his artificial clothes and manners, lit up with all the ghastly artificial light of the hotel, and all the ghastly artificial life of the city; and his heart was like his own remote and rocky valley, where those unchanging words were carved as on a rock.
I do not profess to discuss here at all adequately the question this raises about the Americanisation of the Bulgar. It has many aspects, of some of which most Englishmen and even some Americans are rather unconscious. For one thing, a man with so rugged a loyalty to land could not be Americanised in New York; but it is not so certain that he could not be Americanised in America. We might almost say that a peasantry is hidden in the heart of America. So far as our impressions go, it is a secret. It is rather an open secret; covering only some thousand square miles of open prairie. But for most of our countrymen it is something invisible, unimagined, and unvisited; the simple truth that where all those acres are there is agriculture, and where all that agriculture is there is considerable tendency towards distributive or decently equalised property, as in a peasantry. On the other hand, there are those who say that the Bulgar will never be Americanised, that he only comes to be a waiter in America that he may afford to return to be a peasant in Bulgaria. I cannot decide this issue, and indeed I did not introduce it to this end. I was led to it by a certain line of reflection that runs along the Great White Way, and I will continue to follow it. The criticism, if we could put it rightly, not only covers more than New York but more than the whole New World. Any argument against it is quite as valid against the largest and richest cities of the Old World, against London or Liverpool or Frankfort or Belfast. But it is in New York that we see the argument most clearly, because we see the thing thus towering into its own turrets and breaking into its own fireworks.
I disagree with the aesthetic condemnation of the modern city with its sky-scrapers and sky-signs. I mean that which laments the loss of beauty and its sacrifice to utility. It seems to me the very reverse of the truth. Years ago, when people used to say the Salvation Army doubtless had good intentions, but we must all deplore its methods, I pointed out that the very contrary is the case. Its method, the method of drums and democratic appeal, is that of the Franciscans or any other march of the Church Militant. It was precisely its aims that were dubious, with their dissenting morality and despotic finance. It is somewhat the same with things like the sky-signs in Broadway. The aesthete must not ask me to mingle my tears with his, because these things are merely useful and ugly. For I am not specially inclined to think them ugly; but I am strongly inclined to think them useless. As a matter of art for art’s sake, they seem to me rather artistic. As a form of practical social work they seem to me stark stupid waste. If Mr. Bilge is rich enough to build a tower four hundred feet high and give it a crown of golden crescents and crimson stars, in order to draw attention to his manufacture of the Paradise Tooth Paste or The Seventh Heaven Cigar, I do not feel the least disposition to thank him for any serious form of social service. I have never tried the Seventh Heaven Cigar; indeed a premonition moves me towards the belief that I shall go down to the dust without trying it. I have every reason to doubt whether it does any particular good to those who smoke it, or any good to anybody except those who sell it. In short Mr. Bilge’s usefulness consists in being useful to Mr. Bilge, and all the rest is illusion and sentimentalism. But because I know that Bilge is only Bilge, shall I stoop to the profanity of saying that fire is only fire? Shall I blaspheme crimson stars any more than crimson sunsets, or deny that those moons are golden any more than that this grass is green? If a child saw these coloured lights, he would dance with as much delight as at any other coloured toys; and it is the duty of every poet, and even of every critic, to dance in respectful imitation of the child. Indeed I am in a mood of so much sympathy with the fairy lights of this pantomime city, that I should be almost sorry to see social sanity and a sense of proportion return to extinguish them. I fear the day is breaking, and the broad daylight of tradition and ancient truth is coming to end all this delightful nightmare of New York at night. Peasants and priests and all sorts of practical and sensible people are coming back into power, and their stern realism may wither all these beautiful, unsubstantial, useless things. They will not believe in the Seventh Heaven Cigar, even when they see it shining as with stars in the seventh heaven. They will not be affected by advertisements, any more than the priests and peasants of the Middle Ages would have been affected by advertisements. Only a very soft-headed, sentimental, and rather servile generation of men could possibly be affected by advertisements at all. People who are a little more hard-headed, humorous, and intellectually independent, see the rather simple joke; and are not impressed by this or any other form of self-praise. Almost any other men in almost any other age would have seen the joke. If you had said to a man in the Stone Age, ‘Ugg says Ugg makes the best stone hatchets,’ he would have perceived a lack of detachment and disinterestedness about the testimonial. If you had said to a medieval peasant, ‘Robert the Bowyer proclaims, with three blasts of a horn, that he makes good bows,’ the peasant would have said, ‘Well, of course he does,’ and thought about something more important. It is only among people whose minds have been weakened by a sort of mesmerism that so transparent a trick as that of advertisement could ever have been tried at all. And if ever we have again, as for other reasons I cannot but hope we shall, a more democratic distribution of property and a more agricultural basis of national life, it would seem at first sight only too likely that all this beautiful superstition will perish, and the fairyland of Broadway with all its varied rainbows fade away. For such people the Seventh Heaven Cigar, like the nineteenth-century city, will have ended in smoke. And even the smoke of it will have vanish
ed.
But the next stage of reflection brings us back to the peasant looking at the lights of Broadway. It is not true to say in the strict sense that the peasant has never seen such things before. The truth is that he has seen them on a much smaller scale, but for a much larger purpose. Peasants also have their ritual and ornament, but it is to adorn more real things. Apart from our first fancy about the peasant who could not read, there is no doubt about what would be apparent to a peasant who could read, and who could understand. For him also fire is sacred, for him also colour is symbolic. But where he sets up a candle to light the little shrine of St. Joseph, he finds it takes twelve hundred candles to light the Seventh Heaven Cigar. He is used to the colours in church windows showing red for martyrs or blue for madonnas; but here he can only conclude that all the colours of the rainbow belong to Mr. Bilge. Now upon the aesthetic side he might well be impressed; but it is exactly on the social and even scientific side that he has a right to criticise. If he were a Chinese peasant, for instance, and came from a land of fireworks, he would naturally suppose that he had happened to arrive at a great firework display in celebration of something; perhaps the Sacred Emperor’s birthday, or rather birthnight. It would gradually dawn on the Chinese philosopher that the Emperor could hardly be born every night. And when he learnt the truth the philosopher, if he was a philosopher, would be a little disappointed … possibly a little disdainful.
Compare, for instance, these everlasting fireworks with the damp squibs and dying bonfires of Guy Fawkes Day. That quaint and even queer national festival has been fading for some time out of English life. Still, it was a national festival, in the double sense that it represented some sort of public spirit pursued by some sort of popular impulse. People spent money on the display of fireworks; they did not get money by it. And the people who spent money were often those who had very little money to spend. It had something of the glorious and fanatical character of making the poor poorer. It did not, like the advertisements, have only the mean and materialistic character of making the rich richer. In short, it came from the people and it appealed to the nation. The historical and religious cause in which it originated is not mine; and I think it has perished partly through being tied to a historical theory for which there is no future. I think this is illustrated in the very fact that the ceremonial is merely negative and destructive. Negation and destruction are very noble things as far as they go, and when they go in the right direction; and the popular expression of them has always something hearty and human about it. I shall not therefore bring any fine or fastidious criticism, whether literary or musical, to bear upon the little boys who drag about a bolster and a paper mask, calling out
Guy Fawkes Guy
Hit him in the eye.
But I admit it is a disadvantage that they have not a saint or hero to crown in effigy as well as a traitor to burn in effigy. I admit that popular Protestantism has become too purely negative for people to wreathe in flowers the statue of Mr. Kensit or even of Dr. Clifford. I do not disguise my preference for popular Catholicism; which still has statues that can be wreathed in flowers. I wish our national feast of fireworks revolved round something positive and popular. I wish the beauty of a Catherine Wheel were displayed to the glory of St. Catherine. I should not especially complain if Roman candles were really Roman candles. But this negative character does not destroy the national character; which began at least in disinterested faith and has ended at least in disinterested fun. There is nothing disinterested at all about the new commercial fireworks. There is nothing so dignified as a dingy guy among the lights of Broadway. In that thoroughfare, indeed, the very word guy has another and milder significance. An American friend congratulated me on the impression I produced on a lady interviewer, observing, ‘She says you’re a regular guy.’ This puzzled me a little at the time. ‘Her description is no doubt correct,’ I said, ‘but I confess that it would never have struck me as specially complimentary.’ But it appears that it is one of the most graceful of compliments, in the original American. A guy in America is a colourless term for a human being. All men are guys, being endowed by their Creator with certain … but I am misled by another association. And a regular guy means, I presume, a reliable or respectable guy. The point here, however, is that the guy in the grotesque English sense does represent the dilapidated remnant of a real human tradition of symbolising real historic ideals by the sacramental mystery of fire. It is a great fall from the lowest of these lowly bonfires to the highest of the modern sky-signs. The new illumination does not stand for any national ideal at all; and what is yet more to the point, it does not come from any popular enthusiasm at all. That is where it differs from the narrowest national Protestantism of the English institution. Mobs have risen in support of No Popery; no mobs are likely to rise in defence of the New Puffery. Many a poor crazy Orangeman has died saying, ‘To Hell with the Pope’; it is doubtful whether any man will ever, with his last breath, frame the ecstatic words, ‘Try Hugby’s Chewing Gum.’ These modern and mercantile legends are imposed upon us by a mercantile minority, and we are merely passive to the suggestion. The hypnotist of high finance or big business merely writes his commands in heaven with a finger of fire. All men really are guys, in the sense of dummies. We are only the victims of his pyrotechnic violence; and it is he who hits us in the eye.
This is the real case against that modern society that is symbolised by such art and architecture. It is not that it is toppling, but that it is top-heavy. It is not that it is vulgar, but rather that it is not popular. In other words, the democratic ideal of countries like America, while it is still generally sincere and sometimes intense, is at issue with another tendency, an industrial progress which is of all things on earth the most undemocratic. America is not alone in possessing the industrialism, but she is alone in emphasising the ideal that strives with industrialism. Industrial capitalism and ideal democracy are everywhere in controversy; but perhaps only here are they in conflict. France has a democratic ideal; but France is not industrial. England and Germany are industrial; but England and Germany are not really democratic. Of course when I speak here of industrialism I speak of great industrial areas; there is, as will be noted later, another side to all these countries; there is in America itself not only a great deal of agricultural society, but a great deal of agricultural equality; just as there are still peasants in Germany and may some day again be peasants in England. But the point is that the ideal and its enemy the reality are here crushed very close to each other in the high, narrow city; and that the sky-scraper is truly named because its top, towering in such insolence, is scraping the stars off the American sky, the very heaven of the American spirit.
That seems to me the main outline of the whole problem. In the first chapter of this book, I have emphasised the fact that equality is still the ideal though no longer the reality of America. I should like to conclude this one by emphasising the fact that the reality of modern capitalism is menacing that ideal with terrors and even splendours that might well stagger the wavering and impressionable modern spirit. Upon the issue of that struggle depends the question of whether this new great civilisation continues to exist, and even whether any one cares if it exists or not. I have already used the parable of the American flag, and the stars that stand for a multitudinous equality; I might here take the opposite symbol of these artificial and terrestrial stars flaming on the forehead of the commercial city; and note the peril of the last illusion, which is that the artificial stars may seem to fill the heavens, and the real stars to have faded from sight. But I am content for the moment to reaffirm the merely imaginative pleasure of those dizzy turrets and dancing fires. If those nightmare buildings were really all built for nothing, how noble they would be! The fact that they were really built for something need not unduly depress us for a moment, or drag down our soaring fancies. There is something about these vertical lines that suggests a sort of rush upwards, as of great cataracts topsy-turvy. I have spoken of
fireworks, but here I should rather speak of rockets. There is only something underneath the mind murmuring that nothing remains at last of a flaming rocket except a falling stick. I have spoken of Babylonian perspectives, and of words written with a fiery finger, like that huge unhuman finger that wrote on Belshazzar’s wall. … But what did it write on Belshazzar’s wall? … I am content once more to end on a note of doubt and a rather dark sympathy with those many-coloured solar systems turning so dizzily, far up in the divine vacuum of the night.
‘From the earth we come and to the earth we return; when people get away from that they are lost.’
What I Saw in America Page 4
