A MODERN UTOPIA
have been written if the distinctive intellectual and artistic quality of Plato's time, its extraordinarily clear definition of certain material conditions as absolutely permanent, coupled with its politico-social instability, had been borne in mind. The food of the Greek imagination was the very antithesis of our own nourishment. We are educated by our circumstances to think no revolution in appliances and economic organisation incredible, our minds play freely about possibilities that would have struck the men of the Academy as outrageous extravagance, and it is in regard to politico-social expedients that our imaginations fail. Sparta, for all the evidence of history, is scarcely more credible to us than a motor-car throbbing in the agora would have been to Socrates.
By sheer inadvertence, therefore, Plato commenced the tradition of Utopias without machinery, a tradition we find Morris still loyally following, except for certain mechanical barges and such-like toys, in his "News from Nowhere." There are some foreshadowings of mechanical possibilities in the "New Atlantis," but it is only in the nineteenth century that Utopias appeared in which the fact is clearly recognised that the social fabric rests no longer upon human labour. It was, I believe, Cabet[1] who first in a Utopian work insisted upon the escape of man from irksome labours through the use of machinery. He is the great primitive of modern Utopias, and Bellamy is his American equivalent. Hitherto, either slave labour (Phaleas),[2] or at least class distinctions involving unavoidable la-
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