Essential Science Fiction Novels - Volume 10. Edward Bellamy

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СКАЧАТЬ harmony that poetry requires. Strangeness and wonder are true elements of poetry, and magic is an element of the greatest art, but in solution as it were, not in the form observed in science. The miracles of the laboratory are too abrupt, too inconceivable save by intellectual analysis, and present too great a strain upon the powers of the imagination. They are fantastic, while true poetry is concerned with the fancy. Magic and wonder in verse must come from concepts that steal upon the imagination and make appeal through the emotions. Thus some forms of supernaturalism are admirably adapted to the province of poetry, such as the presence of spirits, visitations of angels or demons, ancient witchcraft, and so forth. The elements that have universal appeal through the sense of the supernatural move us in poetry, but the isolated instances, the peculiar problems that occur in scientific research if transferred to poetry would leave us cold. Yet they may come to be used in the next vers libre.

      Nor do these situations come over into the drama save in rare instances. Theodore Dreiser, in a recent volume, Plays of the Natural and the Supernatural, makes use of certain motifs that are striking and modern, as where a physician goes on the operating-table, the dramatis personæ including Demyaphon (Nitrous Acid), and Alcepheron (a Power of Physics), as well as several Shadows, mysterious personages of vagueness. These Shadows here, as in The Blue Sphere, are not altogether clear as to motivation, yet they seem to stand for Fate interference in human destiny. In the latter play Fate is also represented by a Fast Mail which is one of the active characters, menacing and destroying a child.

      One reason why these motifs of science are not used in drama to any extent is that they are impossible of representation on the stage. Even the wizardry of modern producers would be unable to show a Power of Physics, or Nitrous Acid, save as they might be embodied, as were the symbolic characters in Maeterlinck’s Blue Bird, which would mean that they would lose their effect. And what would a stage manager do with the rhythm of the universe, which enters into Dreiser’s play? Many sounds can be managed off stage, but hardly that, one fancies. These themes are not even found in closet drama, where many other elements of supernaturalism which would be difficult or impossible of presentation on the stage trail off. William Sharp’s Vistas, for instance, could not be shown on the stage, yet the little plays in that volume are of wonderful dramatic power. The drama can stand a good deal of supernaturalism of various kinds, from the visible ghosts and devils of the Elizabethans to the atmospheric supernaturalism of Maeterlinck, but it could scarcely support the presentations of chemicals and gases and supernatural botany and biology that fiction handles with ease. The miraculous machinery would balk at stage action. Fancy the Time Machine staged, for instance!

      We notice in these scientific stories a widening of the sphere of supernatural fiction. It is extended to include more of the normal interests and activities of man than has formerly been the case. Here we notice a spirit similar to that of the leveling influence seen in the case of the ghosts, devils, witches, angels, and so forth, who have been made more human not only in appearance but in emotions and activities as well. Likewise these scientific elements have been elevated to the human. Supernatural as well as human attributes have been extended to material things, as animals are given supernormal powers in a sense different from and yet similar to those possessed by the enchanted animals in folk-lore. Science has its physical as well as psychic horrors which the scientific ghostly tales bring in.

      Not only are animals gifted with supernatural powers but plants as well are humanized, diabolized. We have strange murderous trees, vampire orchids, flowers that slay men in secret ways with all the smiling loveliness of a treacherous woman. The dæmonics of modern botany form an interesting phase of ghostly fiction and give a new thrill to supernaturalism. Inanimate, concrete things are endowed with unearthly cunning and strength, as well as animals and plants. The new type of fiction gives to chemicals and gases a hellish intelligence, a diabolic force of minds. It creates machinery and gives it an excess of force, a supernatural, more than human cunning, sometimes helpful, sometimes dæmonic. Machines have been spiritualized and some engines are philanthropic while some are like damned souls.

      This scientific supernaturalism concerns itself with mortal life, not with immortality as do some of the other aspects of the genre. It is concrete in its effects, not spiritual. Its incursions into futurity are earthly, not of heaven or hell, and its problems are of time, not of eternity. The form shows how clear, cold intelligence plays with miracles and applies the supernatural to daily life. The enthusiasm, wild and exaggerated in some ways, that sprang up over the prospects of what modern science and investigation would almost immediately do for the world in the latter half of the nineteenth century, had no more interesting effect than in the stimulating of scientific fictive supernaturalism. And though mankind has learned that science will not immediately bring the millennium, science still exercises a strong power over fiction. This type shows a strange effect of realism in supernaturalism, because of the scientific methods, for supernaturalism imposed on material things produces an effect of verisimilitude not gained in the realm of pure spirit. Too intellectually cold for the purposes of poetry, too abstract and elusive for presentation in drama, and too removed by its association with the fantastic aspects of investigation and the curiosities of science to be very appropriate for tragedy, which has hitherto been the chief medium of expressing the dramatic supernatural, science finds its fitting expression in prose fiction. It is an illustration of the widening range of the supernatural in fiction and as such is significant.

      The Absolute at Large

      By Karel Čapek

      I

      THE ADVERTISEMENT

      On New Year’s Day, 1943, G. H. Bondy, head of the great Metallo-Electrical Company, was sitting as usual reading his paper. He skipped the news from the theatre of war rather disrespectfully, avoided the Cabinet crisis, then crowded on sail (for the People’s Journal, which had grown long ago to five times its ancient size, now afforded enough canvas for an ocean voyage) for the Finance and Commerce section. Here he cruised about for quite a while, then furled his sails, and abandoned himself to his thoughts.

      “The Coal Crisis!” he said to himself. “Mines getting worked out; the Ostrava basin suspending work for years. Heavens above, it’s a sheer disaster! We’ll have to import Upper Silesian coal. Just work out what that will add to the cost of our manufactures, and then talk about competition. We’re in a pretty fix. And if Germany raises her tariff, we may as well shut up shop. And the Industrial Banks going down, too! What a wretched state of affairs! What a hopeless, stupid, stifling state of affairs! Oh, damn the crisis!”

      Here G. H. Bondy, Chairman of the Board of Directors, came to a pause. Something was fidgeting him and would not let him rest. He traced it back to the last page of his discarded newspaper. It was the syllable t i o n, only part of a word, for the fold of the paper came just in front of the t. It was this very incompleteness which had so curiously impressed itself upon him.

      “Well, hang it, it’s probably iron production,” Bondy pondered vaguely, “or prevention, or, maybe, restitution. . . . And the Azote shares have gone down, too. The stagnation’s simply shocking. The position’s so bad that it’s ridiculous. . . . But that’s nonsense: who would advertise the restitution of anything? More likely resignation. It’s sure to be resignation.”

      With a touch of annoyance, G. H. Bondy spread out the newspaper to dispose of this irritating word. It had now vanished amid the chequering of the small advertisements. He hunted for it from one column to another, but it had concealed itself with provoking ingenuity. Mr. Bondy then worked from the bottom up, and finally started again from the right-hand side of the page. The contumacious “tion” was not to be found.

      Mr. Bondy did not give in. He refolded the paper along its former creases, and behold, the detestable tion leaped forth on the very edge. Keeping his finger firmly on the spot, he swiftly spread the paper out СКАЧАТЬ