Many of these great and dusty galleries were silent avenues of machinery, endless raked out ashen furnaces testified to the revolutionary dislocation, but wherever there was work it was being done by slow-moving workers in blue canvas. The only people not in blue canvas were the overlookers of the work-places and the orange-clad Labour Police. And fresh from the flushed faces of the dancing halls, the voluntary vigours of the business quarter, Graham could note the pinched faces, the feeble muscles, and weary eyes of many of the latter-day workers. Such as he saw at work were noticeably inferior in physique to the few gaily dressed managers and forewomen who were directing their labours. The burly labourers of the Victorian times had followed the dray horse and all such living force producers, to extinction; the place of his costly muscles was taken by some dexterous machine. The latter-day labourer, male as well as female, was essentially a machine-minder and feeder, a servant and attendant, or an artist under direction.
The women, in comparison with those Graham remembered, were as a class distinctly plain and flat-chested. Two hundred years of emancipation from the moral restraints of Puritanical religion, two hundred years of city life, had done their work in eliminating the strain of feminine beauty and vigour from the blue canvas myriads. To be brilliant physically or mentally, to be in any way attractive or exceptional, had been and was still a certain way of emancipation to the drudge, a line of escape to the Pleasure City and its splendours and delights, and at last to the Euthanasy and peace. To be steadfast against such inducements was scarcely to be expected of meanly nourished souls. In the young cities of Graham's former life, the newly aggregated labouring mass had been a diverse multitude, still stirred by the tradition of personal honour and a high morality; now it was differentiating into a distinct class, with a moral and physical difference of its own--even with a dialect of its own.
They penetrated downward, ever downward, towards the working places. Presently they passed underneath one of the streets of the moving ways, and saw its platforms running on their rails far overhead, and chinks of white lights between the transverse slits. The factories that were not working were sparsely lighted;to Graham they and their shrouded aisles of giant machines seemed plunged in gloom, and even where work was going on the illumination was far less brilliant than upon the public ways.
Beyond the blazing lakes of Eadhamite he came to the warren of the jewellers, and, with some difficulty and by using his signature, obtained admission to these galleries. They were high and dark, and rather cold. In the first a few men were ****** ornaments of gold filigree, each man at a little bench by himself, and with a little shaded light. The long vista of light patches, with the nimble fingers brightly lit and moving among the gleaming yellow coils, and the intent face like the face of a ghost, in each shadow had the oddest effect.
The work was beautifully executed, but without any strength of modelling or drawing, for the most part intricate grotesques or the ringing of the changes on a geometrical motif. These workers wore a peculiar white uniform without pockets or sleeves. They assumed this on coming to work, but at night they were stripped and examined before they left the premises of the Company. In spite of every precaution, the Labour policeman told them in a depressed tone, the Company was not infrequently robbed.
Beyond was a gallery of women busied in cutting and setting slabs of artificial ruby, and next these were men and women busied together upon the slabs of copper net that formed the basis of cloisonne tiles.
Many of these workers had lips and nostrils a livid white, due to a disease caused by a peculiar purple enamel that chanced to be much in fashion. Asano apologised to Graham for the offence of their faces, but excused himself on the score of the convenience of this route. "This is what I wanted to see," said Graham;"this is what I wanted to see," trying to avoid a start at a particularly striking disfigurement that suddenly stared him in the face.
"She might have done better with herself than that," said Asano.
Graham made some indignant comments.
"But, Sire, we simply could not stand that stuff without the purple," said Asano. "In your days people could stand such crudities, they were nearer the barbaric by two hundred years."They continued along one of the lower galleries of this cloisonne factory, and came to a little bridge that spanned a vault. Looking over the parapet, Graham saw that beneath was a wharf under yet more tremendous archings than any he had seen. Three barges, smothered in floury dust, were being unloaded of their cargoes of powdered felspar by a multitude of coughing men, each guiding a little truck; the dust filled the place with a choking mist, and turned the electric glare yellow. The vague shadows of these workers gesticulated about their feet, and rushed to and fro against a long stretch of white-washed wall.
Every now and then one would stop to cough.
A shadowy, huge mass of masonry rising out of the inky water, brought to Graham's mind the thought of the multitude of ways and galleries and lifts, that rose floor above floor overhead between him and the sky.
The men worked in silence under the supervision of two of the Labour Police; their feet made a hollow thunder on the planks along which they went to and fro. And as he looked at this scene, some hidden voice in the darkness began to sing.
"Stop that!" shouted one of the policemen, but the order was disobeyed, and first one and then all the white-stained men who were working there had taken up the beating refrain, singing it defiantly, the Song of the Revolt. The feet upon the planks thundered now to the rhythm of the song, tramp, tramp, tramp.
