作者：Wells, H. G. (Herbert George), 1866-1946
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A Modern Utopia(现代乌托邦)试读：
A MODERN UTOPIA
THE OWNER OF THE VOICE
There are works, and this is one of them, that are best begun with a portrait of the author. And here, indeed, because of a very natural misunderstanding this is the only course to take. Throughout these papers sounds a note, a distinctive and personal note, a note that tends at times towards stridency; and all that is not, as these words are, in Italics, is in one Voice. Now, this Voice, and this is the peculiarity of the matter, is not to be taken as the Voice of the ostensible author who fathers these pages. You have to clear your mind of any preconceptions in that respect. The Owner of the Voice you must figure to yourself as a whitish plump man, a little under the middle size and age, with such blue eyes as many Irishmen have, and agile in his movements and with a slight tonsorial baldness—a penny might cover it—of the crown. His front is convex. He droops at times like most of us, but for the greater part he bears himself as valiantly as a sparrow. Occasionally his hand flies out with a fluttering gesture of illustration. And his Voice (which is our medium henceforth) is an unattractive tenor that becomes at times aggressive. Him you must imagine as sitting at a table reading a manuscript about Utopias, a manuscript he holds in two hands that are just a little fat at the wrist. The curtain rises upon him so. But afterwards, if the devices of this declining art of literature prevail, you will go with him through curious and interesting experiences. Yet, ever and again, you will find him back at that little table, the manuscript in his hand, and the expansion of his ratiocinations about Utopia conscientiously resumed. The entertainment before you is neither the set drama of the work of fiction you are accustomed to read, nor the set lecturing of the essay you are accustomed to evade, but a hybrid of these two. If you figure this owner of the Voice as sitting, a little nervously, a little modestly, on a stage, with table, glass of water and all complete, and myself as the intrusive chairman insisting with a bland ruthlessness upon his “few words” of introduction before he recedes into the wings, and if furthermore you figure a sheet behind our friend on which moving pictures intermittently appear, and if finally you suppose his subject to be the story of the adventure of his soul among Utopian inquiries, you will be prepared for some at least of the difficulties of this unworthy but unusual work.
But over against this writer here presented, there is also another earthly person in the book, who gathers himself together into a distinct personality only after a preliminary complication with the reader. This person is spoken of as the botanist, and he is a leaner, rather taller, graver and much less garrulous man. His face is weakly handsome and done in tones of grey, he is fairish and grey-eyed, and you would suspect him of dyspepsia. It is a justifiable suspicion. Men of this type, the chairman remarks with a sudden intrusion of exposition, are romantic with a shadow of meanness, they seek at once to conceal and shape their sensuous cravings beneath egregious sentimentalities, they get into mighty tangles and troubles with women, and he has had his troubles. You will hear of them, for that is the quality of his type. He gets no personal expression in this book, the Voice is always that other's, but you gather much of the matter and something of the manner of his interpolations from the asides and the tenour of the Voice.
So much by way of portraiture is necessary to present the explorers of the Modern Utopia, which will unfold itself as a background to these two enquiring figures. The image of a cinematograph entertainment is the one to grasp. There will be an effect of these two people going to and fro in front of the circle of a rather defective lantern, which sometimes jams and sometimes gets out of focus, but which does occasionally succeed in displaying on a screen a momentary moving picture of Utopian conditions. Occasionally the picture goes out altogether, the Voice argues and argues, and the footlights return, and then you find yourself listening again to the rather too plump little man at his table laboriously enunciating propositions, upon whom the curtain rises now.
Topographical
One figures one of the more urban highways, one of those along which the light railways of the second order run, such as that in the valley of Urseren, into which we should presently come. I figure it as one would see it at night, a band a hundred yards perhaps in width, the footpath on either side shaded with high trees and lit softly with orange glowlights; while down the centre the tramway of the road will go, with sometimes a nocturnal tram-car gliding, lit and gay but almost noiselessly, past. Lantern-lit cyclists will flit along the track like fireflies, and ever and again some humming motor-car will hurry by, to or from the Rhoneland or the Rhineland or Switzerland or Italy. Away on either side the lights of the little country homes up the mountain slopes will glow.
I figure it at night, because so it is we should see it first.
We should come out from our mountain valley into the minor road that runs down the lonely rock wilderness of the San Gotthard Pass, we should descend that nine miles of winding route, and so arrive towards twilight among the clustering homes and upland unenclosed gardens of Realp and Hospenthal and Andermatt. Between Realp and Andermatt, and down the Schoellenen gorge, the greater road would run. By the time we reached it, we should be in the way of understanding our adventure a little better. We should know already, when we saw those two familiar clusters of chalets and hotels replaced by a great dispersed multitude of houses—we should see their window lights, but little else—that we were the victims of some strange transition in space or time, and we should come down by dimly-seen buildings into the part that would answer to Hospenthal, wondering and perhaps a little afraid. We should come out into this great main roadway—this roadway like an urban avenue—and look up it and down, hesitating whether to go along the valley Furka-ward, or down by Andermatt through the gorge that leads to Göschenen....
People would pass us in the twilight, and then more people; we should see they walked well and wore a graceful, unfamiliar dress, but more we should not distinguish.
“Good-night!” they would say to us in clear, fine voices. Their dim faces would turn with a passing scrutiny towards us.
We should answer out of our perplexity: “Good-night!”—for by the conventions established in the beginning of this book, we are given the freedom of their tongue.§ 4
Were this a story, I should tell at length how much we were helped by the good fortune of picking up a Utopian coin of gold, how at last we adventured into the Utopian inn and found it all marvellously easy. You see us the shyest and most watchful of guests; but of the food they put before us and the furnishings of the house, and all our entertainment, it will be better to speak later. We are in a migratory world, we know, one greatly accustomed to foreigners; our mountain clothes are not strange enough to attract acute attention, though ill-made and shabby, no doubt, by Utopian standards; we are dealt with as we might best wish to be dealt with, that is to say as rather untidy, inconspicuous men. We look about us and watch for hints and examples, and, indeed, get through with the thing. And after our queer, yet not unpleasant, dinner, in which we remark no meat figures, we go out of the house for a breath of air and for quiet counsel one with another, and there it is we discover those strange constellations overhead. It comes to us then, clear and full, that our imagination has realised itself; we dismiss quite finally a Rip-Van-Winkle fancy we have entertained, all the unfamiliarities of our descent from the mountain pass gather together into one fullness of conviction, and we know, we know, we are in Utopia.
We wander under the trees by the main road, watching the dim passers-by as though they were the phantoms of a dream. We say little to one another. We turn aside into a little pathway and come to a bridge over the turbulent Reuss, hurrying down towards the Devil's Bridge in the gorge below. Far away over the Furka ridge a pallid glow preludes the rising of the moon.
Two lovers pass us whispering, and we follow them with our eyes. This Utopia has certainly preserved the fundamental freedom, to love. And then a sweet-voiced bell from somewhere high up towards Oberalp chimes two-and-twenty times.
I break the silence. “That might mean ten o'clock,” I say.
My companion leans upon the bridge and looks down into the dim river below. I become aware of the keen edge of the moon like a needle of incandescent silver creeping over the crest, and suddenly the river is alive with flashes.
He speaks, and astonishes me with the hidden course his thoughts have taken.
“We two were boy and girl lovers like that,” he says, and jerks a head at the receding Utopians. “I loved her first, and I do not think I have ever thought of loving anyone but her.”
It is a curiously human thing, and, upon my honour, not one I had designed, that when at last I stand in the twilight in the midst of a Utopian township, when my whole being should be taken up with speculative wonder, this man should be standing by my side, and lugging my attention persistently towards himself, towards his limited futile self. This thing perpetually happens to me, this intrusion of something small and irrelevant and alive, upon my great impressions. The time I first saw the Matterhorn, that Queen among the Alpine summits, I was distracted beyond appreciation by the tale of a man who could not eat sardines—always sardines did this with him and that; and my first wanderings along the brown streets of Pompeii, an experience I had anticipated with a strange intensity, was shot with the most stupidly intelligent discourse on vehicular tariffs in the chief capitals of Europe that it is possible to imagine. And now this man, on my first night in Utopia, talks and talks and talks of his poor little love affair.
It shapes itself as the most trite and feeble of tragedies, one of those stories of effortless submission to chance and custom in which Mr. Hardy or George Gissing might have found a theme. I do but half listen at first—watching the black figures in the moonlit roadway pacing to and fro. Yet—I cannot trace how he conveys the subtle conviction to my mind—the woman he loves is beautiful.
They were boy and girl together, and afterwards they met again as fellow students in a world of comfortable discretions. He seems to have taken the decorums of life with a confiding good faith, to have been shy and innocent in a suppressed sort of way, and of a mental type not made for worldly successes; but he must have dreamt about her and loved her well enough. How she felt for him I could never gather; it seemed to be all of that fleshless friendliness into which we train our girls. Then abruptly happened stresses. The man who became her husband appeared, with a very evident passion. He was a year or so older than either of them, and he had the habit and quality of achieving his ends; he was already successful, and with the promise of wealth, and I, at least, perceived, from my botanist's phrasing, that his desire was for her beauty.
As my botanist talked I seemed to see the whole little drama, rather clearer than his words gave it me, the actors all absurdly in Hampstead middle-class raiment, meetings of a Sunday after church (the men in silk hats, frock coats, and tightly-rolled umbrellas), rare excursions into evening dress, the decorously vulgar fiction read in their homes, its ambling sentimentalities of thought, the amiably worldly mothers, the respectable fathers, the aunts, the “people”—his “people” and her “people”—the piano music and the song, and in this setting our friend, “quite clever” at botany and “going in” for it “as a profession,” and the girl, gratuitously beautiful; so I figured the arranged and orderly environment into which this claw of an elemental force had thrust itself to grip.
The stranger who had come in got what he wanted; the girl considered that she thought she had never loved the botanist, had had only friendship for him—though little she knew of the meaning of those fine words—they parted a little incoherently and in tears, and it had not occurred to the young man to imagine she was not going off to conventional life in some other of the endless Frognals he imagined as the cellular tissue of the world.
But she wasn't.
He had kept her photograph and her memory sweet, and if ever he had strayed from the severest constancy, it seemed only in the end to strengthen with the stuff of experience, to enhance by comparative disappointment his imagination of what she might have meant to him.... Then eight years afterwards they met again.
By the time he gets to this part of his story we have, at my initiative, left the bridge and are walking towards the Utopian guest house. The Utopian guest house! His voice rises and falls, and sometimes he holds my arm. My attention comes and goes. “Good-night,” two sweet-voiced Utopians cry to us in their universal tongue, and I answer them “Good-night.”
“You see,” he persists, “I saw her only a week ago. It was in Lucerne, while I was waiting for you to come on from England. I talked to her three or four times altogether. And her face—the change in her! I can't get it out of my head—night or day. The miserable waste of her....”
Before us, through the tall pine stems, shine the lights of our Utopian inn.
He talks vaguely of ill-usage. “The husband is vain, boastful, dishonest to the very confines of the law, and a drunkard. There are scenes and insults—”
“She told you?”
“Not much, but someone else did. He brings other women almost into her presence to spite her.”
“And it's going on?” I interrupt.
“Yes. Now.”
“Need it go on?”
“What do you mean?”
“Lady in trouble,” I say. “Knight at hand. Why not stop this dismal grizzling and carry her off?” (You figure the heroic sweep of the arm that belongs to the Voice.) I positively forget for the moment that we are in Utopia at all.
“You mean?”
“Take her away from him! What's all this emotion of yours worth if it isn't equal to that!”
Positively he seems aghast at me.
“Do you mean elope with her?”
“It seems a most suitable case.”
For a space he is silent, and we go on through the trees. A Utopian tram-car passes and I see his face, poor bitted wretch! looking pinched and scared in its trailing glow of light.
“That's all very well in a novel,” he says. “But how could I go back to my laboratory, mixed classes with young ladies, you know, after a thing like that? How could we live and where could we live? We might have a house in London, but who would call upon us?... Besides, you don't know her. She is not the sort of woman.... Don't think I'm timid or conventional. Don't think I don't feel.... Feel! You don't know what it is to feel in a case of this sort....”
He halts and then flies out viciously: “Ugh! There are times when I could strangle him with my hands.”
Which is nonsense.
He flings out his lean botanising hands in an impotent gesture.
“My dear Man!” I say, and say no more.
For a moment I forget we are in Utopia altogether.§ 5
Let us come back to Utopia. We were speaking of travel.
Besides roadways and railways and tramways, for those who go to and fro in the earth the Modern Utopians will have very many other ways of travelling. There will be rivers, for example, with a vast variety of boats; canals with diverse sorts of haulage; there will be lakes and lagoons; and when one comes at last to the borders of the land, the pleasure craft will be there, coming and going, and the swift great passenger vessels, very big and steady, doing thirty knots an hour or more, will trace long wakes as they go dwindling out athwart the restless vastness of the sea.
They will be just beginning to fly in Utopia. We owe much to M. Santos Dumont; the world is immeasurably more disposed to believe this wonder is coming, and coming nearly, than it was five years ago. But unless we are to suppose Utopian scientific knowledge far in advance of ours—and though that supposition was not proscribed in our initial undertaking, it would be inconvenient for us and not quite in the vein of the rest of our premises—they, too, will only be in the same experimental stage as ourselves. In Utopia, however, they will conduct research by the army corps while we conduct it—we don't conduct it! We let it happen. Fools make researches and wise men exploit them—that is our earthly way of dealing with the question, and we thank Heaven for an assumed abundance of financially impotent and sufficiently ingenious fools.
In Utopia, a great multitude of selected men, chosen volunteers, will be collaborating upon this new step in man's struggle with the elements. Bacon's visionary House of Saloman [Footnote: In The New Atlantis.] will be a thing realised, and it will be humming with this business. Every university in the world will be urgently working for priority in this aspect of the problem or that. Reports of experiments, as full and as prompt as the telegraphic reports of cricket in our more sportive atmosphere, will go about the world. All this will be passing, as it were, behind the act drop of our first experience, behind this first picture of the urbanised Urseren valley. The literature of the subject will be growing and developing with the easy swiftness of an eagle's swoop as we come down the hillside; unseen in that twilight, unthought of by us until this moment, a thousand men at a thousand glowing desks, a busy specialist press, will be perpetually sifting, criticising, condensing, and clearing the ground for further speculation. Those who are concerned with the problems of public locomotion will be following these aeronautic investigations with a keen and enterprising interest, and so will the physiologist and the sociologist. That Utopian research will, I say, go like an eagle's swoop in comparison with the blind-man's fumbling of our terrestrial way. Even before our own brief Utopian journey is out, we may get a glimpse of the swift ripening of all this activity that will be in progress at our coming. To-morrow, perhaps, or in a day or so, some silent, distant thing will come gliding into view over the mountains, will turn and soar and pass again beyond our astonished sight....§ 6
But my friend and his great trouble turn my mind from these questions of locomotion and the freedoms that cluster about them. In spite of myself I find myself framing his case. He is a lover, the most conventional of Anglican lovers, with a heart that has had its training, I should think, in the clean but limited schoolroom of Mrs. Henry Wood....
In Utopia I think they will fly with stronger pinions, it will not be in the superficialities of life merely that movement will be wide and free, they will mount higher and swoop more steeply than he in his cage can believe. What will their range be, their prohibitions? what jars to our preconceptions will he and I receive here?
My mind flows with the free, thin flow that it has at the end of an eventful day, and as we walk along in silence towards our inn I rove from issue to issue, I find myself ranging amidst the fundamental things of the individual life and all the perplexity of desires and passions. I turn my questionings to the most difficult of all sets of compromises, those mitigations of spontaneous freedom that constitute the marriage laws, the mystery of balancing justice against the good of the future, amidst these violent and elusive passions. Where falls the balance of freedoms here? I pass for a time from Utopianising altogether, to ask the question that, after all, Schopenhauer failed completely to answer, why sometimes in the case of hurtful, pointless, and destructive things we want so vehemently....
I come back from this unavailing glance into the deeps to the general question of freedoms in this new relation. I find myself far adrift
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