The Circus, and Other Essays and Fugitive PiecesKilmer, Joyce
History
The Circus, and Other Essays and Fugitive Pieces
Kilmer, Joyce
American essays; Literature -- History and criticism
In the first place, it is irresistibly egotistic. There are some usual
possessions which become subconscious things, their identities merging
with the shadows of the vague land of habit. One may, for instance,
possess a watch and yet not be aware of the watch as he is aware of his
alarm clock. He lifts it from and returns it to his pocket; he winds it,
with a gesture almost involuntary; he takes his information from his
dial as thoughtlessly as he takes his breath from the atmosphere. Though
it be made of fine gold, cunningly chased and blazoned with precious
stones, it is to him, after the first delight of its acquisition, the
unregarded means to an important end. So long as it serves him
unprotestingly, he thinks of it no more than of his soul. People do not
specifically ask him to consult his watch, they ask, "What time is it?"
and even "Have you the time?"
Not thus does an alarm clock sink into oblivion. At least twice in
twenty-four hours its owner must be vividly aware of its existence. It
imperiously demands of him conscious action. In the morning
clangorously, at night dumbly, it insists on attention. He must with
thought adjust its mechanism, he must give it intelligent orders. And
whether he rises at its summons or instead shuts out with a pillow its
voice and that of conscience, he cannot ignore it. By no effort of will
could Frankenstein forget his monster.
Not that the alarm clock is always a thing monstrous and threatening. It
obeys orders with soldierly exactness but its sympathy is most
unmartial. Routine cannot deaden its sensitivity. True, its ordinary
note is something dry and monotonous. This comes from its perfect sense
of the fitness of things; the call to business should be business-like.
But what triumphant peals burst from its tiny belfry when it bids you
rise and put on robes of honor! It can mimic the proud mirth of wedding
bells; it knows the mighty song that rang from all the towers of London
to cheer Dick Whittington. And that it can utter harsh and strident
grief, those know who lie down with Sorrow and must awaken with her.
Even the most materialistic man has for his alarm clock a shame-faced
personal regard. He speaks of it deprecatingly, with a humorous show of
indignation. He tells how he maltreated it, knocked it from the mantel,
smothered it with blankets, and there is a note of almost paternal
exultation in his voice when he describes its persistence in ringing.
Public-domain text, read in full here on John Shaqi.
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