The sound of breathing, urge, confusion
And the beat, the starlight beat
Soft and far and stealthy-fleet
Of the dim unnumbered trampling of their feet.
ON BEING BUSY AND STILL
One of the hardest things about being an inventor is that the machines (excepting the poorer ones) never show off. The first time that the phonograph (whose talking had been rumored of many months) was allowed to talk in public, it talked to an audience in Metuchen, New Jersey, and, much to Mr. Edison’s dismay, everybody laughed. Instead of being impressed with the real idea of the phonograph—being impressed because it could talk at all—people were impressed because it talked through its nose.
The more modern a machine is, when a man stands before it and seeks to know it,—the more it expects of the man, the more it appeals to his imagination and his soul,—the less it is willing to appeal to the outside of him. If he will not look with his whole being at a twin-screw steamer, he will not see it. Its poetry is under water. This is one of the chief characteristics of the modern world, that its poetry is under water. The old sidewheel steamer floundering around in the big seas, pounding the air and water both with her huge, showy paddles, is not so poetic-looking as the sailboat, and the poetry in the sailboat is not so obvious, so plainly on top, as in a gondola.
People who do not admit poetry in machinery in general admit that there is poetry in a Dutch windmill, because the poetry is in sight. A Dutch windmill flourishes. The American windmill, being improved so much that it does not flourish, is supposed not to have poetry in it at all. The same general principle holds good with every machine that has been invented. The more the poet—that is, the inventor—works on it, the less the poetry in it shows. Progress in a modern machine, if one watches it in its various stages, always consists in making a machine stop posing and get down to work. The earlier locomotive, puffing helplessly along with a few cars on its crooked rails, was much more fire-breathing, dragon-like and picturesque than the present one, and the locomotive that came next, while very different, was more impressive than the present one. Every one remembers it,—the important-looking, bell-headed, woodpile-eating locomotive of thirty years ago, with its noisy steam-blowing habits and its ceaseless water-drinking habits, with its grim, spreading cowcatcher and its huge plug-hat—who does not remember it—fussing up and down stations, ringing its bell forever and whistling at everything in sight? It was impossible to travel on a train at all thirty years ago without always thinking of the locomotive. It shoved itself at people. It was always doing things—now at one end of the train and now at the other, ringing its bell down the track, blowing in at the windows, it fumed and spread enough in hauling three cars from Boston to Concord to get to Chicago and back. It was the poetic, old-fashioned way that engines were made. One takes a train from New York to San Francisco now, and scarcely knows there is an engine on it. All he knows is that he is going, and sometimes the going is so good he hardly knows that.
The modern engines, the short-necked, pin-headed, large-limbed, silent ones, plunging with smooth and splendid leaps down their aisles of space—engines without any faces, blind, grim, conquering, lifting the world—are more poetic to some of us than the old engines were, for the very reason that they are not so poetic-looking. They are less showy, more furtive, suggestive, modern and perfect.