Humanly Speaking Part 2

But there are some things which, as we say, money cannot buy. In all these things of the higher life we have no recognized medium of exchange. We are still in the stage of primitive barter. We must bring all our moral goods with us, and every transaction involves endless d.i.c.kering. If we express an appreciation for one good thing, we are at once reproached by all the traffickers in similar articles for not taking over bodily their whole stock in trade.

For example, you have a desire for culture. You haven't the means to indulge in very much, but you would like a little. You are immediately beset by all the eager Matthew Arnolds who have heard of your desire, and they insist that you should at once devote yourself to the knowledge of the best that has been known and said in the world. All this is very fine, but you don't see how you can afford it. Isn't there a little of a cheaper quality that they could show you? Perhaps the second best would serve your purpose. At once you are covered with reproaches for your philistinism.

You had been living a rather prosaic life and would like to brighten it up with a little poetry. What you would really like would be a modest James Whitcomb Riley's worth of poetry. But the moment you express the desire the University Extension lecturer insists that what you should take is a course of lectures on Dante. No wonder that you conclude that a person in your circ.u.mstances will have to go without any poetry at all.

It is the same way with efforts at social righteousness. You find it difficult to engage in one transaction without being involved in others that you are not ready for. You are interested in a social reform that involves collective action. At once you are told that it is socialistic.

You do not feel that it is any worse for that, and you are quite willing to go on. But at once your socialistic friends present you with the whole programme of their party. It is all or nothing. When it is presented in that way you are likely to become discouraged and fall back on nothing.

Now, if we had a circulating medium you would express the exact state of your desires somewhat in this way: "Here is my moral dollar. I think I will take a quarter's worth of Socialism, and twelve and a half cents'

worth of old-time Republicanism, and twelve and a half cents of genuine Jeffersonian democracy, if there is any left, and a quarter's worth of miscellaneous insurgency. Let me see, I have a quarter left. Perhaps I may drop in to-morrow and see if you have anything more that I want."

The sad state of my good friend Bagster arises from the fact that he can't do one good thing without being confused by a dozen other things which are equally good. He feels that he is a miserable sinner because his moral dollar is not enough to pay the national debt.

But though we have not yet been able adequately to extend the notion of money to the affairs of the higher life, there have been those who have worked on the problem.

That was what Socrates had in mind. The Sophists talked eloquently about the Good, the True, and the Beautiful; but they dealt in these things in the bulk. They had no way of dividing them into sizable pieces for everyday use. Socrates set up in Athens as a broker in ideas. He dealt on the curb. He measured one thing in terms of another, and tried to supply a sufficient amount of change for those who were not ashamed to engage in retail trade.

Socrates draws the attention of Phaedrus to the fact that when we talk of iron and silver the same objects are present to our minds, "but when any one speaks of justice and goodness, there is every sort of disagreement, and we are at odds with one another and with ourselves."

What we need to do he says is to have an idea that is big enough to include all the particular actions or facts. Then, in order to do business, we must be able to divide this so that it may serve our convenience. This is what Socrates called Philosophy.

"I am a great lover," he said, "of the processes of division and generalization; they help me to speak and think. And if I find any man who is able to see unity and plurality in nature, him I follow, and walk in his steps as if he were a G.o.d."

Even in the Forest of Arden life was not so simple as at first it seemed. The shepherd's life which "in respect of itself was a good life"

was in other respects quite otherwise. Its unity seemed to break up into a confusing plurality. Honest Touchstone, in trying to reconcile the different points of view, blurted out the test question, "Hast any philosophy in thee, Shepherd?" After Bagster has communed with Chocorua for six months, I shall put that question to him.

THE CONTEMPORANEOUSNESS OF ROME

I

"You here, Bagster?" I exclaimed, as in the Sistine Chapel I saw an anxious face gazing down into a mirror in which were reflected the dimmed glories of the ceiling. There was an anxiety as of one who was seeking the Truth of Art at the bottom of the well.

One who is in the habit of giving unsolicited advice is likely to take for granted that his advice has been acted upon, even though experience should teach him that this is seldom the case. I had sagely counseled Bagster to go to the New Hamps.h.i.+re woods, in order to recuperate after his multifarious labors. I was therefore surprised to find him playing truant in Rome.

My salutation did not at first cause him to look up. He only made a mysterious sign with his hand. It was evidently a gesture which he had recently learned, and was practiced as a sort of exorcism.

"I am not going to sell you cameos or post cards," I explained.

When he recognized a familiar face, Bagster forgot all about the Last Judgment, and we were soon out-of-doors and he was telling me about himself.

"I meant to go to Chocorua as you suggested, but the congregation advised otherwise, so I came over here. It seemed the better thing to do. Up in New Hamps.h.i.+re you can't do much but rest, but here you can improve your taste and collect a good deal of homiletic material. So I've settled down in Rome. I want to have time to take it all in."

"Do you begin to feel rested?" I asked.

"Not yet. It's harder work than I thought it would be. There's so much to take in, and it's all so different. I don't know how to arrange my material. What I want to do, in the first place, is to have a realizing sense of being in Rome. What's the use of being here unless you are here in the spirit?

"What I mean is that I should like to feel as I did when I went to Mount Vernon. It was one of those dreamy autumn days when the leaves were just turning. There was the broad Potomac, and the hospitable Virginia mansion. I had the satisfying sense that I was in the home of Was.h.i.+ngton. Everything seemed to speak of Was.h.i.+ngton. He filled the whole scene. It was a great experience. Why can't I feel that way about the great events that happened down there?"

We were by this time on the height of the Janiculum near the statue of Garibaldi. Bagster made a vague gesture toward the city that lay beneath us. There seemed to be something in the scene that worried him. "I can't make it seem real," he said. "I have continually to say to myself, 'That is Rome, Italy, and not Rome, New York.' I can't make the connection between the place and the historical personages I have read about. I can't realize that the Epistle to the Romans was written to the people who lived down there. Just back of that new building is the very spot where Romulus would have lived if he had ever existed. On those very streets Scipio Africa.n.u.s walked, and Caesar and Cicero and Paul and Marcus Aurelius, and Epictetus and Belisarius, and Hildebrand and Michelangelo, and at one time or another about every one you ever heard of. And how many people came to get emotions they couldn't get anywhere else! There was Goethe. How he felt! He took it all in. And there was Sh.e.l.ley writing poetry in the Baths of Caracalla. And there was Gibbon."

"But we can't all expect to be Sh.e.l.leys or even Gibbons," I suggested.

"I know it," said Bagster, ruefully. "But if one has only a little vessel, he ought to fill it. But somehow the historical a.s.sociations crowd each other out. When I left home I bought Hare's 'Walks in Rome.'

I thought I would take a walk a day as long as they lasted. It seemed a pleasant way of combining physical and intellectual exercise. But do you know, I could not keep up those walks. They were too concentrated for my const.i.tution. I wasn't equal to them. Out in California they used to make wagers with the stranger that he couldn't eat a broiled quail every day for ten days. I don't see why he couldn't, but it seemed that the thought of to-morrow's quail, and the feeling that it was compulsory, turned him against what otherwise might have been a pleasure. It's so with the 'Walks.' It's appalling to think that every morning you have to start out for a const.i.tutional, and be confronted with the events of the last twenty-five centuries. The events are piled up one on another.

There they are, and here you are, and what are you going to do about them?"

"I suppose that there isn't much that you can do about them," I remarked.

"But we ought to do what we can," said Bagster. "When I do have an emotion, something immediately turns up to contradict it. It's like wandering through a big hotel, looking for your room, when you are on the wrong floor. Here you are as likely as not to find yourself in the wrong century. In Rome everything turns out, on inquiry, to be something else. There's something impressive about a relic if it's the relic of one thing. But if it's the relic of a dozen different kinds of things it's hard to pick out the appropriate emotion. I find it hard to adjust my mind to these composite a.s.sociations."

"Now just look at this," he said, opening his well-thumbed Baedeker: "'Santa Maria Sopra Minerva (Pl. D. 4), erected on the ruins of Domitian's temple of Minerva, the only mediaeval Gothic church in Rome.

Begun A.D., 1280; was restored and repainted in 1848-55. It contains several admirable works of art, in particular Michelangelo's Christ.'"

"It's that sort of thing that gets on my nerves. The Virgin and Minerva and Domitian and Michelangelo are all mixed together, and then everything is restored and repainted in 1848. And just round the corner from Santa Maria Sopra Minerva is the Pantheon. The inscription on the porch says that it was built by Agrippa, the son-in-law of Augustus. I try to take that in. But when I have partially done that, I learn that the building was struck by lightning and entirely rebuilt by the Emperor Hadrian.

"That information comes like the call of the conductor to change cars, just as one has comfortably settled down on the train. We must forget all about Agrippa and Augustus, and remember that this building was built by Hadrian. But it turns out that in 609 Boniface turned it into a Christian church. Which Boniface? The Pantheon was adorned with bronze columns. If you wish to see them you must go to St. Peter's, where they are a part of the high altar. So Baedeker says, but I'm told that isn't correct either. When you go inside you see that you must let by-gones be by-gones. You are confronted with the tomb of Victor Emmanuel and set to thinking on the recent glories of the House of Savoy. Really to appreciate the Pantheon you must be well-posted in nineteenth-century history. You keep up this train of thought till you happen to stumble on the tomb of Raphael. That, of course, is what you ought to have come to see in the first place.

"When you look at the column of Trajan you naturally think of Trajan, you follow the spiral which celebrates his victories, till you come to the top of the column; and there stands St. Peter as if it were _his_ monument. You meditate on the column of Marcus Aurelius, and look up and see St. Paul in the place of honor.

"I must confess that I have had difficulty about the ruins. Brick, particularly in this climate, doesn't show its age. I find it hard to distinguish between a ruin and a building in the course of construction.

When I got out of the station I saw a huge brick building across the street, which had been left unfinished as if the workmen had gone on strike. I learned that it was the remains of the Baths of Diocletian.

Opening a door I found myself in a huge church, which had a long history I ought to have known something about, but didn't.

"Now read this, and try to take it in: 'Returning to the Cancelleria, we proceed to the Piazza Campo de' Fiori, where the vegetable market is held in the morning, and where criminals were formerly executed. The bronze statue of the philosopher Giordano Bruno, who was burned here as a heretic in 1600, was erected in 1889. To the east once lay the Theatre of Pompey. Behind it lay the Porticus of Pompey where Caesar was murdered, B.C. 44.'

"It economizes s.p.a.ce to have the vegetable market and the martyrdom of Giordano Bruno and the a.s.sa.s.sination of Julius Caesar all close together.

But they are too close. The imagination hasn't room to turn round.

Especially as the market-women are very much alive and cannot conceive that any one would come into the Piazza unless he intended to buy vegetables. Somehow the great events you have read about don't seem to have impressed themselves on the neighborhood. At any rate, you are conscious that you are the only person in the Piazza Campo de' Fiori who is thinking about Giordano Bruno or Julius Caesar; while the price of vegetables is as intensely interesting as it was in the year 1600 A.D.

or in 44 B.C.

"How am I to get things in their right perspective? When I left home I had a pretty clear and connected idea of history. There was a logical sequence. One period followed another. But in these walks in Rome the sequence is destroyed. History seems more like geology than like logic, and the strata have all been broken up by innumerable convulsions of nature. The Middle Ages were not eight or ten centuries ago; they are round the next block. A walk from the Quirinal to the Vatican takes you from the twentieth century to the twelfth. And one seems as much alive as the other. You may go from schools where you have the last word in modern education, to the Holy Stairs at the Lateran, where you will see the pilgrims mounting on their knees as if Luther and his protest had never happened. Or you can, in five minutes, walk from the Renaissance period to 400 B.C.

"When I was in the theological seminary I had a very clear idea of the difference between Pagan Rome and Christian Rome. When Constantine came, Christianity was established. It was a wonderful change and made everything different. But when you stroll across from the Arch of t.i.tus to the Arch of Constantine you wonder what the difference was. The two things look so much alike. And in the Vatican that huge painting of the triumph of Constantine over Maxentius doesn't throw much light on the subject. Suppose the pagan Maxentius had triumphed over Constantine, what difference would it have made in the picture?

"They say that seeing is believing, but here you see so many things that are different from what you have always believed. The Past doesn't seem to be in the past, but in the present. There is an air of contemporaneousness about everything. Do you remember that story of Jules Verne about a voyage to the moon? When the voyagers got a certain distance from the earth they couldn't any longer drop things out of the balloon. The articles they threw out didn't fall down. There wasn't any down; everything was round about. Everything they had cast out followed them. That's the way Rome makes you feel about history. That which happened a thousand years ago is going on still. You can't get rid of it. The Roman Republic is a live issue, and so is the Roman Empire, and so is the Papacy.

"The other day they found a ruined Arch of Marcus Aurelius in Tripoli, and began to restore it. New Italy is delighted at this confirmation of its claims to sovereignty in North Africa. The newspapers treat Marcus Aurelius as only a forerunner of Giolitti. By the way, I never heard of Giolitti till I came over here. But it seems that he is a very great man. But when ancient and modern history are mixed up it's hard to do any clear thinking. And when you do get a clear thought you find out that it isn't true. You know Dr. Johnson said something to the effect that that man is little to be envied whose patriotism would not gain force upon the plain of Marathon, or whose feelings would not grow warmer among the ruins of Rome. Marathon is a simple proposition. But when one is asked to warm his enthusiasm by means of the Roman monuments, he naturally asks, 'Enthusiasm over what?' Of course, I don't mean to give up. I'm faint though pursuing. But I'm afraid that Rome is not a good place to rest in."

"I'm afraid not," I said, "if you insist on keeping on thinking. It is not a good place in which to rest your mind."

II

I think Bagster is not the first person who has found intellectual difficulty here. Rome exists for the confusion of the sentimental traveler. Other cities deal tenderly with our preconceived ideas of them. There is one simple impression made upon the mind. Once out of the railway station and in a gondola, and we can dream our dream of Venice undisturbed. There is no doge at present, but if there were one we should know where to place him. The city still furnishes the proper setting for his magnificence. And London with all its vastness has, at first sight, a familiar seeming. The broad and simple outlines of English history make it easy to reconceive the past.