So you tramped on; and each day you cut out a bit more of the opening of your shoes so that your swelling and freezing feet might have room in them.
You confided to me this strange thing:
"As early as the second day, you know, the hardest job I had was to force myself not to think. The pain was too much, and I was really up against it too hard. I had to forget that, or I shouldn't have had the heart to go on walking. But I didn't seem able to control my mind. It kept working like a turbine. Still, I could more or less choose what I was to think about. I tried to stick to some film I'd seen, or book I'd read. But the film and the book would go through my mind like lightning. And I'd be back where I was, in the snow. It never failed. So I would think about other things...."
There was one time, however, when, having slipped, and finding yourself stretched flat on your face in the snow, you threw in your hand. You were like a boxer emptied of all passion by a single blow, lying and listening to the seconds drop one by one into a distant universe, until the tenth second fell and there was no appeal.
"I've done my best and I can't make it. Why go on?" All that you had to do in the world to find peace was to shut your eyes. So little was needed to blot out that world of crags and ice and snow. Let drop those miraculous eyelids and there was an end of blows, of stumbling falls, of torn muscles and burning ice, of that burden of life you were dragging along like a worn-out ox, a weight heavier than any wain or cart.
Already you were beginning to taste the relief of this snow that had now become an insidious poison, this morphia that was filling you with beatitude. Life crept out of your extremities and fled to collect round your heart while something gentle and precious snuggled in close at the centre of your being. Little by little your consciousness deserted the distant regions of your body, and your body, that beast now gorged with suffering, lay ready to participate in the indifference of marble.
Your very scruples subsided. Our cries ceased to reach you, or, more accurately, changed for you into dream-cries. You were happy now, able to respond by long confident dream-strides that carried you effortlessly towards the enchantment of the plains below. How smoothly you glided into this suddenly merciful world! Guillaumet, you miser! You had made up your mind to deny us your return, to take your pleasures selfishly without us among your white angels in the snows. And then remorse floated up from the depths of your consciousness. The dream was spoilt by the irruption of bothersome details. "I thought of my wife. She would be penniless if she couldn't collect the insurance. Yes, but the company..."
When a man vanishes, his legal death is postponed for four years. This awful detail was enough to blot out the other visions. You were lying face downward on a bed of snow that covered a steep mountain slope. With the coming of summer your body would be washed with this slush down into one of the thousand crevasses of the Andes. You knew that. But you also knew that some fifty yards away a rock was jutting up out of the snow. "I thought, if I get up I may be able to reach it. And if I can prop myself up against the rock, they'll find me there next summer."
Once you were on your feet again, you tramped two nights and three days. But you did not then imagine that you would go on much longer:
"I could tell by different signs that the end was coming. For instance, I had to stop every two or three hours to cut my shoes open a bit more and massage my swollen feet. Or maybe my heart would be going too fast. But I was beginning to lose my memory. I had been going on a long time when suddenly I realized that every time I stopped I forgot something. The first time it was a glove. And it was cold! I had put it down in front of me and had forgotten to pick it up. The next time it was my watch. Then my knife. Then my compass. Each time I stopped I stripped myself of something vitally important. I was, becoming my own enemy! And I can't tell you how it hurt me when I found that out.
"What saves a man is to take a step. Then another step. It is always the same step, but you have to take it."
"I swear that what I went through, no animal would have gone through." This sentence, the noblest ever spoken, this sentence that defines man's place in the universe, that honors him, that re-establishes the true hierarchy, floated back into my thoughts. Finally you fell asleep. Your consciousness was abolished; but forth from this dismantled, burnt, and shattered body it was to be born again like a flower put forth gradually by the species which itself is born of the luminous pulp of the stars. The body, we may say, then, is but an honest tool, the body is but a servant. And it was in these words, Guillaumet, that you expressed your pride in the honest tool:
"With nothing to eat, after three days on my feet ... well ... my heart wasn't going any too well. I was crawling along the side of a sheer wall, hanging over space, digging and kicking out pockets in the ice so that I could hold on, when all of a sudden my heart conked. It hesitated. Started up again. Beat crazily. I said to myself, 'If it hesitates a moment too long, I drop.' I stayed still and listened to myself. Never, never in my life have I listened as carefully to a motor as I listened to my heart, me hanging there. I said to it: 'Come on, old boy. Go to work. Try beating a little.' That's good stuff my heart is made of. It hesitated, but it went on. You don't know how proud I was of that heart."
As I said, in that room in Mendoza where I sat with you, you fell finally into an exhausted sleep. And I thought: If we were to talk to him about his courage, Guillaumet would shrug his shoulders. But it would be just as false to extol his modesty. His place is far beyond that mediocre virtue.
If he shrugs his shoulders, it is because he is no fool. He knows that once men are caught up in an event they cease to be afraid. Only the unknown frightens men. But once a man has faced the unknown, that terror becomes the known.
Especially if it is scrutinized with Guillaumet's lucid gravity. Guillaumet's courage is in the main the product of his honesty. But even this is not his fundamental quality. His moral greatness consists in his sense of responsibility. He knew that he was responsible for himself, for the mails, for the fulfilment of the hopes of his comrades. He was holding in his hands their sorrow and their joy. He was responsible for that new element which the living were constructing and in which he was a participant. Responsible, in as much as his work contributed to it, for the fate of those men.
Guillaumet was one among those bold and generous men who had taken upon themselves the task of spreading their foliage over bold and generous horizons. To be a man is, precisely, to be responsible. It is to feel shame at the sight of what seems to be unmerited misery. It is to take pride in a victory won by one's comrades. It is to feel, when setting one's stone, that one is contributing to the building of the world.
There is a tendency to class such men with toreadors and gamblers. People extol their contempt for death. But I would not give a fig for anybody's contempt for death. If its roots are not sunk deep in an acceptance of responsibility, this contempt for death is the sign either of an impoverished soul or of youthful extravagance.
I once knew a young suicide. I cannot remember what disappointment in love it was which induced him to send a bullet carefully into his heart. I have no notion what literary temptation he had succumbed to when he drew on a pair of white gloves before the shot. But I remember having felt, on learning of this sorry show, an impression not of nobility but of lack of dignity. So! Behind that attractive face, beneath thai: skull which should have been a treasure chest, there had been nothing, nothing at all. Unless it was the vision of some silly little girl indistinguishable from the rest.
And when I heard of this meagre destiny, I remembered the death of a man. He was a gardener, and he was speaking on his deathbed: "You know, I used to sweat sometimes when I was digging. My rheumatism would pull at my leg, and I would damn myself for a slave. And now, do you know, I'd like to spade and spade. It's beautiful work. A man is free when he is using a spade. And besides, who is going to prune my trees when I am gone?"
That man was leaving behind him a fallow field, a fallow planet. He was bound by ti
es of love to all cultivable land and to all the trees of the earth. There was a generous man, a prodigal man, a nobleman! There was a man who, battling against death in the name of his Creation, could like Guillaumet be called a man of courage!
III. The Tool
And now, having spoken of the men born of the pilot's craft, I shall say something about the tool with which they work--the airplane. Have you looked at a modern airplane? Have you followed from year to year the evolution of its lines? Have you ever thought, not only about the airplane but about whatever man builds, that all of man's industrial efforts, all his computations and calculations, all the nights spent over working draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity?
It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship's keel, or the fuselage of an airplane, until gradually it partakes of the elementary purity of the curve of a human breast or shoulder, there must be the experimentation of several generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness.
It results from this that perfection of invention touches hands with absence of invention, as if that line which the human eye will follow with effortless delight were a line that had not been invented but simply discovered, had in the beginning been hidden by nature and in the end been found by the engineer. There is an ancient myth about the image asleep in the block of marble until it is carefully disengaged by the sculptor. The sculptor must himself feel that he is not so much inventing or shaping the curve of breast or shoulder as delivering the image from its prison.
In this spirit do engineers, physicists concerned with thermodynamics, and the swarm of preoccupied draughtsmen tackle their work. In appearance, but only in appearance, they seem to be polishing surfaces and refining away angles, easing this joint or stabilizing that wing, rendering these parts invisible, so that in the end there is no longer a wing hooked to a framework but a form flawless in its perfection, completely disengaged from its matrix, a sort of spontaneous whole, its parts mysteriously fused together and resembling in their unity a poem.
Meanwhile, startling as it is that all visible evidence of invention should have been refined out of this instrument and that there should be delivered to us an object as natural as a pebble polished by the waves, it is equally wonderful that he who uses this instrument should be able to forget that it is a machine.
There was a time when a flyer sat at the centre of a complicated works. Flight set us factory problems. The indicators that oscillated on the instrument panel warned us of a thousand dangers. But in the machine of today we forget that motors are whirring: the motor, finally, has come to fulfil its function, which is to whirr as a heart beats--and we give no thought to the beating of our heart. Thus, precisely because it is perfect the machine dissembles its own existence instead of forcing itself upon our notice.
And thus, also, the realities of nature resume their pride of place. It is not with metal that the pilot is in contact. Contrary to the vulgar illusion, it is thanks to the metal, and by virtue of it, that the pilot rediscovers nature. As I have already said, the machine does not isolate man from the great problems of nature but plunges him more deeply into them.
Numerous, nevertheless, are the moralists who have attacked the machine as the source of all the ills we bear, who, creating a fictitious dichotomy, have denounced the mechanical civilization as the enemy of the spiritual civilization.
If what they think were really so, then indeed we should have to despair of man, for it would be futile to struggle against this new advancing chaos. The machine is certainly as irresistible in its advance as those virgin forests that encroach upon equatorial domains. A congeries of motives prevents us from blowing up our spinning mills and reviving the distaff. Gandhi had a try at this sort of revolution: he was as simple-minded as a child trying to empty the sea on to the sand with the aid of a tea-cup.
It is hard for me to understand the language of these pseudo-dreamers. What is it makes them think that the ploughshare torn from the bowels of the earth by perforating machines, forged, tempered, and sharpened in the roar of modern industry, is nearer to man than any other tool of steel? By what sign do they recognize the inhumanity of the machine?
Have they ever really asked themselves this question? The central struggle of men has ever been to understand one another, to join together for the common weal. And it is this very thing that the machine helps them to do! It begins by annihilating time and space.
To me, in France, a friend speaks from America. The energy that brings me his voice is born of dammed-up waters a thousand miles from where he sits. The energy I burn up in listening to him is dispensed in the same instant by a lake formed in the River Yser which, four thousand miles from him and five hundred from me, melts like snow in the action of the turbines. Transport of the mails, transport of the human voice, transport of flickering pictures--in this century as in others our highest accomplishments still have the single aim of bringing men together. Do our dreamers hold that the invention of writing, of printing, of the sailing ship, degraded the human spirit?
It seems to me that those who complain of man's progress confuse ends with means. True, that man who struggles in the unique hope of material gain will harvest nothing worth while. But how can anyone conceive that the machine is an end? It is a tool. As much a tool as is the plough. The microscope is a tool. What disservice do we do the life of the spirit when we analyze the universe through a tool created by the science of optics, or seek to bring together those who love one another and are parted in space?
"Agreed!" my dreamers will say, "but explain to us why it is that a decline in human values has accompanied the rise of the machine?" Oh, I miss the village with its crafts and its folksongs as much as they do! The town fed by Hollywood seems to me, too, impoverished despite its electric street lamps. I quite agree that men lose their creative instincts when they are fed thus without raising a hand. And I can see that it is tempting to accuse industry of this evil.
But we lack perspective for the judgment of transformations that go so deep. What are the hundred years of the history of the machine compared with the two hundred thousand years of the history of man? It was only yesterday that we began to pitch our camp in this country of laboratories and power stations, that we took possession of this new, this still unfinished, house we live in. Everything round us is new and different--our concerns, our working habits, our relations with one another.
Our very psychology has been shaken to its foundations, to its most secret recesses. Our notions of separation, absence, distance, return, are reflections of a new set of realities, though the words themselves remain unchanged. To grasp the meaning of the world of today we use a language created to express the world of yesterday. The life of the past seems to us nearer our true natures, but only for the reason that it is nearer our language.
Every step on the road of progress takes us farther from habits which, as the life of man goes, we had only recently begun to acquire. We are in truth emigrants who have not yet founded our homeland. We Europeans have become again young peoples, without tradition or language of our own. We shall have to age somewhat before we are able to write the folksongs of a new epoch.
Young barbarians still marveling at our new toys--that is what we are. Why else should we race our planes, give prizes to those who fly highest, or fastest? We take no heed to ask ourselves why we race: the race itself is more important than the object.
And this holds true of other things than flying. For the colonial soldier who founds an empire, the meaning of life is conquest. He despises the colonist. But was not the very aim of his conquest the settling of this same colonist?
In the enthusiasm of our rapid mechanical conquests we
have overlooked some things. We have perhaps driven men into the service of the machine, instead of building machinery for the service of man. But could anything be more natural? So long as we were engaged in conquest, our spirit was the spirit of conquerors. The time has now come when we must be colonists, must make this house habitable which is still without character.
Little by little the machine will become part of humanity. Read the history of the railways in France, and doubtless elsewhere too: they had all the trouble in the world to tame the people of our villages. The locomotive was an iron monster. Time had to pass before men forgot what it was made of. Mysteriously, life began to run through it, and now it is wrinkled and old. What is it today for the villager except a humble friend who calls every evening at six?
The sailing vessel itself was once a machine born of the calculations of engineers, yet it does not disturb our philosophers. The sloop took its place in the speech of men. There is a poetry of sailing as old as the world. There have always been seamen in recorded time. The man who assumes that there is an essential difference between the sloop and the airplane lacks historic perspective.
Every machine will gradually take on this patina and lose its identity in its function.
Air and water, and not machinery, are the concern of the hydroplane pilot about to take off. The motors are running free and the plane is already ploughing the surface of the sea. Under the dizzying whirl of the scythe-like propellers, clusters of silvery water bloom and drown the flotation gear. The element smacks the sides of the hull with a sound like a gong, and the pilot can sense this tumult in the quivering of his body. He feels the ship charging itself with power as from second to second it picks up speed. He feels the development, in these fifteen tons of matter, of a maturity that is about to make flight possible. He closes his hands over the controls, and little by little in his bare palms he receives the gift of this power. The metal organs of the controls, progressively as this gift is made him, become the messengers of the power in his hands. And when his power is ripe, then, in a gesture gentler than the culling of a flower, the pilot severs the ship from the water and establishes it in the air.
Wind, Sand and Stars Page 4