Герберт Джордж Уэллс
Certain Personal Matters
So with a glimpse of these human tadpoles, in their deep close gallery, with their boring machinery ringing away, and artificial lights glaring and casting black shadows, the Professor's horoscope concludes. Humanity in dismal retreat before the cold, changed beyond recognition. Yet the Professor is reasonable enough, his facts are current science, his methods orderly. The contemplative man shivers at the prospect, starts up to poke the fire, and the whole of this remarkable book that is not written vanishes straightway in the smoke of his pipe. This is the great advantage of this unwritten literature: there is no bother in changing the books. The contemplative man consoles himself for the destiny of the species with the lost portion of Kubla Khan.
THE EXTINCTION OF MAN
It is part of the excessive egotism of the human animal that the bare idea of its extinction seems incredible to it. "A world without us!" it says, as a heady young Cephalaspis might have said it in the old Silurian sea. But since the Cephalaspis and the Coccostëus many a fine animal has increased and multiplied upon the earth, lorded it over land or sea without a rival, and passed at last into the night. Surely it is not so unreasonable to ask why man should be an exception to the rule. From the scientific standpoint at least any reason for such exception is hard to find.
No doubt man is undisputed master at the present time – at least of most of the land surface; but so it has been before with other animals. Let us consider what light geology has to throw upon this. The great land and sea reptiles of the Mesozoic period, for instance, seem to have been as secure as humanity is now in their pre-eminence. But they passed away and left no descendants when the new orders of the mammals emerged from their obscurity. So, too, the huge Titanotheria of the American continent, and all the powerful mammals of Pleistocene South America, the sabre-toothed lion, for instance, and the Machrauchenia suddenly came to a finish when they were still almost at the zenith of their rule. And in no case does the record of the fossils show a really dominant species succeeded by its own descendants. What has usually happened in the past appears to be the emergence of some type of animal hitherto rare and unimportant, and the extinction, not simply of the previously ruling species, but of most of the forms that are at all closely related to it. Sometimes, indeed, as in the case of the extinct giants of South America, they vanished without any considerable rivals, victims of pestilence, famine, or, it may be, of that cumulative inefficiency that comes of a too undisputed life. So that the analogy of geology, at anyrate, is against this too acceptable view of man's certain tenure of the earth for the next few million years or so.
And, after all, even now man is by no means such a master of the kingdoms of life as he is apt to imagine. The sea, that mysterious nursery of living things, is for all practical purposes beyond his control. The low-water mark is his limit. Beyond that he may do a little with seine and dredge, murder a few million herrings a year as they come in to spawn, butcher his fellow air-breather, the whale, or haul now and then an unlucky king-crab or strange sea-urchin out of the deep water, in the name of science; but the life of the sea as a whole knows him not, plays out its slow drama of change and development unheeding him, and may in the end, in mere idle sport, throw up some new terrestrial denizens, some new competitor for space to live in and food to live upon, that will sweep him and all his little contrivances out of existence, as certainly and inevitably as he has swept away auk, bison, and dodo during the last two hundred years.
For instance, there are the Crustacea. As a group the crabs and lobsters are confined below the high-water mark. But experiments in air-breathing are no doubt in progress in this group – we already have tropical land-crabs – and as far as we know there is no reason why in the future these creatures should not increase in size and terrestrial capacity. In the past we have the evidence of the fossil Paradoxides that creatures of this kind may at least attain a length of six feet, and, considering their intense pugnacity, a crab of such dimensions would be as formidable a creature as one could well imagine. And their amphibious capacity would give them an advantage against us such as at present is only to be found in the case of the alligator or crocodile. If we imagine a shark that could raid out upon the land, or a tiger that could take refuge in the sea, we should have a fair suggestion of what a terrible monster a large predatory crab might prove. And so far as zoological science goes we must, at least, admit that such a creature is an evolutionary possibility.
Then, again, the order of the Cephalopods, to which belong the cuttle-fish and the octopus (sacred to Victor Hugo), may be, for all we can say to the contrary, an order with a future. Their kindred, the Gastropods, have, in the case of the snail and slug, learnt the trick of air-breathing. And not improbably there are even now genera of this order that have escaped the naturalist, or even well-known genera whose possibilities in growth and dietary are still unknown. Suppose some day a specimen of a new species is caught off the coast of Kent. It excites remark at a Royal Society soirée, engenders a Science Note or so, "A Huge Octopus!" and in the next year or so three or four other specimens come to hand, and the thing becomes familiar. "Probably a new and larger variety of Octopus so-and-so, hitherto supposed to be tropical," says Professor Gargoyle, and thinks he has disposed of it. Then conceive some mysterious boating accidents and deaths while bathing. A large animal of this kind coming into a region of frequent wrecks might so easily acquire a preferential taste for human nutriment, just as the Colorado beetle acquired a new taste for the common potato and gave up its old food-plants some years ago. Then perhaps a school or pack or flock of Octopus gigas would be found busy picking the sailors off a stranded ship, and then in the course of a few score years it might begin to stroll up the beaches and batten on excursionists. Soon it would be a common feature of the watering-places – possibly at last commoner than excursionists. Suppose such a creature were to appear – and it is, we repeat, a possibility, if perhaps a remote one – how could it be fought against? Something might be done by torpedoes; but, so far as our past knowledge goes, man has no means of seriously diminishing the numbers of any animal of the most rudimentary intelligence that made its fastness in the sea.
Even on land it is possible to find creatures that with a little modification might become excessively dangerous to the human ascendency. Most people have read of the migratory ants of Central Africa, against which no man can stand. On the march they simply clear out whole villages, drive men and animals before them in headlong rout, and kill and eat every living creature they can capture. One wonders why they have not already spread the area of their devastations. But at present no doubt they have their natural checks, of ant-eating birds, or what not. In the near future it may be that the European immigrant, as he sets the balance of life swinging in his vigorous manner, may kill off these ant-eating animals, or otherwise unwittingly remove the checks that now keep these terrible little pests within limits. And once they begin to spread in real earnest, it is hard to see how their advance could be stopped. A world devoured by ants seems incredible now, simply because it is not within our experience; but a naturalist would have a dull imagination who could not see in the numerous species of ants, and in their already high intelligence, far more possibility of strange developments than we have in the solitary human animal. And no doubt the idea of the small and feeble organism of man, triumphant and omnipresent, would have seemed equally incredible to an intelligent mammoth or a palæolithic cave bear.
And, finally, there is always the prospect of a new disease. As yet science has scarcely touched more than the fringe of the probabilities associated with the minute fungi that constitute our zymotic diseases. But the bacilli have no more settled down into their final quiescence than have men; like ourselves, they are adapting themselves to new conditions and acquiring new powers. The plagues of the Middle Ages, for instance, seem to have been begotten of a strange bacillus engendered under conditions that sanitary science, in spite of its panacea of drainage, still admits are imperfectly understood, and for all we know even now we may be quite unwittingly evolving some new and more terrible plague – a plague that will not take ten or twenty or thirty per cent., as plagues have done in the past, but the entire hundred.
No; man's complacent assumption of the future is too confident. We think, because things have been easy for mankind as a whole for a generation or so, we are going on to perfect comfort and security in the future. We think that we shall always go to work at ten and leave off at four, and have dinner at seven for ever and ever. But these four suggestions, out of a host of others, must surely do a little against this complacency. Even now, for all we can tell, the coming terror may be crouching for its spring and the fall of humanity be at hand. In the case of every other predominant animal the world has ever seen, I repeat, the hour of its complete ascendency has been the eve of its entire overthrow. But if some poor story-writing man ventures to figure this sober probability in a tale, not a reviewer in London but will tell him his theme is the utterly impossible. And, when the thing happens, one may doubt if even then one will get the recognition one deserves.
THE WRITING OF ESSAYS
The art of the essayist is so simple, so entirely free from canons of criticism, and withal so delightful, that one must needs wonder why all men are not essayists. Perhaps people do not know how easy it is. Or perhaps beginners are misled. Rightly taught it may be learnt in a brief ten minutes or so, what art there is in it. And all the rest is as easy as wandering among woodlands on a bright morning in the spring.
Then sit you down if you would join us, taking paper, pens, and ink; and mark this, your pen is a matter of vital moment. For every pen writes its own sort of essay, and pencils also after their kind. The ink perhaps may have its influence too, and the paper; but paramount is the pen. This, indeed, is the fundamental secret of essay-writing. Wed any man to his proper pen, and the delights of composition and the birth of an essay are assured. Only many of us wander through the earth and never meet with her – futile and lonely men.
And, of all pens, your quill for essays that are literature. There is a subtle informality, a delightful easiness, perhaps even a faint immorality essentially literary, about the quill. The quill is rich in suggestion and quotation. There are quills that would quote you Montaigne and Horace in the hands of a trades-union delegate. And those quirky, idle noises this pen makes are delightful, and would break your easy fluency with wit. All the classical essayists wrote with a quill, and Addison used the most expensive kind the Government purchased. And the beginning of the inferior essay was the dawn of the cheap steel pen.
The quill nibs they sell to fit into ordinary pen-holders are no true quills at all, lacking dignity, and may even lead you into the New Humour if you trust overmuch to their use. After a proper quill commend me to a stumpy BB pencil; you get less polish and broader effects, but you are still doing good literature. Sometimes the work is close – Mr. George Meredith, for instance, is suspected of a soft pencil – and always it is blunter than quill work and more terse. With a hard pencil no man can write anything but a graceless style – a kind of east wind air it gives – and smile you cannot. So that it is often used for serious articles in the half-crown reviews.
There follows the host of steel pens. That bald, clear, scientific style, all set about with words like "evolution" and "environment," which aims at expressing its meaning with precision and an exemplary economy of words, is done with fine steel nibs – twelve a penny at any stationer's. The J pen to the lady novelist, and the stylograph to the devil – your essayist must not touch the things. So much for the pen. If you cannot write essays easily, that is where the hitch comes in. Get a box of a different kind of pen and begin again, and so on again and again until despair or joy arrests you.
As for a typewriter, you could no more get an essay out of a typewriter than you could play a sonata upon its keys. No essay was ever written with a typewriter yet, nor ever will be. Besides its impossibility, the suggestion implies a brutal disregard of the division of labour by which we live and move and have our being. If the essayist typewrite, the unemployed typewriter, who is commonly a person of superior education and capacity, might take to essays, and where is your living then? One might as reasonably start at once with the Linotype and print one's wit and humour straight away. And taking the invasion of other trades one step further one might, after an attempt to sell one's own newspaper, even get to the pitch of having to read it oneself. No; even essayists must be reasonable. If its mechanical clitter-clatter did not render composition impossible, the typewriter would still be beneath the honour of a literary man.
Then for the paper. The luxurious, expensive, small-sized cream-laid note is best, since it makes your essay choice and compact; and, failing that, ripped envelopes and the backs of bills. Some men love ruled paper, because they can write athwart the lines, and some take the fly-leaves of their friends' books. But whosoever writes on cheap sermon paper full of hairs should write far away from the woman he loves, lest he offend her ears. It is good, however, for a terse, forcible style.
The ink should be glossy black as it leaves your pen, for polished English. Violet inks lead to sham sentiment, and blue-black to vulgarity. Red ink essays are often good, but usually unfit for publication.
This is as much almost as anyone need know to begin essay writing. Given your proper pen and ink, or pencil and paper, you simply sit down and write the thing. The value of an essay is not its matter, but its mood. You must be comfortable, of course; an easy-chair with arm-rests, slippers, and a book to write upon are usually employed, and you must be fed recently, and your body clothed with ease rather than grandeur. For the rest, do not trouble to stick to your subject, or any subject; and take no thought for the editor or the reader, for your essay should be as spontaneous as the lilies of the field.
So long as you do not begin with a definition you may begin anyhow. An abrupt beginning is much admired, after the fashion of the clown's entry through the chemist's window. Then whack at your reader at once, hit him over the head with the sausages, brisk him up with the poker, bundle him into the wheelbarrow, and so carry him away with you before he knows where you are. You can do what you like with a reader then, if you only keep him nicely on the move. So long as you are happy your reader will be so too. But one law must be observed: an essay, like a dog that wishes to please, must have a lively tail, short but as waggish as possible. Like a rocket, an essay goes only with fizzle and sparks at the end of it. And, know, that to stop writing is the secret of writing an essay; the essay that the public loves dies young
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THE PARKES MUSEUM
THE PLACE TO SPEND A HAPPY DAY
By way of jest, my morning daily paper constantly includes in its menu of "To-day" the Parkes Museum, Margaret Street, adding, seductively, "free"; and no doubt many a festive Jonas Chuzzlewit has preened himself for a sight-seeing, and all unaware of the multitudes of Margaret Streets – surely only Charlottes of that ilk are more abundant – has started forth, he and his feminine, to find this Parkes Museum. One may even conceive a rare Bank Holiday thoughtfully put aside for the quest, and spent all vainly in the asking of policemen, and in traversing this vast and tiresome metropolis, from Margaret Street to Margaret Street, the freshness of the morning passing into the dry heat of the day, fatigue spreading from the feet upwards, discussion, difference, denial, "words," and a day of recreation dying at last into a sunset of lurid sulks. Such possibility was too painful to think of, and a philanthropic inquirer has at last by persistent investigation won the secret of the Missing Museum and opened the way to it for all future investigators.
The Margaret Street in question is an apparently derelict thoroughfare, opening into Great Portland Street. Immemorial dust is upon its pavements, and a profound silence broods over its vacant roadway. The blinds of its houses are mostly down, and, where the blackness of some window suggests a dark interior, no face appears to reassure us in our doubt of humanity within. It may be that somewhen in the past the entire population of this street set out on a boating party up the river, and was overset by steam launches, and so never returned, or perchance it has all been locked up for a long term of imprisonment – though the houses seem almost too respectable for that; or the glamour of the Sleeping Beauty is upon it all. Certainly we saw the figure of a porter in an attitude of repose in the little glass lodge in the museum doorway. He may have been asleep. But we feared to touch him – and indeed slipped very stealthily by him – lest he should suddenly crumble into dust.
And so to the Museum and its wonders. This Parkes Museum is a kind of armoury of hygiene, a place full of apparatus for being healthy – in brief, a museum of sanitary science. To that large and growing class of people who take no thought of anything but what they eat and what they drink, and wherewithal they should be clothed, it should prove intensely interesting. Apart from the difficulty of approach we cannot understand how it is so neglected by an intelligent public. You can see germicides and a model convict prison, Pentonville cells in miniature, statistical diagrams and drain pipes – if only there was a little more about heredity, it would be exactly the kind of thing that is popular in literature now, as literature goes. And yet excepting ourselves and the sleeping porter – if he was sleeping – and the indistinct and motionless outline, visible through a glass door, of a human body sitting over a book, there was not a suggestion or memory of living humanity about the place.
The exhibits of food are especially remarkable. We cleaned the glass case with our sleeves and peered at the most appetising revelations. There are dozens of little bottles hermetically sealed, containing such curios as a sample of "Bacon Common (Gammon) Uncooked," and then the same cooked – it looked no nicer cooked – Irish sausage, pork sausage, black pudding, Welsh mutton, and all kinds of rare and exquisite feeding. There are ever so many cases of this kind of thing. We saw, for instance, further along, several good specimens of the common oyster shell (Ostrea edulis), cockle shells, and whelks, both "almonds" and "whites," and then came breadstuffs. The breadstuffs are particularly impressive, of a grey, scientific aspect, a hard, hoary antiquity. We always knew that stale bread was good for one, but yet the Parkes Museum startled us with the antique pattern it recommended. There was a muffin, too, identified and labelled, but without any Latin name, a captured crumpet, a collection of buns, a dinner-roll, and a something novel to us, called Pumpernickel, that we had rather be without, or rather – for the expression is ambiguous – that we had rather not be without, but altogether remote from. And all these things have been tested by an analyst, with the most painful results. Nitrogen, oxygen, hydrogen, and the like nasty chemical things seem indeed to have occurred in everything he touched. Those sturdy mendicants who go about complaining that they cannot get food should visit this Parkes Museum and see what food is really like, and learn contentment with their lot.
There were no real vegetables, but only the ideals of a firm of seedsmen, made of wax and splendidly coloured, with something of the boldness and vigour of Michael Angelo about the modelling of them. And among other food stuffs were sweetmeats and yellow capers, liver flukes, British wines, and snuff. At last we felt replete with food stuffs, and went on to see the models to illustrate ventilation, and the exhibits of hygienic glazed tiles arranged around a desert lecture-theatre. Hygienic tiles stimulate the eye vigorously rather than relax it by any æsthetic weakness; and the crematory appliances are so attractive as they are, and must have such an added charm of neatness and brightness when alight, that one longs to lose a relative or so forthwith, for the mere pleasure of seeing them in operation.
A winding staircase designed upon hygienic principles, to bump your head at intervals, takes one to a little iron gallery full of the most charming and varied display of cooking-stoves and oil-lamps. Here, also, there are flaunted the resources of civilisation for the Prevention of Accidents, which resources are four, namely, a patent fire-escape, a patent carriage pole, a coal plate, and a dog muzzle. But the labels, though verbose, are scarcely full enough. They do not tell you, for instance, if you wish to prevent cramp while bathing, whether the dog muzzle or the coal plate should be employed, nor do they show how the fire-escape will prevent the explosion of a paraffin lamp. However, this is a detail. We feel assured that no intelligent person will regret a visit to this most interesting and instructive exhibition. It offers you valuable hints how to live, and suggests the best and tidiest way in which you can, when dead, dispose of your body. We feel assured that the public only needs this intimation of its whereabouts to startle the death-like slumbers of Margaret Street with an unaccustomed tumult. And the first to arrive will, no doubt, find legibly and elegantly written in the dust that covers the collection the record of its discovery by Euphemia and me.
