Presley, his senses never more alive, observed that, curiously enough, Shelgrim did not move his body. His arms moved, and his head, but the great bulk of the man remained immobile in its place, and as the interview proceeded and this peculiarity emphasised itself, Presley began to conceive the odd idea that Shelgrim had, as it were, placed his body in the chair to rest, while his head and brain and hands went on working independently. A saucer of shelled filberts stood near his elbow, and from time to time he picked up one of these in a great thumb and forefinger and put it between his teeth.
“I’ve seen the picture called ‘The Toilers,’ ” continued Shelgrim, “and of the two, I like the picture better than the poem.”
“The picture is by a master,” Presley hastened to interpose.
“And for that reason,” said Shelgrim, “it leaves nothing more to be said. You might just as well have kept quiet. There’s only one best way to say anything. And what has made the picture of ‘The Toilers’ great is that the artist said in it the best that could be said on the subject.”
“I had never looked at it in just that light,” observed Presley. He was confused, all at sea, embarrassed. What he had expected to find in Shelgrim, he could not have exactly said. But he had been prepared to come upon an ogre, a brute, a terrible man of blood and iron, and instead had discovered a sentimentalist and an art critic. No standards of measurement in his mental equipment would apply to the actual man, and it began to dawn upon him that possibly it was not because these standards were different in kind, but that they were lamentably deficient in size. He began to see that here was the man not only great, but large; many-sided, of vast sympathies, who understood with equal intelligence, the human nature in an habitual drunkard, the ethics of a masterpiece of painting, and the financiering and operation of ten thousand miles of railroad.
“I had never looked at it in just that light,” repeated Presley. “There is a great deal in what you say.”
“If I am to listen,” continued Shelgrim, “to that kind of talk, I prefer to listen to it first hand. I would rather listen to what the great French painter has to say, than to what you have to say about what he has already said.”
His speech, loud and emphatic at first, when the idea of what he had to say was fresh in his mind, lapsed and lowered itself at the end of his sentences as though he had already abandoned and lost interest in that thought, so that the concluding words were indistinct, beneath the grey beard and mustache. Also at times there was the faintest suggestion of a lisp.
“I wrote that poem,” hazarded Presley, “at a time when I was terribly upset. I live,” he concluded, “or did live on the Los Muertos ranch in Tulare County—Magnus Derrick’s ranch.”
“The Railroad’s ranch leased to Mr. Derrick,” observed Shelgrim.
Presley spread out his hands with a helpless, resigned gesture.
“And,” continued the President of the P. and S.W. with grave intensity, looking at Presley keenly, “I suppose you believe I am a grand old rascal.”
“I believe,” answered Presley, “I am persuaded—” He hesitated, searching for his words.
“Believe this, young man,” exclaimed Shelgrim, laying a thick powerful forefinger on the table to emphasise his words, “try to believe this—to begin with—that Railroads build themselves. Where there is a demand sooner or later there will be a supply. Mr. Derrick, does he grow his wheat? The Wheat grows itself. What does he count for? Does he supply the force? What do I count for? Do I build the Railroad? You are dealing with forces, young man, when you speak of Wheat and the Railroads, not with men. There is the Wheat, the supply. It must be carried to feed the People. There is the demand. The Wheat is one force, the Railroad, another, and there is the law that governs them—supply and demand. Men have only little to do in the whole business. Complications may arise, conditions that bear hard on the individual—crush him maybe—but the Wheat will be carried to feed the people as inevitably as it will grow. If you want to fasten the blame of the affair at Los Muertos on any one person, you will make a mistake. Blame conditions, not men.”
“But—but,” faltered Presley, “you are the head, you control the road.”
“You are a very young man. Control the road! Can I stop it? I can go into bankruptcy if you like. But otherwise if I run my road, as a business proposition, I can do nothing. I can not control it. It is a force born out of certain conditions, and I—no man—can stop it or control it. Can your Mr. Derrick stop the Wheat growing? He can burn his crop, or he can give it away, or sell it for a cent a bushel—just as I could go into bankruptcy—but otherwise his Wheat must grow. Can anyone stop the Wheat? Well, then no more can I stop the Road.”
Presley regained the street stupefied, his brain in a whirl. This new idea, this new conception dumbfounded him. Somehow, he could not deny it. It rang with the clear reverberation of truth. Was no one, then, to blame for the horror at the irrigating ditch? Forces, conditions, laws of supply and demand—were these then the enemies, after all? Not enemies; there was no malevolence in Nature. Colossal indifference only, a vast trend toward appointed goals. Nature was, then, a gigantic engine, a vast cyclopean power, huge, terrible, a leviathan with a heart of steel, knowing no compunction, no forgiveness, no tolerance; crushing out the human atom standing in its way, with nirvanic calm, the agony of
