The Collected Works of Olaf Stapledon - Olaf Stapledon

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had not the world-community been able to direct so much of its interest and energy into the higher mental activities. The whole structure of society was fashioned in relation to its best culture. It is almost impossible to give even an inkling of the nature and aims of this culture, and to make it believable that a huge population should have spent scores of millions of years not wholly, not even chiefly, on industrial advancement, but almost entirely on art, science, and philosophy, without ever repeating itself or falling into ennui I can only point out that, the higher a mind’s development, the more it discovers in the universe to occupy it.

      Needless to say, the Fifth Men had early mastered all those paradoxes of physical science which had so perplexed the First Men. Needless to say, they had a very complete knowledge of the geography of the cosmos and of the atom. But again and again the very foundations of their science were shattered by some new discovery, so that they had patiently to reconstruct the whole upon an entirely new plan. At length, however, with the clear formulation of the principles of psycho-physics, in which the older psychology and the older physics were held, so to speak, in chemical combination, they seemed to have built upon the rock. In this science, the fundamental concepts of psychology were given a physical meaning, and the fundamental concepts of physics were stated in a psychological manner. Further, the most fundamental relations of the physical universe were found to be of the same nature as the fundamental principles of art. But, and herein lay mystery and horror even for the Fifth Men, there was no shred of evidence that this aesthetically admirable cosmos was the work of a conscious artist, nor yet that any mind would ever develop so greatly as to be able to appreciate the Whole in all its detail and unity.

      Since art seemed to the Fifth Men to be in some sense basic to the cosmos, they were naturally very much preoccupied with artistic creation. Consequently, all those who were not social or economic organizers, or scientific researchers, or pure philosophers, were by profession creative artists or handicraftsmen. That is to say, they were engaged on the production of material objects of various kinds, whose form should be aesthetically significant to the receiver. In some cases the material object was a pattern of spoken words, in others pure music, in others moving coloured shapes, in others a complex of steel cubes and bars, in others some translation of the human figure into a particular medium, and so on. But also the aesthetic impulse expressed itself in the production, by hand, of innumerable common utensils, indulging sometimes in lavish decoration, trusting at other times to the beauty of function. Every medium of art that had ever been employed was employed by the Fifth Men, and innumerable new vehicles were also used. They prized on the whole more highly those kinds of art which were not static, but involved time as well as space, for as a race they were peculiarly fascinated by time.

      These innumerable artists held that they were doing something of great importance. The cosmos was to be regarded as an aesthetic unity in four dimensions, and of inconceivable complexity. Human works of pure art were thought of as instruments through which man might behold and admire some aspect of the cosmic beauty. They were said to focus together features of the cosmos too vast and elusive for man otherwise to apprehend their form. The work of art was sometimes likened to a compendious mathematical formula expressive of some immense and apparently chaotic field of facts. But in the case of art, it was said, the unity which the artistic object elicited was one in which factors of vital nature and of mind itself were essential members.

      The race thus deemed itself to be engaged upon a great enterprise both of discovery and creation in which each individual was both an originator of some unique contribution, and an appraiser of all.

      Now, as the years advanced in millions and in decades of millions, it began to be noticed that the movement of world-culture was in a manner spiral. There would be an age during which the interest of the race was directed almost wholly upon certain tracts or aspects of existence; and then, after perhaps a hundred thousand years, these would seem to have been fully cultivated, and would be left fallow. During the next epoch attention would be in the main directed to other spheres, and then afterwards to yet others, and again others. But at length a return would be made to the fields that had been deserted, and it would be discovered that they could now miraculously bear a millionfold the former crop. Thus, in both science and art man kept recurring again and again to the ancient themes, to work over them once more in meticulous detail and strike from them new truth and new beauty, such as, in the earlier epoch, he could never have conceived. Thus it was that, though science gathered to itself unfalteringly an ever wider and more detailed view of existence, it periodically discovered some revolutionary general principle in terms of which its whole content had to be given a new significance. And in art there would appear in one age works superficially almost identical with works of another age, yet to the discerning eye incomparably more significant. Similarly, in respect of human personality itself, those men and women who lived at the close of the aeon of the Fifth Men could often discover in the remote beginning of their own race beings curiously like themselves, yet, as it were, expressed in fewer dimensions than their own many-dimensional natures. As a map is like the mountainous land, or the picture like the landscape, or indeed as the point and the circle are like the sphere, so, and only so, the earlier Fifth Men resembled the flower of the species.

      Such statements would be in a manner true of any period of steady cultural progress. But in the present instance they have a peculiar significance which I must now somehow contrive to suggest.

      XII The Last Terrestrials

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      The Fifth Men had not been endowed with that potential immortality which their makers themselves possessed. And from the fact that they were mortal and yet long-lived, their culture drew its chief brilliance and poignancy. Beings for whom the natural span was three thousand years, and ultimately as much as fifty thousand, were peculiarly troubled by the prospect of death, and by the loss of those dear to them. The more ephemeral kind of spirit, that comes into being and then almost immediately ceases, before it has entered at all deeply into consciousness of itself, can face its end with a courage that is half unwitting. Even its smart in the loss of other beings with whom it has been intimate is but a vague and dream-like suffering. For the ephemeral spirit has no time to grow fully awake, or fully intimate with another, before it must lose its beloved, and itself once more fade into unconsciousness. But with the long-lived yet not immortal Fifth Men the case was different. Gathering to themselves experience of the cosmos, acquiring an ever more precise and vivid insight and appreciation, they knew that very soon all this wealth of the soul must cease to be. And in love, though they might be fully intimate not merely with one but with very many persons, the death of one of these dear spirits seemed an irrevocable tragedy, an utter annihilation of the most resplendent kind of glory, an impoverishment of the cosmos for evermore.

      In their brief primitive phase, the Fifth Men, like so many other races, sought to console themselves by unreasoning faith in a life after death. They conceived, for instance, that at death terrestrial beings embarked upon a career continuous with earthly life, but far more ample, either in some remote planetary system, or in some wholly distinct orb of space-time. But though such theories were never disproved in the primitive era, they gradually began to seem not merely improbable but ignoble. For it came to be recognized that the resplendent glories of personality, even in that degree of beauty which now for the first time was attained, were not after all the extreme of glory. It was seen with pain, but also with exultation, that even love’s demand that the beloved should have immortal life is a betrayal of man’s paramount allegiance. And little by little it became evident that those who used great gifts, and even genius, to establish the truth of the after life, or to seek contact with their beloved dead, suffered from a strange blindness, an obtuseness of the spirit. Though the love which had misled them was itself a very lovely thing, yet they were misled. Like children, searching for lost toys, they wandered. Like adolescents seeking to recapture delight in the things of childhood, they shunned those more difficult admirations which are

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