Material artifacts may stubbornly defy time, but what they tell about man's history is a good deal less than the truth, the whole truth, and nothing but the truth. If the only clue to Shakespeare's achievement as a dramatist were his cradle, an Elizabethan mug, his lower jaw, and a few rotted planks from the Globe Theatre, one could not even dimly imagine the subject matter of his plays, still less guess in one's wildest moments what a poet he was. Though we would still be far from justly appreciating Shakespeare, we should nevertheless have a better notion of his work through examining the known plays of Shaw and Yeats and reading backward.

Each religion is a brave guess at the authorship of Hamlet. Yet, as far as the play goes does it make any difference whether Shakespeare or Bacon wrote it? Would it make any difference to the actors if their parts happened out of nothingness, if they found themselves acting on the stage because of some gross and unpardonable accident? Would it make any difference if the playwright gave them the lines or whether they composed them themselves, so long as the lines were properly spoken? Would it make any difference to the characters if A Midsummer Night's Dream was really a dream?

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There was no reason whatever to make a wholesale choice between handicraft and machine production: between a single contemporary part of the technological pool and all the other past accumulations. But there was a genuine reason to maintain as many diverse units in this pool as possible, in order to increase the range of both human choices and technological inventiveness. Many of the machines of the nineteenth century, as Kropotkin pointed out, were admirable auxiliaries to handicraft processes, once they could be scaled, like the efficient small electric motor, to the small workshop and the personally controlled operation. William Morris and his colleagues, who almost single-handed salvaged and restored one ancient craft after another, by personally mastering the arts of dyeing, weaving, embroidering, printing, glass-painting, paper-making, book-binding, showed superior technological insight to those who scoffed at their romanticism.

Now, the desire for money, Thomas Aquinas pointed out, knows no limits, whereas all natural wealth, represented in the concrete form of food, clothing, furniture, houses, gardens, fields, has definite limits of production and consumption, fixed by the nature of the commodity and the organic needs and capacities of the user. The idea that there should be no limits upon any human function is absurd: all life exists within very narrow limits of temperature, air, water, food; and the notion that money alone, or power to command the services of other men, should be free of such definite limits is an aberration of the mind.

"If words had crystallized as they were spoken, and left deposits like shells or shards, the paleontologist would hardly have paid any attention to early man's tool-making: the brittle deposits of words, in all their formative stages, would have commanded his attention, though the sheer mass of these verbal midden heaps would have overwhelmed him, and he would have been as baffled over interpreting the living structure of meaning as linguists still are by the Etruscan remains.

As it turned out, the most impalpable and evanescent of man's creations before writing was invented, the mere breath of his mind, has turned out to be the most formative human achievement: every other subsequent advance in human culture, even tool-making, depended upon it. Language not merely opened the doors of the mind to consciousness, but partly closed the cellar door to the unconsciuos and restricted the access of the ghosts and demons of that underworld to the increasingly well-ventilated and lighted chambers of the upper stories. That this vast inner transformation could ever have been neglected, and the radical changes it effected could have been attributed to tool-making, seems now an incredible oversight.

As Leslie White has put it, "The ability to symbol, primarily in its expression in articulate speech, is the basis and substance of all human behavior. It was the means by which culture was brought into existence and the means of its perpetuation since the origin of man." That 'universe of discourse' was man's earliest model of the universe itself."

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Because of their origin and purpose, the meanings of art are of a different order from the operational meanings of science and technics: they relate, not to external means and consequences, but to internal transformations, and unless it produce these internal transformations the work of art is either perfunctory or dead.

In the mass movement into the suburban areas a new kind of community was produced, which caricatured both the historic city and the archetypal suburban refuge: a multitude of uniform, unidentifiable houses, lined up inflexibly, at uniform distances, on uniform roads, in a treeless communal waste, inhabited by people of the same class, the same income, the same age group, witnessing the same television performances, eating the same tasteless prefabricated foods, from the same freezers, conforming in every outward and inward respect to a common mold, manufactured in the central metropolis. Thus the ultimate effect of the suburban escape in our time is, ironically, a low-grade uniform environment from which escape is impossible.”

Walt Whitman's proclamation that a leaf of grass was a miracle to confound all atheists did more justice to the findings of science than a positivism that stopped with the breaking down of the chemical reactions between sunlight and chlorophyll. This isolation of science from feeling, emotion, purpose, singular events, historic identity, endeared it to more limited minds. But it is not, perhaps, an accident that most of the great spirits in science, from Kepler and Newton to Faraday and Einstein, kept alive in their thought the presence of God-not as a mode of explaining events, but as a reminder of why they are ultimately as unexplainable today to an honest enquirer as they were to Job. (That thought has been admirably translated in Conrad Aiken's poetic dialogue with 'Thee.')

If Leonardo's example of diversification had been more widely followed, the whole tempo of mechanical and scientific development would have been slowed down. This means that the pace of change might have been established in relation to human need, and that valuable parts of man's cultural heritage might have been kept alive, instead of being ruthlessly extirpated in order to widen the empire of the machine. Instead of rapid advances, on the basis of uncoordinated knowledge, in specialized departments, mainly those concerned with war and economic exploitation, there would have been the possibility of a slower but better-coordinated advance that did justice to the processes, functions, and purposes of life.

This New World utopia, this promised land, was soon buried under the ashes and cinders that erupted over the Western World in the nineteenth century, thanks tot he resurrection and intensification of all the forces that had originally brought 'civilization' itself into existence. The rise of the centralized state, teh expansion of the bureaucracy and the conscript army, the regimentation of the factory system, the depredations of speculative finance, the spread of imperialism, as in the Mexican War, and the continued encroachment of slavery-all these negative movements not only sullied the New World dream but brought back on a larger scale than ever the Old World nightmares that the immigrants to America had risked their lives and forfeited their cultural treasures to escape.

Psychologically healthy people have no need to indulge fantasies of absolute power; nor do they need to come to terms with reality by inflicting self-mutilation and prematurely courting death. But the critical weakness of an over-regimented institutional structure-and almost by definition 'civilization' was over-regimented from the beginning-is that it does not tend to produce psychologically healthy people. The rigid division of labor and the segregation of castes produce unbalanced characters, while the mechanical routine normalizes-and rewards-those compulsive personalities who are afraid to cope with the embarrassing riches of life.

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Western society has accepted as unquestionable a technological imperative that is quite as arbitrary as the most primitive taboo: not merely the duty to foster invention and constantly to create technological novelties, but equally the duty to surrender to these novelties unconditionally, just because they are offered, without respect to their human consequences.