Page:Georges Sorel, Reflections On Violence (1915).djvu/307

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THE ETHICS OF THE PRODUCERS
293

tality. In default of paradise, there is glory, which is itself a kind of immortality."[1]

Economic progress goes far beyond the individual life, and profits future generations more than those who create it; but does it give glory? Is there an economic epic capable of stimulating the enthusiasm of the workers. The inspiration of immortality which Renan considered so powerful is obviously without efficacy here, because artists have never produced masterpieces under the influence of the idea that their work would procure them a place in paradise (as Turks seek death that they may enjoy the happiness promised by Mahomet). The workmen are not entirely wrong when they look on religion as a middle-class luxury, since, as a matter of fact, the emotions it calls up are not those which inspire workmen with the desire to perfect machinery, or which create methods of accelerating labour.

The question must be stated otherwise than Renan put it; do there exist among the workmen forces capable of producing enthusiasm equivalent to those of which Renan speaks, forces which could combine with the ethics of good work, so that in our days, which seem to many people to presage the darkest future, this ethic may acquire all the authority necessary to lead society along the path of economic progress.

We must be careful that the keen sentiment which we have of the necessity of such a morality, and our ardent desire to see it realised does not induce us to mistake phantoms for forces capable of moving the world. The abundant "idyllic" literature of the professors of rhetoric is evidently mere chatter. Equally vain are the attempts made by so many scholars to find institutions in the past, an imitation of which might serve as a means of

  1. Renan, Histoire du peuple d'Israël, vol. iv. p. 191. Renan seems to me to have identified too readily glory and immortality; he has fallen a victim to a figure of speech.