Fourth, it seems pretty certain that, as a larger and hungrier population “mines the soil” in a desperate search for food, the destructive processes of erosion and deforestation will be speeded up. Fertility will therefore tend to go down as human numbers go up. (One looks up Erosion in Mr. Toynbee’s index but finds only Esarhaddon, Esotericism and Esperanto; one hunts for Forests, but has to be content, alas, with Formosus of Porto.)

Fifth, it seems pretty certain that the increasing pressure of population upon resources will result in increasing political and social unrest, and that this unrest will culminate in wars, revolutions and counter-revolutions.

Sixth, it seems pretty certain that, whatever the avowed political principles and whatever the professed religion of the societies concerned, increasing pressure of population upon resources will tend to increase the power of the central government and to diminish the liberties of individual citizens. For, obviously, where more people are competing for less food, each individual will have to work harder and longer for his ration, and the central government will find it necessary to intervene more and more frequently in order to save the rickety economic machine from total breakdown, and at the same time to repress the popular discontent begotten by deepening poverty.

If Lord Russell lives to a hundred and twenty (and, for all our sakes, I hope most fervently that he will), he may find himself remembering these middle decades of the twentieth century as an almost Golden Age. In 1954, it is true, he decided that the sum of human misery had never been so great as it had been in the preceding quarter century. On the other hand, “you ain’t seen nuthin’ yet.” Compared with the sum of four billion people’s misery in the eighties, the sum of two billion miseries just before, during and after the Second World War may look like the Earthly Paradise.

But meanwhile here we were in Jerusalem, looking at the usually destroyed antiquities and rubbing shoulders with the usually poverty-stricken inhabitants, the usually superstitious pilgrims. Here was the Wailing Wall, with nobody to wail at it; for Israel is on the other side of a barrier, across which there is no communication except by occasional bursts of rifle fire, occasional exchanges of hand grenades. Here, propped up with steel scaffolding, was the Church of the Holy Sepulchre—that empty tomb to which, for three centuries, the early Christians paid no attention whatsoever, but which came, after the time of Constantine, to be regarded, throughout Europe, as the most important thing in the entire universe. And here was Siloam, here St. Anne’s, here the Dome of the Rock and the site of the Temple, here, more ominous than Pompeii, the Jewish quarter, leveled, usually, in 1948 and not yet usually reconstructed. Here, finally, was St. James’s, of the Armenians, gay with innumerable rather bad but charming paintings, and a wealth of gaudily colored tiles. The great church glowed like a dim religious merry-go-round. In all Jerusalem it was the only oasis of cheerfulness. And not alone of cheerfulness. As we came out into the courtyard, through which the visitor must approach the church’s main entrance, we heard a strange and wonderful sound. High up, in one of the houses surrounding the court, somebody was playing the opening Fantasia of Bach’s Partita in A Minor—playing it, what was more, remarkably well. From out of the open window, up there on the third floor, the ordered torrent of bright pure notes went streaming out over the city’s immemorial squalor. Art and religion, philosophy and science, morals and politics—these are the instruments by means of which men have tried to discover a coherence in the flux of events, to impose an order on the chaos of experience. The most intractable of our experiences is the experience of Time—the intuition of duration, combined with the thought of perpetual perishing. Music is a device for working directly upon the experience of Time. The composer takes a piece of raw, undifferentiated duration and extracts from it, as the sculptor extracts the statue from his marble, a complex pattern of tones and silences, of harmonic sequences and contrapuntal interweavings. For the number of minutes it takes to play or listen to his composition, duration is transformed into something intrinsically significant, something held together by the internal logics of style and temperament, of personal feelings interacting with an artistic tradition, of creative insights expressing themselves within and beyond some given technical convention. This Fantasia, for example—with what a tireless persistence it drills its way through time! How effectively—and yet with no fuss, no self-conscious heroics—it transfigures the mortal lapse through time into the symbol, into the very fact, of a more than human life! A tunnel of joy and understanding had been driven through chaos and was demonstrating, for all to hear, that perpetual perishing is also perpetual creation. Which was precisely what our young friend had been telling us, in his own inimitable way, all the time. Usually destroyed—but also, and just as often, usually rebuilt. Like the rain, like sunshine, like the grace of God and the devastations of Nature, his verbalized tic was perfectly impartial. We walked out of the courtyard and down the narrow street. Bach faded, a donkey brayed, there was a smell of undisposed sewage. “In the year of Our Lord 1916,” our guide informed us, “the Turkish Government usually massacred approximately seven hundred and fifty thousand Armenians.”

(From Tomorrow and Tomorrow and Tomorrow)

Words form the thread on which we string our experiences. Without them we should live spasmodically and intermittently. Hatred itself is not so strong that animals will not forget it, if distracted, even in the presence of the enemy. Watch a pair of cats, crouching on the brink of a fight. Balefully the eyes glare; from far down in the throat of each come bursts of a strange, strangled noise of defiance; as though animated by a life of their own, the tails twitch and tremble. With aimed intensity of loathing! Another moment and surely there must be an explosion. But no; all of a sudden one of the two creatures turns away, hoists a hind leg in a more than fascist salute and, with the same fixed and focused attention as it had given a moment before to its enemy, begins to make a lingual toilet. Animal love is as much at the mercy of distractions as animal hatred. The dumb creation lives a life made up of discreet and mutually irrelevant episodes. Such as it is, the consistency of human characters is due to the words upon which all human experiences are strung. We are purposeful because we can describe our feelings in rememberable words, can justify and rationalize our desires in terms of some kind of argument. Faced by an enemy we do not allow an itch to distract us from our emotions; the mere word “enemy” is enough to keep us reminded of our hatred, to convince us that we do well to be angry. Similarly the word “love” bridges for us those chasms of momentary indifference and boredom which gape from time to time between even the most ardent lovers. Feeling and desire provide us with our motive power; words give continuity to what we do and to a considerable extent determine our direction. Inappropriate and badly chosen words vitiate thought and lead to wrong or foolish conduct. Most ignorances are vincible, and in the greater number of cases stupidity is what the Buddha pronounced it to be, a sin. For, consciously, or subconsciously, it is with deliberation that we do not know or fail to understand—because incomprehension allows us, with a good conscience, to evade unpleasant obligations and responsibilities, because ignorance is the best excuse for going on doing what one likes, but ought not, to do. Our egotisms are incessantly fighting to preserve themselves, not only from external enemies, but also from the assaults of the other and better self with which they are so uncomfortably associated. Ignorance is egotism’s most effective defense against that Dr. Jekyll in us who desires perfection; stupidity, its subtlest stratagem. If, as so often happens, we choose to give continuity to our experience by means of words which falsify the facts, this is because the falsification is somehow to our advantage as egotists.