Selected Works of Voltairine de Cleyre

by Voltairine De Cleyre

All over the kingdom of life, I have said, one may see dominant ideas working, if one but trains his eyes to look for them and recognize them. In the human world there have been many dominant ideas. I cannot conceive that ever, at any time, the struggle of the body before dissolution can have been aught but agony. If the reasoning that insecurity of conditions, the expectation of suffering, are circumstances which make the soul of man uneasy, shrinking, timid, what answer will you give to the challenge of old Ragnar Lodbrog, to that triumphant death-song hurled out, not by one cast to his death in the heat of battle, but under slow prison torture, bitten by serpents, and yet singing: "The goddesses of death invite me away—now end I my song. The hours of my life are run out. I shall smile when I die"? Nor can it be said that this is an exceptional instance, not to be accounted for by the usual operation of general law, for old King Lodbrog the Skalder did only what his fathers did, and his sons and his friends and his enemies, through long generations; they set the force of a dominant idea, the idea of the superascendant ego, against the force of torture and of death, ending life as they wished to end it, with a smile on their lips. But a few years ago, did we not read how the helpless Kaffirs, victimized by the English for the contumacy of the Boers, having been forced to dig the trenches wherein for pleasant sport they were to be shot, were lined up on the edge, and seeing death facing them, began to chant barbaric strains of triumph, smiling as they fell? Let us admit that such exultant defiance was owing to ignorance, to primitive beliefs in gods and hereafters; but let us admit also that it shows the power of an idea dominant.

Everywhere in the shells of dead societies, as in the shells of the sea-slime, we shall see the force of purposive action, of intent within holding its purpose against obstacles without.

I think there is no one in the world who can look upon the steadfast, far-staring face of an Egyptian carving, or read a description of Egypt's monuments, or gaze upon the mummied clay of its old dead men, without feeling that the dominant idea of that people in that age was to be enduring and to work enduring things, with the immobility of their great still sky upon them and the stare of the desert in them. One must feel that whatever other ideas animated them, and expressed themselves in their lives, this was the dominant idea. That which was must remain, no matter at what cost, even if it were to break the everlasting hills: an idea which made the live humanity beneath it, born and nurtured in the coffins of caste, groan and writhe and gnaw its bandages, till in the fullness of time it passed away: and still the granite mould of it stares with empty eyes out across the world, the stern old memory of the Thing-that-was.

I think no one can look upon the marbles wherein Greek genius wrought the figuring of its soul, without feeling an apprehension that the things are going to leap and fly; that in a moment one is like to be set upon by heroes with spears in their hands, by serpents that will coil around him; to be trodden by horses that may trample and flee; to be smitten by these gods that have as little of the idea of stone in them as a dragon-fly, one instant poised upon a wind-swayed petal edge. I think no one can look upon them without realizing at once that those figures came out of the boil of life; they seem like rising bubbles about to float into the air, but beneath them other bubbles rising, and others, and others,—there will be no end of it. When one's eyes are upon one group, one feels that behind one, perhaps, a figure is uptoeing to seize the darts of the air and hurl them on one's head; one must keep whirling to face the miracle that appears about to be wrought—stone leaping! And this though nearly every one is minus some of the glory the old Greek wrought into it so long ago; even the broken stumps of arms and legs live. And the dominant idea is Activity, and the beauty and strength of it. Change, swift, ever-circling Change! The making of things and the casting of them away, as children cast away their toys, not interested that these shall endure, so that they themselves realize incessant activity. Full of creative power, what matter if the creature perished. So there was an endless procession of changing shapes in their schools, their philosophies, their dramas, their poems, till at last it wore itself to death. And the marvel passed away from the world. But still their marbles live to show what manner of thoughts dominated them.

And if we wish to know what master-thought ruled the lives of men when the mediæval period had had time to ripen it, one has only at this day to stray into some quaint, out-of-the-way English village, where a strong old towered Church yet stands in the midst of little straw-thatched cottages, like a brooding mother-hen surrounded by her chickens. Everywhere the greatening of God, and the lessening of Man: the Church so looming, the home so little. The search for the spirit, for the enduring thing (not the poor endurance of granite which in the ages crumbles, but the eternal), the eternal,—and contempt for the body which perishes, manifest in studied uncleanliness, in mortifications of the flesh, as if the spirit should have spat its scorn upon it.

Such was the dominant idea of that middle age which has been too much cursed by modernists. For the men who built the castles and the cathedrals were men of mighty works, though they made no books, and though their souls spread crippled wings, because of their very endeavors to soar too high. The spirit of voluntary subordination for the accomplishment of a great work, which proclaimed the aspiration of the common soul,—that was the spirit wrought into the cathedral stones; and it is not wholly to be condemned.

In waking dream, when the shadow-shapes of world-ideas swim before the vision, one sees the Middle-Age Soul an ill-contorted, half-formless thing, with dragon wings and a great, dark, tense face, strained sunward with blind eyes.

If now we look around us to see what idea dominates our own civilization, I do not know that it is even as attractive as this piteous monster of the old darkness. The relativity of things has altered: Man has risen and God has descended. The modern village has better homes and less pretentious churches. Also the conception of dirt and disease as much-sought afflictions, the patient suffering of which is a meet offering to win God's pardon, has given place to the emphatic promulgation of cleanliness. We have Public School nurses notifying parents that "pediculosis capitis" is a very contagious and unpleasant disease; we have cancer associations gathering up such cancers as have attached themselves to impecunious persons, and carefully experimenting with a view to cleaning them out of the human race; we have tuberculosis societies attempting the Herculean labor of clearing the Augean stables of our modern factories of the deadly bacillus, and they have got as far as spittoons with water in them in some factories; and others, and others, and others, which, while not yet overwhelmingly successful in their avowed purposes, are evidence sufficient that humanity no longer seeks dirt as a means of grace. We laugh at those old superstitions, and talk much about exact experimental knowledge. We endeavor to galvanize the Greek corpse, and pretend that we enjoy physical culture. We dabble in many things; but the one great real idea of our age, not copied from any other, not pretended, not raised to life by any conjuration, is the Much Making of Things,—not the making of beautiful things, not the joy of spending living energy in creative work; rather the shameless, merciless driving and over-driving, wasting and draining of the last bit of energy, only to produce heaps and heaps of things,—things ugly, things harmful, things useless, and at the best largely unnecessary. To what end are they produced? Mostly the producer does not know; still less does he care. But he is possessed with the idea that he must do it, every one is doing it, and every year the making of things goes on more and faster; there are mountain ranges of things made and making, and still men go about desperately seeking to increase the list of created things, to start fresh heaps and to add to the existing heaps. And with what agony of body, under what stress and strain of danger and fear of danger, with what mutilations and maimings and lamings they struggle on, dashing themselves out against these rocks of wealth! Verily, if the vision of the Mediæval Soul is painful in its blind staring and pathetic striving, grotesque in its senseless tortures, the Soul of the Modern is most amazing with its restless, nervous eyes, ever searching the corners of the universe, its restless, nervous hands ever reaching and grasping for some useless toil.

And certainly the presence of things in abundance, things empty and things vulgar and things absurd, as well as things convenient and useful, has produced the desire for the possession of things, the exaltation of the possession of things. Go through the business street of any city, where the tilted edges of the strata of things are exposed to gaze, and look at the faces of the people as they pass,—not at the hungry and smitten ones who fringe the sidewalks and plaint dolefully for alms, but at the crowd,—and see what idea is written on their faces. On those of the women, from the ladies of the horse-shows to the shop girls out of the factory, there is a sickening vanity, a consciousness of their clothes, as of some jackdaw in borrowed feathers. Look for the pride and glory of the free, strong, beautiful body, lithe-moving and powerful. You will not see it. You will see mincing steps, bodies tilted to show the cut of a skirt, simpering, smirking faces, with eyes cast about seeking admiration for the gigantic bow of ribbon in the overdressed hair. In the caustic words of an acquaintance, to whom I once said, as we walked, "Look at the amount of vanity on all these women's faces," "No: look at the little bit of womanhood showing out of all that vanity!"

And on the faces of the men, coarseness! Coarse desires for coarse things, and lots of them: the stamp is set so unmistakably that "the wayfarer though a fool need not err therein." Even the frightful anxiety and restlessness begotten of the creation of all this, is less distasteful than the abominable expression of lust for the things created.