task.
I
THE SOUL OF A PEOPLE
THE SPIRIT OF AMERICA
I
THE SOUL OF A PEOPLE
There is a proverb which affirms that in order to know a man you have only to travel with him for a week. Almost all of us have had experiences, sometimes happy and sometimes the reverse, which seem to confirm this saying.
A journey in common is a sort of involuntary confessional. There is a certain excitement, a confusion and quickening of perceptions and sensations, in the adventures, the sudden changes, the new and striking scenes of travel. The bonds of habit are loosened. Impulses of pleasure and of displeasure, suddenly felt, make themselves surprisingly visible. Wishes and appetites and prejudices which are usually dressed in a costume of words so conventional as to amount to a disguise now appear unmasked, and often in very scanty costume, as if they had been suddenly called from their beds by an alarm of fire on a steamboat, or, to use a more agreeable figure, by the announcement in a hotel on the Righi of approaching sunrise.
There is another thing which plays, perhaps, a part in this power of travel to make swift disclosures. I mean the vague sense of release from duties and restraints which comes to one who is away from home. Much of the outward form of our daily conduct is regulated by the structure and operation of the social machinery in which we quite inevitably find our place. But when all this is left behind, when a man no longer feels the pressure of the neighbouring wheels, the constraint of the driving-belt which makes them all move together, nor the restraint of the common task to which the collective force of all is applied, he is “outside of the machine.”
The ordinary sight-seeing, uncommercial traveller—the tourist, the globe-trotter—is not usually a person who thinks much of his own responsibilities, however conscious he may be of his own importance. His favourite proverb is, “When you are in Rome, do as the Romans do.” But in the application of the proverb, he does not always inquire whether the particular thing which he is invited to do is done by the particular kind of Roman that he would like to be, if he lived in Rome, or by some other kind of Roman quite different, even contrary. He is liberated. He is unaccountable. He is a butterfly visiting a strange garden. He has only to enjoy himself according to his caprice and to accept the invitations of the flowers which please him most.
This feeling of irresponsibility in travel corresponds somewhat to the effect of wine. The tongue is loosened. Unexpected qualities and inclinations are unconsciously confessed. A new man, hitherto unknown, appears upon the scene. And this new man often seems more natural, more spontaneous, more vivid, than our old acquaintance. “At last,” we say to ourselves, “we know the true inwardness, the real reality of this fellow. He is not acting a part now. He is coming to the surface. We see what a bad fellow, or what a good fellow, he is. In vino et in viatore veritas!”
But is it quite correct, after all, this first impression that travel is the great revealer of character? Is it the essential truth, the fundamental truth, la vraie verité, that we discover through this glass? Or is it, rather, a novel aspect of facts which are real enough, indeed, but not fundamental—an aspect so novel that it presents itself as more important than it really is? To put the question in brief, and in a practical form, is a railway train the place to study character, or is it only a place to observe characteristics?
There is, of course, a great deal of complicated and quarrelsome psychology involved in this seeming simple question—for example, the point at issue between the determinists and libertarians, the philosophers of the unconscious and the philosophers of the ideal—all of which I will prudently pass by, in order to make a very practical and common-sense observation.
Ordinary travel usually obscures and confuses quite as much as it reveals in the character of the traveller. His excitement, his moral detachment, his intellectual dislocation, unless he is a person of extraordinary firmness and poise, are apt to make him lose himself much more than they help him to find himself. In these strange and transient experiences his action lacks meaning and relation. He is carried away. He is uprooted. He is swept along by the current of external novelty. This may be good for him or bad for him. I do not ask this question. I am not moralizing. I am observing. The point is that under these conditions I do not see the real man more clearly, but less clearly. To paraphrase a Greek saying, I wish not to study Philip when he is a little exhilarated, but Philip when he is sober: not when he is at a Persian banquet, but when he is with his Macedonians.
Moreover, if I mistake not, the native environment, the chosen or accepted task, the definite place in the great world-work, is part of the man himself. There are no human atoms. Relation is inseparable from quality. Absolute isolation would be invisibility. Displacement is deformity. You remember what Emerson says in his poem, Each and All:—
“The delicate shells lay on the shore:
The bubbles of the latest wave
Fresh pearls to their enamel gave,
And the bellowing of the savage sea
Greeted their safe escape to me.
I wiped away the weeds and foam,
I fetched my sea-born treasures home,
But the poor, unsightly, noisome things
Had left their beauty on the shore
With the sun and the sand and the wild uproar.”
So I would see my man where he belongs, in the midst of the things which have produced him and which he has helped to produce. I would understand something of his relation to them. I would watch him at his work, the daily labour which not only earns his living but also moulds and forms his life. I would see how he takes hold of it, with reluctance or with alacrity, and how he regards it, with honour or with contempt. I would consider the way in which he uses its tangible results; to what purpose he applies them; for what objects he spends the fruit of his toil; what kind of bread he buys with the sweat of his brow or his brain. I would trace in his environment the influence of those who have gone before him. I would read the secrets of his heart in the uncompleted projects which he forms for those who are to come after him. In short, I would see the roots from which he springs, and the hopes in which his heart flowers.
Thus, and thus only, the real man, the entire man, would become more clear to me. He might appear more or less admirable. I might like him more, or less. That would make no difference. The one thing that is sure is that I should know him better. I should know the soul of the man.
If this is true, then, of the individual, how much more is it true of a nation, a people? The inward life, the real life, the animating and formative life of a people is infinitely difficult to discern and understand.
There are a hundred concourses of travel in modern Europe where you may watch “the passing show” of all nations with vast amusement—on the Champs-Elysées in May or June, in the park of Aix-les-Bains in midsummer, at the Italian Lakes in autumn, in the colonnade of Shepherd’s Hotel at Cairo in January or February, on the Pincian Hill at Rome in March or April. Take your seats, ladies and gentlemen, at this continuous performance, this international vaudeville, and observe British habits, French manners, German customs, American eccentricities, whatever interests you in the varied entertainment. But do not imagine that in this way you will learn to know the national personality of England, or France, or Germany, or America. That is something which is never exported.
Some drop of tincture or extract of it, indeed, may pass from one land to another in a distinct and concentrated individuality, as when a Lafayette comes to America, or a Franklin to France. Some partial portrait and imperfect image of it, indeed, may be produced in literature. And there the reader who is wise enough to separate the head-dress from the head, and to discern the figure beneath the costume, may trace at least some features of the real life represented and expressed in poem or romance, in essay or discourse.