Artists and patrons -- Fiction; Authors and readers -- Fiction; Humorous stories; Italy -- Fiction; Satire
The spare furniture has
gone the way of all superfluities. Even the winter overcoat is pawned.
The burgess, for all that the times are hard for him too, feels happier;
he is revenged. He can live in a comparative tranquillity. And what a
life! He lives according to his lusts, but timorously and in a
conventional way; his diversions are provided for him by joint stock
companies. He has no religion, but a great respect for genteel
conventions which have not even the justification of a divine origin. He
has heard of art and thought, and respects them because the best people
respect them; but his mental capacities and his lack of education do not
allow him to get any real satisfaction out of them. He is thus poorer
than the savage, who, if he has never heard of art or science, is yet
rich in religion and traditional lore. The life of a wild animal has a
certain dignity and beauty; it is only the life of a domesticated animal
that can be called degraded. The burgess is the perfectly domesticated
human animal. That is why,” added Chelifer, “that is why any one who
wants to live really at the heart of human reality must live in the
midst of burgessdom. In a little while, however, it won’t be necessary
to make any invidious distinctions between the classes. Every one will
soon be bourgeois. The charm of the lower classes in the past consisted
in the fact that they were composed of human animals in a state of
relative wildness. They had a traditional wisdom and a traditional
superstition; they had ancient and symbolical diversions of their own.
My mother can tell you all about those,” he put in parenthetically.
“That Tolstoy should have preferred the Russian peasants to his rich and
literary friends is very comprehensible. The peasants were wild; the
others, just as brutish at bottom, were disgustingly tame. Moreover,
they were lap-dogs of a perfectly useless breed; the peasants at any
rate did something to justify their existence. But in the other
countries of Europe and the New World the wild breed is rapidly dying
out. Million-sale newspapers and radios are domesticating them at a
prodigious rate. You can go a long way in England nowadays before you
find a genuine wild human animal. Still, they do exist in the country
and even in the more fetid and savage parts of towns. That’s why, I
repeat, one must live among the suburban bourgeoisie. The degraded and
domesticated are the typical human animals of the present time; it’s
they who will inherit the earth in the next generation; they’re the
characteristic modern reality. The wild ones are no longer typical; it
would be ludicrous to be a Tolstoyan now, in western Europe. And as for
the genuine men and women, as opposed to the human animals, whether wild
or tame—they’re so fabulously exceptional that one has no right to think
of them at all. That cupola,” he pointed to the silhouette of St.
Peter’s, rising high above the houses on the other side of the city,
“was designed by Michelangelo.
Public-domain text, read in full here on John Shaqi.
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