The rain mutters in the night and the pavements like dark mirrors are alive with impressionistic cartoons of the city. The little, silent street with its darkened store windows and rain veiled arc lamps is as lonely as a far-away train whistle.
Over the darkened stores are stone and wooden flat buildings. Here, too, the lights have gone out. People sleep. The rain falls. The gleaming pavements amuse themselves with reflections.
I have an hour to wait. From the musty smelling hallway where I stand the scene is like an old print—an old London print—that I have always meant to buy and put in a frame but have never found.
Writing about people when one is alone under an electric lamp, and thinking about people when one stands watching the rain in the dark streets, are two different diversions. When one writes under an electric lamp one pompously marshals ideas; one remembers the things people say and do and believe in, and slowly these things replace people in one's mind. One thinks (in the calm of one's study): "So-and-so is a Puritan . . . . he is viciously afraid of anything which will disturb the idealized version of himself in which he believes—and wants other people to believe. . . ." Yes, one thinks So-and-so is this and So-and-so is that. And it all seems very simple. People focus into clearly outlined ideas—definitions. And one can sit back and belabor them, hamstring them, pull their noses, expose their absurdities and derive a deal of satisfaction from the process. Iconoclasm is easy and warming under an electric light in one's study.
But in the rain at night, in the dark street staring at darkened windows, watching the curious reflections in the pavements—it is different in the rain. The night mutters and whispers.
"People," one thinks, "tired, silent people sleeping in the dark."
Ideas do not come so easily or so clearly. The ennobling angers which are the emotion of superiority in the iconoclast do not rise so spontaneously. And one does not say "People are this and people are that. . . ." No, one pauses and stares at the dark chatter of the rain and a curious silence saddens one's mind.
Life is apart from ideas. And the things that people say and believe in and for which they die and in behalf of which they invent laws and codes—these have nothing to do with the insides of people. Puritan, hypocrite, criminal, dolt—these are paper-thin masks. It is diverting to rip them in the calm of one's study.
Life that warms the trees into green in the summer, that sends birds circling through the air, that spreads a tender, passionate glow over even the most barren wastes—people are but one of its almost too many children. The dark, the rain, the lights, people asleep in bed, the wind, the snow that will fall tomorrow, the ice, flowers, sunlight, country roads, pavements and stars—all these are the same. Through all of them life sends its intimate and sacred breath.
One becomes aware of such curious facts in the rain at night and one's iconoclasm, like a broken umbrella, hangs useless from one's hand. Tomorrow these people who are now asleep will be stirring, giving vent to outrageous ideas, championing incredulous banalities, prostrating themselves before imbecile superstitions. Tomorrow they will rise and begin forthwith to lie, quibble, cheat, steal, fourflush and kill, each and all inspired by the solacing monomania that every one of their words and gestures is a credible variant of perfection. Yes, tomorrow they will be as they were yesterday.
But in this rain at night they rest from their perfections, they lay aside for a few hours their paper masks. And one can contemplate them with a curious absence of indignation or criticism. There is something warm and intimate about the vision of many people sleeping in the beds above the darkened store fronts of this little street. Their bodies have been in the world so long—almost as long as the stones out of which their houses are made. So many things have happened to them, so many debacles and monsters and horrors have swept them off their feet. . . . and always they have kept on—persisting through floods, volcanic eruptions, plagues and wars.
Heroic and incredible people. Endlessly belaboring themselves with ideas, gods, taboos, and philosophies. Yet here they are, still in this silent little street. The world has grown old. Trees have decayed and races died out. But here above the darkened store fronts lies the perpetual miracle . . . . People in whom life streams as naïve and intimate as ever.
Yes, it is to life and not people one makes one's obeisance. Toward life no iconoclasm is possible, for even that which is in opposition to its beauty and horror must of necessity be a part of them.
It rains. The arc lamps gleam through the monotonous downpour. One can only stand and dream. . . . how charming people are since they are alive. . . . how charming the rain is and the night. . . . And how foolish arguments are. . . . how banal are these cerebral monsters who pose as iconoclasts and devote themselves grandiloquently and inanely to disturbing the paper masks. . . .
I walk away from the musty smelling hallway. A dog steps tranquilly out of the shadows nearby. He surveys the street and the rain with a proprietary calm.
It would be amusing to walk in the rain with a strange dog. I whistle softly and reassuringly to him. He pauses and turns his head toward me, surveying me with an air of vague discomfort. What do I want of him? . . . . he thinks . . . . who am I? . . . . have I any authority? . . . . what will happen to him if he doesn't obey the whistle?
Thus he stands hesitating. Perhaps, too, I will give him shelter, a kindness never to be despised. A moment ago, before I whistled, this dog was tranquil and happy in the rain. Now he has changed. He turns fully around and approaches me, a slight cringe in his walk. The tranquillity has left him. At the sound of my whistle he has grown suddenly tired and lonely and the night and rain no longer lure him. He has found another companionship.
And so together we walk for a distance, this dog and I, wondering about each other. . . .