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} - - div.clearpage, div.cleardoublepage - { margin: 10% 0; border: none; border-top: 1px solid gray; } - - .vfill { margin: 5% 10% } -} - -@media print { - div.clearpage { page-break-before: always; padding-top: 10% } - div.cleardoublepage { page-break-before: right; padding-top: 10% } - - .vfill { margin-top: 20% } - h2.title { margin-top: 20% } -} - -/* DIV */ -pre { font-family: monospace; font-size: 0.9em; white-space: pre-wrap } - -</style> -<title>OF VULGARITY</title> -<meta name="PG.Rights" content="Public Domain" /> -<meta name="PG.Title" content="Of Vulgarity" /> -<meta name="PG.Producer" content="Al Haines" /> -<link rel="coverpage" href="images/img-cover.jpg" /> -<meta name="DC.Creator" content="John Ruskin" /> -<meta name="DC.Created" content="1906" /> -<meta name="PG.Id" content="45913" /> -<meta name="PG.Released" content="2014-06-07" /> -<meta name="DC.Language" content="en" /> -<meta name="DC.Title" content="Of Vulgarity" /> - -<link href="http://purl.org/dc/terms/" rel="schema.DCTERMS" /> -<link href="http://id.loc.gov/vocabulary/relators" rel="schema.MARCREL" /> -<meta content="Of Vulgarity" name="DCTERMS.title" /> -<meta content="vulgar.rst" name="DCTERMS.source" /> -<meta content="en" scheme="DCTERMS.RFC4646" name="DCTERMS.language" /> -<meta content="2014-06-07T22:31:51.052186+00:00" scheme="DCTERMS.W3CDTF" name="DCTERMS.modified" /> -<meta content="Project Gutenberg" name="DCTERMS.publisher" /> -<meta content="Public Domain in the USA." name="DCTERMS.rights" /> -<link href="http://www.gutenberg.org/ebooks/45913" rel="DCTERMS.isFormatOf" /> -<meta content="John Ruskin" name="DCTERMS.creator" /> -<meta content="2014-06-07" scheme="DCTERMS.W3CDTF" name="DCTERMS.created" /> -<meta content="width=device-width" name="viewport" /> -<meta content="EpubMaker 0.3.20 by Marcello Perathoner <webmaster@gutenberg.org>" name="generator" /> -</head> -<body> -<div class="document" id="of-vulgarity"> -<h1 class="center document-title level-1 pfirst title"><span class="x-large">OF VULGARITY</span></h1> - -<!-- this is the default PG-RST stylesheet --> -<!-- figure and image styles for non-image formats --> -<!-- default transition --> -<!-- default attribution --> -<!-- -*- encoding: utf-8 -*- --> -<div class="clearpage"> -</div> -<!-- -*- encoding: utf-8 -*- --> -<div class="align-None container language-en pgheader" id="pg-header" xml:lang="en" lang="en"> -<p class="noindent pfirst"><span>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the </span><a class="reference internal" href="#project-gutenberg-license">Project Gutenberg License</a><span> -included with this eBook or online at -</span><a class="reference external" href="http://www.gutenberg.org/license">http://www.gutenberg.org/license</a><span>.</span></p> -<p class="noindent pnext"></p> -<div class="vspace" style="height: 2em"> -</div> -<div class="align-None container" id="pg-machine-header"> -<p class="noindent pfirst"><span>Title: Of Vulgarity -<br /> -<br />Author: John Ruskin -<br /> -<br />Release Date: June 07, 2014 [EBook #45913] -<br /> -<br />Language: English -<br /> -<br />Character set encoding: UTF-8</span></p> -</div> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst" id="pg-start-line"><span>*** START OF THIS PROJECT GUTENBERG EBOOK </span><span>OF VULGARITY</span><span> ***</span></p> -<div class="vspace" style="height: 4em"> -</div> -<p class="noindent pfirst" id="pg-produced-by"><span>Produced by Al Haines.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><span></span></p> -</div> -<div class="align-None container titlepage"> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><span class="large">Ruskin Treasuries</span></p> -<div class="vspace" style="height: 3em"> -</div> -<p class="center pfirst"><span class="x-large">OF VULGARITY</span></p> -<div class="vspace" style="height: 3em"> -</div> -<p class="center pfirst"><span class="medium">London: George Allen -<br />1906</span></p> -</div> -<div class="vspace" style="height: 4em"> -</div> -<!-- --> -<blockquote> -<div> -<p class="pfirst"><em class="italics">What do you mean by -"vulgarity"? You will find it a -fruitful subject of thought; but, -briefly, the essence of all vulgarity -lies in want of sensation.</em></p> -</div> -</blockquote> -<div class="vspace" style="height: 1em"> -</div> -<!-- --> -<blockquote> -<div> -<p class="pfirst"><span>Sesame and Lilies, § 28.</span></p> -</div> -</blockquote> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><em class="italics small">All rights reserved</em></p> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><span class="bold large">RUSKIN TREASURIES</span></p> -<p class="center pnext"><span class="bold large">OF VULGARITY</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>1. Two great errors, colouring, or -rather discolouring, severally, the -minds of the higher and lower classes, -have sown wide dissension, and wider -misfortune, through the society of -modern days. These errors are in -our modes of interpreting the word -"gentleman."</span></p> -<p class="pnext"><span>Its primal, literal, and perpetual -meaning is "a man of pure race;"[#] -well bred, in the sense that a horse -or dog is well bred.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] See below, pp. </span><a class="reference internal small" href="#id1">39-47</a><span class="small">.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>The so-called higher classes, being -generally of purer race than the lower, -have retained the true idea, and the -convictions associated with it; but are -afraid to speak it out, and equivocate -about it in public; this equivocation -mainly proceeding from their desire -to connect another meaning with it, -and a false one;—that of "a man -living in idleness on other people's -labour;"—with which idea the term -has nothing whatever to do.</span></p> -<p class="pnext"><span>The lower classes, denying vigorously, -and with reason, the notion that -a gentleman means an idler, and -rightly feeling that the more any one -works, the more of a gentleman he -becomes, and is likely to become,—have -nevertheless got little of the -good they otherwise might, from the -truth, because, with it, they wanted to -hold a falsehood,—namely, that race -was of no consequence. It being -precisely of as much consequence in -man as it is in any other animal.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>2. The nation cannot truly prosper -till both these errors are finally got -quit of. Gentlemen have to learn that -it is no part of their duty or privilege -to live on other people's toil. They -have to learn that there is no -degradation in the hardest manual, or the -humblest servile, labour, when it is -honest. But that there is degradation, -and that deep, in extravagance, -in bribery, in indolence, in pride, in -taking places they are not fit for, or in -coining places for which there is no -need. It does not disgrace a gentleman -to become an errand boy, or a -day labourer; but it disgraces him -much to become a knave, or a thief. -And knavery is not the less knavery -because it involves large interests, -nor theft the less theft because it is -countenanced by usage, or accompanied -by failure in undertaken duty. -It is an incomparably less guilty form -of robbery to cut a purse out of a man's -pocket, than to take it out of his hand -on the understanding that you are to -steer his ship up channel, when you -do not know the soundings.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>3. On the other hand, the lower -orders, and all orders, have to learn -that every vicious habit and chronic -disease communicates itself by -descent; and that by purity of birth -the entire system of the human -body and soul may be gradually -elevated, or, by recklessness of birth, -degraded; until there shall be as -much difference between the -well-bred and ill-bred human creature -(whatever pains be taken with their -education) as between a wolf-hound -and the vilest mongrel cur. And the -knowledge of this great fact ought to -regulate the education of our youth, -and the entire conduct of the nation.[#]</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] See below, pp. </span><a class="reference internal small" href="#id2">41-42</a><span class="small">.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>4. Gentlemanliness, however, in -ordinary parlance, must be taken -to signify those qualities which are -usually the evidence of high breeding, -and which, so far as they can be -acquired, it should be every man's -effort to acquire; or, if he has them -by nature, to preserve and exalt. -Vulgarity, on the other hand, will signify -qualities usually characteristic of -ill-breeding, which, according to his -power, it becomes every person's duty -to subdue. We have briefly to note -what these are.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>5. A gentleman's first characteristic -is that fineness of structure in the body, -which renders it capable of the most -delicate sensation; and of structure -in the mind which renders it capable -of the most delicate sympathies—one -may say, simply, "fineness of nature." This -is, of course, compatible with -heroic bodily strength and mental -firmness; in fact, heroic strength is -not conceivable without such delicacy. -Elephantine strength may drive its -way through a forest and feel no touch -of the boughs; but the white skin of -Homer's Atrides would have felt a -bent rose-leaf, yet subdue its feeling -in glow of battle, and behave itself -like iron. I do not mean to call an -elephant a vulgar animal; but if you -think about him carefully, you will -find that his non-vulgarity consists in -such gentleness as is possible to -elephantine nature; not in his insensitive -hide, nor in his clumsy foot; but in the -way he will lift his foot if a child lies -in his way; and in his sensitive trunk, -and still more sensitive mind, and -capability of pique on points of honour.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>6. And, though rightness of moral -conduct is ultimately the great purifier -of race, the sign of nobleness is not in -this rightness of moral conduct, but in -sensitiveness. When the make of the -creature is fine, its temptations are -strong, as well as its perceptions; it -is liable to all kinds of impressions -from without in their most violent -form; liable therefore to be abused -and hurt by all kinds of rough things -which would do a coarser creature little -harm, and thus to fall into frightful -wrong if its fate will have it so. Thus -David, coming of gentlest as well as -royalest race, of Ruth as well as of -Judah, is sensitiveness through all -flesh and spirit; not that his -compassion will restrain him from murder -when his terror urges him to it; nay, -he is driven to the murder all the -more by his sensitiveness to the -shame which otherwise threatens him. -But when his own story is told under -a disguise, though only a lamb is now -concerned, his passion about it leaves -him no time for thought. "The man -shall die"—note the reason—"because -he had no pity." He is so eager -and indignant that it never occurs to -him as strange that Nathan hides the -name. This is true gentleman. A -vulgar man would assuredly have been -cautious, and asked who it was.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>7. Hence it will follow that one of -the probable signs of high-breeding -in men generally, will be their -kindness and mercifulness; these always -indicating more or less fineness of -make in the mind; and miserliness -and cruelty the contrary; hence that -of Isaiah: "The vile person shall no -more be called liberal, nor the churl -said to be bountiful." But a thousand -things may prevent this kindness from -displaying or continuing itself; the -mind of the man may be warped so -as to bear mainly on his own interests, -and then all his sensibilities will take -the form of pride, or fastidiousness, or -revengefulness; and other wicked, -but not ungentlemanly tempers; or, -farther, they may run into utter -sensuality and covetousness, if he is -bent on pleasure, accompanied with -quite infinite cruelty when the pride is -wounded or the passions are thwarted;—until -your gentleman becomes Ezzelin, -and your lady, the deadly Lucrece; -yet still gentleman and lady, quite -incapable of making anything else of -themselves, being so born.[#]</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] See below, p. </span><a class="reference internal small" href="#id3">44</a><span class="small">.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>8. A truer sign of breeding than mere -kindness is therefore sympathy;—a -vulgar man may often be kind in a -hard way, on principle, and because -he thinks he ought to be; whereas, a -highly-bred man, even when cruel, will -be cruel in a softer way, understanding -and feeling what he inflicts, and -pitying his victim. Only we must carefully -remember that the quantity of -sympathy a gentleman feels can never be -judged of by its outward expression, -for another of his chief characteristics -is apparent reserve. I say "apparent" -reserve; for the sympathy is real, but -the reserve not: a perfect gentleman -is never reserved, but sweetly and -entirely open, so far as it is good for -others, or possible, that he should -be. In a great many respects it is -impossible that he should be open -except to men of his own kind. To them, -he can open himself, by a word or -syllable, or a glance; but to men not -of his kind he cannot open himself, -though he tried it through an eternity -of clear grammatical speech. By the -very acuteness of his sympathy he -knows how much of himself he can -give to anybody; and he gives that -much frankly;—would always be glad -to give more if he could, but is obliged, -nevertheless, in his general -intercourse with the world, to be a -somewhat silent person; silence is to most -people, he finds, less reserve than -speech. Whatever he said, a vulgar -man would misinterpret: no words -that he could use would bear the -same sense to the vulgar man that -they do to him; if he used any, the -vulgar man would go away saying, -"He had said so and so, and meant -so and so" (something assuredly -he never meant): but he keeps -silence, and the vulgar man goes away -saying, "He didn't know what to -make of him." Which is precisely -the fact, and the only fact which he -is anywise able to announce to the -vulgar man concerning himself.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>9. There is yet another quite as -efficient cause of the apparent reserve of -a gentleman. His sensibility being -constant and intelligent, it will be -seldom that a feeling touches him, -however acutely, but it has touched -him in the same way often before, and -in some sort is touching him always. -It is not that he feels little, but that -he feels habitually; a vulgar man -having some heart at the bottom of -him, if you can by talk or by sight -fairly force the pathos of anything -down to his heart, will be excited -about it and demonstrative; the -sensation of pity being strange to him -and wonderful. But your gentleman -has walked in pity all day long; the -tears have never been out of his eyes; -you thought the eyes were bright -only; but they were wet. You tell -him a sorrowful story, and his -countenance does not change; the eyes -can but be wet still: he does not -speak neither, there being, in fact, -nothing to be said, only something to -be done; some vulgar person, beside -you both, goes away saying, "How -hard he is!" Next day he hears that -the hard person has put good end to -the sorrow he said nothing about;—and -then he changes his wonder, and -exclaims, "How reserved he is!"</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>10. Self-command is often thought -a characteristic of high-breeding; and -to a certain extent it is so, at least it -is one of the means of forming and -strengthening character; but it is -rather a way of imitating a gentleman -than a characteristic of him; a true -gentleman has no need of self-command; -he simply feels rightly on all -occasions; and desiring to express -only so much of his feeling as it is -right to express, does not need to -command himself. Hence perfect -ease is indeed characteristic of him; -but perfect ease is inconsistent with -self-restraint. Nevertheless gentlemen, -so far as they fail of their own -ideal, need to command themselves, -and do so; while, on the contrary, to -feel unwisely, and to be unable to -restrain the expression of the unwise -feeling, is vulgarity; and yet even -then, the vulgarity, at its root, is not -in the mistimed expression, but in the -unseemly feeling; and when we find -fault with a vulgar person for -"exposing himself," it is not his openness, -but clumsiness, and yet more the -want of sensibility to his own failure, -which we blame; so that still the -vulgarity resolves itself into want of -sensibility. Also, it is to be noted -that great powers of self-restraint -may be attained by very vulgar -persons when it suits their purposes.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>11. Closely, but strangely, connected -with this openness is that form of -truthfulness which is opposed to -cunning, yet not opposed to falsity -absolute. And herein is a distinction -of great importance.</span></p> -<p class="pnext"><span>Cunning signifies especially a habit -or gift of over-reaching, accompanied -with enjoyment and a sense of superiority. -It is associated with small and -dull conceit, and with an absolute -want of sympathy or affection. Its -essential connection with vulgarity -may be at once exemplified by the -expression of the butcher's dog in -Landseer's "Low Life." Cruikshank's -"Noah Claypole," in the illustrations -to </span><em class="italics">Oliver Twist</em><span>, in the interview with -the Jew, is, however, still more -characteristic. It is the intensest rendering -of vulgarity absolute and utter with -which I am acquainted.</span></p> -<p class="pnext"><span>The truthfulness which is opposed -to cunning ought, perhaps, rather to -be called the desire of truthfulness; -it consists more in unwillingness to -deceive than in not deceiving,—an -unwillingness implying sympathy with -and respect for the person deceived; -and a fond observance of truth up to -the possible point, as in a good soldier's -mode of retaining his honour through -a </span><em class="italics">ruse-de-guerre</em><span>. A cunning person -seeks for opportunities to deceive; a -gentleman shuns them. A cunning -person triumphs in deceiving; a -gentleman is humiliated by his -success, or at least by so much of the -success as is dependent merely on -the falsehood, and not on his -intellectual superiority.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>12. The absolute disdain of all lying -belongs rather to Christian chivalry -than to mere high-breeding; as -connected merely with this latter, and -with general refinement and courage, -the exact relations of truthfulness -may be best studied in the well-trained -Greek mind. The Greeks believed -that mercy and truth were co-relative -virtues—cruelty and falsehood, -co-relative vices. But they did not call -necessary severity, cruelty; nor -necessary deception, falsehood. It was -needful sometimes to slay men, and -sometimes to deceive them. When -this had to be done, it should be done -well and thoroughly; so that to direct -a spear well to its mark, or a lie well -to its end, was equally the accomplishment -of a perfect gentleman. Hence, -in the pretty diamond-cut-diamond -scene between Pallas and Ulysses, -when she receives him on the coast of -Ithaca, the goddess laughs delightedly -at her hero's good lying, and gives him -her hand upon it;—showing herself -then in her woman's form, as just a -little more than his match.[#] "Subtle -would he be, and stealthy, who should -go beyond thee in deceit, even were -he a god, thou many-witted! What! here -in thine own land, too, wilt thou -not cease from cheating? Knowest -thou not me, Pallas Athena, maid of -Jove, who am with thee in all thy -labours, and gave thee favour with the -Phæacians, and keep thee, and have -come now to weave cunning with -thee?" But how completely this kind -of cunning was looked upon as a -part of a man's power, and not as a -diminution of faithfulness, is perhaps -best shown by the single line of praise -in which the high qualities of his -servant are summed up by Chremulus in -the </span><em class="italics">Plutus</em><span>—"Of all my house -servants, I hold you to be the faithfullest, -and the greatest cheat (or thief)."[#]</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] Homer, </span><em class="italics small">Od.</em><span class="small">, xiii. 291 </span><em class="italics small">seq.</em></p> -<p class="noindent pnext"><span class="small">[#] Aristophanes, </span><em class="italics small">Plutus</em><span class="small">, 26-27.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>13. Thus, the primal difference -between honourable and base lying in -the Greek mind lay in honourable -purpose. A man who used his strength -wantonly to hurt others was a monster; -so, also, a man who used his cunning -wantonly to hurt others. Strength -and cunning were to be used only in -self-defence, or to save the weak, and -then were alike admirable. This was -their first idea. Then the second, and -perhaps the more essential, difference -between noble and ignoble lying in the -Greek mind, was that the honourable -lie—or, if we may use the strange, -yet just, expression, the true lie—knew -and confessed itself for such—was -ready to take the full responsibility of -what it did. As the sword answered -for its blow, so the lie for its snare. -But what the Greeks hated with all -their heart was the false lie;—the lie -that did not know itself, feared to -confess itself, which slunk to its aim under -a cloak of truth, and sought to do liars' -work, and yet not take liars' pay, -excusing itself to the conscience by -quibble and quirk. Hence the great -expression of Jesuit principle by -Euripides, "The tongue has sworn, but -not the heart,"[#] was a subject of -execration throughout Greece, and the -satirists exhausted their arrows on -it—no audience was ever tired of -hearing ([Greek: tò Euripídeion ekeîno]) "that -Euripidean thing" brought to shame.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] Hippolytus, 612.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>14. And this is especially to be -insisted on in the early education of young -people. It should be pointed out to -them with continual earnestness that -the essence of lying is in deception, -not in words: a lie may be told by -silence, by equivocation, by the accent -on a syllable, by a glance of the eye -attaching a peculiar significance to -a sentence; and all these kinds of -lies are worse and baser by many -degrees than a lie plainly worded; -so that no form of blinded -conscience is so far sunk as that which -comforts itself for having deceived, -because the deception was by gesture -or silence, instead of utterance; and, -finally, according to Tennyson's deep -and trenchant line, "A lie which is -half a truth is ever the worst of -lies."[#]</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] </span><em class="italics small">The Grandmother</em><span class="small">.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>15. Although, however, ungenerous -cunning is usually so distinct an -outward manifestation of vulgarity, -that I name it separately from -insensibility, it is in truth only an -effect of insensibility, producing want -of affection to others, and blindness -to the beauty of truth. The degree -in which political subtlety in men -such as Richelieu, Machiavel, or -Metternich, will efface the -gentleman, depends on the selfishness of -political purpose to which the -cunning is directed, and on the base -delight taken in its use. The -command, "Be ye wise as serpents, -harmless as doves," is the ultimate -expression of this principle, -misunderstood usually because the word -"wise" is referred to the intellectual -power instead of the subtlety of the -serpent. The serpent has very little -intellectual power, but according to -that which it has, it is yet, as of -old, the subtlest of the beasts of the -field.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>16. Another great sign of vulgarity is -also, when traced to its root, another -phase of insensibility, namely, the -undue regard to appearances and -manners, as in the households of -vulgar persons, of all stations, and the -assumption of behaviour, language, -or dress unsuited to them, by persons -in inferior stations of life. I say -"undue" regard to appearances, -because in the undueness consists, of -course, the vulgarity. It is due and -wise in some sort to care for -appearances, in another sort undue and -unwise. Wherein lies the difference?</span></p> -<p class="pnext"><span>At first one is apt to answer quickly: -the vulgarity is simply in pretending -to be what you are not. But that -answer will not stand. A queen may -dress like a waiting-maid,—perhaps -succeed, if she chooses, in passing for -one; but she will not, therefore, be -vulgar; nay, a waiting-maid may -dress like a queen, and pretend to be -one, and yet need not be vulgar, -unless there is inherent vulgarity in -her. In Scribe's very absurd but -very amusing </span><em class="italics">Reine d'un jour</em><span>, a -milliner's girl sustains the part of a -queen for a day. She several times -amazes and disgusts her courtiers by -her straightforwardness; and once or -twice very nearly betrays herself to -her maids of honour by an unqueenly -knowledge of sewing; but she is not -in the least vulgar, for she is sensitive, -simple, and generous, and a queen -could be no more.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>17. Is the vulgarity, then, only in -trying to play a part you cannot play, so -as to be continually detected? No; a -bad amateur actor may be continually -detected in his part, but yet -continually detected to be a gentleman: -a vulgar regard to appearances has -nothing in it necessarily of hypocrisy. -You shall know a man not to be a -gentleman by the perfect and neat -pronunciation of his words: but he -does not pretend to pronounce -accurately; he </span><em class="italics">does</em><span> pronounce accurately, -the vulgarity is in the real (not -assumed) scrupulousness.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>18. It will be found on farther thought, -that a vulgar regard for appearances -is, primarily, a selfish one, resulting -not out of a wish to give pleasure (as -a wife's wish to make herself beautiful -for her husband), but out of an -endeavour to mortify others, or attract -for pride's sake;—the common -"keeping up appearances" of society, being -a mere selfish struggle of the vain with -the vain. But the deepest stain of -the vulgarity depends on this being -done, not selfishly only, but stupidly, -without understanding the impression -which is really produced, nor the -relations of importance between oneself -and others, so as to suppose that their -attention is fixed upon us, when we -are in reality ciphers in their eyes—all -which comes of insensibility. Hence -pride simple is not vulgar (the looking -down on others because of their true -inferiority to us), nor vanity simple -(the desire of praise), but conceit -simple (the attribution to ourselves -of qualities we have not) is always so. -In cases of over-studied pronunciation, -etc., there is insensibility, first, -in the person's thinking more of -himself than of what he is saying; and, -secondly, in his not having musical -fineness of ear enough to feel that his -talking is uneasy and strained.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>19. Finally, vulgarity is indicated by -coarseness of language or manners, -only so far as this coarseness has been -contracted under circumstances not -necessarily producing it. The illiterateness -of a Spanish or Calabrian peasant -is not vulgar, because they had never -an opportunity of acquiring letters; -but the illiterateness of an English -school-boy is. So again, provincial -dialect is not vulgar; but cockney -dialect, the corruption, by blunted -sense, of a finer language continually -heard, is so in a deep degree; and -again, of this corrupted dialect, that is -the worst which consists, not in the -direct or expressive alteration of the -form of a word, but in an unmusical -destruction of it by dead utterance -and bad or swollen formation of lip. -There is no vulgarity in—</span></p> -<blockquote> -<div> -<div class="line-block outermost"> -<div class="line"><span>"Blythe, blythe, blythe was she,</span></div> -<div class="inner line-block"> -<div class="line"><span>Blythe was she, but and ben,</span></div> -</div> -<div class="line"><span>And weel she liked a Hawick gill,</span></div> -<div class="inner line-block"> -<div class="line"><span>And leugh to see a tappit hen;"</span></div> -</div> -</div> -</div> -</blockquote> -<p class="pfirst"><span>but much in Mrs. Gamp's inarticulate -"bottle on the chimley-piece, and let -me put my lips to it when I am so -dispoged."</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>20. So also of personal defects, those -only are vulgar which imply insensibility -or dissipation.</span></p> -<p class="pnext"><span>There is no vulgarity in the emaciation -of Don Quixote, the deformity of -the Black Dwarf, or the corpulence -of Falstaff; but much in the same -personal characters, as they are seen -in Uriah Heep, Quilp, and Chadband.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>21. One of the most curious minor -questions in this matter is respecting -the vulgarity of excessive neatness, -complicating itself with inquiries into -the distinction between base neatness, -and the perfectness of good execution -in the fine arts. It will be found on -final thought that precision and -exquisiteness of arrangement are always -noble; but become vulgar only when -they arise from an equality -(insensibility) of temperament, which is -incapable of fine passion, and is set -ignobly, and with a dullard mechanism, -on accuracy in vile things. In the -finest Greek coins, the letters of the -inscriptions are purposely coarse and -rude, while the relievi are wrought -with inestimable care. But in an -English coin, the letters are the best -done, and the whole is unredeemably -vulgar. In a picture of Titian's, an -inserted inscription will be complete -in the lettering, as all the rest is; -because it costs Titian very little -more trouble to draw rightly than -wrongly, and in him, therefore, -impatience with the letters would be -vulgar, as in the Greek sculptor of the -coin, patience would have been. For -the engraving of a letter accurately -is difficult work, and his time must -have been unworthily thrown away.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>22. All the different impressions -connected with negligence or foulness -depend, in like manner, on the degree -of insensibility implied. Disorder in -a drawing-room is vulgar, in an -antiquary's study, not; the black -battle-stain on a soldier's face is not vulgar, -but the dirty face of a housemaid is.</span></p> -<p class="pnext"><span>And lastly, courage, so far as it is a -sign of race, is peculiarly the mark of -a gentleman or a lady: but it becomes -vulgar if rude or insensitive, while -timidity is not vulgar, if it be a -characteristic of race or fineness of make. -A fawn is not vulgar in being timid, -nor a crocodile "gentle" because -courageous.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>23. Without following the inquiry -into farther detail, we may conclude that -vulgarity consists in a deadness of the -heart and body, resulting from -prolonged, and especially from inherited -conditions of "degeneracy," or literally -"un-racing;"—gentlemanliness being -another word for an intense humanity. -And vulgarity shows itself primarily in -dulness of heart, not in rage or cruelty, -but in inability to feel or conceive -noble character or emotion. This is -its essential, pure, and most fatal form. -Dulness of bodily sense and general -stupidity, with such forms of crime as -peculiarly issue from stupidity, are its -material manifestation.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>24. Two years ago, when I was first -beginning to work out the subject, -and chatting with one of my keenest-minded -friends (Mr. Brett, the painter -of the Val d'Aosta in the Exhibition -of 1859), I casually asked him, "What -is vulgarity?" merely to see what he -would say, not supposing it possible -to get a sudden answer. He thought -for about a minute, then answered -quietly, "It is merely one of the forms -of Death." I did not see the meaning -of the reply at the time; but on testing -it, found that it met every phase of -the difficulties connected with the -inquiry, and summed the true conclusion. -Yet, in order to be complete, it -ought to be made a distinctive as well -as conclusive definition; showing </span><em class="italics">what</em><span> -form of death vulgarity is; for death -itself is not vulgar, but only death -mingled with life. I cannot, however, -construct a short-worded definition -which will include all the minor -conditions of bodily degeneracy; but the -term "deathful selfishness" will -embrace all the most fatal and essential -forms of mental vulgarity.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><em class="italics">Modern Painters,</em></dt> -<dd><p class="first last noindent pfirst"><em class="italics">vol. v. pt. ix. ch. vii.</em></p> -</dd> -</dl> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst" id="id1"><span>We ought always in pure English to -use the term "good breeding" literally; -and to say "good nurture" for what we -usually mean by good breeding. Given -the race and make of the animal, you -may turn it to good or bad account; -you may spoil your good dog or colt, -and make him as vicious as you choose, -or break his back at once by ill-usage; -and you may, on the other hand, make -something serviceable and respectable -out of your poor cur and colt if you -educate them carefully; but ill-bred -they will both of them be to their -lives' end; and the best you will ever -be able to say of them is, that they -are useful, and decently behaved, -ill-bred creatures.</span></p> -<p class="pnext"><span>An error, which is associated with -the truth, and which makes it always -look weak and disputable, is the -confusion of race with name; and the -supposition that the blood of a family -must still be good, if its genealogy -be unbroken and its name not lost, -though sire and son have been -indulging age after age in habits -involving perpetual degeneracy of -race. Of course it is equally an error -to suppose that, because a man's -name is common, his blood must be -base; since his family may have been -ennobling it by pureness of moral -habit for many generations, and yet -may not have got any title, or other -sign of nobleness, attached to their -names. Nevertheless, the probability -is always in favour of the race which -has had acknowledged supremacy, -and in which every motive leads to -the endeavour to preserve its true -nobility.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><em class="italics">Modern Painters,</em></dt> -<dd><p class="first last noindent pfirst"><em class="italics">vol. v. pt. ix. ch. vii.</em><span> § 3 </span><em class="italics">n.</em></p> -</dd> -</dl> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst" id="id2"><span>The old English rough proverb is -irrevocably true,—you can make no -silk purse of a sow's ear. And this -great truth also holds—though it is -a disagreeable one to look full in the -face—that, named or nameless, no -man can make himself a gentleman -who was not born one. If he lives -a right life, and cultivates all the -powers, and yet more all the sensibilities, -he is born with, and chooses -his wife well, his own son will be -more a gentleman than he is, and -he may see yet better blood than his -son's in his grandchild's cheeks, but -he must be content to remain a clown -himself—if he was born a clown.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils noindent-white-space-pre-line"> -<dt><em class="italics">Modern Painters,</em></dt> -<dd><p class="first last pfirst"><em class="italics">vol. v. pt. ix. ch. vii.</em><span> § 3 </span><em class="italics">n.</em></p> -</dd> -</dl> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>The two great words which, in their -first use, meant only perfection of -race, have come, by consequence of -the invariable connection of virtue -with the fine human nature, both to -signify benevolence of disposition. -The word "generous" and the word -"gentle" both, in their origin, meant -only "of pure race," but because -charity and tenderness are inseparable -from this purity of blood, the -words which once stood only for -pride, now stand as synonymous for -virtue.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">The Crown of Wild Olive,</em><span> § 108.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst" id="id3"><span>What vulgarity is, whether in -manners, acts, or conceptions, most -well-educated persons understand; -but what it consists in, or arises from, -is a more difficult question. I believe -that on strict analysis it will be found -definable as "the habit of mind and -act resulting from the prolonged -combination of insensibility with insincerity."</span></p> -<p class="pnext"><span>It would be more accurate to -say, "constitutional insensibility"; -for people are born vulgar, or not -vulgar, irrevocably. An apparent -insensibility may often be caused by -one strong feeling quenching or -conquering another; and this to the -extent of involving the person in all -kinds of cruelty and crime: yet, -Borgia or Ezzelin, lady and knight -still; while the born clown is dead -in all sensation and capacity of -thought, whatever his acts or life -may be.</span></p> -<p class="pnext"><span>Cloten, in </span><em class="italics">Cymbeline</em><span>, is the most -perfect study of pure vulgarity, which -I know in literature; Perdita, in -</span><em class="italics">Winter's Tale</em><span>, the most perfect study -of its opposite (irrespective of such -higher virtue or intellect as we have -in Desdemona or Portia). Perdita's -exquisite openness, joined with as -exquisite sensitiveness, constitute the -precise opposite of the apathetic -insincerity which is, I believe, the -essence of vulgarity.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Academy Notes</em><span>, 1859.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>Gentlemanliness in a limited sense -[may mean] only the effect of careful -education, good society, and refined -habits of life, on average temper and -character. Deep and true -gentlemanliness [is] based on intense -sensibility and sincerity, perfected by -courage and other qualities of race, -[as opposed to] that union of -insensibility with cunning, which is the -essence of vulgarity.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Sir Joshua and Holbein</em><span>, § 6 </span><em class="italics">n.</em></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>There is, indeed, perhaps, no greater -sign of innate and real vulgarity of -mind or defective education than the -want of power to understand the -universality of the ideal truth; the -absence of sympathy with the colossal -grasp of those intellects, which have -in them so much of divine, that nothing -is small to them, nothing large; but -with equal and unoffended vision they -take in the sum of the world,—Straw -Street[#] and the seventh heaven,—in -the same instant.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="noindent pfirst"><span class="small">[#] Dante, </span><em class="italics small">Paradiso</em><span class="small">, x. 133-34.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>A certain portion of this divine spirit -is visible even in the lower examples -of all the true men; it is, indeed, -perhaps, the clearest test of their -belonging to the true and great group, that -they are continually touching what to -the multitude appear vulgarities. The -higher a man stands, the more the -word "vulgar" becomes unintelligible -to him. Vulgar? what, that poor -farmer's girl of William Hunt's, bred -in the stable, putting on her Sunday -gown, and pinning her best cap, out -of the green and red pin-cushion! -Not so; she may be straight on the -road to those high heavens, and may -shine hereafter as one of the stars in -the firmament for ever. Nay, even -that lady in the satin bodice, with her -arm laid over a balustrade to show it, -and her eyes turned up to heaven to -show them; and the sportsman waving -his rifle for the terror of beasts, and -displaying his perfect dress for the -delight of men, are kept, by the very -misery and vanity of them, in the -thoughts of a great painter, at a -sorrowful level, somewhat above -vulgarity. It is only when the minor -painter takes them on his easel, that -they become things for the universe to -be ashamed of.</span></p> -<p class="pnext"><span>We may dismiss this matter of -vulgarity in plain and few words, at -least as far as regards art. There is -never vulgarity in a </span><em class="italics">whole</em><span> truth, -however commonplace. It may be -unimportant or painful. It cannot -be vulgar. Vulgarity is only in -concealment of truth, or in affectation.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><em class="italics">Modern Painters,</em></dt> -<dd><p class="first last noindent pfirst"><em class="italics">vol. iii. pt. iv. ch. vii.</em><span> § 9.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>The first thing then that he has to -do, if unhappily his parents or masters -have not done it for him, is to find out -what he is fit for. In which inquiry -a man may be safely guided by his -likings, if he be not also guided by -his pride. People usually reason in -some such fashion as this: "I don't -seem quite fit for a head-manager in -the firm of —— & Co., therefore, in -all probability, I am fit to be Chancellor -of the Exchequer." Whereas, they -ought rather to reason thus: "I don't -seem quite fit to be head-manager in -the firm of —— & Co., but I dare say -I might do something in a small -greengrocery business; I used to be -a good judge of pease;" that is to -say, always trying lower instead of -trying higher, until they find bottom: -once well set on the ground, a man -may build up by degrees, safely, -instead of disturbing every one in his -neighbourhood by perpetual catastrophes. -But this kind of humility is -rendered especially difficult in these -days, by the contumely thrown on -men in humble employments. The -very removal of the massy bars which -once separated one class of society -from another, has rendered it tenfold -more shameful in foolish people's, </span><em class="italics">i.e.</em><span>, -in most people's eyes, to remain in -the lower grades of it, than ever it -was before. When a man born of an -artisan was looked upon as an entirely -different species of animal from a man -born of a noble, it made him no more -uncomfortable or ashamed to remain -that different species of animal, than -it makes a horse ashamed to remain -a horse, and not to become a giraffe. -But now that a man may make money, -and rise in the world, and associate -himself, unreproached, with people -once far above him, not only is the -natural discontentedness of humanity -developed to an unheard-of extent, -whatever a man's position, but it -becomes a veritable shame to him to -remain in the state he was born in, -and everybody thinks it his </span><em class="italics">duty</em><span> to -try to be a "gentleman." Persons -who have any influence in the management -of public institutions for charitable -education know how common -this feeling has become. Hardly a -day passes but they receive letters -from mothers who want all their six -or eight sons to go to college, and -make the grand tour in the long -vacation, and who think there is something -wrong in the foundations of society -because this is not possible. Out of -every ten letters of this kind, nine will -allege, as the reason of the writers' -importunity, their desire to keep their -families in such and such a "station -of life." There is no real desire for -the safety, the discipline, or the moral -good of the children, only a panic -horror of the inexpressibly pitiable -calamity of their living a ledge or two -lower on the molehill of the world—a -calamity to be averted at any cost -whatever, of struggle, anxiety, and -shortening of life itself. I do not -believe that any greater good could -be achieved for the country, than the -change in public feeling on this head, -which might be brought about by a -few benevolent men, undeniably in -the class of "gentlemen," who would, -on principle, enter into some of our -commonest trades, and make them -honourable; showing that it was -possible for a man to retain his dignity, -and remain, in the best sense, a -gentleman, though part of his time -was every day occupied in manual -labour, or even in serving customers -over a counter. I do not in the least -see why courtesy, and gravity, and -sympathy with the feelings of others, -and courage, and truth, and piety, -and what else goes to make up a -gentleman's character, should not be -found behind a counter as well as -elsewhere, if they were demanded, or -even hoped for, there.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Pre-Raphaelitism</em><span>, § 2.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>As in nothing is a gentleman better -to be discerned from a vulgar person, -so in nothing is a gentle nation (such -nations have been) better to be -discerned from a mob, than in this,—that -their feelings are constant and -just, results of due contemplation, and -of equal thought. You can talk a mob -into anything; its feelings may -be—usually are—on the whole, generous -and right; but it has no foundation -for them, no hold of them; you may -tease or tickle it into any, at your -pleasure; it thinks by infection, for -the most part, catching an opinion -like a cold, and there is nothing so -little that it will not roar itself wild -about, when the fit is on;—nothing -so great but it will forget in an hour, -when the fit is past. But a gentleman's, -or a gentle nation's, passions -are just, measured, and continuous.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Sesame and Lilies</em><span>, § 30.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>Whether it is indeed the gods who -have given any gentleman the grace -to despise the rabble depends wholly -on whether it is indeed the rabble, or -he, who are the malignant persons.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Fiction, Fair and Foul</em><span>, § 46.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>I have summed the needful virtue -of men under the terms of gentleness -and justice; gentleness being the -virtue which distinguishes gentlemen -from churls, and justice that which -distinguishes honest men from rogues. -Now gentleness may be defined as the -Habit or State of Love, and ungentleness -or clownishness as the State or -Habit of Lust.</span></p> -<p class="pnext"><span>Now there are three great loves -that rule the souls of men: the love -of what is lovely in creatures, and of -what is lovely in things, and what is -lovely in report. And these three -loves have each their relative corruption, -a lust—the lust of the flesh, the -lust of the eyes, and the pride of life.</span></p> -<p class="pnext"><span>And, as I have just said, a gentleman -is distinguished from a churl by -the purity of sentiment he can reach -in all these three passions; by his -imaginative love, as opposed to lust; -his imaginative possession of wealth -as opposed to avarice; his imaginative -desire of honour as opposed to pride.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Fors Clavigera, Letter</em><span> 41.</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="pfirst"><span>Of all essential things in a gentleman's -bodily and moral training, this -is really the beginning—that he should -have close companionship with the -horse, the dog, and the eagle. Of -all birthrights and bookrights—this is -his first. He needn't be a Christian,—there -have been millions of Pagan -gentlemen; he needn't be kind—there -have been millions of cruel gentlemen; -he needn't be honest,—there have -been millions of crafty gentlemen. -He needn't know how to read, or to -write his own name. But he </span><em class="italics">must</em><span> -have horse, dog, and eagle for friends. -If then he has also Man for his friend, -he is a noble gentleman; and if God -for his Friend, a king. And if, being -honest, being kind, and having God -and Man for his friends, he </span><em class="italics">then</em><span> gets -these three brutal friends, besides his -angelic ones, he is perfect in earth, as -for heaven. For, to be his friends, -these must be brought up with him, -and he with them. Falcon on fist, -hound at foot, and horse part of -himself—Eques, Ritter, Cavalier, -Chevalier.</span></p> -<p class="pnext"><span>Yes;—horse and dog you understand -the good of; but what's the -good of the falcon, think you?</span></p> -<p class="pnext"><span>To be friends with the falcon must -mean that you love to see it soar; -that is to say, you love fresh air and -the fields. Farther, when the Law of -God is understood, you will like better -to see the eagle free than the jessed -hawk. And to preserve your eagles' -nests, is to be a great nation. It -means keeping everything that is -noble; mountains and floods, and -forests, and the glory and honour of -them, and all the birds that haunt them.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><em class="italics">Fors Clavigera, Letter</em><span> 75.</span></p> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><span class="small">BALLANTYNE PRESS, EDINBURGH</span></p> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 4em"> -</div> -<p class="center pfirst"><span class="bold large">The Works of Ruskin</span></p> -<div class="vspace" style="height: 2em"> -</div> -<p class="center pfirst"><em class="italics">These are published in various forms:—</em></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="pfirst"><span>1. The Library Edition, now in -course of issue.</span></p> -<p class="pnext"><span>This is the definitive and -complete edition, and contains much -literary and personal matter, not -published in any other form. It -alone contains all Ruskin's works. -This edition is strictly limited, -and should be subscribed for -without delay.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="pfirst"><span>2. The Works Edition. 8vo.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="pfirst"><span>3. The Students' Edition. Crown 8vo.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="pfirst"><span>4. The Pocket Edition. Fcap. 8vo. (See p. 3 </span><em class="italics">et sqq.</em><span>).</span></p> -<div class="vspace" style="height: 3em"> -</div> -<p class="pfirst"><em class="italics">Intending Subscribers to THE -LIBRARY EDITION can arrange -for payment by annual instalments on -application to the Publisher.</em></p> -<p class="pnext"><em class="italics">Information about any of the -foregoing can be had of Mr. G. Allen, -156 Charing Cross Road, London, -who will send complete Catalogue on -application.</em></p> -<div class="vspace" style="height: 3em"> -</div> -<p class="center pfirst"><span class="bold large">Ruskin Reprints for -<br />the Pocket</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="center pfirst"><span class="bold medium">Fcap. 8vo, Gilt tops, Gilt backs. -<br />Autograph on side.</span></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="noindent pfirst"><span>CLOTH LIMP . . . 2s. 6d ) -<br />LEATHER LIMP . . 3s. 6d ) net per Vol. -<br />With Indices</span></p> -<p class="center pnext"><em class="italics">NOW READY</em></p> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>SESAME AND LILIES.</span></dt> -<dd><p class="first last noindent pfirst"><span>Three Lectures and Long Preface.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE CROWN OF WILD OLIVE.</span></dt> -<dd><p class="first last noindent pfirst"><span>Essays on Work, Traffic, War, and -<br />the Future of England.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE TWO PATHS.</span></dt> -<dd><p class="first last noindent pfirst"><span>On Decoration and Manufacture.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>TIME AND TIDE.</span></dt> -<dd><p class="first last noindent pfirst"><span>On Laws of Work.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>LECTURES ON ART.</span></dt> -<dd><p class="first last noindent pfirst"><span>Delivered at Oxford in 1870.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>A JOY FOR EVER.</span></dt> -<dd><p class="first last noindent pfirst"><span>On the Political Economy of Art.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE QUEEN OF THE AIR.</span></dt> -<dd><p class="first last noindent pfirst"><span>A Study of Greek Myths.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE ETHICS OF THE DUST.</span></dt> -<dd><p class="first last noindent pfirst"><span>On the Elements of Crystallisation.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE ELEMENTS OF DRAWING.</span></dt> -<dd><p class="first last noindent pfirst"><span>With 50 Woodcuts.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE EAGLE'S NEST.</span></dt> -<dd><p class="first last noindent pfirst"><span>On the Relation of Natural Science to Art.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>MUNERA PULVERIS.</span></dt> -<dd><p class="first last noindent pfirst"><span>On the Elements of Political Economy</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>FRONDES AGRESTES.</span></dt> -<dd><p class="first last noindent pfirst"><span>Readings in "Modern Painters."</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>MORNINGS IN FLORENCE.</span></dt> -<dd><p class="first last noindent pfirst"><span>Studies of Christian Art.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>ST. MARK'S REST.</span></dt> -<dd><p class="first last noindent pfirst"><span>The History of Venice.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE STONES OF VENICE.</span></dt> -<dd><p class="first last noindent pfirst"><span>Vol. I. Selections for Travellers.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 1em"> -</div> -<dl class="docutils"> -<dt class="noindent"><span>THE STONES OF VENICE.</span></dt> -<dd><p class="first last noindent pfirst"><span>Vol. II. Selections for Travellers.</span></p> -</dd> -</dl> -<div class="vspace" style="height: 3em"> -</div> -<p class="center pfirst"><span>* * * * *</span></p> -<div class="vspace" style="height: 3em"> -</div> -<p class="center pfirst"><em class="italics">IN PREPARATION</em></p> -<div class="vspace" style="height: 1em"> -</div> -<p class="center pfirst"><span class="bold large">RUSKIN TREASURIES</span></p> -<p class="center pnext"><em class="bold italics large">A Series of little Books on -<br />LIFE, ART, TRADE, WORK, &c., &c.</em></p> -<p class="center pnext"><span class="bold large">Demy 32mo, Cloth, 6d. each net; -<br />Leather, gilt, 1s. each net</span></p> -<p class="noindent pnext"><span>List of Titles—</span></p> -<p class="noindent pnext"><span>Wealth. -<br />Women and Dress. -<br />Girlhood. -<br />Religion. -<br />Art. -<br />Education and Youth. -<br />The Dignity of Man. -<br />Vulgarity. -<br />Liberty and Government. -<br />Economy. -<br />Maxims. -<br />Trade and Money. -<br />Books and Reading. -<br />The Bible. -<br />Shakespeare. -<br />The Greek Poets. -<br />The Latin Poets. -<br />Dante. -<br />Architecture. -<br />Artists (Various). -<br />Sculpture. -<br />Engraving and Photography.</span></p> -<div class="vspace" style="height: 6em"> -</div> -<!-- -*- encoding: utf-8 -*- --> -<div class="backmatter"> -</div> -<p class="pfirst" id="pg-end-line"><span>*** END OF THIS PROJECT GUTENBERG EBOOK </span><span>OF VULGARITY</span><span> ***</span></p> -<div class="cleardoublepage"> -</div> -<div class="language-en level-2 pgfooter section" id="a-word-from-project-gutenberg" xml:lang="en" lang="en"> -<span id="pg-footer"></span><h2 class="level-2 pfirst section-title title"><span>A Word from Project Gutenberg</span></h2> -<p class="pfirst"><span>We will update this book if we find any errors.</span></p> -<p class="pnext"><span>This book can be found under: </span><a class="reference external" href="http://www.gutenberg.org/ebooks/45913"><span>http://www.gutenberg.org/ebooks/45913</span></a></p> -<p class="pnext"><span>Creating the works from public domain print editions means that no one -owns a United States copyright in these works, so the Foundation (and -you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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