also hardly changed at all.’
The bats continue to pour out into the daylight, thousands upon thousands of them, and still no cease to their numbers. The rustle of their wings follows the viewpoint into the throat of the cave, which is uncertainly illuminated by a floodlight.
‘In terms of centuries, a human life is ephemeral. The things we do, the things we make, our alliances and enmities, are even more ephemeral. These paintings were executed one forgotten day thousands of centuries ago.’
In the uncertain light, faces loom, bodies of men, animals, bright fish, plants, all in mysterious relationships and preserved under a glistening film of limestone. Then the light dies. Something can still be seen in the darkness; it is the liquid crystal display of the boatman’s watch, on which the seconds flit rapidly by.
‘These paintings were not intended to last. Perhaps they were intended to please or function – whatever that function was – just for a day. They are beyond taste. There is an old saying, it is “De gustibus non est disputandum”, meaning, “It’s useless to discuss questions of taste”; yet this series of programmes is designed to discover more about taste, and why and how taste changes.’
Further in the cave, the light reveals pictures of two lizards, curving their bodies round bosses of rock. One lizard is green, one red.
‘Did the prehistoric painter prefer green to red? Some gentlemen prefer blondes, some black-haired beauties. There is always a reason for our preferences, sometimes an important reason. We may prefer Beethoven to Burt Bacharach; there may be a political reason why we like rock’n’roll more than Ruddigore. Are the reasons why a church moves us more than a warehouse purely religious? What makes us read one sort of book in preference to another, or flip from one TV channel to a practically identical one?’
More lizards, and a strange creature that is a kind of man with a tail, or else an anthropomorphic lizard.
‘Nothing like this imaginative creature exists in the caves of Europe. Nor do we find in these paintings that emphasis on hunting which is so pervasive in the caves of Europe. It is almost as if a marked difference between the thought of the East and the West existed all those thousands of centuries ago, even as it exists today. Could the greater passivity of temperament in the East relate to the absence in this part of the world of large animals of the hunt which were common throughout Europe? We can as yet hardly formulate such questions, never mind answering them. In the middle of the twentieth century, we still stand in the middle of unfathomed mystery.’
Darkness, then light again, light moving into a larger cave, where stalactites and stalagmites come together in great folds, like closing teeth. One wall is covered with the outlines of human hands. The hands are all open, palms facing towards the spectator, hundreds of them, stretching up into the darkness, interspersed with strange squiggles reminiscent of intestines. The light moves slowly. The hands continue, palms glistening from their coating of limestone; countless hands, one gesture.
‘We don’t know what these hands mean or meant. They symbolize man – the prehensile fingers, the opposed digit. They reach out to us, as if in supplication. We cannot touch them.’
He places his hand against one of the painted hands. His own palm glistens when he withdraws it.
‘Time and limestone intervene between us. I know nothing more poignant than this wall of hands.’
The hands thin out at last. The wall becomes rougher. The light dims. Someone’s shoulder gets in the way. The music is sombre, romantic, cool, Borodin’s ‘Steppes of Central Asia’ strained through a synthesizer, with acoustics added. Crimson, such as hides behind eyelids, fills the screen; from it, a narrow corridor emerges, and large shattered stones which could have been brought here from outside.
Bones lie in a recess, in the wall. Squire’s hand reaches down and lifts up a skull from which the bottom jaw has dropped away. The forehead gleams, shadows lie in the eye sockets.
‘We can admire the aesthetic qualities of this extremely functional object. However, we would be less appreciative if we knew this to be the skull of a brother who had died only last week. Why is that? Are there degrees of being dead? Perhaps there are even degrees of being alive – we all know that some people are more lively and alert than others. Perhaps the life force is less democratically distributed than we suppose.’
A bright green beetle runs out of one of the eye sockets as Squire lowers the skull to the floor.
‘Let’s ask no more questions for the moment. I believe the answers to a lot of trivial-seeming questions to be profound, to concern politics, life and death, religion, and to lead directly to our imaginative perception of the world. A T-shirt advertising Coca-Cola holds a key to the wearer’s personality: we move from casual preference to the prevailing winds of the individual psyche.’
The viewpoint swings. Now we are returning to the light of day. The members of the party are revealed as six blundering figures, their hands touching the walls for security. This is the throat of the whale, through which bats still whistle like a dark outgoing breath. A patch of daylight ahead is an undersea green.
‘We like to imagine that the men and women who lived and died here 40,000 years ago were haunted by symbols, taboos, superstitions, omens. Yet the same must be said of us today, although our lives in the twentieth century are fortified by elaborate cultural superstructures. Interplay between superstructure and individual is complex. Do we like China because it appears friendly, fear it because it is large, mistrust it because it is communist, or idealize it because it is remote? An individual must choose between cultural superstructures.’
One of the party, a woman in jeans, has stumbled. She bends so that we see she has a badge pinned to her hip pocket. The legend on the badge reads, ‘Friends of the Earth’.
‘In the last two centuries, an infrastructure of man-made objects has proliferated. Mass-produced goods are everywhere, from badges to weapons of destruction, and we find it oddly difficult to pronounce upon them; their very plenty seems to ensnare judgement.’
The speaker produces from his pocket a slender box of matches. The box is black, simply embossed with a gold head in an antique-style Chinese hat and the one word, ‘Mandarin’. The box slides open. Inside lie some twenty matches with white heads. They fill the screen, rough wooden shafts culminating in smooth bulbs.
‘This is a give-away packet of matches from my hotel in Singapore. The matches are wood, the box plastic. It is a neat and beautiful product, and totally beyond the technology of our fathers. It is worthless. Can we then call it – beautiful? Because it is worthless, is it valueless?’
We are back in the mouth of the whale. The bats have all flown at last, the tourists have disappeared. The speaker is silent. There is no music. Just the ancient cave.
A great column of limestone stands at the cave-mouth, moulded by the forces of water. Orchestral strings wake in startlement as two figures mysteriously appear on either side of the column. One of them – she moves forward, smiling – is a golden girl in a bikini, her blonde hair bouncing about her shoulders. She goes barefoot. The other figure remains unmoving. With his back to the light, we see him merely as a brutal silhouette. He rests one arm nonchalantly on the limestone, waiting.
‘These two are our Sex Symbol and our Dark Figure. They represent the two poles of life and death, and will be with us as we explore the familiar. They both loom large in our minds, as they do in the world, and they dominate how we feel about those questions of tone, form, smell, and colour which shape our preferences.’
The
