The Voice of the Machines. Gerald Stanley Lee

has long been an old story. When the sailor has grown too stiff to climb the masts he mends sails on the decks. Everybody understands—even the commonest people and the minor poets understand—why it is that a sailor, when he is old and bent and obliged to be a landsman to die, does something that holds him close to the sea. If he has a garden, he hoes where he can see the sails. If he must tend flowers, he plants them in an old yawl, and when he selects a place for his grave, it is where surges shall be heard at night singing to his bones. Every one appreciates a fact like this. There is not a passenger on the Empire State Express, this moment, being whirled to the West, who could not write a sonnet on it—not a man of them who could not sit down in his seat, flying through space behind the set and splendid hundred-guarding eyes of the engineer, and write a poem on a dead sailor buried by the sea. A crowd on the street could write a poem on a dead sailor (that is, if they were sure he was dead), and now that sailors enough have died in the course of time to bring the feeling of the sea over into poetry, sailors who are still alive are allowed in it. It remains to be seen how many wrecks it is going to take, lists of killed and wounded, fatally injured, columns of engineers dying at their posts, to penetrate the spiritual safe where poets are keeping their souls to-day, untouched of the world, and bring home to them some sense of the adventure and quiet splendor and unparalleled expressiveness of the engineer’s life. He is a man who would rather be without a life (so long as he has his nerve) than to have to live one without an engine, and when he climbs down from the old girl at last, to continue to live at all, to him, is to linger where she is. He watches the track as a sailor watches the sea. He spends his old age in the roundhouse. With the engines coming in and out, one always sees him sitting in the sun there until he dies, and talking with them. Nothing can take him away.

      Does any one know an engineer who has not all but a personal affection for his engine, who has not an ideal for his engine, who holding her breath with his will does not put his hand upon the throttle of that ideal and make that ideal say something? Woe to the poet who shall seek to define down or to sing away that ideal. In its glory, in darkness or in day, we are hid from death. It is the protection of life. The engineer who is not expressing his whole soul in his engine, and in the aisles of souls behind him, is not worthy to place his hand upon an engine’s throttle. Indeed, who is he—this man—that this awful privilege should be allowed to him, that he should dare to touch the motor nerve of her, that her mighty forty-mile-an-hour muscles should be the slaves of the fingers of a man like this, climbing the hills for him, circling the globe for him? It is impossible to believe that an engineer—a man who with a single touch sends a thousand tons of steel across the earth as an empty wind can go, or as a pigeon swings her wings, or as a cloud sets sail in the west—does not mean something by it, does not love to do it because he means something by it. If ever there was a poet, the engineer is a poet. In his dumb and mighty, thousand-horizoned brotherhood, hastener of men from the ends of the earth that they may be as one, I always see him—ceaseless—tireless—flying past sleep—out through the Night—thundering down the edge of the world, into the Dawn.

      Who am I that it should be given to me to make a word on my lips to speak, or to make a thing that shall be beautiful with my hands—that I should stand by my brother’s life and gaze on his trembling track—and not feel what the engine says as it plunges past, about the man in the cab? What matters it that he is a wordless man, that he wears not his heart in a book? Are not the bell and the whistle and the cloud of steam, and the rush, and the peering in his eyes words enough? They are the signals of this man’s life beckoning to my life. Standing in his engine there, making every wheel of that engine thrill to his will, he is the priest of wonder to me, and of the terror of the splendor of the beauty of power. The train is the voice of his life. The sound of its coming is a psalm of strength. It is as the singing a man would sing who felt his hand on the throttle of things. The engine is a soul to me—soul of the quiet face thundering past—leading its troop of glories echoing along the hills, telling it to the flocks in the fields and the birds in the air, telling it to the trees and the buds and the little, trembling growing things, that the might of the spirit of man has passed that way.

      If an engine is to be looked at from the point of view of the man who makes it and who knows it best; if it is to be taken, as it has a right to be taken, in the nature of things, as being an expression of the human spirit, as being that man’s way of expressing the human spirit, there shall be no escape for the children of this present world, from the wonder and beauty in it, and the strong delight in it that shall hem life in, and bound it round on every side. The idealism and passion and devotion and poetry in an engineer, in the feeling he has about his machine, the power with which that machine expresses that feeling, is one of the great typical living inspirations of this modern age, a fragment of the new apocalypse, vast and inarticulate and far and faint to us, but striving to reach us still, now from above, and now from below, and on every side of life. It is as though the very ground itself should speak—speak to our poor, pitiful, unspiritual, matter-despising souls—should command them to come forth, to live, to gaze into the heart of matter for the heart of God. It is so that the very dullest of us, standing among our machines, can hardly otherwise than guess the coming of some vast surprise—the coming of the day when, in the very rumble of the world, our sons and daughters shall prophesy, and our young men shall see visions, and our old men shall dream dreams. It cannot be uttered. I do not dare to say it. What it means to our religion and to our life and to our art, this great athletic uplift of the world, I do not know. I only know that so long as the fine arts, in an age like this, look down on the mechanical arts there shall be no fine arts. I only know that so long as the church worships the laborer’s God, but does not reverence labor, there shall be no religion in it for men to-day, and none for women and children to-morrow. I only know that so long as there is no poet amongst us, who can put himself into a word, as this man, my brother the engineer, is putting himself into his engine, the engine shall remove mountains, and the word of the poet shall not; it shall be buried beneath the mountains. I only know that so long as we have more preachers who can be hired to stop preaching or to go into life insurance than we have engineers who can be hired to leave their engines, inspiration shall be looked for more in engine cabs than in pulpits—the vestibule trains shall say deeper things than sermons say. In the rhythm of the anthem of them singing along the rails, we shall find again the worship we have lost in church, the worship we fain would find in the simpered prayers and paid praises of a thousand choirs—the worship of the creative spirit, the beholding of a fragment of creation morning, the watching of the delight of a man in the delight of God—in the first and last delight of God. I have made a vow in my heart. I shall not enter a pulpit to speak, unless every word have the joy of God and of fathers and mothers in it. And so long as men are more creative and godlike in engines than they are in sermons, I listen to engines.

      Would to God it were otherwise. But so it shall be with all of us. So it cannot but be. Not until the day shall come when this wistful, blundering church of ours, loved with exceeding great and bitter love, with all her proud and solitary towers, shall turn to the voices of life sounding beneath her belfries in the street, shall she be worshipful; not until the love of all life and the love of all love is her love, not until all faces are her faces, not until the face of the engineer peering from his cab, sentry of a thousand souls, is beautiful to her, as an altar cloth is beautiful or a stained glass window is beautiful, shall the church be beautiful. That day is bound to come. If the church will not do it with herself, the great rough hand of the world shall do it with the church. That day of the new church shall be known by men because it will be a day in which all worship shall be gathered into her worship, in which her holy house shall be the comradeship of all delights and of all masteries under the sun, and all the masteries and all the delights shall be laid at her feet.

      VI

PROPHETS

       Table of Contents

      The world follows the creative spirit. Where the spirit is creating, the strong and the beautiful flock. If the creative spirit is not in poetry, poetry will call itself something else. If it is not in the church, religion will call itself something else. It is the business of a living religion, not to wish that the age it lives in were some other age, but to tell what the age is for, and what every