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+ text-align: right; background-color: #FFFACD; + border: 1px solid; padding: 0.3em;text-indent: 0em;} + .side { float: left; font-size: 75%; width: 15%; padding-left: 0.8em; + border-left: dashed thin; text-align: left; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + .head { float: left; font-size: 90%; width: 98%; padding-left: 0.8em; + border-left: dashed thin; text-align: center; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + p.pfirst, p.noindent {text-indent: 0} + span.dropcap { float: left; margin: 0 0.1em 0 0; line-height: 0.8 } + pre { font-style: italic; font-size: 100%; margin-left: 20%;} +</style> + </head> + <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 4701 ***</div> + + <h1> + THE ETHICS OF THE DUST + </h1> + <h3> + Ten Lectures To Little Housewives + </h3> + <h3> + On The Elements Of Crystallization + </h3> + <h2> + By John Ruskin, LL.D., + </h2> + <hr /> + <p> + <b>CONTENTS</b> + </p> + <p class="toc"> + <a href="#link2H_4_0001"> DEDICATION. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> PERSONAE </a> + </p> + <p class="toc"> + <a href="#link2H_PREF"> PREFACE TO THE SECOND EDITION. </a> + </p> + <p class="toc"> + <a href="#link2H_PREF2"> PREFACE TO THE SECOND EDITION. </a> + </p> + <p class="toc"> + <a href="#link2H_PREF3"> PREFACE. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> LECTURE 1. — THE VALLEY OF DIAMONDS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0007"> LECTURE 2. — THE PYRAMID BUILDERS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0008"> LECTURE 3. — THE CRYSTAL LIFE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0009"> LECTURE 4. — THE CRYSTAL ORDERS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0010"> LECTURE 5. — CRYSTAL VIRTUES </a> + </p> + <p class="toc"> + <a href="#link2H_4_0011"> LECTURE 6. — CRYSTAL QUARRELS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0012"> LECTURE 7. — HOME VIRTUES </a> + </p> + <p class="toc"> + <a href="#link2H_4_0013"> LECTURE 8. — CRYSTAL CAPRICE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0014"> LECTURE 9. — CRYSTAL SORROWS </a> + </p> + <p class="toc"> + <a href="#link2H_4_0015"> LECTURE 10. </a> + </p> + <p class="toc"> + <a href="#link2H_NOTE"> NOTES. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0017"> NOTE I. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0018"> NOTE II. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0019"> NOTE III. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0020"> NOTE IV. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0021"> NOTE V. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0022"> NOTE VI. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0023"> NOTE TO SECOND EDITION </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + DEDICATION. + </h2> + <p> + TO THE REAL LITTLE HOUSEWIVES, WHOSE GENTLE LISTENING AND THOUGHTFUL + QUESTIONING ENABLED THE WRITER TO WRITE THIS BOOK, IT IS DEDICATED WITH + HIS LOVE. + </p> + <h3> + CHRISTMAS, 1875. + </h3> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PERSONAE + </h2> +<pre xml:space="preserve"> + OLD LECTURER (of incalculable age). + + FLORRIE, + on astronomical evidence presumed to be aged 9. + + ISABEL ..................................... " 11. + + MAY ........................................ " 11. + + LILY ....................................... " 12. + + KATHLEEN.................................... " 14. + + LUCILLA..................................... " 15. + + VIOLET ..................................... " 16. + + DORA (who has the keys and is housekeeper)... " 17. + + EGYPT (so called from her dark eyes) ....... " 17. + + JESSIE (who somehow always makes the room + look brighter when she is in it) ........... " 18. + + MARY (of whom everybody, including the Old + Lecturer, is in great awe) ................. " 20. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_PREF" id="link2H_PREF"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO THE SECOND EDITION. + </h2> + <p> + I have seldom been more disappointed by the result of my best pains given + to any of my books, than by the earnest request of my publisher, after the + opinion of the public had been taken on the "Ethics of the Dust," that I + would "write no more in dialogue!" However, I bowed to public judgment in + this matter at once (knowing also my inventive powers to be of the + feeblest); but in reprinting the book (at the prevailing request of my + kind friend, Mr. Henry Willett), I would pray the readers whom it may at + first offend by its disconnected method, to examine, nevertheless, with + care, the passages in which the principal speaker sums the conclusions of + any dialogue: for these summaries were written as introductions, for young + people, to all that I have said on the same matters in my larger books; + and, on re-reading them, they satisfy me better, and seem to me calculated + to be more generally useful, than anything else I have done of the kind. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_PREF2" id="link2H_PREF2"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO THE SECOND EDITION. + </h2> + <p> + The summary of the contents of the whole book, beginning, "You may at + least earnestly believe," at p. 215, is thus the clearest exposition I + have ever yet given of the general conditions under which the Personal + Creative Power manifests itself in the forms of matter; and the analysis + of heathen conceptions of Deity, beginning at p. 217, and closing at p. + 229, not only prefaces, but very nearly supersedes, all that in more + lengthy terms I have since asserted, or pleaded for, in "Aratra + Pentelici," and the "Queen of the Air." + </p> + <p> + And thus, however the book may fail in its intention of suggesting new + occupations or interests to its younger readers, I think it worth + reprinting, in the way I have also reprinted "Unto this Last,"—page + for page; that the students of my more advanced works may be able to refer + to these as the original documents of them; of which the most essential in + this book are these following. + </p> + <p> + I. The explanation of the baseness of the avaricious functions of the + Lower Pthah, p. 54, with his beetle-gospel, p. 59, "that a nation can + stand on its vices better than on its virtues," explains the main motive + of all my books on Political Economy. + </p> + <p> + II. The examination of the connection between stupidity and crime, pp. + 87-96, anticipated all that I have had to urge in Fors Clavigera against + the commonly alleged excuse for public wickedness,—"They don't mean + it—they don't know any better." + </p> + <p> + III. The examination of the roots of Moral Power, pp. 145-149, is a + summary of what is afterwards developed with utmost care in my inaugural + lecture at Oxford on the relation of Art to Morals; compare in that + lecture, sections 83-85, with the sentence in p. 147 of this book, + "Nothing is ever done so as really to please our Father, unless we would + also have done it, though we had had no Father to know of it." + </p> + <p> + This sentence, however, it must be observed, regards only the general + conditions of action in the children of God, in consequence of which it is + foretold of them by Christ that they will say at the Judgment, "When saw + we thee?" It does not refer to the distinct cases in which virtue consists + in faith given to command, appearing to foolish human judgment + inconsistent with the Moral Law, as in the sacrifice of Isaac; nor to + those in which any directly-given command requires nothing more of virtue + than obedience. + </p> + <p> + IV. The subsequent pages, 149-158, were written especially to check the + dangerous impulses natural to the minds of many amiable young women, in + the direction of narrow and selfish religious sentiment: and they contain, + therefore, nearly everything which I believe it necessary that young + people should be made to observe, respecting the errors of monastic life. + But they in nowise enter on the reverse, or favorable side: of which + indeed I did not, and as yet do not, feel myself able to speak with any + decisiveness; the evidence on that side, as stated in the text, having + "never yet been dispassionately examined." + </p> + <p> + V. The dialogue with Lucilla, beginning at p. 96, is, to my own fancy, the + best bit of conversation in the book; and the issue of it, at p. 103, the + most practically and immediately useful. For on the idea of the inevitable + weakness and corruption of human nature, has logically followed, in our + daily life, the horrible creed of modern "Social science," that all social + action must be scientifically founded on vicious impulses. But on the + habit of measuring and reverencing our powers and talents that we may + kindly use them, will be founded a true Social science, developing, by the + employment of them, all the real powers and honorable feelings of the + race. + </p> + <p> + VI. Finally, the account given in the second and third lectures, of the + real nature and marvelousness of the laws of crystallization, is necessary + to the understanding of what farther teaching of the beauty of inorganic + form I may be able to give, either in "Deucalion," or in my "Elements of + Drawing." I wish however that the second lecture had been made the + beginning of the book; and would fain now cancel the first altogether, + which I perceive to be both obscure and dull. It was meant for a + metaphorical description of the pleasures and dangers in the kingdom of + Mammon, or of worldly wealth; its waters mixed with blood, its fruits + entangled in thickets of trouble, and poisonous when gathered; and the + final captivity of its inhabitants within frozen walls of cruelty and + disdain. But the imagery is stupid and ineffective throughout; and I + retain this chapter only because I am resolved to leave no room for any + one to say that I have withdrawn, as erroneous in principle, so much as a + single sentence of any of my books written since 1860. + </p> + <p> + One license taken in this book, however, though often permitted to + essay-writers for the relief of their dullness, I never mean to take more,—the + relation of composed metaphor as of actual dream, pp. 27 and 171. I + assumed, it is true, that in these places the supposed dream would be + easily seen to be an invention; but must not any more, even under so + transparent disguise, pretend to any share in the real powers of Vision + possessed by great poets and true painters. + </p> + <h3> + BRANTWOOD: + </h3> + <p> + 10th October, 1877. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_PREF3" id="link2H_PREF3"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE. + </h2> + <p> + The following lectures were really given, in substance, at a girls' school + (far in the country); which, in the course of various experiments on the + possibility of introducing some better practice of drawing into the modern + scheme of female education, I visited frequently enough to enable the + children to regard me as a friend. The Lectures always fell more or less + into the form of fragmentary answers to questions; and they are allowed to + retain that form, as, on the whole, likely to be more interesting than the + symmetries of a continuous treatise. Many children (for the school was + large) took part, at different times, in the conversations; but I have + endeavored, without confusedly multiplying the number of imaginary + speakers, to represent, as far as I could, the general tone of comment and + inquiry among young people. + </p> + <p> + [Footnote: I do not mean, in saying "imaginary," that I have not permitted + to myself, in several instances, the affectionate discourtesy of some + reminiscence of personal character; for which I must hope to be forgiven + by my old pupils and their friends, as I could not otherwise have written + the book at all. But only two sentences in all the dialogues, and the + anecdote of "Dotty," are literally "historical."] + </p> + <p> + It will be at once seen that these Lectures were not intended for an + introduction to mineralogy. Their purpose was merely to awaken in the + minds of young girls, who were ready to work earnestly and systematically, + a vital interest in the subject of their study. No science can be learned + in play; but it is often possible, in play, to bring good fruit out of + past labor, or show sufficient reasons for the labor of the future. + </p> + <p> + The narrowness of this aim does not, indeed, justify the absence of all + reference to many important principles of structure, and many of the most + interesting orders of minerals; but I felt it impossible to go far into + detail without illustrations; and if readers find this book useful, I may, + perhaps, endeavor to supplement it by illustrated notes of the more + interesting phenomena in separate groups of familiar minerals;—flints + of the chalk;—agates of the basalts;—and the fantastic and + exquisitely beautiful varieties of the vein-ores of the two commonest + metals, lead and iron. But I have always found that the less we speak of + our intentions, the more chance there is of our realizing them; and this + poor little book will sufficiently have done its work, for the present, if + it engages any of its young readers in study which may enable them to + despise it for its shortcomings. + </p> + <p> + DENMARK HILL: Christmas, 1865. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 1. — THE VALLEY OF DIAMONDS + </h2> + <p> + A very idle talk, by the dining-room fire, after raisin-and-almond time. + </p> + <p> + OLD LECTURER; FLORRIE, ISABEL, MAY, LILY, and SIBYL. + </p> + <p> + OLD LECTURER (L.). Come here, Isabel, and tell me what the make- believe + was, this afternoon. + </p> + <p> + ISABEL (arranging herself very primly on the foot-stool). Such a dreadful + one! Florrie and I were lost in the Valley of Diamonds. + </p> + <p> + L. What! Sindbad's, which nobody could get out of? ISABEL. Yes; but + Florrie and I got out of it. + </p> + <p> + L. So I see. At least, I see you did; but are you sure Florrie did? + </p> + <p> + ISABEL. Quite sure. + </p> + <p> + FLORRIE (putting her head round from behind L.'s sofa-cushion). Quite + sure. (Disappears again.) + </p> + <p> + L. I think I could be made to feel surer about it. + </p> + <p> + (FLORRIE reappears, gives L. a kiss, and again exit.) + </p> + <p> + L. I suppose it's all right; but how did you manage it? + </p> + <p> + ISABEL. Well, you know, the eagle that took up Sindbad was very large—very, + very large—the largest of all the eagles. + </p> + <p> + L. How large were the others? + </p> + <p> + ISABEL. I don't quite know—they were so far off. But this one was, + oh, so big! and it had great wings, as wide as—twice over the + ceiling. So, when it was picking up Sindbad, Florrie and I thought it + wouldn't know if we got on its back too: so I got up first, and then I + pulled up Florrie, and we put our arms round its neck, and away it flew. + </p> + <p> + L. But why did you want to get out of the valley? and why haven't you + brought me some diamonds? + </p> + <p> + ISABEL. It was because of the serpents. I couldn't pick up even the least + little bit of a diamond, I was so frightened. + </p> + <p> + L. You should not have minded the serpents. + </p> + <p> + ISABEL. Oh, but suppose that they had minded me? + </p> + <p> + L. We all of us mind you a little too much, Isabel, I'm afraid. + </p> + <p> + ISABEL. No—no—no, indeed. + </p> + <p> + L. I tell you what, Isabel—I don't believe either Sindbad, or + Florrie, or you, ever were in the Valley of Diamonds. + </p> + <p> + ISABEL. You naughty! when I tell you we were! + </p> + <p> + L. Because you say you were frightened at the serpents. + </p> + <p> + ISABEL. And wouldn't you have been? + </p> + <p> + L. Not at those serpents. Nobody who really goes into the valley is ever + frightened at them—they are so beautiful. + </p> + <p> + ISABEL (suddenly serious). But there's no real Valley of Diamonds, is + there? + </p> + <p> + L. Yes, Isabel; very real indeed. + </p> + <p> + FLORRIE (reappearing). Oh, where? Tell me about it. + </p> + <p> + L. I cannot tell you a great deal about it; only I know it is very + different from Sindbad's. In his valley, there was only a diamond lying + here and there; but, in the real valley, there are diamonds covering the + grass in showers every morning, instead of dew: and there are clusters of + trees, which look like lilac trees; but, in spring, all their blossoms are + of amethyst. + </p> + <p> + FLORRIE. But there can't be any serpents there, then? + </p> + <p> + L. Why not? + </p> + <p> + FLORRIE. Because they don't come into such beautiful places. + </p> + <p> + L. I never said it was a beautiful place. + </p> + <p> + FLORRIE. What! not with diamonds strewed about it like dew? + </p> + <p> + L. That's according to your fancy, Florrie. For myself, I like dew better. + </p> + <p> + ISABEL. Oh, but the dew won't stay; it all dries! + </p> + <p> + L. Yes; and it would be much nicer if the diamonds dried too, for the + people in the valley have to sweep them off the grass, in heaps, whenever + they want to walk on it; and then the heaps glitter so, they hurt one's + eyes. + </p> + <p> + FLORRIE. Now you're just playing, you know. + </p> + <p> + L. So are you, you know. + </p> + <p> + FLORRIE. Yes, but you mustn't play. + </p> + <p> + L. That's very hard, Florrie; why mustn't I, if you may? + </p> + <p> + FLORRIE. Oh, I may, because I'm little, but you mustn't, because you're—(hesitates + for a delicate expression of magnitude). + </p> + <p> + L. (rudely taking the first that comes). Because I'm big? No; that's not + the way of it at all, Florrie. Because you're little, you should have very + little play; and because I'm big I should have a great deal. + </p> + <p> + ISABEL and FLORRIE (both). No—no—no—no. That isn't it at + all. (ISABEL sola, quoting Miss Ingelow.) "The lambs play always—they + know no better." (Putting her head very much on one side.) Ah, now —please—please—tell + us true; we want to know. + </p> + <p> + L. But why do you want me to tell you true, any more than the man who + wrote the "Arabian Nights"? + </p> + <p> + ISABEL. Because—because we like to know about real things; and you + can tell us, and we can't ask the man who wrote the stories. + </p> + <p> + L. What do you call real things? + </p> + <p> + ISABEL. Now, you know! Things that really are. + </p> + <p> + L. Whether you can see them or not? + </p> + <p> + ISABEL. Yes, if somebody else saw them. + </p> + <p> + L. But if nobody has ever seen them? + </p> + <p> + ISABEL. (evading the point). Well, but, you know, if there were a real + Valley of Diamonds, somebody MUST have seen it. + </p> + <p> + L. You cannot be so sure of that, Isabel. Many people go to real places, + and never see them; and many people pass through this valley, and never + see it. + </p> + <p> + FLORRIE. What stupid people they must be! + </p> + <p> + L. No, Florrie. They are much wiser than the people who do see it. + </p> + <p> + MAY. I think I know where it is. + </p> + <p> + ISABEL. Tell us more about it, and then we'll guess. + </p> + <p> + L. Well. There's a great broad road, by a river-side, leading up into it. + </p> + <p> + MAY (gravely cunning, with emphasis on the last word). Does the road + really go UP? + </p> + <p> + L. You think it should go down into a valley? No, it goes up; this is a + valley among the hills, and it is as high as the clouds, and is often full + of them; so that even the people who most want to see it, cannot, always. + </p> + <p> + ISABEL. And what is the river beside the road like? + </p> + <p> + L. It ought to be very beautiful, because it flows over diamond sand—only + the water is thick and red. + </p> + <p> + ISABEL. Red water? + </p> + <p> + L. It isn't all water. + </p> + <p> + MAY. Oh, please never mind that, Isabel, just now; I want to hear about + the valley. + </p> + <p> + L. So the entrance to it is very wide, under a steep rock; only such + numbers of people are always trying to get in, that they keep jostling + each other, and manage it but slowly. Some weak ones are pushed back, and + never get in at all; and make great moaning as they go away: but perhaps + they are none the worse in the end. + </p> + <p> + MAY. And when one gets in, what is it like? + </p> + <p> + L. It is up and down, broken kind of ground: the road stops directly; and + there are great dark rocks, covered all over with wild gourds and wild + vines; the gourds, if you cut them, are red, with black seeds, like + water-melons, and look ever so nice; and the people of the place make a + red pottage of them: but you must take care not to eat any if you ever + want to leave the valley (though I believe putting plenty of meal in it + makes it wholesome). Then the wild vines have clusters of the color of + amber; and the people of the country say they are the grape of Eshcol; and + sweeter than honey: but, indeed, if anybody else tastes them, they are + like gall. Then there are thickets of bramble, so thorny that they would + be cut away directly, anywhere else; but here they are covered with little + cinque-foiled blossoms of pure silver; and, for berries, they have + clusters of rubies. Dark rubies, which you only see are red after + gathering them. But you may fancy what blackberry parties the children + have! Only they get their frocks and hands sadly torn. + </p> + <p> + LILY. But rubies can't spot one's frocks, as blackberries do? + </p> + <p> + L. No; but I'll tell you what spots them—the mulberries. There are + great forests of them, all up the hills, covered with silk- worms, some + munching the leaves so loud that it is like mills at work; and some + spinning. But the berries are the blackest you ever saw; and, wherever + they fall, they stain a deep red; and nothing ever washes it out again. + And it is their juice, soaking through the grass, which makes the river so + red, because all its springs are in this wood. And the boughs of the trees + are twisted, as if in pain, like old olive branches; and their leaves are + dark. And it is in these forests that the serpents are; but nobody is + afraid of them. They have fine crimson crests, and they are wreathed about + the wild branches, one in every tree, nearly; and they are singing + serpents, for the serpents are, in this forest, what birds are in ours. + </p> + <p> + FLORRIE. Oh, I don't want to go there at all, now. + </p> + <p> + L. You would like it very much indeed, Florrie, if you were there. The + serpents would not bite you; the only fear would be of your turning into + one! + </p> + <p> + FLORRIE. Oh, dear, but that's worse. + </p> + <p> + L. You wouldn't think so if you really were turned into one, Florrie; you + would be very proud of your crest. And as long as you were yourself (not + that you could get there if you remained quite the little Florrie you are + now), you would like to hear the serpents sing. They hiss a little through + it, like the cicadas in Italy; but they keep good time, and sing + delightful melodies; and most of them have seven heads, with throats which + each take a note of the octave; so that they can sing chords—it is + very fine indeed. And the fireflies fly round the edge of the forests all + the night long; you wade in fireflies, they make the fields look like a + lake trembling with reflection of stars; but you must take care not to + touch them, for they are not like Italian fireflies, but burn, like real + sparks. + </p> + <p> + FLORRIE. I don't like it at all; I'll never go there. + </p> + <p> + L. I hope not, Florrie; or at least that you will get out again if you do. + And it is very difficult to get out, for beyond these serpent forests + there are great cliffs of dead gold, which form a labyrinth, winding + always higher and higher, till the gold is all split asunder by wedges of + ice; and glaciers, welded, half of ice seven times frozen, and half of + gold seven times frozen, hang down from them, and fall in thunder, + cleaving into deadly splinters, like the Cretan arrowheads; and into a + mixed dust of snow and gold, ponderous, yet which the mountain whirlwinds + are able to lift and drive in wreaths and pillars, hiding the paths with a + burial cloud, fatal at once with wintry chill, and weight of golden ashes. + So the wanderers in the labyrinth fall, one by one, and are buried there:—yet, + over the drifted graves, those who are spared climb to the last, through + coil on coil of the path;—for at the end of it they see the king of + the valley, sitting on his throne: and beside him (but it is only a false + vision), spectra of creatures like themselves, sit on thrones, from which + they seem to look down on all the kingdoms of the world, and the glory of + them. And on the canopy of his throne there is an inscription in fiery + letters, which they strive to read, but cannot; for it is written in words + which are like the words of all languages, and yet are of none. Men say it + is more like their own tongue to the English than it is to any other + nation; but the only record of it is by an Italian, who heard the king + himself cry it as a war cry, "Pape Satan, Pape Satan Aleppe." [Footnote: + Dante, Inf. 7, I.] + </p> + <p> + SIBYL. But do they all perish there? You said there was a way through the + valley, and out of it. + </p> + <p> + L. Yes; but few find it. If any of them keep to the grass paths, where the + diamonds are swept aside; and hold their hands over their eyes so as not + to be dazzled, the grass paths lead forward gradually to a place where one + sees a little opening in the golden rocks. You were at Chamouni last year, + Sibyl; did your guide chance to show you the pierced rock of the Aiguille + du Midi? + </p> + <p> + SIBYL. No, indeed, we only got up from Geneva on Monday night; and it + rained all Tuesday; and we had to be back at Geneva again, early on + Wednesday morning. + </p> + <p> + L. Of course. That is the way to see a country in a Sibylline manner, by + inner consciousness: but you might have seen the pierced rock in your + drive up, or down, if the clouds broke: not that there is much to see in + it; one of the crags of the aiguille- edge, on the southern slope of it, + is struck sharply through, as by an awl, into a little eyelet hole; which + you may see, seven thousand feet above the valley (as the clouds flit past + behind it, or leave the sky), first white, and then dark blue. Well, + there's just such an eyelet hole in one of the upper crags of the Diamond + Valley; and, from a distance, you think that it is no bigger than the eye + of a needle. But if you get up to it, they say you may drive a loaded + camel through it, and that there are fine things on the other side, but I + have never spoken with anybody who had been through. + </p> + <p> + SIBYL. I think we understand it now. We will try to write it down, and + think of it. + </p> + <p> + L. Meantime, Florrie, though all that I have been telling you is very + true, yet you must not think the sort of diamonds that people wear in + rings and necklaces are found lying about on the grass. Would you like to + see how they really are found? + </p> + <p> + FLORRIE. Oh, yes—yes. + </p> + <p> + L. Isabel—or Lily—run up to my room and fetch me the little + box with a glass lid, out of the top drawer of the chest of drawers. (Race + between LILY and ISABEL.) + </p> + <p> + (Re-enter ISABEL with the box, very much out of breath. LILY behind.) + </p> + <p> + L. Why, you never can beat Lily in a race on the stairs, can you, Isabel? + </p> + <p> + ISABEL (panting). Lily—beat me—ever so far—but she gave + me—the box—to carry in. + </p> + <p> + L. Take off the lid, then; gently. + </p> + <p> + FLORRIE (after peeping in, disappointed). There's only a great ugly brown + stone! + </p> + <p> + L. Not much more than that, certainly, Florrie, if people were wise. But + look, it is not a single stone; but a knot of pebbles fastened together by + gravel: and in the gravel, or compressed sand, if you look close, you will + see grains of gold glittering everywhere, all through; and then, do you + see these two white beads, which shine, as if they had been covered with + grease? + </p> + <p> + FLORRIE. May I touch them? + </p> + <p> + L. Yes; you will find they are not greasy, only very smooth. Well, those + are the fatal jewels; native here in their dust with gold, so that you may + see, cradled here together, the two great enemies of mankind,—the + strongest of all malignant physical powers that have tormented our race. + </p> + <p> + SIBYL. Is that really so? I know they do great harm; but do they not also + do great good? + </p> + <p> + L. My dear child, what good? Was any woman, do you suppose, ever the + better for possessing diamonds? but how many have been made base, + frivolous, and miserable by desiring them? Was ever man the better for + having coffers full of gold? But who shall measure the guilt that is + incurred to fill them? Look into the history of any civilized nations; + analyze, with reference to this one cause of crime and misery, the lives + and thoughts of their nobles, priests, merchants, and men of luxurious + life. Every other temptation is at last concentrated into this: pride, and + lust, and envy, and anger all give up their strength to avarice. The sin + of the whole world is essentially the sin of Judas. Men do not disbelieve + their Christ; but they sell Him. + </p> + <p> + SIBYL. But surely that is the fault of human nature? it is not caused by + the accident, as it were, of there being a pretty metal, like gold, to be + found by digging. If people could not find that, would they not find + something else, and quarrel for it instead? + </p> + <p> + L. No. Wherever legislators have succeeded in excluding, for a time, + jewels and precious metals from among national possessions, the national + spirit has remained healthy. Covetousness is not natural to man—generosity + is; but covetousness must be excited by a special cause, as a given + disease by a given miasma; and the essential nature of a material for the + excitement of covetousness is, that it shall be a beautiful thing which + can be retained without a use. The moment we can use our possessions to + any good purpose ourselves, the instinct of communicating that use to + others rises side by side with our power. If you can read a book rightly, + you will want others to hear it; if you can enjoy a picture rightly, you + will want others to see it: learn how to manage a horse, a plough, or a + ship, and you will desire to make your subordinates good horsemen, + ploughmen, or sailors; you will never be able to see the fine instrument + you are master of, abused; but, once fix your desire on anything useless, + and all the purest pride and folly in your heart will mix with the desire, + and make you at last wholly inhuman, a mere ugly lump of stomach and + suckers, like a cuttle-fish. + </p> + <p> + SIBYL. But surely, these two beautiful things, gold and diamonds, must + have been appointed to some good purpose? + </p> + <p> + L. Quite conceivably so, my dear: as also earthquakes and pestilences; but + of such ultimate purposes we can have no sight. The practical, immediate + office of the earthquake and pestilence is to slay us, like moths; and, as + moths, we shall be wise to live out of their way. So, the practical, + immediate office of gold and diamonds is the multiplied destruction of + souls (in whatever sense you have been taught to understand that phrase); + and the paralysis of wholesome human effort and thought on the face of + God's earth: and a wise nation will live out of the way of them. The money + which the English habitually spend in cutting diamonds would, in ten + years, if it were applied to cutting rocks instead, leave no dangerous + reef nor difficult harbor round the whole island coast. Great Britain + would be a diamond worth cutting, indeed, a true piece of regalia. (Leaves + this to their thoughts for a little while.) Then, also, we poor + mineralogists might sometimes have the chance of seeing a fine crystal of + diamond unhacked by the jeweler. + </p> + <p> + SIBYL. Would it be more beautiful uncut? + </p> + <p> + L. No; but of infinite interest. We might even come to know something + about the making of diamonds. + </p> + <p> + SIBYL. I thought the chemists could make them already? + </p> + <p> + L. In very small black crystals, yes; but no one knows how they are formed + where they are found; or if indeed they are formed there at all. These, in + my hand, look as if they had been swept down with the gravel and gold; + only we can trace the gravel and gold to their native rocks, but not the + diamonds. Read the account given of the diamond in any good work on + mineralogy;—you will find nothing but lists of localities of gravel, + or conglomerate rock (which is only an old indurated gravel). Some say it + was once a vegetable gum; but it may have been charred wood; but what one + would like to know is, mainly, why charcoal should make itself into + diamonds in India, and only into black lead in Borrowdale. + </p> + <p> + SIBYL. Are they wholly the same, then? + </p> + <p> + L. There is a little iron mixed with our black lead; but nothing to hinder + its crystallization. Your pencils in fact are all pointed with formless + diamond, though they would be H H H pencils to purpose, if it + crystallized. + </p> + <p> + SIBYL. But what IS crystallization? + </p> + <p> + L. A pleasant question, when one's half asleep, and it has been tea-time + these two hours. What thoughtless things girls are! + </p> + <p> + SYBIL. Yes, we are; but we want to know, for all that. + </p> + <p> + L. My dear, it would take a week to tell you. + </p> + <p> + SIBYL. Well, take it, and tell us. + </p> + <p> + L. But nobody knows anything about it. + </p> + <p> + SIBYL. Then tell us something that nobody knows. + </p> + <p> + L. Get along with you, and tell Dora to make tea. + </p> + <p> + (The house rises; but of course the LECTURER wanted to be forced to + lecture again, and was.) + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0007" id="link2H_4_0007"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 2. — THE PYRAMID BUILDERS + </h2> + <p> + In the large Schoolroom, to which everybody has been summoned by ringing + of the great bell. + </p> + <p> + L. So you have all actually come to hear about crystallization! I cannot + conceive why unless the little ones think that the discussion may involve + some reference to sugar-candy. + </p> + <p> + (Symptoms of high displeasure among the younger members of council. ISABEL + frowns severely at L., and shakes her head violently.) + </p> + <p> + My dear children, if you knew it, you are yourselves, at this moment, as + you sit in your ranks, nothing, in the eye of a mineralogist, but a lovely + group of rosy sugar-candy, arranged by atomic forces. And even admitting + you to be something more, you have certainly been crystallizing without + knowing it. Did not I hear a great hurrying and whispering ten minutes + ago, when you were late in from the playground; and thought you would not + all be quietly seated by the time I was ready:—besides some + discussion about places—something about "it's not being fair that + the little ones should always be nearest?" Well, you were then all being + crystallized. When you ran in from the garden, and against one another in + the passages, you were in what mineralogists would call a state of + solution, and gradual confluence; when you got seated in those orderly + rows, each in her proper place, you became crystalline. That is just what + the atoms of a mineral do, if they can, whenever they get disordered: they + get into order again as soon as may be. + </p> + <p> + I hope you feel inclined to interrupt me, and say, "But we know our + places; how do the atoms know theirs? And sometimes we dispute about our + places; do the atoms—(and, besides, we don't like being compared to + atoms at all)—never dispute about theirs?" Two wise questions these, + if you had a mind to put them! it was long before I asked them myself, of + myself. And I will not call you atoms any more. May I call you—let + me see—"primary molecules?" (General dissent indicated in subdued + but decisive murmurs.) No! not even, in familiar Saxon, "dust"? + </p> + <p> + (Pause, with expression on faces of sorrowful doubt; LILY gives voice to + the general sentiment in a timid "Please don't.") + </p> + <p> + No, children, I won't call you that; and mind, as you grow up, that you do + not get into an idle and wicked habit of calling yourselves that. You are + something better than dust, and have other duties to do than ever dust can + do; and the bonds of affection you will enter into are better than merely + "getting in to order." But see to it, on the other hand, that you always + behave at least as well as "dust;" remember, it is only on compulsion, and + while it has no free permission to do as it likes, that IT ever gets out + of order; but sometimes, with some of us, the compulsion has to be the + other way—hasn't it? (Remonstratory whispers, expressive of opinion + that the LECTURER is becoming too personal.) I'm not looking at anybody in + particular—indeed I am not. Nay, if you blush so, Kathleen, how can + one help looking? We'll go back to the atoms. + </p> + <p> + "How do they know their places?" you asked, or should have asked. Yes, and + they have to do much more than know them: they have to find their way to + them, and that quietly and at once, without running against each other. + </p> + <p> + We may, indeed, state it briefly thus:—Suppose you have to build a + castle, with towers and roofs and buttresses, out of bricks of a given + shape, and that these bricks are all lying in a huge heap at the bottom, + in utter confusion, upset out of carts at random. You would have to draw a + great many plans, and count all your bricks, and be sure you had enough + for this and that tower, before you began, and then you would have to lay + your foundation, and add layer by layer, in order, slowly. + </p> + <p> + But how would you be astonished, in these melancholy days, when children + don't read children's books, nor believe any more in fairies, if suddenly + a real benevolent fairy, in a bright brick- red gown, were to rise in the + midst of the red bricks, and to tap the heap of them with her wand, and + say, "Bricks, bricks, to your places!" and then you saw in an instant the + whole heap rise in the air, like a swarm of red bees, and—you have + been used to see bees make a honeycomb, and to think that strange enough, + but now you would see the honeycomb make itself!—You want to ask + something, Florrie, by the look of your eyes. + </p> + <p> + FLORRIE. Are they turned into real bees, with stings? + </p> + <p> + L. No, Florrie; you are only to fancy flying bricks, as you saw the slates + flying from the roof the other day in the storm; only those slates didn't + seem to know where they were going, and, besides, were going where they + had no business: but my spell-bound bricks, though they have no wings, and + what is worse, no heads and no eyes, yet find their way in the air just + where they should settle, into towers and roofs, each flying to his place + and fastening there at the right moment, so that every other one shall fit + to him in his turn. + </p> + <p> + LILY. But who are the fairies, then, who build the crystals? + </p> + <p> + L. There is one great fairy, Lily, who builds much more than crystals; but + she builds these also. I dreamed that I saw her building a pyramid, the + other day, as she used to do, for the Pharaohs. + </p> + <p> + ISABEL. But that was only a dream? + </p> + <p> + L. Some dreams are truer than some wakings, Isabel; but I won't tell it + you unless you like. + </p> + <p> + ISABEL. Oh, please, please. + </p> + <p> + L. You are all such wise children, there's no talking to you; you won't + believe anything. + </p> + <p> + LILY. No, we are not wise, and we will believe anything, when you say we + ought. + </p> + <p> + L. Well, it came about this way. Sibyl, do you recollect that evening when + we had been looking at your old cave by Cumae, and wondering why you + didn't live there still: and then we wondered how old you were; and Egypt + said you wouldn't tell, and nobody else could tell but she; and you + laughed—I thought very gayly for a Sibyl—and said you would + harness a flock of cranes for us, and we might fly over to Egypt if we + liked, and see. + </p> + <p> + SIBYL. Yes, and you went, and couldn't find out after all! + </p> + <p> + L. Why, you know, Egypt had been just doubling that third pyramid of hers; + [Footnote: Note i.] and making a new entrance into it; and a fine entrance + it was! First, we had to go through an ante- room, which had both its + doors blocked up with stones; and then we had three granite portcullises + to pull up, one after another; and the moment we had got under them, Egypt + signed to somebody above; and down they came again behind us, with a roar + like thunder, only louder; then we got into a passage fit for nobody but + rats, and Egypt wouldn't go any further herself, but said we might go on + if we liked; and so we came to a hole in the pavement, and then to a + granite trap-door—and then we thought we had gone quite far enough, + and came back, and Egypt laughed at us. + </p> + <p> + EGYPT. You would not have had me take my crown off, and stoop all the way + down a passage fit only for rats? + </p> + <p> + L. It was not the crown, Egypt—you know that very well. It was the + flounces that would not let you go any further. I suppose, however, you + wear them as typical of the inundation of the Nile, so it is all right. + </p> + <p> + ISABEL. Why didn't you take me with you? Where rats can go, mice can. I + wouldn't have come back. + </p> + <p> + L. No, mousie; you would have gone on by yourself, and you might have + waked one of Pasht's cats,[Footnote: Note iii] and it would have eaten + you. I was very glad you were not there. But after all this, I suppose the + imagination of the heavy granite blocks and the underground ways had + troubled me, and dreams are often shaped in a strange opposition to the + impressions that have caused them; and from all that we had been reading + in Bunsen about stones that couldn't be lifted with levers, I began to + dream about stones that lifted themselves with wings. + </p> + <p> + SIBYL. Now you must just tell us all about it. + </p> + <p> + L. I dreamed that I was standing beside the lake, out of whose clay the + bricks were made for the great pyramid of Asychis. [Footnote: Note ii] + They had just been all finished, and were lying by the lake margin, in + long ridges, like waves. It was near evening; and as I looked towards the + sunset, I saw a thing like a dark pillar standing where the rock of the + desert stoops to the Nile valley. I did not know there was a pillar there, + and wondered at it; and it grew larger, and glided nearer, becoming like + the form of a man, but vast, and it did not move its feet, but glided, + like a pillar of sand. And as it drew nearer, I looked by chance past it, + towards the sun; and saw a silver cloud, which was of all the clouds + closest to the sun (and in one place crossed it), draw itself back from + the sun, suddenly. And it turned, and shot towards the dark pillar; + leaping in an arch, like an arrow out of a bow. And I thought it was + lightning; but when it came near the shadowy pillar, it sank slowly down + beside it, and changed into the shape of a woman, very beautiful, and with + a strength of deep calm in her blue eyes. She was robed to the feet with a + white robe; and above that, to her knees, by the cloud which I had seen + across the sun; but all the golden ripples of it had become plumes, so + that it had changed into two bright wings like those of a vulture, which + wrapped round her to her knees. She had a weaver's shuttle hanging over + her shoulder, by the thread of it, and in her left hand, arrows, tipped + with fire. + </p> + <p> + ISABEL (clapping her hands). Oh! it was Neith, it was Neith! I know now. + </p> + <p> + L. Yes; it was Neith herself; and as the two great spirits came nearer to + me, I saw they were the Brother and Sister—the pillared shadow was + the Greater Pthah.[Footnote: Note iii] And I heard them speak, and the + sound of their words was like a distant singing. I could not understand + the words one by one; yet their sense came to me; and so I knew that Neith + had come down to see her brother's work, and the work that he had put into + the mind of the king to make his servants do. And she was displeased at + it; because she saw only pieces of dark clay; and no porphyry, nor marble, + nor any fair stone that men might engrave the figures of the gods upon. + And she blamed her brother, and said, "Oh, Lord of truth! is this then thy + will, that men should mold only foursquare pieces of clay: and the forms + of the gods no more?" Then the Lord of truth sighed, and said, "Oh! + sister, in truth they do not love us; why should they set up our images? + Let them do what they may, and not lie—let them make their clay + foursquare; and labor; and perish." + </p> + <p> + Then Neith's dark blue eyes grew darker, and she said, "Oh, Lord of truth! + why should they love us? their love is vain; or fear us? for their fear is + base. Yet let them testify of us, that they knew we lived forever." + </p> + <p> + But the Lord of truth answered, "They know, and yet they know not. Let + them keep silence; for their silence only is truth." + </p> + <p> + But Neith answered, "Brother, wilt thou also make league with Death, + because Death is true? Oh! thou potter, who hast cast these human things + from thy wheel, many to dishonor, and few to honor; wilt thou not let them + so much as see my face; but slay them in slavery?" + </p> + <p> + But Pthah only answered, "Let them build, sister, let them build." + </p> + <p> + And Neith answered, "What shall they build, if I build not with them?" + </p> + <p> + And Pthah drew with his measuring rod upon the sand. And I saw suddenly, + drawn on the sand, the outlines of great cities, and of vaults, and domes, + and aqueducts, and bastions, and towers, greater than obelisks, covered + with black clouds. And the wind blew ripples of sand amidst the lines that + Pthah drew, and the moving sand was like the marching of men. But I saw + that wherever Neith looked at the lines, they faded, and were effaced. + </p> + <p> + "Oh, Brother!" she said at last, "what is this vanity? If I, who am Lady + of wisdom, do not mock the children of men, why shouldst thou mock them, + who art Lord of truth?" But Pthah answered, "They thought to bind me; and + they shall be bound. They shall labor in the fire for vanity." + </p> + <p> + And Neith said, looking at the sand, "Brother, there is no true labor here—there + is only weary life and wasteful death." + </p> + <p> + And Pthah answered, "Is it not truer labor, sister, than thy sculpture of + dreams?" Then Neith smiled; and stopped suddenly. + </p> + <p> + She looked to the sun; its edge touched the horizon-edge of the desert. + Then she looked to the long heaps of pieces of clay, that lay, each with + its blue shadow, by the lake shore. + </p> + <p> + "Brother," she said, "how long will this pyramid of thine be in building?" + </p> + <p> + "Thoth will have sealed the scroll of the years ten times, before the + summit is laid." + </p> + <p> + "Brother, thou knowest not how to teach thy children to labor," answered + Neith. "Look! I must follow Phre beyond Atlas; shall I build your pyramid + for you before he goes down?" And Pthah answered, "Yea, sister, if thou + canst put thy winged shoulders to such work." And Neith drew herself to + her height; and I heard a clashing pass through the plumes of her wings, + and the asp stood up on her helmet, and fire gathered in her eyes. And she + took one of the flaming arrows out of the sheaf in her left hand, and + stretched it out over the heaps of clay. And they rose up like flights of + locusts, and spread themselves in the air, so that it grew dark in a + moment. Then Neith designed them places with her arrow point; and they + drew into ranks, like dark clouds laid level at morning. Then Neith + pointed with her arrow to the north, and to the south, and to the east, + and to the west, and the flying motes of earth drew asunder into four + great ranked crowds; and stood, one in the north, and one in the south, + and one in the east, and one in the west—one against another. Then + Neith spread her wings wide for an instant, and closed them with a sound + like the sound of a rushing sea; and waved her hand towards the foundation + of the pyramid, where it was laid on the brow of the desert. And the four + flocks drew together and sank down, like sea-birds settling to a level + rock, and when they met, there was a sudden flame, as broad as the + pyramid, and as high as the clouds; and it dazzled me; and I closed my + eyes for an instant; and when I looked again, the pyramid stood on its + rock, perfect; and purple with the light from the edge of the sinking sun. + </p> + <p> + THE YOUNGER CHILDREN (variously pleased). I'm so glad! How nice! But what + did Pthah say? + </p> + <p> + L. Neith did not wait to hear what he would say. When I turned back to + look at her, she was gone; and I only saw the level white cloud form + itself again, close to the arch of the sun as it sank. And as the last + edge of the sun disappeared, the form of Pthah faded into a mighty shadow, + and so passed away. + </p> + <p> + EGYPT. And was Neith's pyramid left? + </p> + <p> + L. Yes; but you could not think, Egypt, what a strange feeling of utter + loneliness came over me when the presence of the two gods passed away. It + seemed as if I had never known what it was to be alone before; and the + unbroken line of the desert was terrible. + </p> + <p> + EGYPT. I used to feel that, when I was queen: sometimes I had to carve + gods, for company, all over my palace. I would fain have seen real ones, + if I could. + </p> + <p> + L. But listen a moment yet, for that was not quite all my dream. The + twilight drew swiftly to the dark, and I could hardly see the great + pyramid; when there came a heavy murmuring sound in the air; and a horned + beetle, with terrible claws, fell on the sand at my feet, with a blow like + the beat of a hammer. Then it stood up on its hind claws, and waved its + pincers at me: and its fore claws became strong arms, and hands; one + grasping real iron pincers, and the other a huge hammer; and it had a + helmet on its head, without any eyelet holes, that I could see. And its + two hind claws became strong crooked legs, with feet bent inwards. And so + there stood by me a dwarf, in glossy black armor, ribbed and embossed like + a beetle's back, leaning on his hammer. And I could not speak for wonder; + but he spoke with a murmur like the dying away of a beat upon a bell. He + said, "I will make Neith's great pyramid small. I am the lower Pthah; and + have power over fire. I can wither the strong things, and strengthen the + weak; and everything that is great I can make small, and everything that + is little I can make great." Then he turned to the angle of the pyramid + and limped towards it. And the pyramid grew deep purple; and then red like + blood, and then pale rose-color, like fire. And I saw that it glowed with + fire from within. And the lower Pthah touched it with the hand that held + the pincers; and it sank down like the sand in an hour-glass,—then + drew itself together, and sank, still, and became nothing, it seemed to + me; but the armed dwarf stooped down, and took it into his hand, and + brought it to me, saying, "Everything that is great I can make like this + pyramid; and give into men's hands to destroy." And I saw that he had a + little pyramid in his hand, with as many courses in it as the large one; + and built like that,—only so small. And because it glowed still, I + was afraid to touch it; but Pthah said, "Touch it—for I have bound + the fire within it, so that it cannot burn." So I touched it, and took it + into my own hand; and it was cold; only red, like a ruby. And Pthah + laughed, and became like a beetle again, and buried himself in the sand, + fiercely; throwing it back over his shoulders. And it seemed to me as if + he would draw me down with him into the sand; and I started back, and + woke, holding the little pyramid so fast in my hand that it hurt me. + </p> + <p> + EGYPT. Holding WHAT in your hand? + </p> + <p> + L. The little pyramid. + </p> + <p> + EGYPT. Neith's pyramid? + </p> + <p> + L. Neith's, I believe; though not built for Asychis. I know only that it + is a little rosy transparent pyramid, built of more courses of bricks than + I can count, it being made so small. You don't believe me, of course, + Egyptian infidel; but there it is. (Giving crystal of rose Fluor.) + </p> + <p> + (Confused examination by crowded audience, over each other's shoulders and + under each other's arms. Disappointment begins to manifest itself.) + </p> + <p> + SIBYL. (not quite knowing why she and others are disappointed). But you + showed us this the other day! + </p> + <p> + L. Yes; but you would not look at it the other day. + </p> + <p> + SIBYL. But was all that fine dream only about this? + </p> + <p> + L. What finer thing could a dream be about than this? It is small, if you + will; but when you begin to think of things rightly, the ideas of + smallness and largeness pass away. The making of this pyramid was in + reality just as wonderful as the dream I have been telling you, and just + as incomprehensible. It was not, I suppose, as swift, but quite as grand + things are done as swiftly. When Neith makes crystals of snow, it needs a + great deal more marshaling of the atoms, by her flaming arrows, than it + does to make crystals like this one; and that is done in a moment. + </p> + <p> + EGYPT. But how you DO puzzle us! Why do you say Neith does it? You don't + mean that she is a real spirit, do you? + </p> + <p> + L. What <i>I</i> mean, is of little consequence. What the Egyptians meant, + who called her "Neith,"—or Homer, who called her "Athena,"—or + Solomon, who called her by a word which the Greeks render as "Sophia," you + must judge for yourselves. But her testimony is always the same, and all + nations have received it: "I was by Him as one brought up with Him, and I + was daily His delight; rejoicing in the habitable parts of the earth, and + my delights were with the sons of men." + </p> + <p> + MARY. But is not that only a personification? + </p> + <p> + L. If it be, what will you gain by unpersonifying it, or what right have + you to do so? Cannot you accept the image given you, in its life; and + listen, like children, to the words which chiefly belong to you as + children: "I love them that love me, and those that seek me early shall + find me"? + </p> + <p> + (They are all quiet for a minute or two; questions begin to appear in + their eyes.) + </p> + <p> + I cannot talk to you any more to-day. Take that rose-crystal away with + you, and think. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0008" id="link2H_4_0008"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 3. — THE CRYSTAL LIFE + </h2> + <p> + A very dull Lecture, willfully brought upon themselves by the elder + children. Some of the young ones have, however, managed to get in by + mistake. SCENE, the Schoolroom. + </p> + <p> + L. So I am to stand up here merely to be asked questions, to-day, Miss + Mary, am I? + </p> + <p> + MARY. Yes; and you must answer them plainly; without telling us any more + stories. You are quite spoiling the children: the poor little things' + heads are turning round like kaleidoscopes: and they don't know in the + least what you mean. Nor do we old ones, either, for that matter: to-day + you must really tell us nothing but facts. + </p> + <p> + L. I am sworn; but you won't like it, a bit. + </p> + <p> + MARY. Now, first of all, what do you mean by "bricks"?—Are the + smallest particles of minerals all of some accurate shape, like bricks? + </p> + <p> + L. I do not know. Miss Mary; I do not even know if anybody knows. The + smallest atoms which are visibly and practically put together to make + large crystals, may better be described as "limited in fixed directions" + than as "of fixed forms." But I can tell you nothing clear about ultimate + atoms: you will find the idea of little bricks, or, perhaps, of little + spheres, available for all the uses you will have to put it to. + </p> + <p> + MARY. Well, it's very provoking; one seems always to be stopped just when + one is coming to the very thing one wants to know. + </p> + <p> + L. No, Mary, for we should not wish to know anything but what is easily + and assuredly knowable. There's no end to it. If I could show you, or + myself, a group of ultimate atoms, quite clearly, in this magnifying + glass, we should both be presently vexed, because we could not break them + in two pieces, and see their insides. + </p> + <p> + MARY. Well then, next, what do you mean by the flying of the bricks? What + is it the atoms do, that is like flying? + </p> + <p> + L. When they are dissolved, or uncrystallized, they are really separated + from each other, like a swarm of gnats in the air, or like a shoal of fish + in the sea;—generally at about equal distances. In currents of + solutions, or at different depths of them, one part may be more full of + the dissolved atoms than another; but on the whole, you may think of them + as equidistant, like the spots in the print of your gown. If they are + separated by force of heat only, the substance is said to be melted; if + they are separated by any other substance, as particles of sugar by water, + they are said to be "dissolved." Note this distinction carefully, all of + you. + </p> + <p> + DORA. I will be very particular. When next you tell me there isn't sugar + enough in your tea, I will say, "It is not yet dissolved, sir." + </p> + <p> + L. I tell you what shall be dissolved, Miss Dora; and that's the present + parliament, if the members get too saucy. + </p> + <p> + (DORA folds her hands and casts down her eyes.) + </p> + <p> + L. (proceeds in state). Now, Miss Mary, you know already, I believe, that + nearly everything will melt, under a sufficient heat, like wax. Limestone + melts (under pressure); sand melts; granite melts; the lava of a volcano + is a mixed mass of many kinds of rocks, melted: and any melted substance + nearly always, if not always, crystallizes as it cools; the more slowly + the more perfectly. Water melts at what we call the freezing, but might + just as wisely, though not as conveniently, call the melting, point; and + radiates as it cools into the most beautiful of all known crystals. Glass + melts at a greater heat, and will crystallize, if you let it cool slowly + enough, in stars, much like snow. Gold needs more heat to melt it, but + crystallizes also exquisitely, as I will presently show you. Arsenic and + sulphur crystallize from their vapors. Now in any of these cases, either + of melted, dissolved, or vaporous bodies, the particles are usually + separated from each other, either by heat, or by an intermediate + substance; and in crystallizing they are both brought nearer to each + other, and packed, so as to fit as closely as possible: the essential part + of the business being not the bringing together, but the packing. Who + packed your trunk for you, last holidays, Isabel? + </p> + <p> + ISABEL. Lily does, always. + </p> + <p> + L. And how much can you allow for Lily's good packing, in guessing what + will go into the trunk? + </p> + <p> + ISABEL. Oh! I bring twice as much as the trunk holds. Lily always gets + everything in. + </p> + <p> + LILY. Ah! but, Isey, if you only knew what a time it takes! and since + you've had those great hard buttons on your frocks, I can't do anything + with them. Buttons won't go anywhere, you know. + </p> + <p> + L. Yes, Lily, it would be well if she only knew what a time it takes; and + I wish any of us knew what a time crystallization takes, for that is + consummately fine packing. The particles of the rock are thrown down, just + as Isabel brings her things—in a heap; and innumerable Lilies, not + of the valley, but of the rock, come to pack them. But it takes such a + time! + </p> + <p> + However, the best—out and out the best—way of understanding + the thing, is to crystallize yourselves. + </p> + <p> + THE AUDIENCE. Ourselves! + </p> + <p> + L. Yes; not merely as you did the other day, carelessly on the schoolroom + forms; but carefully and finely, out in the playground. You can play at + crystallization there as much as you please. + </p> + <p> + KATHLEEN and JESSIE. Oh! how?—how? + </p> + <p> + L. First, you must put yourselves together, as close as you can, in the + middle of the grass, and form, for first practice, any figure you like. + </p> + <p> + JESSIE. Any dancing figure, do you mean? + </p> + <p> + L. No; I mean a square, or a cross, or a diamond. Any figure you like, + standing close together. You had better outline it first on the turf, with + sticks, or pebbles, so as to see that it is rightly drawn; then get into + it and enlarge or diminish it at one side, till you are all quite in it, + and no empty space left. + </p> + <p> + DORA. Crinoline and all? + </p> + <p> + L. The crinoline may stand eventually for rough crystalline surface, + unless you pin it in; and then you may make a polished crystal of + yourselves. + </p> + <p> + LILY. Oh, we'll pin it in—we'll pin it in! + </p> + <p> + L. Then, when you are all in the figure, let every one note her place, and + who is next her on each side; and let the outsiders count how many places + they stand from the corners. + </p> + <p> + KATHLEEN. Yes, yes,—and then? + </p> + <p> + L. Then you must scatter all over the playground—right over it from + side to side, and end to end; and put yourselves all at equal distances + from each other, everywhere. You needn't mind doing it very accurately, + but so as to be nearly equidistant; not less than about three yards apart + from each other, on every side. + </p> + <p> + JESSIE. We can easily cut pieces of string of equal length, to hold. And + then? L. Then, at a given signal, let everybody walk, at the same rate, + towards the outlined figure in the middle. You had better sing as you + walk; that will keep you in good time. And as you close in towards it, let + each take her place, and the next comers fit themselves in beside the + first ones, till you are all in the figure again. + </p> + <p> + KATHLEEN. Oh! how we shall run against each other. What fun it will be! + </p> + <p> + L. No, no, Miss Katie; I can't allow any running against each other. The + atoms never do that, whatever human creatures do. You must all know your + places, and find your way to them without jostling. + </p> + <p> + LILY. But how ever shall we do that? + </p> + <p> + ISABEL. Mustn't the ones in the middle be the nearest, and the outside + ones farther off—when we go away to scatter, I mean? + </p> + <p> + L. Yes; you must be very careful to keep your order; you will soon find + out how to do it; it is only like soldiers forming square, except that + each must stand still in her place as she reaches it, and the others come + round her; and you will have much more complicated figures, afterwards, to + form, than squares. + </p> + <p> + ISABEL. I'll put a stone at my place: then I shall know it. + </p> + <p> + L. You might each nail a bit of paper to the turf, at your place, with + your name upon it: but it would be of no use, for if you don't know your + places, you will make a fine piece of business of it, while you are + looking for your names. And, Isabel, if with a little head, and eyes, and + a brain (all of them very good and serviceable of their kind, as such + things go), you think you cannot know your place without a stone at it, + after examining it well,—how do you think each atom knows its place, + when it never was there before, and there's no stone at it? + </p> + <p> + ISABEL. But does every atom know its place? + </p> + <p> + L. How else could it get there? + </p> + <p> + MARY. Are they not attracted into their places? + </p> + <p> + L. Cover a piece of paper with spots, at equal intervals; and then imagine + any kind of attraction you choose, or any law of attraction, to exist + between the spots, and try how, on that permitted supposition, you can + attract them into the figure of a Maltese cross, in the middle of the + paper. + </p> + <p> + MARY (having tried it). Yes; I see that I cannot:—one would need all + kinds of attractions, in different ways, at different places. But you do + not mean that the atoms are alive? + </p> + <p> + L. What is it to be alive? + </p> + <p> + DORA. There now; you're going to be provoking, I know. + </p> + <p> + L. I do not see why it should be provoking to be asked what it is to be + alive. Do you think you don't know whether you are alive or not? + </p> + <p> + (ISABEL skips to the end of the room and back.) + </p> + <p> + L. Yes, Isabel, that's all very fine; and you and I may call that being + alive: but a modern philosopher calls it being in a "mode of motion." It + requires a certain quantity of heat to take you to the sideboard; and + exactly the same quantity to bring you back again. That's all. + </p> + <p> + ISABEL. No, it isn't. And besides, I'm not hot. + </p> + <p> + L. I am, sometimes, at the way they talk. However, you know, Isabel, you + might have been a particle of a mineral, and yet have been carried round + the room, or anywhere else, by chemical forces, in the liveliest way. + </p> + <p> + ISABEL. Yes; but I wasn't carried: I carried myself. + </p> + <p> + L. The fact is, mousie, the difficulty is not so much to say what makes a + thing alive, as what makes it a Self. As soon as you are shut off from the + rest of the universe into a Self, you begin to be alive. + </p> + <p> + VIOLET (indignant). Oh, surely—surely that cannot be so. Is not all + the life of the soul in communion, not separation? + </p> + <p> + L. There can be no communion where there is no distinction. But we shall + be in an abyss of metaphysics presently, if we don't look out; and + besides, we must not be too grand, to-day, for the younger children. We'll + be grand, some day, by ourselves, if we must. (The younger children are + not pleased, and prepare to remonstrate; but, knowing by experience, that + all conversations in which the word "communion" occurs, are + unintelligible, think better of it.) Meantime, for broad answer about the + atoms. I do not think we should use the word "life," of any energy which + does not belong to a given form. A seed, or an egg, or a young animal, are + properly called "alive" with respect to the force belonging to those + forms, which consistently develops that form, and no other. But the force + which crystallizes a mineral appears to be chiefly external, and it does + not produce an entirely determinate and individual form, limited in size, + but only an aggregation, in which some limiting laws must be observed. + </p> + <p> + MARY. But I do not see much difference, that way, between a crystal and a + tree. + </p> + <p> + L. Add, then, that the mode of the energy in a living thing implies a + continual change in its elements; and a period for its end. So you may + define life by its attached negative, death; and still more by its + attached positive, birth. But I won't be plagued any more about this, just + now; if you choose to think the crystals alive, do, and welcome. Rocks + have always been called "living" in their native place. + </p> + <p> + MARY. There's one question more; then I've done. + </p> + <p> + L. Only one? + </p> + <p> + MARY. Only one. + </p> + <p> + L. But if it is answered, won't it turn into two? + </p> + <p> + MARY. No; I think it will remain single, and be comfortable. + </p> + <p> + L. Let me hear it. + </p> + <p> + MARY. You know, we are to crystallize ourselves out of the whole + playground. Now, what playground have the minerals! Where are they + scattered before they are crystallized; and where are the crystals + generally made? + </p> + <p> + L. That sounds to me more like three questions than one, Mary. If it is + only one, it is a wide one. + </p> + <p> + MARY. I did not say anything about the width of it. + </p> + <p> + L. Well, I must keep it within the best compass I can. When rocks either + dry from a moist state, or cool from a heated state, they necessarily + alter in bulk; and cracks, or open spaces, form in them in all directions. + These cracks must be filled up with solid matter, or the rock would + eventually become a ruinous heap. So, sometimes by water, sometimes by + vapor, sometimes nobody knows how, crystallizable matter is brought from + somewhere, and fastens itself in these open spaces, so as to bind the rock + together again with crystal cement. A vast quantity of hollows are formed + in lavas by bubbles of gas, just as the holes are left in bread well + baked. In process of time these cavities are generally filled with various + crystals. + </p> + <p> + MARY. But where does the crystallizing substance come from? + </p> + <p> + L. Sometimes out of the rock itself; sometimes from below or above, + through the veins. The entire substance of the contracting rock may be + filled with liquid, pressed into it so as to fill every pore;—or + with mineral vapor;—or it may be so charged at one place, and empty + at another. There's no end to the "may be's." But all that you need fancy, + for our present purpose, is that hollows in the rocks, like the caves in + Derbyshire, are traversed by liquids or vapor containing certain elements + in a more or less free or separate state, which crystallize on the cave + walls. + </p> + <p> + SIBYL. There now;—Mary has had all her questions answered: it's my + turn to have mine. + </p> + <p> + L. Ah, there's a conspiracy among you, I see. I might have guessed as + much. + </p> + <p> + DORA. I'm sure you ask us questions enough! How can you have the heart, + when you dislike so to be asked them yourself? + </p> + <p> + L. My dear child, if people do not answer questions, it does not matter + how many they are asked, because they've no trouble with them. Now, when I + ask you questions, I never expect to be answered; but when you ask me, you + always do; and it's not fair. + </p> + <p> + DORA. Very well, we shall understand, next time. + </p> + <p> + SIBYL. No, but seriously, we all want to ask one thing more, quite + dreadfully. + </p> + <p> + L. And I don't want to be asked it, quite dreadfully; but you'll have your + own way, of course. + </p> + <p> + SIBYL. We none of us understand about the lower Pthah. It was not merely + yesterday; but in all we have read about him in Wilkinson, or in any book, + we cannot understand what the Egyptians put their god into that ugly + little deformed shape for. + </p> + <p> + L. Well, I'm glad it's that sort of question; because I can answer + anything I like to that. + </p> + <p> + EGYPT. Anything you like will do quite well for us; we shall be pleased + with the answer, if you are. + </p> + <p> + L. I am not so sure of that, most gracious queen; for I must begin by the + statement that queens seem to have disliked all sorts of work, in those + days, as much as some queens dislike sewing to-day. + </p> + <p> + EGYPT. Now, it's too bad! and just when I was trying to say the civillest + thing I could! + </p> + <p> + L. But, Egypt, why did you tell me you disliked sewing so? + </p> + <p> + EGYPT. Did not I show you how the thread cuts my fingers? and I always get + cramp, somehow, in my neck, if I sew long. + </p> + <p> + L. Well, I suppose the Egyptian queens thought everybody got cramp in + their neck, if they sewed long; and that thread always cut people's + fingers. At all events, every kind of manual labor was despised both by + them, and the Greeks; and, while they owned the real good and fruit of it, + they yet held it a degradation to all who practiced it. Also, knowing the + laws of life thoroughly, they perceived that the special practice + necessary to bring any manual art to perfection strengthened the body + distortedly; one energy or member gaining at the expense of the rest. They + especially dreaded and despised any kind of work that had to be done near + fire: yet, feeling what they owed to it in metal-work, as the basis of all + other work, they expressed this mixed reverence and scorn in the varied + types of the lame Hephaestus, and the lower Pthah. + </p> + <p> + SIBYL. But what did you mean by making him say "Everything great I can + make small, and everything small great"? + </p> + <p> + L. I had my own separate meaning in that. We have seen in modern times the + power of the lower Pthah developed in a separate way, which no Greek nor + Egyptian could have conceived. It is the character of pure and eyeless + manual labor to conceive everything as subjected to it: and, in reality, + to disgrace and diminish all that is so subjected, aggrandizing itself, + and the thought of itself, at the expense of all noble things. I heard an + orator, and a good one too, at the Working Men's College, the other day, + make a great point in a description of our railroads; saying, with grandly + conducted emphasis, "They have made man greater, and the world less." His + working audience were mightily pleased; they thought it so very fine a + thing to be made bigger themselves; and all the rest of the world less. I + should have enjoyed asking them (but it would have been a pity—they + were so pleased), how much less they would like to have the world made;—and + whether, at present, those of them really felt the biggest men, who lived + in the least houses. + </p> + <p> + SIBYL. But then, why did you make Pthah say that he could make weak things + strong, and small things great? + </p> + <p> + L. My dear, he is a boaster and self-assertor, by nature; but it is so far + true. For instance, we used to have a fair in our neighborhood—a + very fine fair we thought it. You never saw such an one; but if you look + at the engraving of Turner's "St. Catherine's Hill," you will see what it + was like. There were curious booths, carried on poles; and peep-shows; and + music, with plenty of drums and cymbals; and much barley-sugar and + gingerbread, and the like: and in the alleys of this fair the London + populace would enjoy themselves, after their fashion, very thoroughly. + Well, the little Pthah set to work upon it one day; he made the wooden + poles into iron ones, and put them across, like his own crooked legs, so + that you always fall over them if you don't look where you are going; and + he turned all the canvas into panes of glass, and put it up on his iron + cross-poles; and made all the little booths into one great booth;—and + people said it was very fine, and a new style of architecture; and Mr. + Dickens said nothing was ever like it in Fairy-land, which was very true. + And then the little Pthah set to work to put fine fairings in it; and he + painted the Nineveh bulls afresh, with the blackest eyes he could paint + (because he had none himself), and he got the angels down from Lincoln + choir, and gilded their wings like his gingerbread of old times; and he + sent for everything else he could think of, and put it in his booth. There + are the casts of Niobe and her children; and the Chimpanzee; and the + wooden Caffres and New-Zealanders; and the Shakespeare House; and Le Grand + Blondin, and Le Petit Blondin; and Handel; and Mozart; and no end of + shops, and buns, and beer; and all the little-Pthah-worshippers say, never + was anything so sublime! + </p> + <p> + SIBYL. Now, do you mean to say you never go to these Crystal Palace + concerts? they're as good as good can be. + </p> + <p> + L. I don't go to the thundering things with a million of bad voices in + them. When I want a song, I get Julia Mannering and Lucy Bertram and + Counselor Pleydell to sing "We be three poor Mariners" to me; then I've no + headache next morning. But I do go to the smaller concerts, when I can; + for they are very good, as you say, Sibyl: and I always get a reserved + seat somewhere near the orchestra, where I am sure I can see the + kettle-drummer drum. + </p> + <p> + SIBYL. Now DO be serious, for one minute. + </p> + <p> + L. I am serious—never was more so. You know one can't see the + modulation of violinists' fingers, but one can see the vibration of the + drummer's hand; and it's lovely. + </p> + <p> + SIBYL. But fancy going to a concert, not to hear, but to see! + </p> + <p> + L. Yes, it is very absurd. The quite right thing, I believe, is to go + there to talk. I confess, however, that in most music, when very well + done, the doing of it is to me the chiefly interesting part of the + business. I'm always thinking how good it would be for the fat, + supercilious people, who care so little for their half- crown's worth, to + be set to try and do a half-crown's worth of anything like it. + </p> + <p> + MARY. But surely that Crystal Palace is a great good and help to the + people of London? + </p> + <p> + L. The fresh air of the Norwood hills is, or was, my dear; but they are + spoiling that with smoke as fast as they can. And the palace (as they call + it) is a better place for them, by much, than the old fair; and it is + always there, instead of for three days only; and it shuts up at proper + hours of night. And good use may be made of the things in it, if you know + how: but as for its teaching the people, it will teach them nothing but + the lowest of the lower Pthah's work—nothing but hammer and tongs. I + saw a wonderful piece, of his doing, in the place, only the other day. + Some unhappy metal-worker—I am not sure if it was not a metal- + working firm—had taken three years to make a Golden eagle. + </p> + <p> + SIBYL. Of real gold? + </p> + <p> + L. No; of bronze, or copper, or some of their foul patent metals— it + is no matter what. I meant a model of our chief British eagle. Every + feather was made separately; and every filament of every feather + separately, and so joined on; and all the quills modeled of the right + length and right section, and at last the whole cluster of them fastened + together. You know, children, I don't think much of my own drawing; but + take my proud word for once, that when I go to the Zoological Gardens, and + happen to have a bit of chalk in my pocket, and the Gray Harpy will sit, + without screwing his head round, for thirty seconds,—I can do a + better thing of him in that time than the three years' work of this + industrious firm. For, during the thirty seconds, the eagle is my object,—not + myself; and during the three years, the firm's object, in every fiber of + bronze it made, was itself, and not the eagle. That is the true meaning of + the little Pthah's having no eyes—he can see only himself. The + Egyptian beetle was not quite the full type of him; our northern ground + beetle is a truer one. It is beautiful to see it at work, gathering its + treasures (such as they are) into little round balls; and pushing them + home with the strong wrong end of it,—head downmost all the way,—like + a modern political economist with his ball of capital, declaring that a + nation can stand on its vices better than on its virtues. But away with + you, children, now, for I'm getting cross. + </p> + <p> + DORA. I'm going downstairs; I shall take care, at any rate, that there are + no little Pthahs in the kitchen cupboards. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0009" id="link2H_4_0009"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 4. — THE CRYSTAL ORDERS + </h2> + <p> + A working Lecture in the large Schoolroom; with experimental Interludes. + The great bell has rung unexpectedly. + </p> + <p> + KATHLEEN (entering disconsolate, though first at the summons). Oh dear, oh + dear, what a day! Was ever anything so provoking! just when we wanted to + crystallize ourselves;—and I'm sure it's going to rain all day long. + </p> + <p> + L. So am I, Kate. The sky has quite an Irish way with it. But I don't see + why Irish girls should also look so dismal. Fancy that you don't want to + crystallize yourselves: you didn't, the day before yesterday, and you were + not unhappy when it rained then. + </p> + <p> + FLORRIE. Ah! but we do want to-day; and the rain's so tiresome. + </p> + <p> + L. That is to say, children, that because you are all the richer by the + expectation of playing at a new game, you choose to make yourselves + unhappier than when you had nothing to look forward to, but the old ones. + </p> + <p> + ISABEL. But then, to have to wait—wait—wait; and before we've + tried it;—and perhaps it will rain to-morrow, too! + </p> + <p> + L. It may also rain the day after to-morrow. We can make ourselves + uncomfortable to any extent with perhapses, Isabel. You may stick + perhapses into your little minds, like pins, till you are as uncomfortable + as the Lilliputians made Gulliver with their arrows, when he would not lie + quiet. + </p> + <p> + ISABEL. But what ARE we to do to-day? + </p> + <p> + L. To be quiet, for one thing, like Gulliver when he saw there was nothing + better to be done. And to practice patience. I can tell you, children, + THAT requires nearly as much practicing as music; and we are continually + losing our lessons when the master comes. Now, to-day, here's a nice, + little adagio lesson for us, if we play it properly. + </p> + <p> + ISABEL. But I don't like that sort of lesson. I can't play it properly. + </p> + <p> + L. Can you play a Mozart sonata yet, Isabel? The more need to practice. + All one's life is a music, if one touches the notes rightly, and in time. + But there must be no hurry. + </p> + <p> + KATHLEEN. I'm sure there's no music in stopping in on a rainy day. + </p> + <p> + L. There's no music in a "rest," Katie, that I know of: but there's the + making of music in it. And people are always missing that part of the + life-melody; and scrambling on without counting— not that it's easy + to count; but nothing on which so much depends ever IS easy. People are + always talking of perseverance, and courage, and fortitude; but patience + is the finest and worthiest part of fortitude,—and the rarest, too. + I know twenty persevering girls for one patient one: but it is only that + twenty-first who can do her work, out and out, or enjoy it. For patience + lies at the root of all pleasures, as well as of all powers. Hope herself + ceases to be happiness, when Impatience companions her. + </p> + <p> + (ISABEL and LILY sit down on the floor, and fold their hands. The others + follow their example.) + </p> + <p> + Good children! but that's not quite the way of it, neither. Folded hands + are not necessarily resigned ones. The Patience who really smiles at grief + usually stands, or walks, or even runs: she seldom sits; though she may + sometimes have to do it, for many a day, poor thing, by monuments; or like + Chaucer's, "with face pale, upon a hill of sand." But we are not reduced + to that to-day. Suppose we use this calamitous fore-noon to choose the + shapes we are to crystallize into? we know nothing about them yet. + </p> + <p> + (The pictures of resignation rise from the floor not in the patientest + manner. General applause.) + </p> + <p> + MARY (with one or two others). The very thing we wanted to ask you about! + </p> + <p> + LILY. We looked at the books about crystals, but they are so dreadful. + </p> + <p> + L. Well, Lily, we must go through a little dreadfulness, that's a fact: no + road to any good knowledge is wholly among the lilies and the grass; there + is rough climbing to be done always. But the crystal-books are a little + TOO dreadful, most of them, I admit; and we shall have to be content with + very little of their help. You know, as you cannot stand on each other's + heads, you can only make yourselves into the sections of crystals,—the + figures they show when they are cut through; and we will choose some that + will be quite easy. You shall make diamonds of yourselves— + </p> + <p> + ISABEL. Oh, no, no! we won't be diamonds, please. + </p> + <p> + L, Yes, you shall, Isabel; they are very pretty things, if the jewelers, + and the kings and queens, would only let them alone. You shall make + diamonds of yourselves, and rubies of yourselves, and emeralds; and Irish + diamonds; two of those—with Lily in the middle of one, which will be + very orderly, of course; and Kathleen in the middle of the other, for + which we will hope the best; and you shall make Derbyshire spar of + yourselves, and Iceland spar, and gold, and silver, and—Quicksilver + there's enough of in you, without any making. + </p> + <p> + MARY. Now you know, the children will be getting quite wild we must really + get pencils and paper, and begin properly. + </p> + <p> + L. Wait a minute, Miss Mary, I think as we the schoolroom clear to-day, + I'll try to give you some notion of the three great orders or ranks of + crystals, into which all the others seem more or less to fall. We shall + only want one figure a day, in the playground, and that can be drawn in a + minute: but the general ideas had better be fastened first. I must show + you a great many minerals; so let me have three tables wheeled into the + three windows, that we may keep our specimens separate;—we will keep + the three orders of crystals on separate tables. + </p> + <p> + (First Interlude of pushing and pulling, and spreading of baize covers. + VIOLET, not particularly minding what she is about, gets herself jammed + into a corner, and bid to stand out of the way; on which she devotes + herself to meditation.) + </p> + <p> + VIOLET (after interval of meditation). How strange it is that everything + seems to divide into threes! + </p> + <p> + L. Everything doesn't divide into threes. Ivy won't, though shamrock will, + and daisies won't though lilies will. + </p> + <p> + VIOLET. But all the nicest things seem to divide into threes. + </p> + <p> + L. Violets won't. + </p> + <p> + VIOLET. No; I should think not, indeed! But I mean the great things. + </p> + <p> + L. I've always heard the globe had four quarters. + </p> + <p> + ISABEL. Well; but you know you said it hadn't any quarters at all. So + mayn't it really be divided into three? + </p> + <p> + L. If it were divided into no more than three, on the outside of it, + Isabel, it would be a fine world to live in; and if it were divided into + three in the inside of it, it would soon be no world to live in at all. + </p> + <p> + DORA. We shall never get to the crystals, at this rate. (Aside to MARY.) + He will get off into political economy before we know where we are. + (Aloud.) But the crystals are divided into three, then? + </p> + <p> + L. No; but there are three general notions by which we may best get hold + of them. Then between these notions there are other notions. + </p> + <p> + LILY (alarmed). A great many? And shall we have to learn them all? + </p> + <p> + L. More than a great many—a quite infinite many. So you cannot learn + them all. + </p> + <p> + LILY (greatly relieved). Then may we only learn the three? + </p> + <p> + L. Certainly; unless, when you have got those three notions, you want to + have some more notions;—which would not surprise me. But we'll try + for the three, first. Katie, you broke your coral necklace this morning? + </p> + <p> + KATHLEEN. Oh! who told you? It was in jumping. I'm so sorry! + </p> + <p> + L. I'm very glad. Can you fetch me the beads of it? + </p> + <p> + KATHLEEN. I've lost some; here are the rest in my pocket, if I can only + get them out. + </p> + <p> + L. You mean to get them out some day, I suppose; so try now. I want them. + </p> + <p> + (KATHLEEN empties her pocket on the floor. The beads disperse. The School + disperses also. Second Interlude—hunting piece.) + </p> + <p> + L. (after waiting patiently for a quarter of an hour, to ISABEL, who comes + up from under the table with her hair all about her ears and the last + findable beads in her hand.) Mice are useful little things sometimes. Now, + mousie, I want all those beads crystallized. How many ways are there of + putting them in order? + </p> + <p> + ISABEL. Well, first one would string them, I suppose? + </p> + <p> + L. Yes, that's the first way. You cannot string ultimate atoms; but you + can put them in a row, and then they fasten themselves together, somehow, + into a long rod or needle. We will call these "NEEDLE-crystals." What + would be the next way? + </p> + <p> + ISABEL. I suppose, as we are to get together in the playground, when it + stops raining, in different shapes? + </p> + <p> + L. Yes; put the beads together, then, in the simplest form you can, to + begin with. Put them into a square, and pack them close. + </p> + <p> + ISABEL (after careful endeavor). I can't get them closer. + </p> + <p> + L. That will do. Now you may see, beforehand, that if you try to throw + yourselves into square in this confused way, you will never know your + places; so you had better consider every square as made of rods, put side + by side. Take four beads of equal size, first, Isabel; put them into a + little square. That, you may consider as made up of two rods of two beads + each. Then you can make a square a size larger, out of three rods of + three. Then the next square may be a size larger. How many rods, Lily? + </p> + <p> + LILY. Four rods of four beads each, I suppose. + </p> + <p> + L. Yes, and then five rods of five, and so on. But now, look here; make + another square of four beads again. You see they leave a little opening in + the center. + </p> + <p> + ISABEL (pushing two opposite ones closer together). Now they don't. + </p> + <p> + L. No; but now it isn't a square; and by pushing the two together you have + pushed the two others farther apart. + </p> + <p> + ISABEL. And yet, somehow, they all seem closer than they were! + </p> + <p> + L. Yes; for before, each of them only touched two of the others, but now + each of the two in the middle touches the other three. Take away one of + the outsiders, Isabel: now you have three in a triangle—the smallest + triangle you can make out of the beads. Now put a rod of three beads on at + one side. So, you have a triangle of six beads; but just the shape of the + first one. Next a rod of four on the side of that; and you have a triangle + of ten beads: then a rod of five on the side of that; and you have a + triangle of fifteen. Thus you have a square with five beads on the side, + and a triangle with five beads on the side; equal-sided, therefore, like + the square. So, however few or many you may be, you may soon learn how to + crystallize quickly into these two figures, which are the foundation of + form in the commonest, and therefore actually the most important, as well + as in the rarest, and therefore, by our esteem, the most important, + minerals of the world. Look at this in my hand. + </p> + <p> + VIOLET. Why, it is leaf gold! + </p> + <p> + L. Yes; but beaten by no man's hammer; or rather, not beaten at all, but + woven. Besides, feel the weight of it. There is gold enough there to gild + the walls and ceiling, if it were beaten thin. + </p> + <p> + VIOLET. How beautiful! And it glitters like a leaf covered with frost. + </p> + <p> + L. You only think it so beautiful because you know it is gold. It is not + prettier, in reality, than a bit of brass for it is Transylvanian gold; + and they say there is a foolish gnome in the mines there, who is always + wanting to live in the moon, and so alloys all the gold with a little + silver. I don't know how that may be, but the silver always IS in the + gold, and if he does it, it's very provoking of him, for no gold is woven + so fine anywhere else. + </p> + <p> + MARY (who has been looking through her magnifying glass). But this is not + woven. This is all made of little triangles. + </p> + <p> + L. Say "patched," then, if you must be so particular. But if you fancy all + those triangles, small as they are (and many of them are infinitely + small), made up again of rods, and those of grains, as we built our great + triangle of the beads, what word will you take for the manufacture? + </p> + <p> + MAY. There's no word—it is beyond words. + </p> + <p> + L. Yes, and that would matter little, were it not beyond thoughts too. + But, at all events, this yellow leaf of dead gold, shed, not from the + ruined woodlands, but the ruined rocks, will help you to remember the + second kind of crystals, LEAF-crystals, or FOLIATED crystals, though I + show you the form in gold first only to make a strong impression on you, + for gold is not generally or characteristically, crystallized in leaves; + the real type of foliated crystals is this thing, Mica; which if you once + feel well and break well, you will always know again; and you will often + have occasion to know it, for you will find it everywhere nearly, in hill + countries. + </p> + <p> + KATHLEEN. If we break it well! May we break it? + </p> + <p> + L. To powder, if you like. + </p> + <p> + (Surrenders plate of brown mica to public investigation. Third Interlude. + It sustains severely philosophic al treatment at all hands.) + </p> + <p> + FLORRIE (to whom the last fragments have descended). Always leaves, and + leaves, and nothing but leaves, or white dust? + </p> + <p> + L. That dust itself is nothing but finer leaves. + </p> + <p> + (Shows them to FLORRIE through magnifying glass.) + </p> + <p> + ISABEL (peeping over FLORRIE'S shoulder). But then this bit under the + glass looks like that bit out of the glass! If we could break this bit + under the glass, what would it be like? + </p> + <p> + L. It would be all leaves still. + </p> + <p> + ISABEL. And then if we broke those again? + </p> + <p> + L. All less leaves still. + </p> + <p> + ISABEL (impatient). And if we broke them again, and again, and again, and + again, and again? + </p> + <p> + L. Well, I suppose you would come to a limit, if you could only see it. + Notice that the little flakes already differ somewhat from the large ones: + because I can bend them up and down, and they stay bent; while the large + flake, though it bent easily a little way, sprang back when you let it go, + and broke when you tried to bend it far. And a large mass would not bend + at all. + </p> + <p> + MARY. Would that leaf gold separate into finer leaves, in the same way? + </p> + <p> + L. No; and therefore, as I told you, it is not a characteristic specimen + of a foliated crystallization. The little triangles are portions of solid + crystals, and so they are in this, which looks like a black mica; but you + see it is made up of triangles like the gold, and stands, almost + accurately, as an intermediate link, in crystals, between mica and gold. + Yet this is the commonest, as gold the rarest, of metals. + </p> + <p> + MARY. Is it iron? I never saw iron so bright. + </p> + <p> + L. It is rust of iron, finely crystallized: from its resemblance to mica, + it is often called micaceous iron. + </p> + <p> + KATHLEEN. May we break this, too? + </p> + <p> + L. No, for I could not easily get such another crystal; besides, it would + not break like the mica; it is much harder. But take the glass again, and + look at the fineness of the jagged edges of the triangles where they lap + over each other. The gold has the same: but you see them better here, + terrace above terrace, countless, and, in successive angles, like superb + fortified bastions. + </p> + <p> + MAY. But all foliated crystals are not made of triangles? + </p> + <p> + L. Far from it; mica is occasionally so. but usually of hexagons; and here + is a foliated crystal made of squares, which will show you that the leaves + of the rock-land have their summer green, as well as their autumnal gold. + </p> + <p> + FLORRIE. Oh! oh! oh! (jumps for joy). + </p> + <p> + L. Did you never see a bit of green leaf before, Florrie? + </p> + <p> + FLORRIE. Yes, but never so bright as that, and not in a stone. + </p> + <p> + L. If you will look at the leaves of the trees in sunshine after a shower, + you will find they are much brighter than that; and surely they are none + the worse for being on stalks instead of in stones? + </p> + <p> + FLORRIE. Yes, but then there are so many of them, one never looks, I + suppose. + </p> + <p> + L. Now you have it, Florrie. + </p> + <p> + VIOLET (sighing). There are so many beautiful things we never see! + </p> + <p> + L. You need not sigh for that, Violet; but I will tell you what we should + all sigh for—that there are so many ugly things we never see. + </p> + <p> + VIOLET. But we don't want to see ugly things! + </p> + <p> + L. You had better say, "We don't want to suffer them." You ought to be + glad in thinking how much more beauty God has made, than human eyes can + ever see; but not glad in thinking how much more evil man has made, than + his own soul can ever conceive, much more than his hands can ever heal. + </p> + <p> + VIOLET. I don't understand;—how is that like the leaves? + </p> + <p> + L. The same law holds in our neglect of multiplied pain, as in our neglect + of multiplied beauty. Florrie jumps for joy at sight of half an inch of a + green leaf in a brown stone, and takes more notice of it than of all the + green in the wood, and you, or I, or any of us, would be unhappy if any + single human creature beside us were in sharp pain; but we can read, at + breakfast, day after day, of men being killed, and of women and children + dying of hunger, faster than the leaves strew the brooks in Vallombrosa;—and + then go out to play croquet, as if nothing had happened. + </p> + <p> + MAY. But we do not see the people being killed or dying. + </p> + <p> + L. You did not see your brother, when you got the telegram the other day, + saying he was ill, May; but you cried for him; and played no croquet. But + we cannot talk of these things now; and what is more, you must let me talk + straight on, for a little while; and ask no questions till I've done: for + we branch ("exfoliate," I should say, mineralogically) always into + something else,—though that's my fault more than yours; but I must + go straight on now. You have got a distinct notion, I hope, of leaf- + crystals; and you see the sort of look they have: you can easily remember + that "folium" is Latin for a leaf, and that the separate flakes of mica, + or any other such stones, are called "folia;" but, because mica is the + most characteristic of these stones, other things that are like it in + structure are called "micas;" thus we have Uran-mica, which is the green + leaf I showed you; and Copper- mica, which is another like it, made + chiefly of copper; and this foliated iron is called "micaceous iron." You + have then these two great orders, Needle-crystals, made (probably) of + grains in rows; and Leaf-crystals, made (probably) of needles interwoven; + now, lastly, there are crystals of a third order, in heaps, or knots, or + masses, which may be made either of leaves laid one upon another, or of + needles bound like Roman fasces; and mica itself, when it is well + crystallized, puts itself into such masses, as if to show us how others + are made. Here is a brown six-sided crystal, quite as beautifully chiseled + at the sides as any castle tower; but you see it is entirely built of + folia of mica, one laid above another, which break away the moment I touch + the edge with my knife. Now, here is another hexagonal tower, of just the + same size and color, which I want you to compare with the mica carefully; + but as I cannot wait for you to do it just now, I must tell you quickly + what main differences to look for. First, you will feel it far heavier + than the mica. Then, though its surface looks quite micaceous in the folia + of it when you try them with the knife, you will find you cannot break + them away— + </p> + <p> + KATHLEEN. May I try? + </p> + <p> + L. Yes, you mistrusting Katie. Here's my strong knife for you. + (Experimental pause. KATHLEEN doing her best.) You'll have that knife + shutting on your finger presently, Kate; and I don't know a girl who would + like less to have her hand tied up for a week. + </p> + <p> + KATHLEEN (who also does not like to be beaten—giving up the knife + despondently.). What CAN the nasty hard thing be? + </p> + <p> + L. It is nothing but indurated clay, Kate: very hard set certainly, yet + not so hard as it might be. If it were thoroughly well crystallized, you + would see none of those micaceous fractures; and the stone would be quite + red and clear, all through. + </p> + <p> + KATHLEEN. Oh, cannot you show us one? + </p> + <p> + L. Egypt can, if you ask her; she has a beautiful one in the clasp of her + favorite bracelet. + </p> + <p> + KATHLEEN. Why, that's a ruby! + </p> + <p> + L. Well, so is that thing you've been scratching at. + </p> + <p> + KATHLEEN. My goodness! (Takes up the stone again, very delicately; and + drops it. General consternation.) + </p> + <p> + L. Never mind, Katie, you might drop it from the top of the house, and do + it no harm. But though you really are a very good girl, and as + good-natured as anybody can possibly be, remember, you have your faults, + like other people, and, if I were you, the next time I wanted to assert + anything energetically, I would assert it by "my badness," not "my + goodness." + </p> + <p> + KATHLEEN. Ah, now, it's too bad of you! + </p> + <p> + L. Well, then, I'll invoke, on occasion, my "too-badness." But you may as + well pick up the ruby, now you have dropped it; and look carefully at the + beautiful hexagonal lines which gleam on its surface, and here is a pretty + white sapphire (essentially the same stone as the ruby), in which you will + see the same lovely structure, like the threads of the finest white + cobweb. I do not know what is the exact method of a ruby's construction, + but you see by these lines, what fine construction there is, even in this + hardest of stones (after the diamond), which usually appears as a massive + lump or knot. There is therefore no real mineralogical distinction between + needle crystals and knotted crystals, but, practically, crystallized + masses throw themselves into one of the three groups we have been + examining to-day; and appear either as Needles, as Folia, or as Knots; + when they are in needles (or fibers), they make the stones or rocks formed + out of them "FIBROUS;" when they are in folia, they make them "FOLIATED;" + when they are in knots (or grains), "GRANULAR." Fibrous rocks are + comparatively rare, in mass; but fibrous minerals are innumerable; and it + is often a question which really no one but a young lady could possibly + settle, whether one should call the fibers composing them "threads" or + "needles." Here is amianthus, for instance, which is quite as fine and + soft as any cotton thread you ever sewed with; and here is sulphide of + bismuth, with sharper points and brighter luster than your finest needles + have; and fastened in white webs of quartz more delicate than your finest + lace; and here is sulphide of antimony, which looks like mere purple wool, + but it is all of purple needle crystals; and here is red oxide of copper + (you must not breathe on it as you look, or you may blow some of the films + of it off the stone), which is simply a woven tissue of scarlet silk. + However, these finer thread-forms are comparatively rare, while the bolder + and needle- like crystals occur constantly; so that, I believe, "Needle- + crystal" is the best word (the grand one is, "Acicular crystal," but Sibyl + will tell you it is all the same, only less easily understood; and + therefore more scientific). Then the Leaf- crystals, as I said, form an + immense mass of foliated rocks; and the Granular crystals, which are of + many kinds, form essentially granular, or granitic and porphyritic rocks; + and it is always a point of more interest to me (and I think will + ultimately be to you), to consider the causes which force a given mineral + to take any one of these three general forms, than what the peculiar + geometrical limitations are, belonging to its own crystals. [Footnote: + Note iv.] It is more interesting to me, for instance, to try and find out + why the red oxide of copper, usually crystallizing in cubes or + octahedrons, makes itself exquisitely, out of its cubes, into this red + silk in one particular Cornish mine, than what are the absolutely + necessary angles of the octahedron, which is its common form. At all + events, that mathematical part of crystallography is quite beyond girls' + strength; but these questions of the various tempers and manners of + crystals are not only comprehensible by you, but full of the most curious + teaching for you. For in the fulfillment, to the best of their power, of + their adopted form under given circumstances, there are conditions + entirely resembling those of human virtue; and indeed expressible under no + term so proper as that of the Virtue, or Courage of crystals;—which, + if you are not afraid of the crystals making you ashamed of yourselves, we + will by to get some notion of, to-morrow. But it will be a bye-lecture, + and more about yourselves than the minerals. Don't come unless you like. + </p> + <p> + MARY. I'm sure the crystals will make us ashamed of ourselves; but we'll + come, for all that. + </p> + <p> + L. Meantime, look well and quietly over these needle, or thread crystals, + and those on the other two tables, with magnifying glasses; and see what + thoughts will come into your little heads about them. For the best + thoughts are generally those which come without being forced, one does not + know how. And so I hope you will get through your wet day patiently. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0010" id="link2H_4_0010"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 5. — CRYSTAL VIRTUES + </h2> + <p> + A quiet talk, in the afternoon, by the sunniest window of the + Drawing-room. Present: FLORRIE, ISABEL, MAY, LUCILLA, KATHLEEN, DORA, + MARY, and some others, who have saved time for the bye- Lecture. + </p> + <p> + L. So you have really come, like good girls, to be made ashamed of + yourselves? + </p> + <p> + DORA (very meekly). No, we needn't be made so; we always are. + </p> + <p> + L. Well, I believe that's truer than most pretty speeches: but you know, + you saucy girl, some people have more reason to be so than others. Are you + sure everybody is, as well as you? + </p> + <p> + THE GENERAL VOICE. Yes, yes; everybody. + </p> + <p> + L. What! Florrie ashamed of herself? + </p> + <p> + (FLORRIE hides behind the curtain.) + </p> + <p> + L. And Isabel? + </p> + <p> + (ISABEL hides under the table.) + </p> + <p> + L. And Mary? + </p> + <p> + (MARY runs into the corner behind the piano.) + </p> + <p> + L. And Lucilla? + </p> + <p> + (LUCILLA hides her face in her hands.) + </p> + <p> + L. Dear, dear; but this will never do. I shall have to tell you of the + faults of the crystals, instead of virtues, to put you in heart again. + </p> + <p> + MAY (coming out of her corner). Oh! have the crystals faults, like us? + </p> + <p> + L. Certainly, May. Their best virtues are shown in fighting their faults; + and some have a great many faults; and some are very naughty crystals + indeed. + </p> + <p> + FLORRIE (from behind her curtain). As naughty as me? + </p> + <p> + ISABEL (peeping out from under the table-cloth). Or me? + </p> + <p> + L. Well, I don't know. They never forget their syntax, children, when once + they've been taught it. But I think some of them are, on the whole, worse + than any of you. Not that it's amiable of you to look so radiant, all in a + minute, on that account. + </p> + <p> + DORA. Oh! but it's so much more comfortable. + </p> + <p> + (Everybody seems to recover their spirits. Eclipse of FLORRIE and ISABEL + terminates.) + </p> + <p> + L. What kindly creatures girls are, after all, to their neighbors' + failings! I think you may be ashamed of yourselves indeed, now, children! + I can tell you, you shall hear of the highest crystalline merits that I + can think of, to-day: and I wish there were more of them; but crystals + have a limited, though a stern, code of morals; and their essential + virtues are but two;—the first is to be pure, and the second to be + well shaped. + </p> + <p> + MARY. Pure! Does that mean clear—transparent? + </p> + <p> + L. No; unless in the case of a transparent substance. You cannot have a + transparent crystal of gold; but you may have a perfectly pure one. + </p> + <p> + ISABEL. But you said it was the shape that made things be crystals; + therefore, oughtn't their shape to be their first virtue, not their + second? + </p> + <p> + L. Right, you troublesome mousie. But I call their shape only their second + virtue, because it depends on time and accident, and things which the + crystal cannot help. If it is cooled too quickly, or shaken, it must take + what shape it can; but it seems as if, even then, it had in itself the + power of rejecting impurity, if it has crystalline life enough. Here is a + crystal of quartz, well enough shaped in its way; but it seems to have + been languid and sick at heart; and some white milky substance has got + into it, and mixed itself up with it, all through. It makes the quartz + quite yellow, if you hold it up to the light, and milky blue on the + surface. Here is another, broken into a thousand separate facets and out + of all traceable shape; but as pure as a mountain spring. I like this one + best. + </p> + <p> + THE AUDIENCE. So do I—and I—and I. + </p> + <p> + MARY. Would a crystallographer? + </p> + <p> + L. I think so. He would find many more laws curiously exemplified in the + irregularly grouped but pure crystal. But it is a futile question, this of + first or second. Purity is in most cases a prior, if not a nobler, virtue; + at all events it is most convenient to think about it first. + </p> + <p> + MARY. But what ought we to think about it? Is there much to be thought—I + mean, much to puzzle one? + </p> + <p> + L. I don't know what you call "much." It is a long time since I met with + anything in which there was little. There's not much in this, perhaps. The + crystal must be either dirty or clean,—and there's an end. So it is + with one's hands, and with one's heart— only you can wash your hands + without changing them, but not hearts, nor crystals. On the whole, while + you are young, it will be as well to take care that your hearts don't want + much washing; for they may perhaps need wringing also, when they do. + </p> + <p> + (Audience doubtful and uncomfortable. LUCILLA at last takes courage.) + </p> + <p> + LUCILLA. Oh! but surely, sir, we cannot make our hearts clean? + </p> + <p> + L. Not easily, Lucilla; so you had better keep them so, when they are. + </p> + <p> + LUCILLA. When they are! But, sir— + </p> + <p> + L. Well? + </p> + <p> + LUCILLA. Sir—surely—are we not told that they are all evil? + </p> + <p> + L. Wait a little, Lucilla; that is difficult ground you are getting upon; + and we must keep to our crystals, till at least we understand what THEIR + good and evil consist in; they may help us afterwards to some useful hints + about our own. I said that their goodness consisted chiefly in purity of + substance, and perfectness of form: but those are rather the EFFECTS of + their goodness, than the goodness itself. The inherent virtues of the + crystals, resulting in these outer conditions, might really seem to be + best described in the words we should use respecting living creatures— + "force of heart" and "steadiness of purpose." There seem to be in some + crystals, from the beginning, an unconquerable purity of vital power, and + strength of crystal spirit. Whatever dead substance, unacceptant of this + energy, comes in their way, is either rejected, or forced to take some + beautiful subordinate form; the purity of the crystal remains unsullied, + and every atom of it bright with coherent energy. Then the second + condition is, that from the beginning of its whole structure, a fine + crystal seems to have determined that it will be of a certain size and of + a certain shape; it persists in this plan, and completes it. Here is a + perfect crystal of quartz for you. It is of an unusual form, and one which + it might seem very difficult to build—a pyramid with convex sides, + composed of other minor pyramids. But there is not a flaw in its contour + throughout; not one of its myriads of component sides but is as bright as + a jeweler's faceted work (and far finer, if you saw it close). The crystal + points are as sharp as javelins; their edges will cut glass with a touch. + Anything more resolute, consummate, determinate in form, cannot be + conceived. Here, on the other hand, is a crystal of the same substance, in + a perfectly simple type of form—a plain six-sided prism; but from + its base to its point,—and it is nine inches long,—it has + never for one instant made up its mind what thickness it will have. It + seems to have begun by making itself as thick as it thought possible with + the quantity of material at command. Still not being as thick as it would + like to be, it has clumsily glued on more substance at one of its sides. + Then it has thinned itself, in a panic of economy; then puffed itself out + again; then starved one side to enlarge another; then warped itself quite + out of its first line. Opaque, rough-surfaced, jagged on the edge, + distorted in the spine, it exhibits a quite human image of decrepitude and + dishonor; but the worst of all the signs of its decay and helplessness is + that half-way up a parasite crystal, smaller, but just as sickly, has + rooted itself in the side of the larger one, eating out a cavity round its + root, and then growing backwards, or downwards contrary to the direction + of the main crystal. Yet I cannot trace the least difference in purity of + substance between the first most noble stone, and this ignoble and + dissolute one. The impurity of the last is in its will, or want of will. + </p> + <p> + MARY. Oh, if we could but understand the meaning of it all! + </p> + <p> + L. We can understand all that is good for us. It is just as true for us as + for the crystal, that the nobleness of life depends on its consistency,—clearness + of purpose—quiet and ceaseless energy. All doubt and repenting, and + botching and re-touching and wondering what will it be best to do next, + are vice, as well as misery. + </p> + <p> + MARY (much wondering). But must not one repent when one does wrong, and + hesitate when one can't see one's way? + </p> + <p> + L. You have no business at all to do wrong, nor to get into any way that + you cannot see. Your intelligence should always be far in advance of your + act. Whenever you do not know what you are about, you are sure to be doing + wrong. + </p> + <p> + KATHLEEN. Oh, dear, but I never know what I am about! + </p> + <p> + L. Very true, Katie, but it is a great deal to know, if you know that. And + you find that you have done wrong afterwards; and perhaps some day you may + begin to know, or at least, think, what you are about. + </p> + <p> + ISABEL. But surely people can't do very wrong if they don't know, can + they? I mean, they can't be very naughty. They can be wrong, like Kathleen + or me, when we make mistakes; but not wrong in the dreadful way. I can't + express what I mean; but there are two sorts of wrong, are there not? + </p> + <p> + L. Yes, Isabel; but you will find that the great difference is between + kind and unkind wrongs, not between meant and unmeant wrong. Very few + people really mean to do wrong,—in a deep sense, none. They only + don't know what they are about. Cain did not mean to do wrong when he + killed Abel. + </p> + <p> + (ISABEL draws a deep breath, and opens her eyes very wide.) + </p> + <p> + L. No, Isabel; and there are countless Cains among us now, who kill their + brothers by the score a day, not only for less provocation than Cain had, + but for NO provocation,—and merely for what they can make of their + bones,—yet do not think they are doing wrong in the least. Then + sometimes you have the business reversed, as over in America these last + years, where you have seen Abel resolutely killing Cain, and not thinking + he is doing wrong The great difficulty is always to open people's eyes: to + touch their feelings and break their hearts, is easy, the difficult thing + is to break their heads. What does it matter as long as they remain + stupid, whether you change their feelings or not? You cannot be always at + their elbow to tell them what is right and they may just do as wrong as + before or worse, and their best intentions merely make the road smooth for + them,—you know where, children. For it is not the place itself that + is paved with them as people say so often. You can't pave the bottomless + pit, but you may the road to it + </p> + <p> + MAY. Well, but if people do as well as they can see how, surely that is + the right for them, isn't it? + </p> + <p> + L. No, May, not a bit of it right is right, and wrong is wrong. It is only + the fool who does wrong, and says he "did it for the best." And if there's + one sort of person in the world that the Bible speaks harder of than + another, it is fools. Their particular and chief way of saying "There is + no God" is this of declaring that whatever their "public opinion" may be + is right and that God's opinion is of no consequence. + </p> + <p> + MAY. But surely nobody can always know what is right? + </p> + <p> + L. Yes, you always can, for to-day; and if you do what you see of it + to-day, you will see more of it, and more clearly, to-morrow. Here for + instance, you children are at school, and have to learn French, and + arithmetic, and music, and several other such things. That is your "right" + for the present; the "right" for us, your teachers, is to see that you + learn as much as you can, without spoiling your dinner, your sleep, or + your play; and that what you do learn, you learn well. You all know when + you learn with a will, and when you dawdle. There's no doubt of conscience + about that, I suppose? + </p> + <p> + VIOLET. No; but if one wants to read an amusing book, instead of learning + one's lesson? + </p> + <p> + L. You don't call that a "question," seriously, Violet? You are then + merely deciding whether you will resolutely do wrong or not. + </p> + <p> + MARY. But, in after life, how many fearful difficulties may arise, however + one tries to know or to do what is right! + </p> + <p> + L. You are much too sensible a girl, Mary, to have felt that, whatever you + may have seen. A great many of young ladies' difficulties arise from their + falling in love with a wrong person; but they have no business to let + themselves fall in love, till they know he is the right one. + </p> + <p> + DORA. How many thousands ought he to have a year? + </p> + <p> + L. (disdaining reply). There are, of course, certain crises of fortune + when one has to take care of oneself, and mind shrewdly what one is about. + There is never any real doubt about the path, but you may have to walk + very slowly. + </p> + <p> + MARY. And if one is forced to do a wrong thing by some one who has + authority over you? + </p> + <p> + L. My dear, no one can be forced to do a wrong thing, for the guilt is in + the will: but you may any day be forced to do a fatal thing, as you might + be forced to take poison; the remarkable law of nature in such cases + being, that it is always unfortunate YOU who are poisoned, and not the + person who gives you the dose. It is a very strange law, but it IS a law. + Nature merely sees to the carrying out of the normal operation of arsenic. + She never troubles herself to ask who gave it you. So also you may be + starved to death, morally as well as physically, by other people's faults. + You are, on the whole, very good children sitting here to- day; do you + think that your goodness comes all by your own contriving? or that you are + gentle and kind because your dispositions are naturally more angelic than + those of the poor girls who are playing, with wild eyes, on the dust-heaps + in the alleys of our great towns; and who will one day fill their prisons,—or, + better, their graves? Heaven only knows where they, and we who have cast + them there shall stand at last But the main judgment question will be, I + suppose, for all of us, "Did you keep a good heart through it? What you + were, others may answer for,— what you tried to be, you must answer + for yourself. Was the heart pure and true—tell us that? + </p> + <p> + And so we come back to your sorrowful question, Lucilla, which I put aside + a little ago. You would be afraid to answer that your heart WAS pure and + true, would not you? + </p> + <p> + LUCILLA. Yes, indeed, sir. + </p> + <p> + L. Because you have been taught that it is all evil—"only evil + continually." Somehow, often as people say that, they never seem, to me, + to believe it. Do you really believe it? + </p> + <p> + LUCILLA. Yes, sir, I hope so. + </p> + <p> + L. That you have an entirely bad heart? + </p> + <p> + LUCILLA (a little uncomfortable at the substitution of the monosyllable + for the dissyllable, nevertheless persisting in her orthodoxy). Yes, sir. + </p> + <p> + L. Florrie, I am sure you are tired; I never like you to stay when you are + tired; but, you know, you must not play with the kitten while we're + talking. + </p> + <p> + FLORRIE. Oh! but I'm not tired, and I'm only nursing her. She'll be asleep + in my lap, directly. + </p> + <p> + L. Stop! that puts me in mind of something I had to show you, about + minerals that are like hair I want a hair out of Tittie's tail. + </p> + <p> + FLORRIE. (quite rude in her surprise, even to the point of repeating + expressions). Out of Tittie's tail! + </p> + <p> + L. Yes, a brown one Lucilla, you can get at the tip of it nicely, under + Florrie's arm, just pull one out for me. + </p> + <p> + LUCILLA. Oh! but, sir, it will hurt her so! + </p> + <p> + L. Never mind, she can't scratch you while Florrie is holding her. Now + that I think of it you had better pull out two. + </p> + <p> + LUCILLA. But then she may scratch Florrie! and it will hurt her so sir! if + you only want brown hairs, wouldn't two of mine do? + </p> + <p> + L. Would you really rather pull out your own than Tittie's? + </p> + <p> + LUCILLA. Oh, of course, if mine will do. + </p> + <p> + L. But that's very wicked, Lucilla! + </p> + <p> + LUCILLA. Wicked, sir? + </p> + <p> + L. Yes, if your heart was not so bad, you would much rather pull all the + cat's hairs out, than one of your own. + </p> + <p> + LUCILLA. Oh! but, sir, I didn't mean bad like that. + </p> + <p> + L. I believe, if the truth were told, Lucilla, you would like to tie a + kettle to Tittie's tail, and hunt her round the playground. + </p> + <p> + LUCILLA. Indeed, I should not, sir. + </p> + <p> + L. That's not true, Lucilla; you know it cannot be. + </p> + <p> + LUCILLA. Sir? + </p> + <p> + L. Certainly it is not;—how can you possibly speak any truth out of + such a heart as you have? It is wholly deceitful. + </p> + <p> + LUCILLA. Oh! no, no; I don't mean that way; I don't mean that it makes me + tell lies, quite out. + </p> + <p> + L. Only that it tells lies within you? + </p> + <p> + LUCILLA. Yes. + </p> + <p> + L. Then, outside of it, you know what is true, and say so; and I may trust + the outside of your heart; but within, it is all foul and false. Is that + the way? + </p> + <p> + LUCILLA. I suppose so: I don't understand it quite. + </p> + <p> + L. There is no occasion for understanding it; but do you feel it? Are you + sure that your heart is deceitful above all things, and desperately + wicked? + </p> + <p> + LUCILLA (much relieved by finding herself among phrases with which she is + acquainted). Yes, sir. I'm sure of that. + </p> + <p> + L. (pensively). I'm sorry for it, Lucilla. + </p> + <p> + LUCILLA. So am I, indeed. + </p> + <p> + L. What are you sorry with, Lucilla? + </p> + <p> + LUCILLA. Sorry with, sir? + </p> + <p> + L. Yes; I mean, where do you feel sorry; in your feet? + </p> + <p> + LUCILLA (laughing a little). No, sir, of course. + </p> + <p> + L. In your shoulders, then? + </p> + <p> + LUCILLA. No, sir. + </p> + <p> + L. You are sure of that? Because, I fear, sorrow in the shoulders would + not be worth much. + </p> + <p> + LUCILLA. I suppose I feel it in my heart, if I really am sorry. + </p> + <p> + L. If you really are! Do you mean to say that you are sure you are utterly + wicked, and yet do not care? + </p> + <p> + LUCILLA. No, indeed; I have cried about it often. + </p> + <p> + L. Well, then, you are sorry in your heart? + </p> + <p> + LUCILLA. Yes, when the sorrow is worth anything. + </p> + <p> + L. Even if it be not, it cannot be anywhere else but there. It is not the + crystalline lens of your eyes which is sorry, when you cry? + </p> + <p> + LUCILLA. No, sir, of course. + </p> + <p> + L. Then, have you two hearts; one of which is wicked, and the other + grieved? or is one side of it sorry for the other side? + </p> + <p> + LUCILLA. (weary of cross-examination, and a little vexed). Indeed, sir, + you know I can't understand it; but you know how it is written—"another + law in my members, warring against the law of my mind." + </p> + <p> + L. Yes, Lucilla, I know how it is written; but I do not see that it will + help us to know that, if we neither understand what is written, nor feel + it. And you will not get nearer to the meaning of one verse, if, as soon + as you are puzzled by it, you escape to another, introducing three new + words—"law," "members," and "mind"; not one of which you at present + know the meaning of; and respecting which, you probably never will be much + wiser; since men like Montesquieu and Locke have spent great part of their + lives in endeavoring to explain two of them. + </p> + <p> + LUCILLA. Oh! please, sir, ask somebody else. + </p> + <p> + L. If I thought any one else could answer better than you, Lucilla, I + would: but suppose I try, instead, myself, to explain your feelings to + you? + </p> + <p> + LUCILLA. Oh, yes; please do. + </p> + <p> + L. Mind, I say your "feelings," not your "belief." For I cannot undertake + to explain anybody's beliefs. Still I must try a little, first, to explain + the belief also, because I want to draw it to some issue. As far as I + understand what you say, or any one else, taught as you have been taught, + says, on this matter,—you think that there is an external goodness, + a whited-sepulcher kind of goodness, which appears beautiful outwardly, + but is within full of uncleanness: a deep secret guilt, of which we + ourselves are not sensible; and which can only be seen by the Maker of us + all. (Approving murmurs from audience.) + </p> + <p> + L. Is it not so with the body as well as the soul? + </p> + <p> + (Looked notes of interrogation.) + </p> + <p> + L. A skull, for instance, is not a beautiful thing? (Grave faces, + signifying "Certainly not," and "What next?") + </p> + <p> + L. And if you all could see in each other, with clear eyes, whatever God + sees beneath those fair faces of yours, you would not like it? + </p> + <p> + (Murmured No's.) + </p> + <p> + L. Nor would it be good for you? + </p> + <p> + (Silence.) + </p> + <p> + L. The probability being that what God does not allow you to see, He does + not wish you to see; nor even to think of? + </p> + <p> + (Silence prolonged.) + </p> + <p> + L. It would not at all be good for you, for instance, whenever you were + washing your faces, and braiding your hair, to be thinking of the shapes + of the jawbones, and of the cartilage of the nose, and of the jagged + sutures of the scalp? + </p> + <p> + (Resolutely whispered No's.) + </p> + <p> + L. Still less, to see through a clear glass the daily processes of + nourishment and decay? + </p> + <p> + (No.) + </p> + <p> + L. Still less if instead of merely inferior and preparatory conditions of + structure, as in the skeleton,—or inferior offices of structure, as + in operations of life and death,—there were actual disease in the + body, ghastly and dreadful. You would try to cure it; but having taken + such measures as were necessary, you would not think the cure likely to be + promoted by perpetually watching the wounds, or thinking of them. On the + contrary, you would be thankful for every moment of forgetfulness: as, in + daily health, you must be thankful that your Maker has veiled whatever is + fearful in your frame under a sweet and manifest beauty; and has made it + your duty, and your only safety, to rejoice in that, both in yourself and + in others;—not indeed concealing, or refusing to believe in + sickness, if it come; but never dwelling on it. + </p> + <p> + Now, your wisdom and duty touching soul-sickness are just the same. + Ascertain clearly what is wrong with you; and so far as you know any means + of mending it, take those means, and have done; when you are examining + yourself, never call yourself merely a "sinner," that is very cheap abuse; + and utterly useless. You may even get to like it, and be proud of it. But + call yourself a liar, a coward, a sluggard, a glutton, or an evil-eyed, + jealous wretch, if you indeed find yourself to be in any wise any of + these. Take steady means to check yourself in whatever fault you have + ascertained, and justly accused yourself of. And as soon as you are in + active way of mending, you will be no more inclined to moan over an + undefined corruption. For the rest, you will find it less easy to uproot + faults, than to choke them by gaining virtues. Do not think of your + faults; still less of others' faults: in every person who comes near you, + look for what is good and strong: honor that; rejoice in it; and, as you + can, try to imitate it: and your faults will drop off like dead leaves, + when their time comes. If, on looking back, your whole life should seem + rugged as a palm-tree stem; still, never mind, so long as it has been + growing; and has its grand green shade of leaves, and weight of honeyed + fruit, at top. And even if you cannot find much good in yourself at last, + think that it does not much matter to the universe either what you were, + or are; think how many people are noble, if you cannot be; and rejoice in + THEIR nobleness. An immense quantity of modern confession of sin, even + when honest, is merely a sickly egotism; which will rather gloat over its + own evil, than lose the centralization of its interest in itself. + </p> + <p> + MARY. But then, if we ought to forget ourselves so much, how did the old + Greek proverb "Know thyself" come to be so highly esteemed? + </p> + <p> + L. My dear, it is the proverb of proverbs; Apollo's proverb, and the sun's—but + do you think you can know yourself by looking INTO yourself? Never. You + can know what you are, only by looking OUT of yourself. Measure your own + powers with those of others; compare your own interests with those of + others; try to understand what you appear to them, as well as what they + appear to you; and judge of yourselves, in all things, relatively and + subordinately; not positively: starting always with a wholesome conviction + of the probability that there is nothing particular about you. For + instance, some of you perhaps think you can write poetry. Dwell on your + own feelings; and doings:—and you will soon think yourselves Tenth + Muses; but forget your own feeling; and try, instead, to understand a line + or two of Chaucer or Dante: and you will soon begin to feel yourselves + very foolish girls—which is much like the fact. + </p> + <p> + So, something which befalls you may seem a great misfortune,—you + meditate over its effects on you personally: and begin to think that it is + a chastisement, or a warning, or a this or that or the other of profound + significance; and that all the angels in heaven have left their business + for a little while, that they may watch its effects on your mind. But give + up this egotistic indulgence of your fancy; examine a little what + misfortunes, greater a thousand- fold, are happening, every second, to + twenty times worthier persons: and your self-consciousness will change + into pity and humility; and you will know yourself so far as to understand + that "there hath nothing taken thee but what is common to man." + </p> + <p> + Now, Lucilla, these are the practical conclusions which any person of + sense would arrive at, supposing the texts which relate to the inner evil + of the heart were as many, and as prominent, as they are often supposed to + be by careless readers. But the way in which common people read their + Bibles is just like the way that the old monks thought hedgehogs ate + grapes. They rolled themselves (it was said), over and over, where the + grapes lay on the ground. What fruit stuck to their spines, they carried + off, and ate. So your hedgehoggy readers roll themselves over and over + their Bibles, and declare that whatever sticks to their own spines is + Scripture, and that nothing else is. But you can only get the skins of the + texts that way. If you want their juice, you must press them in cluster. + Now, the clustered texts about the human heart, insist, as a body, not on + any inherent corruption in all hearts, but on the terrific distinction + between the bad and the good ones. "A good man, out of the good treasure + of his heart, bringeth forth that which is good; and an evil man, out of + the evil treasure, bringeth forth that which is evil." "They on the rock + are they which, in an honest and good heart, having heard the word, keep + it." "Delight thyself in the Lord, and He shall give thee the desires of + thine heart." "The wicked have bent their bow, that they may privily shoot + at him that is upright in heart." And so on; they are countless, to the + same effect. And, for all of us, the question is not at all to ascertain + how much or how little corruption there is in human nature; but to + ascertain whether, out of all the mass of that nature, we are of the sheep + or the goat breed; whether we are people of upright heart, being shot at, + or people of crooked heart, shooting. And, of all the texts bearing on the + subject, this, which is a quite simple and practical order, is the one you + have chiefly to hold in mind. "Keep thy heart with all diligence, for out + of it are the issues of life." + </p> + <p> + LUCILLA. And yet, how inconsistent the texts seem! + </p> + <p> + L. Nonsense, Lucilla! do you think the universe is bound to look + consistent to a girl of fifteen? Look up at your own room window; —you + can just see it from where you sit. I'm glad that it is left open, as it + ought to be, in so fine a day. But do you see what a black spot it looks, + in the sunlighted wall? + </p> + <p> + LUCILLA. Yes, it looks as black as ink. + </p> + <p> + L. Yet you know it is a very bright room when you are inside of it; quite + as bright as there is any occasion for it to be, that its little lady may + see to keep it tidy. Well, it is very probable, also, that if you could + look into your heart from the sun's point of view, it might appear a very + black hole indeed: nay, the sun may sometimes think good to tell you that + it looks so to Him; but He will come into it, and make it very cheerful + for you, for all that, if you don't put the shutters up. And the one + question for YOU, remember, is not "dark or light?" but "tidy or untidy?" + Look well to your sweeping and garnishing; and be sure it is only the + banished spirit, or some of the seven wickeder ones at his back, who will + still whisper to you that it is all black. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0011" id="link2H_4_0011"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 6. — CRYSTAL QUARRELS + </h2> + <p> + Full conclave, in Schoolroom. There has been a game of crystallization in + the morning, of which various account has to be rendered. In particular, + everybody has to explain why they were always where they were not intended + to be. + </p> + <p> + L. (having received and considered the report). You have got on pretty + well children: but you know these were easy figures you have been trying. + Wait till I have drawn you out the plans of some crystals of snow! + </p> + <p> + MARY. I don't think those will be the most difficult:—they are so + beautiful that we shall remember our places better; and then they are all + regular, and in stars: it is those twisty oblique ones we are afraid of. + </p> + <p> + L. Read Carlyle's account of the battle of Leuthen, and learn Friedrich's + "oblique order." You will "get it done for once, I think, provided you CAN + march as a pair of compasses would." But remember, when you can construct + the most difficult single figures, you have only learned half the game—nothing + so much as the half, indeed, as the crystals themselves play it. + </p> + <p> + MARY. Indeed; what else is there? + </p> + <p> + L. It is seldom that any mineral crystallizes alone. Usually two or three, + under quite different crystalline laws, form together. They do this + absolutely without flaw or fault, when they are in fine temper: and + observe what this signifies. It signifies that the two, or more, minerals + of different natures agree, somehow, between themselves how much space + each will want;—agree which of them shall give way to the other at + their junction; or in what measure each will accommodate itself to the + other's shape! And then each takes its permitted shape, and allotted share + of space; yielding, or being yielded to, as it builds till each crystal + has fitted itself perfectly and gracefully to its differently-natured + neighbor. So that, in order to practice this, in even the simplest terms, + you must divide into two parties, wearing different colors; each must + choose a different figure to construct; and you must form one of these + figures through the other, both going on at the same time. + </p> + <p> + MARY. I think WE may, perhaps, manage it; but I cannot at all understand + how the crystals do. It seems to imply so much preconcerting of plan, and + so much giving way to each other, as if they really were living. + </p> + <p> + L. Yes, it implies both the concurrence and compromise, regulating all + wilfulness of design: and, more curious still, the crystals do NOT always + give way to each other. They show exactly the same varieties of temper + that human creatures might. Sometimes they yield the required place with + perfect grace and courtesy; forming fantastic, but exquisitely finished + groups: and sometimes they will not yield at all; but fight furiously for + their places, losing all shape and honor, and even their own likeness, in + the contest. + </p> + <p> + MARY. But is not that wholly wonderful? How is it that one never sees it + spoken of in books? + </p> + <p> + L. The scientific men are all busy in determining the constant laws under + which the struggle takes place; these indefinite humors of the elements + are of no interest to them. And unscientific people rarely give themselves + the trouble of thinking at all, when they look at stones. Not that it is + of much use to think; the more one thinks, the more one is puzzled. + </p> + <p> + MARY. Surely it is more wonderful than anything in botany? + </p> + <p> + L. Everything has its own wonders; but, given the nature of the plant, it + is easier to understand what a flower will do, and why it does it, than, + given anything we as yet know of stone-nature, to understand what a + crystal will do, and why it does it. You at once admit a kind of volition + and choice, in the flower; but we are not accustomed to attribute anything + of the kind to the crystal. Yet there is, in reality, more likeness to + some conditions of human feeling among stones than among plants. There is + a far greater difference between kindly-tempered and ill- tempered + crystals of the same mineral, than between any two specimens of the same + flower: and the friendships and wars of crystals depend more definitely + and curiously on their varieties of disposition, than any associations of + flowers. Here, for instance, is a good garnet, living with good mica; one + rich red, and the other silver white; the mica leaves exactly room enough + for the garnet to crystallize comfortably in; and the garnet lives happily + in its little white house; fitted to it, like a pholas in its cell. But + here are wicked garnets living with wicked mica. See what ruin they make + of each other! You cannot tell which is which; the garnets look like dull + red stains on the crumbling stone. By the way, I never could understand, + if St. Gothard is a real saint, why he can't keep his garnets in better + order. These are all under his care; but I suppose there are too many of + them for him to look after. The streets of Airolo are paved with them. + </p> + <p> + MAY. Paved with garnets? + </p> + <p> + L. With mica-slate and garnets; I broke this bit out of a paving stone. + Now garnets and mica are natural friends, and generally fond of each + other; but you see how they quarrel when they are ill brought up. So it is + always. Good crystals are friendly with almost all other good crystals, + however little they chance to see of each other, or however opposite their + habits may be; while wicked crystals quarrel with one another, though they + may be exactly alike in habits, and see each other continually. And of + course the wicked crystals quarrel with the good ones. + </p> + <p> + ISABEL. Then do the good ones get angry? + </p> + <p> + L. No, never: they attend to their own work and life; and live it as well + as they can, though they are always the sufferers. Here, for instance, is + a rock crystal of the purest race and finest temper, who was born, + unhappily for him, in a bad neighborhood, near Beaufort in Savoy; and he + has had to fight with vile calcareous mud all his life. See here, when he + was but a child, it came down on him, and nearly buried him; a weaker + crystal would have died in despair; but he only gathered himself together, + like Hercules against the serpents, and threw a layer of crystal over the + clay; conquered it,—imprisoned it,—and lived on. Then, when he + was a little older, came more clay; and poured itself upon him here, at + the side; and he has laid crystal over that, and lived on, in his purity. + Then the clay came on at his angles, and tried to cover them, and round + them away; but upon that he threw out buttress-crystals at his angles, all + as true to his own central line as chapels round a cathedral apse; and + clustered them round the clay; and conquered it again. At last the clay + came on at his summit, and tried to blunt his summit; but he could not + endure that for an instant; and left his flanks all rough, but pure; and + fought the clay at his crest, and built crest over crest and peak over + peak, till the clay surrendered at last, and here is his summit, smooth + and pure, terminating a pyramid of alternate clay and crystal, half a foot + high! + </p> + <p> + LILY. Oh, how nice of him! What a dear, brave crystal! But I can't bear to + see his flanks all broken, and the clay within them. + </p> + <p> + L. Yes; it was an evil chance for him, the being born to such contention; + there are some enemies so base that even to hold them captive is a kind of + dishonor. But look, here has been quite a different kind of struggle: the + adverse power has been more orderly, and has fought the pure crystal in + ranks as firm as its own. This is not mere rage and impediment of crowded + evil: here is a disciplined hostility; army against army. + </p> + <p> + LILY. Oh, but this is much more beautiful! + </p> + <p> + L. Yes, for both the elements have true virtue in them, it is a pity they + are at war, but they war grandly. + </p> + <p> + MARY. But is this the same clay as in the other crystal? + </p> + <p> + L. I used the word clay for shortness. In both, the enemy is really + limestone; but in the first, disordered, and mixed with true clay; while, + here, it is nearly pure, and crystallizes into its own primitive form, the + oblique six-sided one, which you know: and out of these it makes + regiments; and then squares of the regiments, and so charges the rock + crystal, literally in square against column. + </p> + <p> + ISABEL. Please, please, let me see. And what does the rock crystal do? + </p> + <p> + L. The rock crystal seems able to do nothing. The calcite cuts it through + at every charge. Look here,—and here! The loveliest crystal in the + whole group is hewn fairly into two pieces. + </p> + <p> + ISABEL. Oh, dear; but is the calcite harder than the crystal then? + </p> + <p> + L. No, softer. Very much softer. + </p> + <p> + MARY. But then, how can it possibly cut the crystal? + </p> + <p> + L. It did not really cut it, though it passes through it. The two were + formed together, as I told you but no one knows how. Still, it is strange + that this hard quartz has in all cases a good- natured way with it, of + yielding to everything else. All sorts of soft things make nests for + themselves in it; and it never makes a nest for itself in anything. It has + all the rough outside work; and every sort of cowardly and weak mineral + can shelter itself within it. Look; these are hexagonal plates of mica; if + they were outside of this crystal they would break, like burnt paper; but + they are inside of it,—nothing can hurt them,—the crystal has + taken them into its very heart, keeping all their delicate edges as sharp + as if they were under water, instead of bathed in rock. Here is a piece of + branched silver: you can bend it with a touch of your finger, but the + stamp of its every fiber is on the rock in which it lay, as if the quartz + had been as soft as wool. + </p> + <p> + LILY. Oh, the good, good quartz! But does it never get inside of anything? + </p> + <p> + L. As it is a little Irish girl who asks, I may perhaps answer, without + being laughed at, that it gets inside of itself sometimes. But I don't + remember seeing quartz make a nest for itself in anything else. + </p> + <p> + ISABEL. Please, there as something I heard you talking about, last time, + with Miss Mary. I was at my lessons, but I heard something about nests; + and I thought it was birds' nests; and I couldn't help listening; and + then, I remember, it was about "nests of quartz in granite." I remember, + because I was so disappointed! + </p> + <p> + L. Yes, mousie, you remember quite rightly; but I can't tell you about + those nests to-day, nor perhaps to-morrow: but there's no contradiction + between my saying then, and now; I will show you that there is not, some + day. Will you trust me meanwhile? + </p> + <p> + ISABEL. Won't I! + </p> + <p> + L. Well, then, look, lastly, at this piece of courtesy in quartz; it is on + a small scale, but wonderfully pretty. Here is nobly born quartz living + with a green mineral, called epidote; and they are immense friends. Now, + you see, a comparatively large and strong quartz-crystal, and a very weak + and slender little one of epidote, have begun to grow, close by each + other, and sloping unluckily towards each other, so that at last they + meet. They cannot go on growing together; the quartz crystal is five times + as thick, and more than twenty times as strong[Footnote: Quartz is not + much harder than epidote; the strength is only supposed to be in some + proportion to the squares of the diameters.], as the epidote; but he stops + at once, just in the very crowning moment of his life, when he is building + his own summit! He lets the pale little film of epidote grow right past + him; stopping his own summit for it; and he never himself grows any more. + </p> + <p> + LILY (after some silence of wonder). But is the quartz NEVER wicked then? + </p> + <p> + L. Yes, but the wickedest quartz seems good-natured, compared to other + things. Here are two very characteristic examples; one is good quartz, + living with good pearl-spar, and the other, wicked quartz, living with + wicked pearl spar. In both, the quartz yields to the soft carbonate of + iron: but, in the first place, the iron takes only what it needs of room; + and is inserted into the planes of the rock crystal with such precision + that you must break it away before you can tell whether it really + penetrates the quartz or not; while the crystals of iron are perfectly + formed, and have a lovely bloom on their surface besides. But here, when + the two minerals quarrel, the unhappy quartz has all its surfaces jagged + and torn to pieces; and there is not a single iron crystal whose shape you + can completely trace. But the quartz has the worst of it, in both + instances. + </p> + <p> + VIOLET. Might we look at that piece of broken quartz again, with the weak + little film across it? it seems such a strange lovely thing, like the + self-sacrifice of a human being. + </p> + <p> + L. The self-sacrifice of a human being is not a lovely thing, Violet. It + is often a necessary and noble thing; but no form nor degree of suicide + can be ever lovely. + </p> + <p> + VIOLET. But self-sacrifice is not suicide! + </p> + <p> + L. What is it then? + </p> + <p> + VIOLET. Giving up one's self for another. + </p> + <p> + L. Well; and what do you mean by "giving up one's self"? + </p> + <p> + VIOLET. Giving up one's tastes, one's feelings, one's time, one's + happiness, and so on, to make others happy. + </p> + <p> + L. I hope you will never marry anybody, Violet, who expects you to make + him happy in that way. + </p> + <p> + VIOLET (hesitating). In what way? + </p> + <p> + L. By giving up your tastes, and sacrificing your feelings, and happiness. + </p> + <p> + VIOLET. No, no, I don't mean that; but you know, for other people, one + must. + </p> + <p> + L. For people who don't love you, and whom you know nothing about? Be it + so; but how does this "giving up" differ from suicide then? + </p> + <p> + VIOLET. Why, giving up one's pleasures is not killing one's self? + </p> + <p> + L. Giving up wrong pleasure is not; neither is it self-sacrifice, but + self-culture. But giving up right pleasure is. If you surrender the + pleasure of walking, your foot will wither: you may as well cut it off: if + you surrender the pleasure of seeing, your eyes will soon be unable to + bear the light; you may as well pluck them out. And to maim yourself is + partly to kill yourself. Do but go on maiming, and you will soon slay. + </p> + <p> + VIOLET. But why do you make me think of that verse then, about the foot + and the eye? + </p> + <p> + L. You are indeed commanded to cut off and to pluck out, if foot or eye + offend you; but why SHOULD they offend you? + </p> + <p> + VIOLET. I don't know; I never quite understood that. + </p> + <p> + L. Yet it is a sharp order; one needing to be well understood if it is to + be well obeyed! When Helen sprained her ankle the other day, you saw how + strongly it had to be bandaged; that is to say, prevented from all work, + to recover it. But the bandage was not "lovely." + </p> + <p> + VIOLET. No, indeed. + </p> + <p> + L. And if her foot had been crushed, or diseased, or snake-bitten, instead + of sprained, it might have been needful to cut it off. But the amputation + would not have been "lovely." + </p> + <p> + VIOLET. No. + </p> + <p> + L. Well, if eye and foot are dead already, and betray you,—if the + light that is in you be darkness, and your feet run into mischief, or are + taken in the snare,—it is indeed time to pluck out, and cut off, I + think: but, so crippled, you can never be what you might have been + otherwise. You enter into life, at best, halt or maimed; and the sacrifice + is not beautiful, though necessary. + </p> + <p> + VIOLET (after a pause). But when one sacrifices one's self for others? + </p> + <p> + L. Why not rather others for you? + </p> + <p> + VIOLET. Oh! but I couldn't bear that. + </p> + <p> + L. Then why should they bear it? + </p> + <p> + DORA (bursting in, indignant). And Thermopylae, and Protesilaus, and + Marcus Curtius, and Arnold de Winkelried, and Iphigenia, and Jephthah's + daughter? + </p> + <p> + L. (sustaining the indignation unmoved). And the Samaritan woman's son? + </p> + <p> + DORA. Which Samaritan woman's? + </p> + <p> + L. Read 2 Kings vi. 29. + </p> + <p> + DORA (obeys). How horrid! As if we meant anything like that! + </p> + <p> + L. You don't seem to me to know in the least what you do mean, children. + What practical difference is there between "that," and what you are + talking about? The Samaritan children had no voice of their own in the + business, it is true; but neither had Iphigenia: the Greek girl was + certainly neither boiled, nor eaten; but that only makes a difference in + the dramatic effect; not in the principle. + </p> + <p> + DORA (biting her lip). Well, then, tell us what we ought to mean. As if + you didn't teach it all to us, and mean it yourself, at this moment, more + than we do, if you wouldn't be tiresome! + </p> + <p> + L. I mean, and always have meant, simply this, Dora;—that the will + of God respecting us is that we shall live by each other's happiness, and + life; not by each other's misery, or death. I made you read that verse + which so shocked you just now, because the relations of parent and child + are typical of all beautiful human help. A child may have to die for its + parents; but the purpose of Heaven is that it shall rather live for them;—that, + not by its sacrifice, but by its strength, its joy, its force of being, it + shall be to them renewal of strength; and as the arrow in the hand of the + giant. So it is in all other right relations. Men help each other by their + joy, not by their sorrow. They are not intended to slay themselves for + each other, but to strengthen themselves for each other. And among the + many apparently beautiful things which turn, through mistaken use, to + utter evil, I am not sure but that the thoughtlessly meek and + self-sacrificing spirit of good men must be named as one of the fatalest. + They have so often been taught that there is a virtue in mere suffering, + as such; and foolishly to hope that good may be brought by Heaven out of + all on which Heaven itself has set the stamp of evil, that we may avoid + it,—that they accept pain and defeat as if these were their + appointed portion; never understanding that their defeat is not the less + to be mourned because it is more fatal to their enemies than to them. The + one thing that a good man has to do, and to see done, is justice; he is + neither to slay himself nor others causelessly: so far from denying + himself, since he is pleased by good, he is to do his utmost to get his + pleasure accomplished. And I only wish there were strength, fidelity, and + sense enough, among the good Englishmen of this day, to render it possible + for them to band together in a vowed brotherhood, to enforce, by strength + of heart and hand, the doing of human justice among all who came within + their sphere. And finally, for your own teaching, observe, although there + may be need for much self-sacrifice and self-denial in the correction of + faults of character, the moment the character is formed, the self-denial + ceases. Nothing is really well done, which it costs you pain to do. + </p> + <p> + VIOLET. But surely, sir, you are always pleased with us when we try to + please others, and not ourselves? + </p> + <p> + L. My dear child, in the daily course and discipline of right life, we + must continually and reciprocally submit and surrender in all kind and + courteous and affectionate ways: and these submissions and ministries to + each other, of which you all know (none better) the practice and the + preciousness, are as good for the yielder as the receiver: they strengthen + and perfect as much as they soften and refine. But the real sacrifice of + all our strength, or life, or happiness to others (though it may be + needed, and though all brave creatures hold their lives in their hand, to + be given, when such need comes, as frankly as a soldier gives his life in + battle), is yet always a mournful and momentary necessity; not the + fulfillment of the continuous law of being. Self-sacrifice which is sought + after, and triumphed in, is usually foolish; and calamitous in its issue: + and by the sentimental proclamation and pursuit of it, good people have + not only made most of their own lives useless, but the whole framework of + their religion so hollow, that at this moment, while the English nation, + with its lips, pretends to teach every man to "love his neighbor as + himself," with its hands and feet it clutches and tramples like a wild + beast; and practically lives, every soul of it that can, on other people's + labor. Briefly, the constant duty of every man to his fellows is to + ascertain his own powers and special gifts; and to strengthen them for the + help of others. Do you think Titian would have helped the world better by + denying himself, and not painting; or Casella by denying himself, and not + singing! The real virtue is to be ready to sing the moment people ask us; + as he was, even in purgatory. The very word "virtue" means not "conduct" + but "strength," vital energy in the heart. Were not you reading about that + group of words beginning with V,—vital, virtuous, vigorous, and so + on,—in Max Muller, the other day, Sibyl? Can't you tell the others + about it? + </p> + <p> + SIBYL. No, I can't; will you tell us, please? + </p> + <p> + L. Not now, it is too late. Come to me some idle time to-morrow, and I'll + tell you about it, if all's well. But the gist of it is, children, that + you should at least know two Latin words; recollect that "mors" means + death and delaying; and "vita" means life and growing: and try always, not + to mortify yourselves, but to vivify yourselves. + </p> + <p> + VIOLET. But, then, are we not to mortify our earthly affections? and + surely we are to sacrifice ourselves, at least in God's service, if not in + man's? + </p> + <p> + L. Really, Violet, we are getting too serious. I've given you enough + ethics for one talk, I think! Do let us have a little play. Lily, what + were you so busy about, at the ant-hill in the wood, this morning? + </p> + <p> + LILY. Oh, it was the ants who were busy, not I; I was only trying to help + them a little. + </p> + <p> + L. And they wouldn't be helped, I suppose? + </p> + <p> + LILY. No, indeed. I can't think why ants are always so tiresome, when one + tries to help them! They were carrying bits of stick, as fast as they + could, through a piece of grass; and pulling and pushing, SO hard; and + tumbling over and over,—it made one quite pity them; so I took some + of the bits of stick, and carried them forward a little, where I thought + they wanted to put them; but instead of being pleased, they left them + directly, and ran about looking quite angry and frightened; and at last + ever so many of them got up my sleeves, and bit me all over, and I had to + come away. + </p> + <p> + L. I couldn't think what you were about. I saw your French grammar lying + on the grass behind you, and thought perhaps you had gone to ask the ants + to hear you a French verb. + </p> + <p> + ISABEL. Ah! but you didn't, though! + </p> + <p> + L. Why not, Isabel? I knew, well enough, Lily couldn't learn that verb by + herself. + </p> + <p> + ISABEL. No; but the ants couldn't help her. + </p> + <p> + L. Are you sure the ants could not have helped you, Lily? + </p> + <p> + LILY (thinking). I ought to have learned something from them, perhaps. + </p> + <p> + L. But none of them left their sticks to help you through the irregular + verb? + </p> + <p> + LILY. No, indeed. (Laughing, with some others.) + </p> + <p> + L. What are you laughing at, children? I cannot see why the ants should + not have left their tasks to help Lily in hers,—since here is Violet + thinking she ought to leave HER tasks, to help God in his. Perhaps, + however, she takes Lily's more modest view, and thinks only that "He ought + to learn something from her." + </p> + <p> + (Tears in VIOLET'S eyes.) + </p> + <p> + DORA (scarlet). It's too bad—it's a shame:—poor Violet! + </p> + <p> + L. My dear children, there's no reason why one should be so red, and the + other so pale, merely because you are made for a moment to feel the + absurdity of a phrase which you have been taught to use, in common with + half the religious world. There is but one way in which man can ever help + God—that is, by letting God help him: and there is no way in which + His name is more guiltily taken in vain, than by calling the abandonment + of our own work, the performance of His. + </p> + <p> + God is a kind Father. He sets us all in the places where He wishes us to + be employed; and that employment is truly "our Father's business." He + chooses work for every creature which will be delightful to them, if they + do it simply and humbly. He gives us always strength enough, and sense + enough, for what He wants us to do; if we either tire ourselves or puzzle + ourselves, it is ourselves, it is our own fault. And we may always be + sure, whatever we are doing, that we cannot be pleasing Him, if we are not + happy ourselves. Now, away with you, children; and be as happy as you can. + And when you cannot, at least don't plume yourselves upon pouting. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0012" id="link2H_4_0012"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 7. — HOME VIRTUES + </h2> + <p> + By the fireside, in the Drawing-room. Evening. + </p> + <p> + DORA. Now, the curtains are drawn, and the fire's bright, and here's your + arm-chair—and you're to tell us all about what you promised. + </p> + <p> + L. All about what? + </p> + <p> + DORA. All about virtue. + </p> + <p> + KATHLEEN. Yes, and about the words that begin with V. + </p> + <p> + L. I heard you singing about a word that begins with V, in the playground, + this morning, Miss Katie. + </p> + <p> + KATHLEEN. Me singing! + </p> + <p> + MAY. Oh tell us—tell us. + </p> + <p> + L. "Vilikens and his—" + </p> + <p> + KATHLEEN (stopping his mouth). Oh! please don't. Where were you? + </p> + <p> + ISABEL. I'm sure I wish I had known where he was! We lost him among the + rhododendrons, and I don't know where he got to; oh, you naughty—naughty—(climbs + on his knee). + </p> + <p> + DORA. Now, Isabel, we really want to talk. + </p> + <p> + L. <i>I</i> don't. + </p> + <p> + DORA. Oh, but you must. You promised, you know. + </p> + <p> + L. Yes, if all was well; but all's ill. I'm tired and cross; and I won't. + </p> + <p> + DORA. You're not a bit tired, and you're not crosser than two sticks; and + we'll make you talk, if you were crosser than six. Come here, Egypt; and + get on the other side of him. + </p> + <p> + (EGYPT takes up a commanding position near the hearth-brush.) + </p> + <p> + DORA (reviewing her forces). Now, Lily, come and sit on the rug in front. + </p> + <p> + (LILY does as she is bid.) + </p> + <p> + L. (seeing he has no chance against the odds). Well, well; but I'm really + tired. Go and dance a little, first; and let me think. + </p> + <p> + DORA. No; you mustn't think. You will be wanting to make us think next; + that will be tiresome. + </p> + <p> + L. Well, go and dance first, to get quit of thinking: and then I'll talk + as long as you like. + </p> + <p> + DORA. Oh, but we can't dance to-night. There isn't time; and we want to + hear about virtue. + </p> + <p> + L. Let me see a little of it first. Dancing is the first of girls' + virtues. + </p> + <p> + EGYPT. Indeed! And the second? + </p> + <p> + L. Dressing. + </p> + <p> + EGYPT. Now, you needn't say that! I mended that tear the first thing + before breakfast this morning. + </p> + <p> + L. I cannot otherwise express the ethical principle, Egypt; whether you + have mended your gown or not. + </p> + <p> + DORA. Now don't be tiresome. We really must hear about virtue, please; + seriously. + </p> + <p> + L. Well. I'm telling you about it, as fast as I can. + </p> + <p> + DORA. What! the first of girls' virtues is dancing? + </p> + <p> + L. More accurately, it is wishing to dance, and not wishing to tease, nor + hear about virtue. + </p> + <p> + DORA (to EGYPT). Isn't he cross? + </p> + <p> + EGYPT. How many balls must we go to in the season, to be perfectly + virtuous? + </p> + <p> + L. As many as you can without losing your color. But I did not say you + should wish to go to balls. I said you should be always wanting to dance. + </p> + <p> + EGYPT. So we do; but everybody says it is very wrong. + </p> + <p> + L. Why, Egypt, I thought— + </p> +<pre xml:space="preserve"> + "There was a lady once, + That would not be a queen,—that would she not, + For all the mud in Egypt." +</pre> + <p> + You were complaining the other day of having to go out a great deal + oftener than you liked. + </p> + <p> + EGYPT. Yes, so I was; but then, it isn't to dance. There's no room to + dance: it's—(Pausing to consider what it is for). + </p> + <p> + L. It is only to be seen, I suppose. Well, there's no harm in that. Girls + ought to like to be seen. + </p> + <p> + DORA (her eyes flashing). Now, you don't mean that; and you're too + provoking; and we won't dance again, for a month. + </p> + <p> + L. It will answer every purpose of revenge, Dora, if you only banish me to + the library; and dance by yourselves; but I don't think Jessie and Lily + will agree to that. You like me to see you dancing, don't you, Lily? + </p> + <p> + LILY. Yes, certainly,—when we do it rightly. + </p> + <p> + L. And besides, Miss Dora, if young ladies really do not want to be seen, + they should take care not to let their eyes flash when they dislike what + people say: and, more than that, it is all nonsense from beginning to end, + about not wanting to be seen. I don't know any more tiresome flower in the + borders than your especially "modest" snowdrop; which one always has to + stoop down and take all sorts of tiresome trouble with, and nearly break + its poor little head off, before you can see it; and then, half of it is + not worth seeing. Girls should be like daisies, nice and white, with an + edge of red, if you look close, making the ground bright wherever they + are, knowing simply and quietly that they do it, and are meant to do it + and that it would be very wrong if they didn't do it. Not want to be seen, + indeed! How long were you in doing up your back hair, this afternoon + Jessie? + </p> + <p> + (JESSIE not immediately answering, DORA comes to her assistance) + </p> + <p> + DORA. Not above three-quarters of an hour, I think, Jess? + </p> + <p> + JESSIE (putting her finger up). Now, Dorothy, you needn't talk, you know! + </p> + <p> + L. I know she needn't, Jessie, I shall ask her about those dark plaits + presently. (DORA looks round to see if there is any way open for retreat) + But never mind, it was worth the time, whatever it was, and nobody will + ever mistake that golden wreath for a chignon: but if you don't want it to + be seen you had better wear a cap. + </p> + <p> + JESSIE. Ah, now, are you really going to do nothing but play? And we all + have been thinking, and thinking, all day, and hoping you would tell us + things, and now—! + </p> + <p> + L. And now I am telling you things, and true things, and things good for + you, and you won't believe me. You might as well have let me go to sleep + at once, as I wanted to. (Endeavors again to make himself comfortable.) + </p> + <p> + ISABEL. Oh, no, no, you sha'n't go to sleep, you naughty!— Kathleen, + come here. + </p> + <p> + L. (knowing what he has to expect if KATHLEEN comes). Get away, Isabel, + you're too heavy. (Sitting up.) What have I been saying? + </p> + <p> + DORA. I do believe he has been asleep all the time! You never heard + anything like the things you've been saying. + </p> + <p> + L. Perhaps not. If you have heard them, and anything like them, it is all + I want. + </p> + <p> + EGYPT. Yes, but we don't understand, and you know we don't; and we want + to. + </p> + <p> + L. What did I say first? + </p> + <p> + DORA. That the first virtue of girls was wanting to go to balls. + </p> + <p> + L. I said nothing of the kind. + </p> + <p> + JESSIE. "Always wanting to dance," you said. + </p> + <p> + L. Yes, and that's true. Their first virtue is to be intensely happy;—so + happy that they don't know what to do with themselves for happiness,—and + dance, instead of walking. Don't you recollect "Louisa," + </p> +<pre xml:space="preserve"> + "No fountain from a rocky cave + E'er tripped with foot so free; + She seemed as happy as a wave + That dances on the sea." +</pre> + <p> + A girl is always like that, when everything's right with her. + </p> + <p> + VIOLET. But, surely, one must be sad sometimes? + </p> + <p> + L. Yes, Violet and dull sometimes and stupid sometimes, and cross + sometimes. What must be, must; but it is always either our own fault, or + somebody else's. The last and worst thing that can be said of a nation is, + that it has made its young girls sad, and weary. + </p> + <p> + MAY. But I am sure I have heard a great many good people speak against + dancing? + </p> + <p> + L. Yes, May, but it does not follow they were wise as well as good. I + suppose they think Jeremiah liked better to have to write Lamentations for + his people, than to have to write that promise for them, which everybody + seems to hurry past, that they may get on quickly to the verse about + Rachel weeping for her children, though the verse they pass is the counter + blessing to that one: "Then shall the virgin rejoice in the dance; and + both young men and old together, and I will turn their mourning into joy." + </p> + <p> + (The children get very serious, but look at each other, as if pleased.) + </p> + <p> + MARY. They understand now: but, do you know what you said next? + </p> + <p> + L. Yes, I was not more than half asleep. I said their second virtue was + dressing. + </p> + <p> + MARY. Well! what did you mean by that? + </p> + <p> + L. What do YOU mean by dressing? + </p> + <p> + MARY. Wearing fine clothes. + </p> + <p> + L. Ah! there's the mistake. <i>I</i> mean wearing plain ones. + </p> + <p> + MARY. Yes, I daresay I but that's not what girls understand by dressing, + you know. + </p> + <p> + L. I can't help that. If they understand by dressing, buying dresses, + perhaps they also understand by drawing, buying pictures. But when I hear + them say they can draw, I understand that they can make a drawing; and + when I hear them say they can dress, I understand that they can make a + dress and—which is quite as difficult—wear one. + </p> + <p> + DORA. I'm not sure about the making; for the wearing, we can all wear them—out, + before anybody expects it. + </p> + <p> + EGYPT (aside to L., piteously). Indeed I have mended that torn flounce + quite neatly; look if I haven't! + </p> + <p> + L. (aside, to EGYPT). All right; don't be afraid. (Aloud to DORA.) Yes, + doubtless; but you know that is only a slow way of UNdressing. + </p> + <p> + DORA. Then, we are all to learn dress-making, are we? + </p> + <p> + L. Yes; and always to dress yourselves beautifully—not finely, + unless on occasion; but then very finely and beautifully, too. Also, you + are to dress as many other people as you can; and to teach them how to + dress, if they don't know; and to consider every ill-dressed woman or + child whom you see anywhere, as a personal disgrace; and to get at them, + somehow, until everybody is as beautifully dressed as birds. + </p> + <p> + (Silence; the children drawing their breaths hard, as if they had come + from under a shower bath.) + </p> + <p> + L. (seeing objections begin to express themselves in the eyes). Now you + needn't say you can't; for you can, and it's what you were meant to do, + always; and to dress your houses, and your gardens, too; and to do very + little else, I believe, except singing; and dancing, as we said, of course + and—one thing more. + </p> + <p> + DORA. Our third and last virtue, I suppose? + </p> + <p> + L. Yes; on Violet's system of triplicities. + </p> + <p> + DORA. Well, we are prepared for anything now. What is it? + </p> + <p> + L. Cooking. + </p> + <p> + DORA. Cardinal, indeed! If only Beatrice were here with her seven + handmaids, that she might see what a fine eighth we had found for her! + </p> + <p> + MARY. And the interpretation? What does "cooking" mean? + </p> + <p> + L. It means the knowledge of Medea, and of Circe, and of Calypso, and of + Helen, and of Rebekah, and of the Queen of Sheba. It means the knowledge + of all herbs, and fruits, and balms, and spices; and of all that is + healing and sweet in fields and groves, and savory in meats, it means + carefulness, and inventiveness, and watchfulness, and willingness, and + readiness of appliance, it means the economy of your great-grandmothers, + and the science of modern chemists; it means much tasting, and no wasting, + it means English thoroughness, and French art, and Arabian hospitality, + and it means, in fine, that you are to be perfectly and always "ladies"—"loaf-givers;" + and, as you are to see, imperatively, that everybody has something pretty + to put on,—so you are to see, yet more imperatively, that everybody + has something nice to eat. + </p> + <p> + (Another pause, and long drawn breath.) + </p> + <p> + DORA (slowly recovering herself) to EGYPT. We had better have let him go + to sleep, I think, after all! + </p> + <p> + L. You had better let the younger ones go to sleep now: for I haven't half + done. + </p> + <p> + ISABEL (panic-struck). Oh! please, please! just one quarter of an hour. + </p> + <p> + L. No, Isabel, I cannot say what I've got to say in a quarter of an hour; + and it is too hard for you, besides:—you would be lying awake, and + trying to make it out, half the night. That will never do. + </p> + <p> + ISABEL. Oh, please! + </p> + <p> + L. It would please me exceedingly, mousie: but there are times when we + must both be displeased; more's the pity. Lily may stay for half an hour, + if she likes. + </p> + <p> + LILY. I can't, because Isey never goes to sleep, if she is waiting for me + to come. + </p> + <p> + ISABEL. Oh, yes, Lily, I'll go to sleep to-night. I will, indeed. + </p> + <p> + LILY. Yes, it's very likely, Isey, with those fine round eyes! (To L.) + You'll tell me something of what you we been saying, to- morrow, won't + you? + </p> + <p> + L. No, I won't, Lily. You must choose. It's only in Miss Edgeworth's + novels that one can do right, and have one's cake and sugar afterwards as + well (not that I consider the dilemma, to- night, so grave). + </p> + <p> + (LILY, sighing, takes ISABEL'S hand.) + </p> + <p> + Yes, Lily dear, it will be better, in the outcome of it, so, than if you + were to hear all the talks that eer were talked, and all the stories that + ever were told. Good-night. + </p> + <p> + (The door leading to the condemned cells of the Dormitory closes on LILY, + ISABEL, FLORRIE, and other diminutive and submissive victims.) + </p> + <p> + JESSIE (after a pause). Why, I thought you were so fond of Miss Edgeworth. + </p> + <p> + L. So I am, and so you ought all to be. I can read her over and over + again, without ever tiring; there's no one whose every page is so full, + and so delightful, no one who brings you into the company of pleasanter or + wiser people; no one who tells you more truly how to do right. And it is + very nice, in the midst of a wild world, to have the very ideal of + poetical justice done always to one's hand:—to have everybody found + out, who tells lies; and everybody decorated with a red riband, who + doesn't; and to see the good Laura, who gave away her half sovereign, + receiving a grand ovation from an entire dinner party disturbed for the + purpose; and poor, dear, little Rosamond, who chooses purple jars instead + of new shoes, left at last without either her shoes or her bottle. But it + isn't life: and, in the way children might easily understand it, it isn't + morals. + </p> + <p> + JESSIE. How do you mean we might understand it? + </p> + <p> + L. You might think Miss Edgeworth meant that the right was to be done + mainly because one was always rewarded for doing it. It is an injustice to + her to say that: her heroines always do right simply for its own sake, as + they should; and her examples of conduct and motive are wholly admirable. + But her representation of events is false and misleading. Her good + characters never are brought into the deadly trial of goodness,—the + doing right, and suffering for it, quite finally. And that is life, as God + arranges it. "Taking up one's cross" does not at all mean having ovations + at dinner parties, and being put over everybody else's head. + </p> + <p> + DORA. But what does it mean then? That is just what we couldn't + understand, when you were telling us about not sacrificing ourselves, + yesterday. + </p> + <p> + L. My dear, it means simply that you are to go the road which you see to + be the straight one; carrying whatever you find is given you to carry, as + well and stoutly as you can; without making faces, or calling people to + come and look at you. Above all, you are neither to load, nor unload, + yourself; nor cut your cross to your own liking. Some people think it + would be better for them to have it large; and many, that they could carry + it much faster if it were small; and even those who like it largest are + usually very particular about its being ornamental, and made of the best + ebony. But all that you have really to do is to keep your back as straight + as you can; and not think about what is upon it—above all, not to + boast of what is upon it. The real and essential meaning of "virtue" is in + that straightness of back. Yes; you may laugh, children, but it is. You + know I was to tell you about the words that began with V. Sibyl, what does + "virtue" mean literally? + </p> + <p> + SIBYL. Does it mean courage? + </p> + <p> + L. Yes; but a particular kind of courage. It means courage of the nerve; + vital courage. That first syllable of it, if you look in Max Muller, you + will find really means "nerve," and from it come "vis," and "vir," and + "virgin" (through vireo), and the connected word "virga"—"a rod;"—the + green rod, or springing bough of a tree, being the type of perfect human + strength, both in the use of. it in the Mosaic story, when it becomes a + serpent, or strikes the rock; or when Aaron's bears its almonds; and in + the metaphorical expressions, the "Rod out of the stem of Jesse," and the + "Man whose name is the Branch," and so on. And the essential idea of real + virtue is that of a vital human strength, which instinctively, constantly, + and without motive, does what is right. You must train men to this by + habit, as you would the branch of a tree; and give them instincts and + manners (or morals) of purity, justice, kindness, and courage. Once + rightly trained, they act as they should, irrespectively of all motive, of + fear, or of reward. It is the blackest sign of putrescence in a national + religion, when men speak as if it were the only safeguard of conduct; and + assume that, but for the fear of being burned, or for the hope of being + rewarded, everybody would pass their lives in lying, stealing, and + murdering. I think quite one of the notablest historical events of this + century (perhaps the very notablest), was that council of clergymen, + horror-struck at the idea of any diminution in our dread of hell, at which + the last of English clergymen whom one would have expected to see in such + a function, rose as the devil's advocate; to tell us how impossible it was + we could get on without him. + </p> + <p> + VIOLET (after a pause). But, surely, if people weren't afraid— + (hesitates again). + </p> + <p> + L. They should be afraid of doing wrong, and of that only, my dear. + Otherwise, if they only don't do wrong for fear of being punished, they + HAVE done wrong in their hearts already. + </p> + <p> + VIOLET. Well, but surely, at least one ought to be afraid of displeasing + God; and one's desire to please Him should be one's first motive? + </p> + <p> + L. He never would be pleased with us, if it were, my dear. When a father + sends his son out into the world—suppose as an apprentice —fancy + the boy's coming home at night, and saying, "Father, I could have robbed + the till to-day; but I didn't, because I thought you wouldn't like it." Do + you think the father would be particularly pleased? + </p> + <p> + (VIOLET is silent.) + </p> + <p> + He would answer, would he not, if he were wise and good, "My boy, though + you had no father, you must not rob tills"? And nothing is ever done so as + really to please our Great Father, unless we would also have done it, + though we had had no Father to know of it. + </p> + <p> + VIOLET (after long pause). But, then, what continual threatenings, and + promises of reward there are! + </p> + <p> + L. And how vain both! with the Jews, and with all of us. But the fact is, + that the threat and promise are simply statements of the Divine law, and + of its consequences. The fact is truly told you,— make what use you + may of it: and as collateral warning, or encouragement, or comfort, the + knowledge of future consequences may often be helpful to us; but helpful + chiefly to the better state when we can act without reference to them. And + there's no measuring the poisoned influence of that notion of future + reward on the mind of Christian Europe, in the early ages. Half the + monastic system rose out of that, acting on the occult pride and ambition + of good people (as the other half of it came of their follies and + misfortunes). There is always a considerable quantity of pride, to begin + with, in what is called "giving one's self to God." As if one had ever + belonged to anybody else! + </p> + <p> + DORA. But, surely, great good has come out of the monastic system —our + books,—our sciences—all saved by the monks? + </p> + <p> + L. Saved from what, my dear? From the abyss of misery and ruin which that + false Christianity allowed the whole active world to live in. When it had + become the principal amusement, and the most admired art of Christian men, + to cut one another's throats, and burn one another's towns; of course the + few feeble or reasonable persons left, who desired quiet, safety, and kind + fellowship, got into cloisters; and the gentlest, thoughtfullest, noblest + men and women shut themselves up, precisely where they could be of least + use. They are very fine things, for us painters, now—the towers and + white arches upon the tops of the rocks; always in places where it takes a + day's climbing to get at them; but the intense tragi-comedy of the thing, + when one thinks of it, is unspeakable. All the good people of the world + getting themselves hung up out of the way of mischief, like Bailie Nicol + Jarvie;—poor little lambs, as it were, dangling there for the sign + of the Golden Fleece; or like Socrates in his basket in the "Clouds"! (I + must read you that bit of Aristophanes again, by the way.) And believe me, + children, I am no warped witness, as far as regards monasteries; or if I + am, it is in their favor. I have always had a strong leaning that way; and + have pensively shivered with Augustines at St. Bernard; and happily made + hay with Franciscans at Fesole; and sat silent with Carthusians in their + little gardens, south of Florence; and mourned through many a day-dream, + at Melrose and Bolton. But the wonder is always to me, not how much, but + how little, the monks have, on the whole, done, with all that leisure, and + all that good-will! What nonsense monks characteristically wrote;—what + little progress they made in the sciences to which they devoted themselves + as a duty,—medicine especially;—and, last and worst, what + depths of degradation they can sometimes see one another, and the + population round them, sink into; without either doubting their system, or + reforming it! + </p> + <p> + (Seeing questions rising to lips.) Hold your little tongues, children; + it's very late, and you'll make me forget what I've to say. Fancy + yourselves in pews, for five minutes. There's one point of possible good + in the conventual system, which is always attractive to young girls; and + the idea is a very dangerous one;— 0the notion of a merit, or + exalting virtue, consisting in a habit of meditation on the "things + above," or things of the next world. Now it is quite true, that a person + of beautiful mind, dwelling on whatever appears to them most desirable and + lovely in a possible future, will not only pass their time pleasantly, but + will even acquire, at last, a vague and wildly gentle charm of manner and + feature, which will give them an air of peculiar sanctity in the eyes of + others. Whatever real or apparent good there may be in this result, I want + you to observe, children, that we have no real authority for the reveries + to which it is owing. We are told nothing distinctly of the heavenly + world; except that it will be free from sorrow, and pure from sin. What is + said of pearl gates, golden floors, and the like, is accepted as merely + figurative by religious enthusiasts themselves; and whatever they pass + their time in conceiving, whether of the happiness of risen souls, of + their intercourse, or of the appearance and employment of the heavenly + powers, is entirely the product of their own imagination; and as + completely and distinctly a work of fiction, or romantic invention, as any + novel of Sir Walter Scott's. That the romance is founded on religious + theory or doctrine;—that no disagreeable or wicked persons are + admitted into the story;—and that the inventor fervently hopes that + some portion of it may hereafter come true, does not in the least alter + the real nature of the effort or enjoyment. + </p> + <p> + Now, whatever indulgence may be granted to amiable people for pleasing + themselves in this innocent way, it is beyond question, that to seclude + themselves from the rough duties of life, merely to write religious + romances, or, as in most cases, merely to dream them, without taking so + much trouble as is implied in writing, ought not to be received as an act + of heroic virtue. But, observe, even in admitting thus much, I have + assumed that the fancies are just and beautiful, though fictitious. Now, + what right have any of us to assume that our own fancies will assuredly be + either the one or the other? That they delight us, and appear lovely to + us, is no real proof of its not being wasted time to form them: and we may + surely be led somewhat to distrust our judgment of them by observing what + ignoble imaginations have sometimes sufficiently, or even + enthusiastically, occupied the hearts of others. The principal source of + the spirit of religious contemplation is the East; now I have here in my + hand a Byzantine image of Christ, which, if you will look at it seriously, + may, I think, at once and forever render you cautious in the indulgence of + a merely contemplative habit of mind. Observe, it is the fashion to look + at such a thing only as a piece of barbarous art; that is the smallest + part of its interest. What I want you to see, is the baseness and + falseness of a religious state of enthusiasm, in which such a work could + be dwelt upon with pious pleasure. That a figure, with two small round + black beads for eyes; a gilded face, deep cut into horrible wrinkles; an + open gash for a mouth, and a distorted skeleton for a body, wrapped about, + to make it fine, with striped enamel of blue and gold;—that such a + figure, I say, should ever have been thought helpful towards the + conception of a Redeeming Deity, may make you, I think, very doubtful, + even of the Divine approval,—much more of the Divine inspiration,—of + religious reverie in general. You feel, doubtless, that your own idea of + Christ would be something very different from this; but in what does the + difference consist? Not in any more divine authority in your imagination; + but in the intellectual work of six intervening centuries; which, simply, + by artistic discipline, has refined this crude conception for you, and + filled you, partly with an innate sensation, partly with an acquired + knowledge, of higher forms,—which render this Byzantine crucifix as + horrible to you, as it was pleasing to its maker. More is required to + excite your fancy; but your fancy is of no more authority than his was: + and a point of national art-skill is quite conceivable, in which the best + we can do now will be as offensive to the religious dreamers of the more + highly cultivated time, as this Byzantine crucifix is to you. + </p> + <p> + MARY. But surely, Angelico will always retain his power over everybody? + </p> + <p> + L. Yes, I should think, always; as the gentle words of a child will: but + you would be much surprised, Mary, if you thoroughly took the pains to + analyze, and had the perfect means of analyzing, that power of Angelico,—to + discover its real sources. Of course it is natural, at first, to attribute + it to the pure religious fervor by which he was inspired; but do you + suppose Angelico was really the only monk, in all the Christian world of + the middle ages, who labored, in art, with a sincere religious enthusiasm? + </p> + <p> + MARY. No, certainly not. + </p> + <p> + L. Anything more frightful, more destructive of all religious faith + whatever, than such a supposition, could not be. And yet, what other monk + ever produced such work? I have myself examined carefully upwards of two + thousand illuminated missals, with especial view to the discovery of any + evidence of a similar result upon the art, from the monkish devotion; and + utterly in vain. + </p> + <p> + MARY. But then, was not Fra Angelico a man of entirely separate and + exalted genius? + </p> + <p> + L. Unquestionably; and granting him to be that, the peculiar phenomenon in + his art is, to me, not its loveliness, but its weakness. The effect of + "inspiration," had it been real, on a man of consummate genius, should + have been, one would have thought, to make everything that he did + faultless and strong, no less than lovely. But of all men, deserving to be + called "great," Fra Angelico permits to himself the least pardonable + faults, and the most palpable follies. There is evidently within him a + sense of grace, and power of invention, as great as Ghiberti's:—we + are in the habit of attributing those high qualities to his religious + enthusiasm; but, if they were produced by that enthusiasm in him, they + ought to be produced by the same feelings in others; and we see they are + not. Whereas, comparing him with contemporary great artists, of equal + grace and invention, one peculiar character remains notable in him,—which, + logically, we ought therefore to attribute to the religious fervor;—and + that distinctive character is, the contented indulgence of his own + weaknesses, and perseverance in his own ignorances. + </p> + <p> + MARY. But that's dreadful! And what is the source of the peculiar charm + which we all feel in his work? + </p> + <p> + L. There are many sources of it, Mary; united and seeming like one. You + would never feel that charm but in the work of an entirely good man; be + sure of that; but the goodness is only the recipient and modifying + element, not the creative one. Consider carefully what delights you in any + original picture of Angelico's. You will find, for one minor thing, an + exquisite variety and brightness of ornamental work. That is not + Angelico's inspiration. It is the final result of the labor and thought of + millions of artists, of all nations; from the earliest Egyptian potters + downwards—Greeks, Byzantines, Hindoos, Arabs, Gauls, and Northmen—all + joining in the toil; and consummating it in Florence, in that century, + with such embroidery of robe and inlaying of armor as had never been seen + till then; nor probably, ever will be seen more. Angelico merely takes his + share of this inheritance, and applies it in the tenderest way to subjects + which are peculiarly acceptant of it. But the inspiration, if it exist + anywhere, flashes on the knight's shield quite as radiantly as on the + monk's picture. Examining farther into the sources of your emotion in the + Angelico work, you will find much of the impression of sanctity dependent + on a singular repose and grace of gesture, consummating itself in the + floating, flying, and above all, in the dancing groups. That is not + Angelico's inspiration. It is only a peculiarly tender use of systems of + grouping which had been long before developed by Giotto, Memmi, and + Orcagna; and the real root of it all is simply—What do you think, + children? The beautiful dancing of the Florentine maidens! + </p> + <p> + DORA (indignant again). Now, I wonder what next! Why not say it all + depended on Herodias' daughter, at once? + </p> + <p> + L. Yes; it is certainly a great argument against singing that there were + once sirens. + </p> + <p> + DORA. Well, it may be all very fine and philosophical, but shouldn't I + just like to read you the end of the second volume of "Modern Painters"! + </p> + <p> + L. My dear, do you think any teacher could be worth your listening to, or + anybody else's listening to, who had learned nothing, and altered his mind + in nothing, from seven and twenty to seven and forty? But that second + volume is very good for you as far as it goes. It is a great advance, and + a thoroughly straight and swift one, to be led, as it is the main business + of that second volume to lead you, from Dutch cattle-pieces, and + ruffian-pieces, to Fra Angelico. And it is right for you also, as you grow + older, to be strengthened in the general sense and judgment which may + enable you to distinguish the weaknesses from the virtues of what you + love, else you might come to love both alike; or even the weaknesses + without the virtues. You might end by liking Overbeck and Cornelius as + well as Angelico. However, I have perhaps been leaning a little too much + to the merely practical side of things, in to-night's talk; and you are + always to remember, children, that I do not deny, though I cannot affirm, + the spiritual advantages resulting, in certain cases, from enthusiastic + religious reverie, and from the other practices of saints and anchorites. + The evidence respecting them has never yet been honestly collected, much + less dispassionately examined: but assuredly, there is in that direction a + probability, and more than a probability, of dangerous error, while there + is none whatever in the practice of an active, cheerful, and benevolent + life. The hope of attaining a higher religious position, which induces us + to encounter, for its exalted alternative, the risk of unhealthy error, is + often, as I said, founded more on pride than piety; and those who, in + modest usefulness, have accepted what seemed to them here the lowliest + place in the kingdom of their Father, are not, I believe, the least likely + to receive hereafter the command, then unmistakable, "Friend, go up + higher." + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0013" id="link2H_4_0013"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 8. — CRYSTAL CAPRICE + </h2> + <p> + Formal Lecture in Schoolroom, after some practical examination of + minerals. + </p> + <p> + L. We have seen enough, children, though very little of what might be seen + if we had more time, of mineral structures produced by visible opposition, + or contest among elements; structures of which the variety, however great, + need not surprise us: for we quarrel, ourselves, for many and slight + causes,—much more, one should think, may crystals, who can only feel + the antagonism, not argue about it. But there is a yet more singular + mimicry of our human ways in the varieties of form which appear owing to + no antagonistic force; but merely to the variable humor and caprice of the + crystals themselves: and I have asked you all to come into the schoolroom + to-day, because, of course, this is a part of the crystal mind which must + be peculiarly interesting to a feminine audience. (Great symptoms of + disapproval on the part of said audience.) Now, you need not pretend that + it will not interest you; why should it not? It is true that we men are + never capricious; but that only makes us the more dull and disagreeable. + You, who are crystalline in brightness, as well as in caprice, charm + infinitely, by infinitude of change. (Audible murmurs of "Worse and + worse!" "As if we could be got over that way!" Etc. The LECTURER, however, + observing the expression of the features to be more complacent, proceeds.) + And the most curious mimicry, if not of your changes of fashion, at least + of your various modes (in healthy periods) of national costume, takes + place among the crystals of different countries. With a little experience, + it is quite possible to say at a glance, in what districts certain + crystals have been found; and although, if we had knowledge extended and + accurate enough, we might of course ascertain the laws and circumstances + which have necessarily produced the form peculiar to each locality, this + would be just as true of the fancies of the human mind. If we could know + the exact circumstances which affect it, we could foretell what now seems + to us only caprice of thought, as well as what now seems to us only + caprice of crystal: nay, so far as our knowledge reaches, it is on the + whole easier to find some reason why the peasant girls of Berne should + wear their caps in the shape of butterflies; and the peasant girls of + Munich theirs in the shape of shells, than to say why the rock-crystals of + Dauphine should all have their summits of the shape of lip-pieces of + flageolets, while those of St. Gothard are symmetrical, or why the fluor + of Chamouni is rose-colored, and in octahedrons, while the fluor of + Weardale is green, and in cubes. Still farther removed is the hope, at + present, of accounting for minor differences in modes of grouping and + construction. Take, for instance, the caprices of this single mineral, + quart;—variations upon a single theme. It has many forms; but see + what it will make out of this ONE, the six-sided prism. For shortness' + sake, I shall call the body of the prism its "column," and the pyramid at + the extremities its "cap." Now, here, first you have a straight column as + long and thin as a stalk of asparagus, with two little caps at the ends; + and here you have a short thick column, as solid as a haystack, with two + fat caps at the ends; and here you have two caps fastened together, and no + column at all between them! Then here is a crystal with its column fat in + the middle, and tapering to a little cap; and here is one stalked like a + mushroom, with a huge cap put on the top of a slender column! Then here is + a column built wholly out of little caps, with a large smooth cap at the + top. And here is a column built of columns and caps; the caps all + truncated about half-way to their points. And in both these last, the + little crystals are set anyhow, and build the large one in a disorderly + way; but here is a crystal made of columns and truncated caps, set in + regular terraces all the way up. + </p> + <p> + MARY. But are not these groups of crystals, rather than one crystal? + </p> + <p> + L. What do you mean by a group, and what by one crystal? + </p> + <p> + DORA (audibly aside, to MARY, who is brought to pause). You know you are + never expected to answer, Mary. + </p> + <p> + L. I'm sure this is easy enough. What do you mean by a group of people? + </p> + <p> + MARY. Three or four together, or a good many together, like the caps in + these crystals. + </p> + <p> + L. But when a great many persons get together they don't take the shape of + one person? + </p> + <p> + (MARY still at pause.) + </p> + <p> + ISABEL. No, because they can't; but you know the crystals can; so why + shouldn't they? + </p> + <p> + L. Well, they don't; that is to say, they don't always, nor even often. + Look here, Isabel. + </p> + <p> + ISABEL. What a nasty ugly thing! + </p> + <p> + L. I'm glad you think it so ugly. Yet it is made of beautiful crystals; + they are a little gray and cold in color, but most of them are clear. + </p> + <p> + ISABEL. But they're in such horrid, horrid disorder! + </p> + <p> + L. Yes; all disorder is horrid, when it is among things that are naturally + orderly. Some little girls' rooms are naturally orderly, I suppose; or I + don't know how they could live in them, if they cry out so when they only + see quartz crystals in confusion. + </p> + <p> + ISABEL. Oh! but how come they to be like that? + </p> + <p> + L. You may well ask. And yet you will always hear people talking, as if + they thought order more wonderful than disorder! It is wonderful—as + we have seen; but to me, as to you, child, the supremely wonderful thing + is that nature should ever be ruinous or wasteful, or deathful! I look at + this wild piece of crystallization with endless astonishment. + </p> + <p> + MARY. Where does it come from? + </p> + <p> + L. The Tete Noire of Chamonix. What makes it more strange is that it + should be in a vein of fine quartz. If it were in a mouldering rock, it + would be natural enough; but in the midst of so fine substance, here are + the crystals tossed in a heap; some large, myriads small (almost as small + as dust), tumbling over each other like a terrified crowd, and glued + together by the sides, and edges, and backs, and heads; some warped, and + some pushed out and in, and all spoiled, and each spoiling the rest. + </p> + <p> + MARY. And how flat they all are! + </p> + <p> + L. Yes; that's the fashion at the Tete Noire. + </p> + <p> + MARY. But surely this is ruin, not caprice? + </p> + <p> + L. I believe it is in great part misfortune; and we will examine these + crystal troubles in next lecture. But if you want to see the gracefullest + and happiest caprices of which dust is capable, you must go to the Hartz; + not that I ever mean to go there myself, for I want to retain the romantic + feeling about the name; and I have done myself some harm already by seeing + the monotonous and heavy form of the Brocken from the suburbs of + Brunswick. But whether the mountains be picturesque or not, the tricks + which the goblins (as I am told) teach the crystals in them, are + incomparably pretty. They work chiefly on the mind of a docile, + bluish-colored, carbonate of lime; which comes out of a gray limestone. + The goblins take the greatest possible care of its education, and see that + nothing happens to it to hurt its temper; and when it may be supposed to + have arrived at the crisis which is to a well brought up mineral, what + presentation at court is to a young lady—after which it is expected + to set fashions—there's no end to its pretty ways of behaving. First + it will make itself into pointed darts as fine as hoarfrost; here, it is + changed into a white fur as fine as silk; here into little crowns and + circlets, as bright as silver; as if for the gnome princesses to wear; + here it is in beautiful little plates, for them to eat off; presently it + is in towers which they might be imprisoned in; presently in caves and + cells, where they may make nun-gnomes of themselves, and no gnome ever + hear of them more; here is some of it in sheaves, like corn; here, some in + drifts, like snow; here, some in rays, like stars: and, though these are, + all of them, necessarily, shapes that the mineral takes in other places, + they are all taken here with such a grace that you recognize the high + caste and breeding of the crystals wherever you meet them, and know at + once they are Hartz- born. + </p> + <p> + Of course, such fine things as these are only done by crystals which are + perfectly good, and good-humored; and of course, also, there are + ill-humored crystals who torment each other, and annoy quieter crystals, + yet without coming to anything like serious war. Here (for once) is some + ill-disposed quartz, tormenting a peaceable octahedron of fluor, in mere + caprice. I looked at it the other night so long, and so wonderingly, just + before putting my candle out, that I fell into another strange dream. But + you don't care about dreams. + </p> + <p> + DORA. No; we didn't, yesterday; but you know we are made up of caprice; so + we do, to-day: and you must tell it us directly. + </p> + <p> + L. Well, you see, Neith and her work were still much in my mind; and then, + I had been looking over these Hartz things for you, and thinking of the + sort of grotesque sympathy there seemed to be in them with the beautiful + fringe and pinnacle work of Northern architecture. So, when I fell asleep, + I thought I saw Neith and St. Barbara talking together. + </p> + <p> + DORA. But what had St. Barbara to do with it? + </p> + <p> + L. My dear, I am quite sure St. Barbara is the patroness of good + architects; not St. Thomas, whatever the old builders thought. It might be + very fine, according to the monks' notions, in St. Thomas, to give all his + employer's money away to the poor: but breaches of contract are bad + foundations; and I believe, it was not he, but St. Barbara, who overlooked + the work in all the buildings you and I care about. However that may be, + it was certainly she whom I saw in my dream with Neith. Neith was sitting + weaving, and I thought she looked sad, and threw her shuttle slowly; and + St. Barbara was standing at her side, in a stiff little gown, all ins and + outs, and angles; but so bright with embroidery that it dazzled me + whenever she moved; the train of it was just like a heap of broken jewels, + it was so stiff, and full of corners, and so many-colored and bright. Her + hair fell over her shoulders in long, delicate waves, from under a little + three pinnacled crown, like a tower. She was asking Neith about the laws + of architecture in Egypt and Greece; and when Neith told her the measures + of the pyramids, St. Barbara said she thought they would have been better + three-cornered and when Neith told her the measures of the Parthenon, St. + Barbara said she thought it ought to have had two transepts. But she was + pleased when Neith told her of the temple of the dew, and of the Caryan + maidens bearing its frieze: and then she thought that perhaps Neith would + like to hear what sort of temples she was building herself, in the French + valleys, and on the crags of the Rhine. So she began gossiping, just as + one of you might to an old lady: and certainly she talked in the sweetest + way in the world to Neith; and explained to her all about crockets and + pinnacles: and Neith sat, looking very grave; and always graver as St. + Barbara went on; till at last, I'm sorry to say, St. Barbara lost her + temper a little. + </p> + <p> + MARY (very grave herself). "St. Barbara"? + </p> + <p> + L. Yes, Mary. Why shouldn't she? It was very tiresome of Neith to sit + looking like that. + </p> + <p> + MAY. But, then, St. Barbara was a saint! + </p> + <p> + L. What's that, May? + </p> + <p> + MAY. A saint! A saint is—I am sure you know! + </p> + <p> + L. If I did, it would not make me sure that you knew too, May: but I + don't. + </p> + <p> + VIOLET (expressing the incredulity of the audience). Oh,—sir! + </p> + <p> + L. That is to say, I know that people are called saints who are supposed + to be better than others: but I don't know how much better they must be, + in order to be saints; nor how nearly anybody may be a saint, and yet not + be quite one; nor whether everybody who is called a saint was one; nor + whether everybody who isn't called a saint, isn't one. + </p> + <p> + (General silence; the audience feeling themselves on the verge of the + Infinities—and a little shocked—and much puzzled by so many + questions at once.) + </p> + <p> + L. Besides, did you never hear that verse about being—called to be + "saints"? + </p> + <p> + MAY (repeats Rom. i. 7). + </p> + <p> + L. Quite right, May. Well, then, who are called to be that? People in Rome + only? + </p> + <p> + MAY. Everybody, I suppose, whom God loves. + </p> + <p> + L. What! little girls as well as other people? + </p> + <p> + MAY. All grown-up people, I mean. + </p> + <p> + L. Why not little girls? Are they wickeder when they are little? + </p> + <p> + MAY. Oh, I hope not. + </p> + <p> + L Why not little girls, then? (Pause) + </p> + <p> + LILY. Because, you know we can't be worth anything if we're ever so good,—I + mean, if we try to be ever so good and we can't do difficult things—like + saints. + </p> + <p> + L I am afraid, my dear that old people are not more able or willing for + their difficulties than you children are for yours. All I can say is, that + if ever I see any of you, when you are seven or eight and twenty, knitting + your brows over any work you want to do or to understand as I saw you Lily + knitting your brows over your slate this morning I should think you very + noble women. But—to come back to my dream—St Barbara did lose + her temper a little, and I was not surprised. For you can't think how + provoking Neith looked, sitting there just like a statue of sandstone, + only going on weaving like a machine and never quickening the cast of her + shuttle, while St Barbara was telling her so eagerly all about the most + beautiful things and chattering away, as fast as bells ring on Christmas + Eve, till she saw that Neilh didn't care, and then St Barbara got as red + as a rose, and stopped just in time,— or I think she would really + have said something naughty. + </p> + <p> + ISABEL Oh please, but didn't Neith say anything then? + </p> + <p> + L. Yes. She said, quite quietly, "It may be very pretty, my love; but it + is all nonsense." + </p> + <p> + ISABEL. Oh dear, oh dear; and then? + </p> + <p> + L. Well; then I was a little angry myself, and hoped St. Barbara would be + quite angry; but she wasn't. She bit her lips first; and then gave a great + sigh—such a wild, sweet sigh—and then she knelt down and hid + her face on Neith's knees. Then Neith smiled a little, and was moved. + </p> + <p> + ISABEL. Oh, I am so glad! + </p> + <p> + L. And she touched St. Barbara's forehead with a flower of white lotus; + and St. Barbara sobbed once or twice, and then said: "If you only could + see how beautiful it is, and how much it makes people feel what is good + and lovely; and if you could only hear the children singing in the Lady + chapels!" And Neith smiled,—but still sadly,—and said, "How do + you know what I have seen, or heard, my love? Do you think all those + vaults and towers of yours have been built without me? There was not a + pillar in your Giotto's Santa Maria del Fiore which I did not set true by + my spear-shaft as it rose. But this pinnacle and flame work which has set + your little heart on fire, is all vanity; and you will see what it will + come to, and that soon; and none will grieve for it more than I. And then + every one will disbelieve your pretty symbols and types. Men must be + spoken simply to, my dear, if you would guide them kindly, and long." But + St. Barbara answered, that, "Indeed she thought every one liked her work," + and that "the people of different towns were as eager about their + cathedral towers as about their privileges or their markets;" and then she + asked Neith to come and build something with her, wall against tower; and + "see whether the people will be as much pleased with your building as with + mine." But Neith answered, "I will not contend with you, my dear. I strive + not with those who love me; and for those who hate me, it is not well to + strive with me, as weaver Arachne knows. And remember, child, that nothing + is ever done beautifully, which is done in rivalship; nor nobly, which is + done in pride." + </p> + <p> + Then St. Barbara hung her head quite down, and said she was very sorry she + had been so foolish; and kissed Neith; and stood thinking a minute: and + then her eyes got bright again, and she said, she would go directly and + build a chapel with five windows in it; four for the four cardinal + virtues, and one for humility, in the middle, bigger than the rest. And + Neith very nearly laughed quite out, I thought; certainly her beautiful + lips lost all their sternness for an instant; then she said, "Well, love, + build it, but do not put so many colors into your windows as you usually + do; else no one will be able to see to read, inside: and when it is built, + let a poor village priest consecrate it, and not an archbishop." St. + Barbara started a little, I thought, and turned as if to say something; + but changed her mind, and gathered up her train, and went out. And Neith + bent herself again to her loom, in which she was weaving a web of strange + dark colors, I thought; but perhaps it was only after the glittering of + St. Barbara's embroidered train: and I tried to make out the figures in + Neith's web, and confused myself among them, as one always does in dreams; + and then the dream changed altogether, and I found myself, all at once, + among a crowd of little Gothic and Egyptian spirits, who were quarreling: + at least the Gothic ones were trying to quarrel; for the Egyptian ones + only sat with their hands on their knees, and their aprons sticking out + very stiffly; and stared. And after a while I began to understand what the + matter was. It seemed that some of the troublesome building imps, who + meddle and make continually, even in the best Gothic work, had been + listening to St. Barbara's talk with Neith; and had made up their minds + that Neith had no workpeople who could build against them. They were but + dull imps, as you may fancy by their thinking that; and never had done + much, except disturbing the great Gothic building angels at their work, + and playing tricks to each other; indeed, of late they had been living + years and years, like bats, up under the cornices of Strasbourg and + Cologne cathedrals, with nothing to do but to make mouths at the people + below. However, they thought they knew everything about tower building; + and those who had heard what Neith said, told the rest; and they all flew + down directly, chattering in German, like jackdaws, to show Neith's people + what they could do. And they had found some of Neith's old workpeople + somewhere near Sais, sitting in the sun, with their hands on their knees; + and abused them heartily: and Neith's people did not mind at first, but, + after a while, they seemed to get tired of the noise; and one or two rose + up slowly, and laid hold of their measuring rods, and said, "If St. + Barbara's people liked to build with them, tower against pyramid, they + would show them how to lay stones." + </p> + <p> + Then the Gothic little spirits threw a great many double somersaults for + joy; and put the tips of their tongues out slyly to each other, on one + side; and I heard the Egyptians say, "they must be some new kind of frog—they + didn't think there was much building in them." However, the stiff old + workers took their rods, as I said, and measured out a square space of + sand; but as soon as the German spirits saw that, they declared they + wanted exactly that bit of ground to build on, themselves. Then the + Egyptian builders offered to go farther off and the German ones said, "Ja + wohl." But as soon as the Egyptians had measured out another square, the + little Germans said they must have some of that too. Then Neith's people + laughed; and said, "they might take as much as they liked, but they would + not move the plan of their pyramid again." Then the little Germans took + three pieces, and began to build three spires directly; one large, and two + little. And when the Egyptians saw they had fairly begun, they laid their + foundation all round, of large square stones: and began to build, so + steadily that they had like to have swallowed up the three little German + spires. So when the Gothic spirits saw that, they built their spires + leaning, like the tower of Pisa, that they might stick out at the side of + the pyramid. And Neith's people stared at them; and thought it very + clever, but very wrong; and on they went, in their own way, and said + nothing. Then the little Gothic spirits were terribly provoked because + they could not spoil the shape of the pyramid; and they sat down all along + the ledges of it to make faces; but that did no good. Then they ran to the + corners, and put their elbows on their knees, and stuck themselves out as + far as they could, and made more faces; but that did no good, neither. + Then they looked up to the sky, and opened their mouths wide, and gobbled, + and said it was too hot for work, and wondered when it would rain; but + that did no good, neither. And all the while the Egyptian spirits were + laying step above step patiently. But when the Gothic ones looked, and saw + how big they had got, they said, "Ach, Himmel!" and flew down in a great + black cluster to the bottom; and swept out a level spot in the sand with + their wings, in no time, and began building a tower straight up, as fast + as they could. And the Egyptians stood still again to stare at them; for + the Gothic spirits had got quite into a passion, and were really working + very wonderfully. They cut the sandstone into strips as fine as reeds; and + put one reed on the top of another, so that you could not see where they + fitted: and they twisted them in and out like basket work, and knotted + them into likenesses of ugly faces, and of strange beasts biting each + other; and up they went, and up still, and they made spiral staircases at + the corners, for the loaded workers to come up by (for I saw they were but + weak imps, and could not fly with stones on their backs), and then they + made traceried galleries for them to run round by; and so up again; with + finer and finer work, till the Egyptians wondered whether they meant the + thing for a tower or a pillar: and I heard them saying to one another, "It + was nearly as pretty as lotus stalks; and if it were not for the ugly + faces, there would be a fine temple, if they were going to build it all + with pillars as big as that!" But in a minute afterwards,—just as + the Gothic spirits had carried their work as high as the upper course, but + three or four, of the pyramid—the Egyptians called out to them to + "mind what they were about, for the sand was running away from under one + of their tower corners." But it was too late to mind what they were about; + for, in another instant, the whole tower sloped aside; and the Gothic imps + rose out of it like a flight of puffins, in a single cloud; but screaming + worse than any puffins you ever heard: and down came the tower, all in a + piece, like a falling poplar, with its head right on the flank of the + pyramid; against which it snapped short off. And of course that waked me. + </p> + <p> + MARY. What a shame of you to have such a dream, after all you have told us + about Gothic architecture! + </p> + <p> + L. If you have understood anything I ever told you about it, you know that + no architecture was ever corrupted more miserably; or abolished more + justly by the accomplishment of its own follies. Besides, even in its days + of power, it was subject to catastrophes of this kind. I have stood too + often, mourning, by the grand fragment of the apse of Beauvais, not to + have that fact well burnt into me. Still, you must have seen, surely, that + these imps were of the Flamboyant school; or, at least, of the German + schools correspondent with it in extravagance. + </p> + <p> + MARY. But, then, where is the crystal about which you dreamed all this? + </p> + <p> + L. Here; but I suppose little Pthah has touched it again, for it is very + small. But, you see, here is the pyramid, built of great square stones of + fluor spar, straight up; and here are the three little pinnacles of + mischievous quartz, which have set themselves, at the same time, on the + same foundation; only they lean like the tower of Pisa, and come out + obliquely at the side: and here is one great spire of quartz which seems + as if it had been meant to stand straight up, a little way off; and then + had fallen down against the pyramid base, breaking its pinnacle away. In + reality, it has crystallized horizontally, and terminated imperfectly: + but, then, by what caprice does one crystal form horizontally, when all + the rest stand upright? But this is nothing to the phantasies of fluor, + and quartz, and some other such companions, when they get leave to do + anything they like. I could show you fifty specimens, about every one of + which you might fancy a new fairy tale. Not that, in truth, any crystals + get leave to do quite what they like; and many of them are sadly tried, + and have little time for caprices—poor things! + </p> + <p> + MARY. I thought they always looked as if they were either in play or in + mischief! What trials have they? + </p> + <p> + L. Trials much like our own. Sickness, and starvation; fevers, and agues, + and palsy; oppression; and old age, and the necessity of passing away in + their time, like all else. If there's any pity in you, you must come + to-morrow, and take some part in these crystal griefs. + </p> + <p> + DORA. I am sure we shall cry till our eyes are red. L. Ah, you may laugh, + Dora: but I've been made grave, not once, nor twice, to see that even + crystals "cannot choose but be old" at last. It may be but a shallow + proverb of the Justice's; but it is a shrewdly wide one. + </p> + <p> + DORA (pensive for once). I suppose it is very dreadful to be old! But then + (brightening again), what should we do without our dear old friends, and + our nice old lecturers? + </p> + <p> + L. If all nice old lecturers were minded as little as one I know of;— + </p> + <p> + DORA. And if they all meant as little what they say, would they not + deserve it? But we'll come—we'll come, and cry. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0014" id="link2H_4_0014"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 9. — CRYSTAL SORROWS + </h2> + <p> + Working Lecture in Schoolroom. + </p> + <p> + L. We have been hitherto talking, children, as if crystals might live, and + play, and quarrel, and behave ill or well, according to their characters, + without interruption from anything else. But so far from this being so, + nearly all crystals, whatever their characters, have to live a hard life + of it, and meet with many misfortunes. If we could see far enough, we + should find, indeed, that, at the root, all their vices were misfortunes: + but to-day I want you to see what sort of troubles the best crystals have + to go through, occasionally, by no fault of their own. + </p> + <p> + This black thing, which is one of the prettiest of the very few pretty + black things in the world, is called "Tourmaline." It may be transparent, + and green, or red, as well as black; and then no stone can be prettier + (only, all the light that gets into it, I believe, comes out a good deal + the worse; and is not itself again for a long while). But this is the + commonest state of it,—opaque, and as black as jet. + </p> + <p> + MARY. What does "Tourmaline" mean? + </p> + <p> + L. They say it is Ceylanese, and I don't know Ceylanese, but we may always + be thankful for a graceful word, whatever it means + </p> + <p> + MARY. And what is it made of? + </p> + <p> + L. A little of everything there's always flint and clay, and magnesia in + it, and the black is iron, according to its fancy, and there's boracic + acid if you know what that is and if you don't, I cannot tell you today, + and it doesn't signify and there's potash, and soda, and, on the whole, + the chemistry of it is more like a mediaeval doctor's prescription, than + the making of a respectable mineral but it may, perhaps, be owing to the + strange complexity of its make, that it has a notable habit which makes + it, to me one of the most interesting of minerals. You see these two + crystals are broken right across, in many places, just as if they had been + shafts of black marble fallen from a ruinous temple, and here they lie, + imbedded in white quartz, fragment succeeding fragment keeping the line of + the original crystal, while the quartz fills up the intervening spaces Now + tourmaline has a trick of doing this, more than any other mineral I know + here is another bit which I picked up on the glacier of Macugnaga; it is + broken, like a pillar built of very flat broad stones, into about thirty + joints, and all these are heaved and warped away from each other sideways, + almost into a line of steps, and then all is tilled up with quartz paste. + And here, lastly is a green Indian piece, in which the pillar is first + disjointed, and then wrung round into the shape of an S. + </p> + <p> + MARY. How CAN this have been done? + </p> + <p> + L. There are a thousand ways in which it may have been done, the + difficulty is not to account for the doing of it, but for the showing of + it in some crystals and not in others You never by any chance get a quartz + crystal broken or twisted in this way. If it break or twist at all which + it does sometimes, like the spire of Dijon, it is by its own will or + fault, it never seems to have been passively crushed But, for the forces + which cause this passive ruin of the tourmaline,—here is a stone + which will show you multitudes of them in operation at once It is known as + "biecciated agate," beautiful, as you see, and highly valued as a pebble + yet, so far as I can read or hear no one has ever looked at it with the + least attention At the first glance, you see it is made of very fine red + striped agates, which have been broken into small pieces, and fastened + together again by paste also of agate There would be nothing wonderful in + this, if this were all. It is well known that by the movements of strata, + portions of rock are often shattered to pieces:—well known also that + agate is a deposit of flint by water under certain conditions of heat and + pressure: there is, therefore, nothing wonderful in an agate's being + broken; and nothing wonderful in its being mended with the solution out of + which it was itself originally congealed. And with this explanation, most + people, looking at a brecciated agate, or brecciated anything, seem to be + satisfied. I was so myself, for twenty years; but, lately happening to + stay for some time at the Swiss Baden, where the beach of the Limmat is + almost wholly composed of brecciated limestones, I began to examine them + thoughtfully; and perceived, in the end, that they were, one and all, + knots of as rich mystery as any poor little human brain was ever lost in. + That piece of agate in your hand, Mary, will show you many of the common + phenomena of breccias; but you need not knit your brows over it in that + way; depend upon it, neither you nor I shall ever know anything about the + way it was made, as long as we live. + </p> + <p> + DORA. That does not seem much to depend upon. + </p> + <p> + L. Pardon me, puss. When once we gain some real notion of the extent and + unconquerableness of our ignorance, it is a very broad and restful thing + to depend upon: you can throw yourself upon it at ease, as on a cloud, to + feast with the gods. You do not thenceforward trouble yourself,—nor + any one else,—with theories, or the contradiction of theories; you + neither get headache nor heart-burning and you nevermore waste your poor + little store of strength or allowance of time. + </p> + <p> + However, there are certain facts, about this agate-making, which I can + tell you; and then you may look at it in a pleasant wonder as long as you + like, pleasant wonder is no loss of time. + </p> + <p> + First, then, it is not broken freely by a blow; it is slowly wrung, or + ground, to pieces. You can only with extreme dimness conceive the force + exerted on mountains in transitional states of movement. You have all read + a little geology; and you know how coolly geologists talk of mountains + being raised or depressed. They talk coolly of it, because they are + accustomed to the fact; but the very universality of the fact prevents us + from ever conceiving distinctly the conditions of force involved. You know + I was living last year in Savoy; my house was on the back of a sloping + mountain, which rose gradually for two miles behind it; and then fell at + once in a great precipice toward Geneva, going down three thousand feet in + four or five cliffs, or steps. Now that whole group of cliffs had simply + been torn away by sheer strength from the rocks below, as if the whole + mass had been as soft as biscuit. Put four or five captains' biscuits on + the floor, on the top of one another; and try to break them all in half, + not by bending, but by holding one half down, and tearing the other halves + straight up;—of course you will not be able to do it, but you will + feel and comprehend the sort of force needed. Then, fancy each captains' + biscuit a bed of rock, six or seven hundred feet thick; and the whole mass + torn straight through; and one half heaved up three thousand feet, + grinding against the other as it rose,—and you will have some idea + of the making of the Mont Saleve. + </p> + <p> + MAY. But it must crush the rocks all to dust! + </p> + <p> + L. No; for there is no room for dust. The pressure is too great; probably + the heat developed also so great that the rock is made partly ductile; but + the worst of it is, that we never can see these parts of mountains in the + state they were left in at the time of their elevation; for it is + precisely in these rents and dislocations that the crystalline power + principally exerts itself. It is essentially a styptic power, and wherever + the earth is torn, it heals and binds; nay, the torture and grieving of + the earth seem necessary to bring out its full energy; for you only find + the crystalline living power fully in action, where the rents and faults + are deep and many. + </p> + <p> + DORA. If you please, sir,—would you tell us—what are "faults"? + </p> + <p> + L. You never heard of such things? + </p> + <p> + DORA. Never in all our lives. + </p> + <p> + L. When a vein of rock which is going on smoothly, is interrupted by + another troublesome little vein, which stops it, and puts it out, so that + it has to begin again in another place—that is called a fault. <i>I</i> + always think it ought to be called the fault of the vein that interrupts + it; but the miners always call it the fault of the vein that is + interrupted. + </p> + <p> + DORA. So it is, if it does not begin again where it left off. + </p> + <p> + L. Well, that is certainly the gist of the business: but, whatever + good-natured old lecturers may do, the rocks have a bad habit, when they + are once interrupted, of never asking "Where was I?" + </p> + <p> + DORA. When the two halves of the dining-table came separate, yesterday, + was that a "fault"? + </p> + <p> + L. Yes; but not the table's. However, it is not a bad illustration, Dora. + When beds of rock are only interrupted by a fissure, but remain at the + same level, like the two halves of the table, it is not called a fault, + but only a fissure; but if one half of the table be either tilted higher + than the other, or pushed to the side, so that the two parts will not fit, + it is a fault. You had better read the chapter on faults in Jukes's + Geology; then you will know all about it. And this rent that I am telling + you of in the Saleve, is one only of myriads, to which are owing the forms + of the Alps, as, I believe, of all great mountain chains. Wherever you see + a precipice on any scale of real magnificence, you will nearly always find + it owing to some dislocation of this kind; but the point of chief wonder + to me is the delicacy of the touch by which these gigantic rents have been + apparently accomplished. Note, however, that we have no clear evidence, + hitherto, of the time taken to produce any of them. We know that a change + of temperature alters the position and the angles of the atoms of + crystals, and also the entire bulk of rocks. We know that in all volcanic, + and the greater part of all subterranean, action, temperatures are + continually changing, and therefore masses of rock must be expanding or + contracting, with infinite slowness, but with infinite force. This + pressure must result in mechanical strain somewhere, both in their own + substance, and in that of the rocks surrounding them; and we can form no + conception of the result of irresistible pressure, applied so as to rend + and raise, with imperceptible slowness of gradation, masses thousands of + feet in thickness. We want some experiments tried on masses of iron and + stone; and we can't get them tried, because Christian creatures never will + seriously and sufficiently spend money, except to find out the shortest + ways of killing each other. But, besides this slow kind of pressure, there + is evidence of more or less sudden violence, on the same terrific scale; + and, through it all, the wonder, as I said, is always to me the delicacy + of touch. I cut a block of the Saleve limestone from the edge of one of + the principal faults which have formed the precipice; it is a lovely + compact limestone, and the fault itself is filled up with a red breccia, + formed of the crushed fragments of the torn rock, cemented by a rich red + crystalline paste. I have had the piece I cut from it smoothed, and + polished across the junction; here it is; and you may now pass your soft + little fingers over the surface, without so much as feeling the place + where a rock which all the hills of England might have been sunk in the + body of, and not a summit seen, was torn asunder through that whole + thickness, as a thin dress is torn when you tread upon it. + </p> + <p> + (The audience examine the stone, and touch it timidly, but the matter + remains inconceivable to them.) + </p> + <p> + MARY (struck by the beauty of the stone). But this is almost marble? + </p> + <p> + L. It is quite marble. And another singular point in the business, to my + mind, is that these stones, which men have been cutting into slabs, for + thousands of years, to ornament their principal buildings with,—and + which, under the general name of "marble," have been the delight of the + eyes, and the wealth of architecture, among all civilized nations,—are + precisely those on which the signs and brands of these earth agonies have + been chiefly struck; and there is not a purple vein nor flaming zone in + them, which is not the record of their ancient torture. What a boundless + capacity for sleep, and for serene stupidity, there is in the human mind! + Fancy reflective beings, who cut and polish stones for three thousand + years, for the sake of the pretty stains upon them; and educate themselves + to an art at last (such as it is), of imitating these veins by dexterous + painting; and never a curious soul of them, all that while, asks, "What + painted the rocks?" + </p> + <p> + (The audience look dejected, and ashamed of themselves.) + </p> + <p> + The fact is, we are all, and always, asleep, through our lives; and it is + only by pinching ourselves very hard that we ever come to see, or + understand, anything. At least, it is not always we who pinch ourselves; + sometimes other people pinch us; which I suppose is very good of them,—or + other things, which I suppose is very proper of them. But it is a sad + life; made up chiefly of naps and pinches. + </p> + <p> + (Some of the audience, on this, appearing to think that the others require + pinching, the LECTURER changes the subject.) + </p> + <p> + Now, however, for once, look at a piece of marble carefully, and think + about it. You see this is one side of the fault; the other side is down or + up, nobody knows where; but, on this side, you can trace the evidence of + the dragging and tearing action. All along the edge of this marble, the + ends of the fibers of the rock are torn, here an inch, and there half an + inch, away from each other; and you see the exact places where they + fitted, before they were torn separate: and you see the rents are now all + filled up with the sanguine paste, full of the broken pieces of the rock; + the paste itself seems to have been half melted, and partly to have also + melted the edge of the fragments it contains, and then to have + crystallized with them, and round them. And the brecciated agate I first + showed you contains exactly the same phenomena; a zoned crystallization + going on amidst the cemented fragments, partly altering the structure of + those fragments themselves, and subject to continual change, either in the + intensity of its own power, or in the nature of the materials submitted to + it;—so that, at one time, gravity acts upon them, and disposes them + in horizontal layers, or causes them to droop in stalactites; and at + another, gravity is entirely defied, and the substances in solution are + crystallized in bands of equal thickness on every side of the cell. It + would require a course of lectures longer than these (I have a great mind,—you + have behaved so saucily—to stay and give them) to describe to you + the phenomena of this kind, in agates and chalcedonies only,—nay, + there is a single sarcophagus in the British Museum, covered with grand + sculpture of the 18th dynasty, which contains in magnificent breccia + (agates and jaspers imbedded in porphyry), out of which it is hewn, + material for the thought of years; and record of the earth-sorrow of ages + in comparison with the duration of which, the Egyptian letters tell us but + the history of the evening and morning of a day. + </p> + <p> + Agates, I think, of all stones, confess most of their past history, but + all crystallization goes on under, and partly records, circumstances of + this kind—circumstances of infinite variety, but always involving + difficulty, interruption, and change of condition at different times. + Observe, first, you have the whole mass of the rock in motion, either + contracting itself, and so gradually widening the cracks, or being + compressed, and thereby closing them, and crushing their edges,—and, + if one part of its substance be softer, at the given temperature, than + another, probably squeezing that softer substance out into the veins. Then + the veins themselves, when the rock leaves them open by its contraction, + act with various power of suction upon its substance;—by capillary + attraction when they are fine,—by that of pure vacuity when they are + larger, or by changes in the constitution and condensation of the mixed + gases with which they have been originally filled. Those gases themselves + may be supplied in all variation of volume and power from below; or, + slowly, by the decomposition of the rocks themselves; and, at changing + temperatures, must exert relatively changing forces of decomposition and + combination on the walls of the veins they fill; while water, at every + degree of heat and pressure (from beds of everlasting ice, alternate with + cliffs of native rock, to volumes of red hot, or white hot, steam), + congeals, and drips, and throbs, and thrills, from crag to crag; and + breathes from pulse to pulse of foaming or fiery arteries, whose beating + is felt through chains of the great islands of the Indian seas, as your + own pulses lift your bracelets, and makes whole kingdoms of the world + quiver in deadly earthquake, as if they were light as aspen leaves. And, + remember, the poor little crystals have to live their lives, and mind + their own affairs, in the midst of all this, as best they may. They are + wonderfully like human creatures,—forget all that is going on if + they don't see it, however dreadful; and never think what is to happen + to-morrow. They are spiteful or loving, and indolent or painstaking, and + orderly or licentious, with no thought whatever of the lava or the flood + which may break over them any day; and evaporate them into air-bubbles, or + wash them into a solution of salts. And you may look at them, once + understanding the surrounding conditions of their fate, with an endless + interest. You will see crowds of unfortunate little crystals, who have + been forced to constitute themselves in a hurry, their dissolving element + being fiercely scorched away; you will see them doing their best, bright + and numberless, but tiny. Then you will find indulged crystals, who have + had centuries to form themselves in, and have changed their mind and ways + continually; and have been tired, and taken heart again; and have been + sick, and got well again; and thought they would try a different diet, and + then thought better of it; and made but a poor use of their advantages, + after all. And others you will see, who have begun life as wicked + crystals; and then have been impressed by alarming circumstances, and have + become converted crystals, and behaved amazingly for a little while, and + fallen away again, and ended, but discreditably, perhaps even in + decomposition; so that one doesn't know what will become of them. And + sometimes you will see deceitful crystals, that look as soft as velvet, + and are deadly to all near them; and sometimes you will see deceitful + crystals, that seem flint-edged, like our little quartz-crystal of a + housekeeper here (hush! Dora), and are endlessly gentle and true wherever + gentleness and truth are needed. And sometimes you will see little + child-crystals put to school like school-girls, and made to stand in rows; + and taken the greatest care of, and taught how to hold themselves up, and + behave: and sometimes you will see unhappy little child-crystals left to + lie about in the dirt, and pick up their living, and learn manners where + they can. And sometimes you will see fat crystals eating up thin ones, + like great capitalists and little laborers; and politico-economic crystals + teaching the stupid ones how to eat each other, and cheat each other; and + foolish crystals getting in the way of wise ones; and impatient crystals + spoiling the plans of patient ones, irreparably; just as things go on in + the world. And sometimes you may see hypocritical crystals taking the + shape of others, though they are nothing like in their minds; and vampire + crystals eating out the hearts of others; and hermit-crab crystals living + in the shells of others; and parasite crystals living on the means of + others; and courtier crystals glittering in attendance upon others; and + all these, besides the two great companies of war and peace, who ally + themselves, resolutely to attack, or resolutely to defend. And for the + close, you see the broad shadow and deadly force of inevitable fate, above + all this: you see the multitudes of crystals whose time has come; not a + set time, as with us, but yet a time, sooner or later, when they all must + give up their crystal ghosts:—when the strength by which they grew, + and the breath given them to breathe, pass away from them; and they fail, + and are consumed, and vanish away; and another generation is brought to + life, framed out of their ashes. + </p> + <p> + MARY. It is very terrible. Is it not the complete fulfillment, down into + the very dust, of that verse: "The whole creation groaneth and travaileth + in pain?" + </p> + <p> + L. I do not know that it is in pain, Mary: at least, the evidence tends to + show that there is much more pleasure than pain, as soon as sensation + becomes possible. + </p> + <p> + LUCILLA. But then, surely, if we are told that it is pain, it must be + pain? + </p> + <p> + L. Yes; if we are told; and told in the way you mean, Lucilla; but nothing + is said of the proportion to pleasure. Unmitigated pain would kill any of + us in a few hours; pain equal to our pleasures would make us loathe life; + the word itself cannot be applied to the lower conditions of matter in its + ordinary sense. But wait till to-morrow to ask me about this. To-morrow is + to be kept for questions and difficulties; let us keep to the plain facts + to-day. There is yet one group of facts connected with this rending of the + rocks, which I especially want you to notice. You know, when you have + mended a very old dress, quite meritoriously, till it won't mend any more— + </p> + <p> + EGYPT (interrupting). Could not you sometimes take gentlemen's work to + illustrate by? + </p> + <p> + L. Gentlemen's work is rarely so useful as yours, Egypt; and when it is + useful, girls cannot easily understand it. + </p> + <p> + DORA. I am sure we should understand it better than gentlemen understand + about sewing. + </p> + <p> + L. My dear, I hope I always speak modestly, and under correction, when I + touch upon matters of the kind too high for me; and besides, I never + intend to speak otherwise than respectfully of sewing;—though you + always seem to think I am laughing at you. In all seriousness, + illustrations from sewing are those which Neith likes me best to use; and + which young ladies ought to like everybody to use. What do you think the + beautiful word "wife" comes from? + </p> + <p> + DORA (tossing her head). I don't think it is a particularly beautiful + word. + </p> + <p> + L. Perhaps not. At your ages you may think "bride" sounds better; but + wife's the word for wear, depend upon it. It is the great word in which + the English and Latin languages conquer the French and the Greek. I hope + the French will some day get a word for it, yet, instead of their dreadful + "femme." But what do you think it comes from? + </p> + <p> + DORA. I never did think about it. + </p> + <p> + L. Nor you, Sibyl? + </p> + <p> + SIBYL. No; I thought it was Saxon, and stopped there. + </p> + <p> + L. Yes, but the great good of Saxon words is, that they usually do mean + something. Wife means "weaver". You have all the right to call yourselves + little "housewives," when you sew neatly. + </p> + <p> + DORA. But I don t think we want to call ourselves 'little housewives'. + </p> + <p> + L. You must either be house-wives, or house-moths; remember that. In the + deep sense, you must either weave men's fortunes, and embroider them, or + feed upon, and bring them to decay. You had better let me keep my sewing + illustration, and help me out with it. + </p> + <p> + DORA. Well, we'll hear it, under protest. + </p> + <p> + L. You have heard it before, but with reference to other matters. When it + is said, "no man putteth a piece of new cloth on an old garment, else it + taketh from the old," does it not mean that the new piece tears the old + one away at the sewn edge? + </p> + <p> + DORA. Yes; certainly. + </p> + <p> + L. And when you mend a decayed stuff with strong thread, does not the + whole edge come away sometimes, when it tears again? + </p> + <p> + DORA. Yes; and then it is of no use to mend it any more. + </p> + <p> + L. Well, the rocks don't seem to think that: but the same thing happens to + them continually. I told you they were full of rents, or veins. Large + masses of mountain are sometimes as full of veins as your hand is; and of + veins nearly as fine (only you know a rock vein does not mean a tube, but + a crack or cleft). Now these clefts are mended, usually, with the + strongest material the rock can find; and often literally with threads; + for the gradually opening rent seems to draw the substance it is filled + with into fibers, which cross from one side of it to the other, and are + partly crystalline; so that, when the crystals become distinct, the + fissure has often exactly the look of a tear, brought together with strong + cross stitches. Now when this is completely done, and all has been + fastened and made firm, perhaps some new change of temperature may occur, + and the rock begin to contract again. Then the old vein must open wider; + or else another open elsewhere. If the old vein widen, it MAY do so at its + center; but it constantly happens, with well filled veins, that the cross + stitches are too strong to break; the walls of the vein, instead, are torn + away by them: and another little supplementary vein—often three or + four successively—will be thus formed at the side of the first. + </p> + <p> + MARY. That is really very much like our work. But what do the mountains + use to sew with? + </p> + <p> + L. Quartz, whenever they can get it: pure limestones are obliged to be + content with carbonate of lime; but most mixed rocks can find some quartz + for themselves. Here is a piece of black slate from the Buet: it looks + merely like dry dark mud; you could not think there was any quartz in it; + but, you see, its rents are all stitched together with beautiful white + thread, which is the purest quartz, so close drawn that you can break it + like flint, in the mass; but, where it has been exposed to the weather, + the fine fibrous structure is shown: and, more than that, you see the + threads have been all twisted and pulled aside, this way and the other, by + the warpings and shifting of the sides of the vein as it widened. + </p> + <p> + MARY. It is wonderful! But is that going on still? Are the mountains being + torn and sewn together again at this moment? + </p> + <p> + L. Yes, certainly, my dear: but I think, just as certainly (though + geologists differ on this matter), not with the violence, or on the scale, + of their ancient ruin and renewal. All things seem to be tending towards a + condition of at least temporary rest; and that groaning and travailing of + the creation, as, assuredly, not wholly in pain, is not, in the full + sense, "until now." + </p> + <p> + MARY. I want so much to ask you about that! + </p> + <p> + SIBYL. Yes; and we all want to ask you about a great many other things + besides. + </p> + <p> + L. It seems to me that you have got quite as many new ideas as are good + for any of you at present: and I should not like to burden you with more; + but I must see that those you have are clear, if I can make them so; so we + will have one more talk, for answer of questions, mainly. Think over all + the ground, and make your difficulties thoroughly presentable. Then we'll + see what we can make of them. + </p> + <p> + DORA. They shall all be dressed in their very best; and curtsey as they + come in. + </p> + <p> + L. No, no, Dora; no curtseys, if you please. I had enough of them the day + you all took a fit of reverence, and curtsied me out of the room. + </p> + <p> + DORA. But, you know, we cured ourselves of the fault, at once, by that + fit. We have never been the least respectful since. And the difficulties + will only curtsey themselves out of the room, I hope;—come in at one + door—vanish at the other. + </p> + <p> + L. What a pleasant world it would be, if all its difficulties were taught + to behave so! However, one can generally make something, or (better still) + nothing, or at least less of them, if they thoroughly know their own + minds; and your difficulties—I must say that for you, children,—generally + do know their own minds, as you do yourselves. + </p> + <p> + DORA. That is very kindly said for us. Some people would not allow so much + as that girls had any minds to know. + </p> + <p> + L. They will at least admit that you have minds to change, Dora. + </p> + <p> + MARY. You might have left us the last speech, without a retouch. But we'll + put our little minds, such as they are, in the best trim we can, for + to-morrow. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0015" id="link2H_4_0015"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + LECTURE 10. + </h2> + <h3> + THE CRYSTAL REST + </h3> + <p> + Evening. The fireside. L's arm-chair in the comfortablest corner. + </p> + <p> + L. (perceiving various arrangements being made of footstool, cushion, + screen, and the like.) Yes, yes, it's all very fine! and I am to sit here + to be asked questions till supper-time, am I? + </p> + <p> + DORA. I don't think you can have any supper to-night:—we've got so + much to ask. + </p> + <p> + LILY. Oh, Miss Dora! We can fetch it him here, you know, so nicely! + </p> + <p> + L. Yes, Lily, that will be pleasant, with competitive examination going on + over one's plate: the competition being among the examiners. Really, now + that I know what teasing things girls are, I don't so much wonder that + people used to put up patiently with the dragons who took THEM for supper. + But I can't help myself, I suppose;—no thanks to St. George. Ask + away, children, and I'll answer as civilly as may be. + </p> + <p> + DORA. We don't so much care about being answered civilly, as about not + being asked things back again. + </p> + <p> + L. "Ayez seulement la patience que je le parle." There shall be no + requitals. + </p> + <p> + DORA. Well, then, first of all—What shall we ask first, Mary? + </p> + <p> + MARY. It does not matter. I think all the questions come into one, at + last, nearly. + </p> + <p> + DORA. You know, you always talk as if the crystals were alive; and we + never understand how much you are in play, and how much in earnest. That's + the first thing. + </p> + <p> + L. Neither do I understand, myself, my dear, how much I am in earnest. The + stones puzzle me as much as I puzzle you. They look as if they were alive, + and make me speak as if they were; and I do not in the least know how much + truth there is in the appearance. I'm not to ask things back again + to-night, but all questions of this sort lead necessarily to the one main + question, which we asked, before, in vain, "What is it to be alive?" + </p> + <p> + DORA. Yes; but we want to come back to that: for we've been reading + scientific books about the "conservation of forces," and it seems all so + grand, and wonderful; and the experiments are so pretty; and I suppose it + must be all right: but then the books never speak as if there were any + such thing as "life." + </p> + <p> + L. They mostly omit that part of the subject, certainly, Dora; but they + are beautifully right as far as they go; and life is not a convenient + element to deal with. They seem to have been getting some of it into and + out of bottles, in their "ozone" and "antizone" lately; but they still + know little of it: and, certainly, I know less. + </p> + <p> + DORA. You promised not to be provoking, to-night. + </p> + <p> + L. Wait a minute. Though, quite truly, I know less of the secrets of life + than the philosophers do; I yet know one corner of ground on which we + artists can, stand, literally as "Life Guards" at bay, as steadily as the + Guards at Inkermann; however hard the philosophers push. And you may stand + with us, if once you learn to draw nicely. + </p> + <p> + DORA. I'm sure we are all trying! but tell us where we may stand. + </p> + <p> + L. You may always stand by Form, against Force. To a painter, the + essential character of anything is the form of it, and the philosophers + cannot touch that. They come and tell you, for instance, that there is as + much heat, or motion, or calorific energy (or whatever else they like to + call it), in a tea-kettle as in a Gier-eagle. Very good; that is so; and + it is very interesting. It requires just as much heat as will boil the + kettle, to take the Gier-eagle up to his nest; and as much more to bring + him down again on a hare or a partridge. But we painters, acknowledging + the equality and similarity of the kettle and the bird in all scientific + respects, attach, for our part, our principal interest to the difference + in their forms. For us the primarily cognizable facts, in the two things, + are, that the kettle has a spout, and the eagle a beak, the one a lid on + its back, the other a pair of wings,—not to speak of the distinction + also of volition which the philosophers may properly call merely a form or + mode of force,—but then, to an artist, the form or mode, is the gist + of the business. The kettle chooses to sit still on the hob, the eagle to + recline on the air. It is the fact of the choice, not the equal degree of + temperature in the fulfillment of it, which appears to us the more + interesting circumstance—though the other is very interesting too. + Exceedingly so! Don't laugh children, the philosophers have been doing + quite splendid work lately, in their own way especially, the + transformation of force into light is a great piece of systematized + discovery and this notion about the sun being supplied with his flame by + ceaseless meteoric hail is grand, and looks very likely to be true. Of + course, it is only the old gunlock,—flint and steel,—on a + large scale but the order and majesty of it are sublime. Still, we + sculptors and painters care little about it. "It is very fine," we say, + "and very useful, this knocking the light out of the sun, or into it, by + an eternal cataract of planets. But you may hail away, so, forever, and + you will not knock out what we can. Here is a bit of silver, not the size + of half-a-crown, on which, with a single hammer stroke, one of us, two + thousand and odd years ago, hit out the head of the Apollo of Clazomenas. + It is merely a matter of form; but if any of you philosophers, with your + whole planetary system to hammer with, can hit out such another bit of + silver as this,—we will take off our hats to you. For the present, + we keep them on." + </p> + <p> + MARY. Yes, I understand; and that is nice; but I don't think we shall any + of us like having only form to depend upon. + </p> + <p> + L. It was not neglected in the making of Eve, my dear. + </p> + <p> + MARY. It does not seem to separate us from the dust of the ground. It is + that breathing of the life which we want to understand. + </p> + <p> + L. So you should: but hold fast to the form, and defend that first, as + distinguished from the mere transition of forces. Discern the molding hand + of the potter commanding the clay, from his merely beating foot, as it + turns the wheel. If you can find incense, in the vase, afterwards,—well: + but it is curious how far mere form will carry you ahead of the + philosophers. For instance, with regard to the most interesting of all + their modes of force— light;—they never consider how far the + existence of it depends on the putting of certain vitreous and nervous + substances into the formal arrangement which we call an eye. The German + philosophers began the attack, long ago, on the other side, by telling us, + there was no such thing—as light at all, unless we chose to see it: + now, German and English, both, have reversed their engines, and insist + that light would be exactly the same light that it is, though nobody could + ever see it. The fact being that the force must be there, and the eyes + there; and "light" means the effect of the one on the other;—and + perhaps, also—(Plato saw farther into that mystery than any one has + since, that I know of),—on something a little way within the eyes; + but we may stand quite safe, close behind the retina, and defy the + philosophers. + </p> + <p> + SIBYL. But I don't care so much about defying the philosophers, if only + one could get a clear idea of life, or soul, for one's self. + </p> + <p> + L. Well, Sibyl, you used to know more about it, in that cave of yours, + than any of us. I was just going to ask you about inspiration, and the + golden bough, and the like; only I remembered I was not to ask anything. + But, will not you, at least, tell us whether the ideas of Life, as the + power of putting things together, or "making" them; and of Death, as the + power of pushing things separate, or "unmaking" them, may not be very + simply held in balance against each other? + </p> + <p> + SIBYL. No, I am not in my cave to-night; and cannot tell you anything. + </p> + <p> + L. I think they may. Modern Philosophy is a great separator; it is little + more than the expansion of Moliere's great sentence, "Il s'ensuit de la, + que tout ce qu'ily a de beau est dans les dictionnaires; il n'y a que les + mots qui sont transposes." But when you used to be in your cave, Sibyl, + and to be inspired, there was (and there remains still in some small + measure), beyond the merely formative and sustaining power, another, which + we painters call "passion"—I don't know what the philosophers call + it; we know it makes people red, or white; and therefore it must be + something, itself; and perhaps it is the most truly "poetic" or "making" + force of all, creating a world of its own out of a glance, or a sigh: and + the want of passion is perhaps the truest death, or "unmaking" of + everything;—even of stones. By the way, you were all reading about + that ascent of the Aiguille Verte, the other day? + </p> + <p> + SIBYL. Because you had told us it was so difficult, you thought it could + not be ascended. + </p> + <p> + L Yes, I believed the Aiguille Verte would have held its own. But do you + recollect what one of the climbers exclaimed, when he first felt sure of + reaching the summit. + </p> + <p> + SIBYL. Yes, it was, "Oh, Aiguille Verte, vous etes morte, vous etes + morte!" + </p> + <p> + L. That was true instinct. Real philosophic joy. Now, can you at all fancy + the difference between that feeling of triumph in a mountain's death; and + the exultation of your beloved poet, in its life— + </p> + <p> + "Quantus Athos, aut quantus Eryx, aut ipse coruscis Quum fremit ilicibus + quantus, gaudetque nivali Vertice, se attollens pater Apenninus ad auras." + </p> + <p> + DORA. You must translate for us mere housekeepers, please— whatever + the carekeepers may know about it. + </p> + <p> + MAY. I'll try then to? + </p> + <p> + L. No Dryden is a far way worse than nothing, and nobody will "do" You + can't translate it. But this is all you need know, that the lines are full + of a passionate sense of the Apennines' fatherhood, or protecting power + over Italy; and of sympathy with, their joy in their snowy strength in + heaven, and with the same joy, shuddering through all the leaves of their + forests. + </p> + <p> + MARY. Yes, that is a difference indeed, but then, you know, one can't help + feeling that it is fanciful. It is very delightful to imagine the + mountains to be alive; but then,—are they alive? + </p> + <p> + L. It seems to me, on the whole, Mary, that the feelings of the purest and + most mightily passioned human souls are likely to be the truest. Not, + indeed, if they do not desire to know the truth, or blind themselves to it + that they may please themselves with passion; for then they are no longer + pure: but if, continually seeking and accepting the truth as far as it is + discernible, they trust their Maker for the integrity of the instincts. He + has gifted them with, and rest in the sense of a higher truth which they + cannot demonstrate, I think they will be most in the right, so. + </p> + <p> + DORA and JESSIE (clapping their hands). Then we really may believe that + the mountains are living? + </p> + <p> + L. You may at least earnestly believe that the presence of the spirit + which culminates in your own life, shows itself in dawning, wherever the + dust of the earth begins to assume any orderly and lovely state. You will + find it impossible to separate this idea of gradated manifestation from + that of the vital power. Things are not either wholly alive, or wholly + dead. They are less or more alive. Take the nearest, most easily examined + instance—the life of a flower. Notice what a different degree and + kind of life there is in the calyx and the corolla. The calyx is nothing + but the swaddling clothes of the flower; the child-blossom is bound up in + it, hand and foot; guarded in it, restrained by it, till the time of + birth. The shell is hardly more subordinate to the germ in the egg, than + the calyx to the blossom. It bursts at last; but it never lives as the + corolla does. It may fall at the moment its task is fulfilled, as in the + poppy; or wither gradually, as in the buttercup; or persist in a ligneous + apathy, after the flower is dead, as in the rose; or harmonize itself so + as to share in the aspect of the real flower, as in the lily; but it never + shares in the corolla's bright passion of life. And the gradations which + thus exist between the different members of organic creatures, exist no + less between the different ranges of organism. We know no higher or more + energetic life than our own; but there seems to me this great good in the + idea of gradation of life—it admits the idea of a life above us, in + other creatures, as much nobler than ours, as ours is nobler than that of + the dust. + </p> + <p> + MARY. I am glad you have said that; for I know Violet and Lucilla and May + want to ask you something; indeed, we all do; only you frightened Violet + so about the anthill, that she can't say a word; and May is afraid of your + teasing her, too: but I know they are wondering why you are always telling + them about heathen gods and goddesses, as if you half believed in them; + and you represent them as good; and then we see there is really a kind of + truth in the stories about them; and we are all puzzled: and, in this, we + cannot even make our difficulty quite clear to ourselves;—it would + be such a long confused question, if we could ask you all we should like + to know. + </p> + <p> + L. Nor is it any wonder, Mary; for this is indeed the longest, and the + most wildly confused question that reason can deal with; but I will try to + give you, quickly, a few clear ideas about the heathen gods, which you may + follow out afterwards, as your knowledge increases. + </p> + <p> + Every heathen conception of deity in which you are likely to be + interested, has three distinct characters:— + </p> + <p> + I. It has a physical character. It represents some of the great powers or + objects of nature—sun or moon, or heaven, or the winds, or the sea. + And the fables first related about each deity represent, figuratively, the + action or the natural power which it represents; such as the rising and + setting of the sun, the tides of the sea, and so on. + </p> + <p> + II. It has an ethical character, and represents, in its history, the moral + dealings of God with man. Thus Apollo is first, physically, the sun + contending with darkness; but morally, the power of divine life contending + with corruption. Athena is, physically, the air; morally, the breathing of + the divine spirit of wisdom. Neptune is, physically, the sea; morally, the + supreme power of agitating passion; and so on. + </p> + <p> + III. It has, at last, a personal character; and is realized in the minds + of its worshipers as a living spirit, with whom men may speak face to + face, as a man speaks to his friend. + </p> + <p> + Now it is impossible to define exactly, how far, at any period of a + national religion, these three ideas are mingled; or how far one prevails + over the other. Each inquirer usually takes up one of these ideas, and + pursues it, to the exclusion of the others; no impartial effort seems to + have been made to discern the real state of the heathen imagination in its + successive phases. For the question is not at all what a mythological + figure meant in its origin; but what it became in each subsequent mental + development of the nation inheriting the thought. Exactly in proportion to + the mental and moral insight of any race, its mythological figures mean + more to it, and become more real. An early and savage race means nothing + more (because it has nothing more to mean) by its Apollo, than the sun; + while a cultivated Greek means every operation of divine intellect and + justice. The Neith, of Egypt, meant, physically, little more than the blue + of the air; but the Greek, in a climate of alternate storm and calm, + represented the wild fringes of the storm-cloud by the serpents of her + aegis; and the lightning and cold of the highest thunderclouds, by the + Gorgon on her shield: while morally, the same types represented to him the + mystery and changeful terror of knowledge, as her spear and helm its + ruling and defensive power. And no study can be more interesting, or more + useful to you, than that of the different meanings which have been created + by great nations, and great poets, out of mythological figures given them, + at first, in utter simplicity. But when we approach them in their third, + or personal, character (and, for its power over the whole national mind, + this is far the leading one), we are met at once by questions which may + well put all of you at pause. Were they idly imagined to be real beings? + and did they so usurp the place of the true God? Or were they actually + real beings,—evil spirits,—leading men away from the true God? + Or is it conceivable that they might have been real beings,—good + spirits,—entrusted with some message from the true God? These were + the questions you wanted to ask; were they not, Lucilla? + </p> + <p> + LUCILLA. Yes, indeed. + </p> + <p> + L. Well, Lucilla, the answer will much depend upon the clearness of your + faith in the personality of the spirits which are described in the book of + your own religion;—their personality, observe, as distinguished from + merely symbolical visions. For instance, when Jeremiah has the vision of + the seething pot with its mouth to the north, you know that this which he + sees is not a real thing; but merely a significant dream. Also, when + Zachariah sees the speckled horses among the myrtle trees in the bottom, + you still may suppose the vision symbolical;—you do not think of + them as real spirits, like Pegasus, seen in the form of horses. But when + you are told of the four riders in the Apocalypse, a distinct sense of + personality begins to force itself upon you. And though you might, in a + dull temper, think that (for one instance of all) the fourth rider on the + pale horse was merely a symbol of the power of death,—in your + stronger and more earnest moods you will rather conceive of him as a real + and living angel. And when you look back from the vision of the Apocalypse + to the account of the destruction of the Egyptian first-born, and of the + army of Sennacherib, and again to David's vision at the threshing floor of + Araunah, the idea of personality in this death-angel becomes entirely + defined, just as in the appearance of the angels to Abraham, Manoah, or + Mary. + </p> + <p> + Now, when you have once consented to this idea of a personal spirit, must + not the question instantly follow: "Does this spirit exercise its + functions towards one race of men only, or towards all men? Was it an + angel of death to the Jew only, or to the Gentile also?" You find a + certain Divine agency made visible to a King of Israel, as an armed angel, + executing vengeance, of which one special purpose was to lower his kingly + pride. You find another (or perhaps the same) agency, made visible to a + Christian prophet as an angel standing in the sun, calling to the birds + that fly under heaven to come, that they may eat the flesh of kings. Is + there anything impious in the thought that the same agency might have been + expressed to a Greek king, or Greek seer, by similar visions?—that + this figure, standing in the sun, and armed with the sword, or the bow + (whose arrows were drunk with blood), and exercising especially its power + in the humiliation of the proud, might, at first, have been called only + "Destroyer," and afterwards, as the light, or sun, of justice, was + recognized in the chastisement, called also "Physician" or "Healer"? If + you feel hesitation in admitting the possibility of such a manifestation, + I believe you will find it is caused, partly indeed by such trivial things + as the difference to your ear between Greek and English terms; but, far + more, by uncertainty in your own mind respecting the nature and truth of + the visions spoken of in the Bible. Have any of you intently examined the + nature of your belief in them? You, for instance, Lucilla, who think + often, and seriously, of such things? + </p> + <p> + LUCILLA. No; I never could tell what to believe about them. I know they + must be true in some way or other; and I like reading about them. + </p> + <p> + L. Yes; and I like reading about them too, Lucilla; as I like reading + other grand poetry. But, surely, we ought both to do more than like it? + Will God be satisfied with us, think you, if we read His words, merely for + the sake of an entirely meaningless poetical sensation? + </p> + <p> + LUCILLA. But do not the people who give themselves to seek out the meaning + of these things, often get very strange, and extravagant? + </p> + <p> + L. More than that, Lucilla. They often go mad. That abandonment of the + mind to religious theory, or contemplation, is the very thing I have been + pleading with you against. I never said you should set yourself to + discover the meanings; but you should take careful pains to understand + them, so far as they are clear; and you should always accurately ascertain + the state of your mind about them. I want you never to read merely for the + pleasure of fancy; still less as a formal religious duty (else you might + as well take to repeating Paters at once; for it is surely wiser to repeat + one thing we understand, than read a thousand which we cannot). Either, + therefore, acknowledge the passages to be, for the present, unintelligible + to you; or else determine the sense in which you at present receive them; + or, at all events, the different senses between which you clearly see that + you must choose. Make either your belief, or your difficulty, definite; + but do not go on, all through your life, believing nothing intelligently, + and yet supposing that your having read the words of a divine book must + give you the right to despise every religion but your own. I assure you, + strange as it may seem, our scorn of Greek tradition depends, not on our + belief, but our disbelief, of our own traditions. We have, as yet, no + sufficient clue to the meaning of either; but you will always find that, + in proportion to the earnestness of our own faith, its tendency to accept + a spiritual personality increases: and that the most vital and beautiful + Christian temper rests joyfully in its conviction of the multitudinous + ministry of living angels, infinitely varied in rank and power. You all + know one expression of the purest and happiest form of such faith, as it + exists in modern times, in Richter's lovely illustrations of the Lord's + Prayer. The real and living death-angel, girt as a pilgrim, for journey, + and softly crowned with flowers, beckons at the dying mother's door; + child-angels sit talking face to face with mortal children, among the + flowers;— hold them by their little coats, lest they fall on the + stairs; whisper dreams of heaven to them, leaning over their pillows; + carry the sound of the church bells for them far through the air; and even + descending lower in service, fill little cups with honey, to hold out to + the weary bee. By the way, Lily, did you tell the other children that + story about your little sister, and Alice, and the sea? + </p> + <p> + LILY. I told it to Alice, and to Miss Dora. I don't think I did to anybody + else. I thought it wasn't worth. + </p> + <p> + L. We shall think it worth a great deal now, Lily, if you will tell it us. + How old is Dotty, again? I forgot. + </p> + <p> + LILY. She is not quite three; but she has such odd little old ways, + sometimes. + </p> + <p> + L. And she was very fond of Alice? + </p> + <p> + LILY. Yes; Alice was so good to her always! + </p> + <p> + L. And so when Alice went away? + </p> + <p> + LILY. Oh, it was nothing, you know, to tell about; only it was strange at + the time. + </p> + <p> + L. Well; but I want you to tell it. + </p> + <p> + LILY. The morning after Alice had gone, Dotty was very sad and restless + when she got up; and went about, looking into all the corners, as if she + could find Alice in them, and at last she came to me, and said, "Is Alie + gone over the great sea?" And I said, "Yes, she is gone over the great, + deep sea, but she will come back again some day." Then Dotty looked round + the room; and I had just poured some water out into the basin; and Dotty + ran to it, and got up on a chair, and dashed her hands through the water, + again and again; and cried, "Oh, deep, deep sea! send little Alie back to + me." + </p> + <p> + L. Isn't that pretty, children? There's a dear little heathen for you! The + whole heart of Greek mythology is in that; the idea of a personal being in + the elemental power;—of its being moved by prayer;—and of its + presence everywhere, making the broken diffusion of the element sacred. + </p> + <p> + Now, remember, the measure in which we may permit ourselves to think of + this trusted and adored personality, in Greek, or in any other, mythology, + as conceivably a shadow of truth, will depend on the degree in which we + hold the Greeks, or other great nations, equal, or inferior, in privilege + and character, to the Jews, or to ourselves. If we believe that the great + Father would use the imagination of the Jew as an instrument by which to + exalt and lead him; but the imagination of the Greek only to degrade and + mislead him: if we can suppose that real angels were sent to minister to + the Jews and to punish them; but no angels, or only mocking spectra of + angels, or even devils in the shapes of angels, to lead Lycurgus and + Leonidas from desolate cradle to hopeless grave:—and if we can think + that it was only the influence of specters, or the teaching of demons, + which issued in the making of mothers like Cornelia, and of sons like + Cleobis and Bito, we may, of course, reject the heathen Mythology in our + privileged scorn: but, at least, we are bound to examine strictly by what + faults of our own it has come to pass, that the ministry of real angels + among ourselves is occasionally so ineffectual, as to end in the + production of Cornelias who entrust their child-jewels to Charlotte + Winsors for the better keeping of them; and of sons like that one who, the + other day, in France, beat his mother to death with a stick; and was + brought in by the jury, "guilty, with extenuating circumstances." + </p> + <p> + MAY. Was that really possible? + </p> + <p> + L. Yes, my dear. I am not sure that I can lay my hand on the reference to + it (and I should not have said "the other day"—it was a year or two + ago), but you may depend on the fact; and I could give you many like it, + if I chose. There was a murder done in Russia, very lately, on a traveler. + The murderess's little daughter was in the way, and found it out, somehow. + Her mother killed her, too, and put her into the oven. There is a peculiar + horror about the relations between parent and child, which are being now + brought about by our variously degraded forms of European white slavery. + Here is one reference, I see, in my notes on that story of Cleobis and + Bito; though I suppose I marked this chiefly for its quaintness, and the + beautifully Christian names of the sons; but it is a good instance of the + power of the King of the Valley of Diamonds [Footnote: Notes vi.] among + us. + </p> + <p> + In "Galignani" of July 21-22, 1862, is reported a trial of a farmer's son + in the department of the Yonne. The father, two years ago, at Malay le + Grand, gave up his property to his two sons, on condition of being + maintained by them. Simon fulfilled his agreement, but Pierre would not. + The tribunal of Sens condemns Pierre to pay eighty-four francs a year to + his father. Pierre replies, "he would rather die than pay it." Actually, + returning home, he throws himself into the river, and the body is not + found till next day. + </p> + <p> + MARY. But—but—I can't tell what you would have us think. Do + you seriously mean that the Greeks were better than we are; and that their + gods were real angels? + </p> + <p> + L. No, my dear. I mean only that we know, in reality, less than nothing of + the dealings of our Maker with our fellow-men; and can only reason or + conjecture safely about them, when we have sincerely humble thoughts of + ourselves and our creeds. + </p> + <p> + We owe to the Greeks every noble discipline in literature, every radical + principle of art; and every form of convenient beauty in our household + furniture and daily occupations of life. We are unable, ourselves, to make + rational use of half that we have received from them: and, of our own, we + have nothing but discoveries in science, and fine mechanical adaptations + of the discovered physical powers. On the other hand, the vice existing + among certain classes, both of the rich and poor, in London, Paris, and + Vienna, could have been conceived by a Spartan or Roman of the heroic ages + only as possible in a Tartarus, where fiends were employed to teach, but + not to punish, crime. It little becomes us to speak contemptuously of the + religion of races to whom we stand in such relations; nor do I think any + man of modesty or thoughtfulness will ever speak so of any religion, in + which God has allowed one good man to die, trusting. + </p> + <p> + The more readily we admit the possibility of our own cherished convictions + being mixed with error, the more vital and helpful whatever is right in + them will become: and no error is so conclusively fatal as the idea that + God will not allow us to err, though He has allowed all other men to do + so. There may be doubt of the meaning of other visions, but there is none + respecting that of the dream of St. Peter; and you may trust the Rock of + the Church's Foundation for true interpreting, when he learned from it + that, "in every nation, he that feareth God and worketh righteousness, is + accepted with Him." See that you understand what that righteousness means; + and set hand to it stoutly: you will always measure your neighbors' creed + kindly, in proportion to the substantial fruits of your own. Do not think + you will ever get harm by striving to enter into the faith of others, and + to sympathize, in imagination, with the guiding principles of their lives. + So only can you justly love them, or pity them, or praise. By the gracious + effort you will double, treble—nay, indefinitely multiply, at once + the pleasure, the reverence, and the intelligence with which you read: + and, believe me, it is wiser and holier, by the fire of your own faith to + kindle the ashes of expired religions, than to let your soul shiver and + stumble among their graves, through the gathering darkness, and + communicable cold. + </p> + <p> + MARY (after some pause). We shall all like reading Greek history so much + better after this! but it has put everything else out of our heads that we + wanted to ask. + </p> + <p> + L. I can tell you one of the things; and I might take credit for + generosity in telling you; but I have a personal reason—Lucilla's + verse about the creation. + </p> + <p> + DORA. Oh, yes—yes; and its "pain together, until now." + </p> + <p> + L. I call you back to that, because I must warn you against an old error + of my own. Somewhere in the fourth volume of "Modern Painters," I said + that the earth seemed to have passed through its highest state: and that, + after ascending by a series of phases, culminating in its habitation by + man, it seems to be now gradually becoming less fit for that habitation. + </p> + <p> + MARY. Yes, I remember. + </p> + <p> + L. I wrote those passages under a very bitter impression of the gradual + perishing of beauty from the loveliest scenes which I knew in the physical + world;—not in any doubtful way, such as I might have attributed to + loss of sensation in myself—but by violent and definite physical + action; such as the filling up of the Lac de Chede by landslips from the + Rochers des Fiz;—the narrowing of the Lake Lucerne by the gaining + delta of the stream of the Muotta- Thal, which, in the course of years, + will cut the lake into two, as that of Brientz has been divided from that + of Thun;—the steady diminishing of the glaciers north of the Alps, + and still more, of the sheets of snow on their southern slopes, which + supply the refreshing streams of Lombardy:—the equally steady + increase of deadly maremma round Pisa and Venice; and other such + phenomena, quite measurably traceable within the limits even of short + life, and unaccompanied, as it seemed, by redeeming or compensatory + agencies. I am still under the same impression respecting the existing + phenomena; but I feel more strongly, every day, that no evidence to be + collected within historical periods can be accepted as any clue to the + great tendencies of geological change; but that the great laws which never + fail, and to which all change is subordinate, appear such as to accomplish + a gradual advance to lovelier order, and more calmly, yet more deeply, + animated Rest. Nor has this conviction ever fastened itself upon me more + distinctly, than during my endeavor to trace the laws which govern the + lowly framework of the dust. For, through all the phases of its transition + and dissolution, there seems to be a continual effort to raise itself into + a higher state; and a measured gain, through the fierce revulsion and slow + renewal of the earth's frame, in beauty, and order, and permanence. The + soft white sediments of the sea draw themselves, in process of time, into + smooth knots of sphered symmetry; burdened and strained under increase of + pressure, they pass into a nascent marble; scorched by fervent heat, they + brighten and blanch into the snowy rock of Paros and Carrara. The dark + drift of the inland river, or stagnant slime of inland pool and lake, + divides, or resolves itself as it dries, into layers of its several + elements; slowly purifying each by the patient withdrawal of it from the + anarchy of the mass in which it was mingled. Contracted by increasing + drought, till it must shatter into fragments, it infuses continually a + finer ichor into the opening veins, and finds in its weakness the first + rudiments of a perfect strength. Rent at last, rock from rock, nay, atom + from atom, and tormented in lambent fire, it knits, through the fusion, + the fibers of a perennial endurance; and, during countless subsequent + centuries, declining, or, rather let me say, rising, to repose, finishes + the infallible luster of its crystalline beauty, under harmonies of law + which are wholly beneficent, because wholly inexorable. + </p> + <p> + (The children seem pleased, but more inclined to think over these matters + than to talk.) + </p> + <p> + L. (after giving them a little time). Mary, I seldom ask you to read + anything out of books of mine; but there is a passage about the Law of + Help, which I want you to read to the children now, because it is of no + use merely to put it in other words for them. You know the place I mean, + do not you? + </p> + <p> + MARY. Yes (presently finding it); where shall I begin? + </p> + <p> + L. Here, but the elder ones had better look afterwards at the piece which + comes just before this. + </p> + <p> + MARY (reads) + </p> + <p> + "A pure or holy state of anything is that in which all its parts are + helpful or consistent. The highest and first law of the universe, and the + other name of life, is therefore, 'help'. The other name of death is + 'separation'. Government and cooperation are in all things, and eternally, + the laws of life. Anarchy and competition, eternally, and in all things, + the laws of death. + </p> + <p> + "Perhaps the best, though the most familiar, example we could take of the + nature and power of consistence, will be that of the possible changes in + the dust we tread on. + </p> + <p> + "Exclusive of animal decay, we can hardly arrive at a more absolute type + of impurity, than the mud or slime of a damp, over trodden path, in the + outskirts of a manufacturing town. I do not say mud of the road, because + that is mixed with animal refuse, but take merely an ounce or two of the + blackest slime of a beaten footpath, on a rainy day, near a manufacturing + town. That slime we shall find in most cases composed of clay (or + brickdust, which is burnt clay), mixed with soot, a little sand and water. + All these elements are at helpless war with each other, and destroy + reciprocally each other's nature and power competing and fighting for + place at every tread of your foot, sand squeezing out clay, and clay + squeezing out water, and soot meddling everywhere, and defiling the whole. + Let us suppose that this ounce of mud is left in perfect rest, and that + its elements gather together, like to like, so that their atoms may get + into the closest relations possible. + </p> + <p> + "Let the clay begin. Ridding itself of all foreign substance, it gradually + becomes a white earth, already very beautiful, and fit, with help of + congealing fire, to be made into finest porcelain, and painted on, and be + kept in kings' palaces. But such artificial consistence is not its best. + Leave it still quiet, to follow its own instinct of unity, and it becomes, + not only white but clear; not only clear, but hard; nor only clear and + hard, but so set that it can deal with light in a wonderful way, and + gather out of it the loveliest blue rays only, refusing the rest. We call + it then a sapphire. + </p> + <p> + "Such being the consummation of the clay, we give similar permission of + quiet to the sand. It also becomes, first, a white earth; then proceeds to + grow clear and hard, and at last arranges itself in mysterious, infinitely + fine parallel lines, which have the power of reflecting, not merely the + blue rays, but the blue, green, purple, and red rays, in the greatest + beauty in which they can be seen through any hard material whatsoever. We + call it then an opal. + </p> + <p> + "In next order the soot sets to work. It cannot make itself white at + first; but, instead of being discouraged, tries harder and harder; and + comes out clear at last; and the hardest thing in the world: and for the + blackness that it had, obtains in exchange the power of reflecting all the + rays of the sun at once, in the vividest blaze that any solid thing can + shoot. We call it then a diamond. + </p> + <p> + "Last of all, the water purifies, or unites itself; contented enough if it + only reach the form of a dewdrop: but if we insist on its proceeding to a + more perfect consistence, it crystallizes into the shape of a star. And, + for the ounce of slime which we had by political economy of competition, + we have, by political economy of co-operation, a sapphire, an opal, and a + diamond, set in the midst of a star of snow." + </p> + <p> + L. I have asked you to hear that, children, because, from all that we have + seen in the work and play of these past days, I would have you gain at + least one grave and enduring thought. The seeming trouble,—the + unquestionable degradation,—of the elements of the physical earth, + must passively wait the appointed time of their repose, or their + restoration. It can only be brought about for them by the agency of + external law. But if, indeed, there be a nobler life in us than in these + strangely moving atoms;—if, indeed, there is an eternal difference + between the fire which inhabits them, and that which animates us,—it + must be shown, by each of us in his appointed place, not merely in the + patience, but in the activity of our hope; not merely by our desire, but + our labor, for the time when the Dust of the generations of men shall be + confirmed for foundations of the gates of the city of God. The human clay, + now trampled and despised, will not be,—cannot be,— knit into + strength and light by accident or ordinances of unassisted fate. By human + cruelty and iniquity it has been afflicted;—by human mercy and + justice it must be raised: and, in all fear or questioning of what is or + is not, the real message of creation, or of revelation, you may assuredly + find perfect peace, if you are resolved to do that which your Lord has + plainly required,—and content that He should indeed require no more + of you,—than to do Justice, to love Mercy, and to walk humbly with + Him. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_NOTE" id="link2H_NOTE"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTES. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0017" id="link2H_4_0017"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE I. + </h2> + <h3> + Page 26. + </h3> + <p> + "That third pyramid of hers." + </p> + <p> + THROUGHOUT the dialogues, it must be observed that "Sibyl" is addressed + (when in play) as having once been the Cumaean Sibyl; and "Egypt" as + having been Queen Nitocris,—the Cinderella and "the greatest heroine + and beauty" of Egyptian story. The Egyptians called her "Neith the + Victorious" (Nitocris), and the Greeks "Face of the Rose" (Rhodope). + Chaucer's beautiful conception of Cleopatra in the "Legend of Good Women," + is much more founded on the traditions of her than on those of Cleopatra; + and, especially in its close, modified by Herodotus's terrible story of + the death of Nitocris, which, however, is mythologically nothing more than + a part of the deep monotonous ancient dirge for the fulfillment of the + earthly destiny of Beauty: "She cast herself into a chamber full of + ashes." + </p> + <p> + I believe this Queen is now sufficiently ascertained to have either built, + or increased to double its former size, the third pyramid of Gizeh: and + the passage following in the text refers to an imaginary endeavor, by the + Old Lecturer and the children together, to make out the description of + that pyramid in the 167th page of the second volume of Bunsen's "Egypt's + Place in Universal History"—ideal endeavor,—which ideally + terminates as the Old Lecturer's real endeavors to the same end always + have terminated. There are, however, valuable notes respecting Nitocris at + page 210 of the same volume: but the "Early Egyptian History for the + Young," by the author of "Sidney Gray," contains, in a pleasant form, as + much information as young readers will usually need. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0018" id="link2H_4_0018"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE II. + </h2> + <h3> + Page 27. + </h3> + <p> + "Pyramid of Asychis?" + </p> + <p> + THIS pyramid, in mythology, divides with the Tower of Babel the shame, or + vain glory, of being presumptuously, and first among great edifices, built + with "brick for stone." This was the inscription on it, according to + Herodotus: + </p> + <p> + "Despise me not, in comparing me with the pyramids of stone; for I have + the pre-eminence over them, as far as Jupiter has pre- eminence over the + gods. For, striking with staves into the pool, men gathered the clay which + fastened itself to the staff, and kneaded bricks out of it, and so made + me." + </p> + <p> + The word I have translated "kneaded" is literally "drew;" in the sense of + drawing, for which the Latins used "duco;" and thus gave us our "ductile" + in speaking of dead clay, and Duke, Doge, or leader, in speaking of living + clay. As the asserted pre-eminence of the edifice is made, in this + inscription, to rest merely on the quantity of labor consumed in it, this + pyramid is considered, in the text, as the type, at once, of the base + building, and of the lost labor, of future ages, so far at least as the + spirits of measured and mechanical effort deal with it; but Neith, + exercising her power upon it, makes it a type of the work of wise and + inspired builders. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0019" id="link2H_4_0019"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE III. + </h2> + <h3> + Page 29. + </h3> + <p> + "The Greater Pthah." + </p> + <p> + IT is impossible, as yet, to define with distinctness the personal + agencies of the Egyptian deities. They are continually associated in + function, or hold derivative powers, or are related to each other in + mysterious triads, uniting always symbolism of physical phenomena with + real spiritual power. I have endeavored partly to explain this in the text + of the tenth Lecture here, it is only necessary for the reader to know + that the Greater Pthah more or less represents the formative power of + order and measurement he always stands on a four-square pedestal, "the + Egyptian cubit, metaphorically used as the hieroglyphic for truth," his + limbs are bound together, to signify fixed stability, as of a pillar; he + has a measuring-rod in his hand, and at Philas, is represented as holding + an egg on a potter's wheel; but I do not know if this symbol occurs in + older sculptures. His usual title is the "Lord of Truth". Others, very + beautiful "King of the Two Worlds, of Gracious Countenance," + "Superintendent of the Great Abode," etc., are given by Mr. Birch in + Arundale's "Gallery of Antiquities," which I suppose is the book of best + authority easily accessible. For the full titles and utterances of the + gods, Rosellini is as yet the only—and I believe, still a very + questionable—authority, and Arundale's little book, excellent in the + text, has this great defect, that its drawings give the statues invariably + a ludicrous or ignoble character Readers who have not access to the + originals must be warned against this frequent fault in modern + illustration (especially existing also in some of the painted casts of + Gothic and Norman work at the Crystal Palace). It is not owing to any + willful want of veracity: the plates in Arundale's book are laboriously + faithful: but the expressions of both face and body in a figure depend + merely on emphasis of touch, and, in barbaric art most draughtsmen + emphasize what they plainly see—the barbarism, and miss conditions + of nobleness, which they must approach the monument in a different temper + before they will discover and draw with great subtlety before they can + express. + </p> + <p> + The character of the Lower Pthah, or perhaps I ought rather to say, of + Pthah in his lower office, is sufficiently explained in the text of the + third Lecture, only the reader must be warned that the Egyptian symbolism + of him by the beetle was not a scornful one, it expressed only the idea of + his presence in the first elements of life. But it may not unjustly be + used, in another sense, by us, who have seen his power in new development, + and, even as it was, I cannot conceive that the Egyptians should have + regarded their beetle headed image of him (Champollion, "Pantheon," p. + 12), without some occult scorn. It is the most painful of all their types + of any beneficent power, and even among those of evil influences, none can + be compared with it, except its opposite, the tortoise headed demon of + indolence. + </p> + <p> + Pasht (p. 27, line 9) is connected with the Greek Artemis, especially in + her offices of judgment and vengeance. She is usually lioness headed, + sometimes cat headed, her attributes seeming often trivial or ludicrous + unless their full meaning is known, but the inquiry is much too wide to be + followed here. The cat was sacred to her, or rather to the sun, and + secondarily to her. She is alluded to in the text because she is always + the companion of Pthah (called "the beloved of Pthah," it may be as + Judgment, demanded and longed for by Truth), and it may be well for young + readers to have this fixed in their minds, even by chance association. + There are more statues of Pasht in the British Museum than of any other + Egyptian deity; several of them fine in workmanship, nearly all in dark + stone, which may be, presumably, to connect her, as the moon, with the + night; and in her office of avenger, with grief. + </p> + <p> + Thoth (p. 31, line 12), is the Recording Angel of Judgment; and the Greek + Hermes—Phre (line 16), is the Sun. + </p> + <p> + Neith is the Egyptian spirit of divine wisdom, and the Athena of the + Greeks. No sufficient statement of her many attributes, still less of + their meanings, can be shortly given; but this should be noted respecting + the veiling of the Egyptian image of her by vulture wings—that as + she is, physically, the goddess of the air, this bird, the most powerful + creature of the air known to the Egyptians, naturally became her symbol. + It had other significations; but certainly this, when in connection with + Neith. As representing her, it was the most important sign, next to the + winged sphere, in Egyptian sculpture; and, just as in Homer, Athena + herself guides her heroes into battle, this symbol of wisdom, giving + victory, floats over the heads of the Egyptian Kings. The Greeks, + representing the goddess herself in human form, yet would not lose the + power of the Egyptian symbol, and changed it into an angel of victory. + First seen in loveliness on the early coins of Syracuse and Leontium, it + gradually became the received sign of all conquest, and the so called + "Victory" of later times, which, little by little, loses its truth, and is + accepted by the moderns only as a personification of victory itself,—not + as an actual picture of the living Angel who led to victory. There is a + wide difference between these two conceptions,—all the difference + between insincere poetry, and sincere religion. This I have also + endeavored farther to illustrate in the tenth Lecture, there is however + one part of Athena's character which it would have been irrelevant to + dwell upon there, yet which I must not wholly leave unnoticed. + </p> + <p> + As the goddess of the air, she physically represents both its beneficent + calm, and necessary tempest other storm deities (as Chrysaor and Aeolus) + being invested with a subordinate and more or less malignant function, + which is exclusively their own, and is related to that of Athena as the + power of Mars is related to hers in war. So also Virgil makes her able to + wield the lightning herself, while Juno cannot, but must pray for the + intervention of Aeolus. She has precisely the correspondent moral + authority over calmness of mind, and just anger. She soothes Achilles, as + she incites Tydides; her physical power over the air being always hinted + correlatively. She grasps Achilles by his hair—as the wind would + lift it—softly, + </p> +<pre xml:space="preserve"> + "It fanned his cheek, it raised his hair, + Like a meadow gale in spring" +</pre> + <p> + She does not merely turn the lance of Mars from Diomed; but seizes it in + both her hands, and casts it aside, with a sense of making it vain, like + chaff in the wind;—to the shout of Achilles, she adds her own voice + of storm in heaven—but in all cases the moral power is still the + principal one—most beautifully in that seizing of Achilles by the + hair, which was the talisman of his life (because he had vowed it to the + Sperchius if he returned in safety), and which, in giving at Patroclus' + tomb, he, knowingly, yields up the hope of return to his country, and + signifies that he will die with his friend. Achilles and Tydides are, + above all other heroes, aided by her in war, because their prevailing + characters are the desire of justice, united in both, with deep + affections; and, in Achilles, with a passionate tenderness, which is the + real root of his passionate anger Ulysses is her favorite chiefly in her + office as the goddess of conduct and design. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0020" id="link2H_4_0020"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE IV. + </h2> + <h3> + Page 81. + </h3> + <p> + "Geometrical limitations." + </p> + <p> + IT is difficult, without a tedious accuracy, or without full illustration, + to express the complete relations of crystalline structure, which dispose + minerals to take, at different times, fibrous, massive, or foliated forms; + and I am afraid this chapter will be generally skipped by the reader: yet + the arrangement itself will be found useful, if kept broadly in mind; and + the transitions of state are of the highest interest, if the subject is + entered upon with any earnestness. It would have been vain to add to the + scheme of this little volume any account of the geometrical forms of + crystals an available one, though still far too difficult and too copious, + has been arranged by the Rev. Mr. Mitchell, for Orr's "Circle of the + Sciences;" and, I believe, the "nets" of crystals, which are therein given + to be cut out with scissors and put prettily together, will be found more + conquerable by young ladies than by other students. They should also, when + an opportunity occurs, be shown, at any public library, the diagram of the + crystallization of quartz referred to poles, at p. 8 of Cloizaux's "Manuel + de Mineralogie;" that they may know what work is; and what the subject is. + </p> + <p> + With a view to more careful examination of the nascent states of silica, I + have made no allusion in this volume to the influence of mere segregation, + as connected with the crystalline power. It has only been recently, during + the study of the breccias alluded to in page 186, that I have fully seen + the extent to which this singular force often modifies rocks in which at + first its influence might hardly have been suspected; many apparent + conglomerates being in reality formed chiefly by segregation, combined + with mysterious brokenly-zoned structures, like those of some malachites. + I hope some day to know more of these and several other mineral phenomena + (especially of those connected with the relative sizes of crystals), which + otherwise I should have endeavored to describe in this volume. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0021" id="link2H_4_0021"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE V. + </h2> + <h3> + Page 168. + </h3> + <p> + "St. Barbara." + </p> + <p> + I WOULD have given the legends of St. Barbara, and St. Thomas, if I had + thought it always well for young readers to have everything at once told + them which they may wish to know. They will remember the stories better + after taking some trouble to find them; and the text is intelligible + enough as it stands. The idea of St. Barbara, as there given, is founded + partly on her legend in Peter de Natahbus, partly on the beautiful + photograph of Van Eyck's picture of her at Antwerp: which was some time + since published at Lille. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0022" id="link2H_4_0022"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE VI. + </h2> + <h3> + Page 227. + </h3> + <p> + "King of the Valley of Diamonds." + </p> + <p> + ISABEL interrupted the Lecturer here, and was briefly bid to hold her + tongue; which gave rise to some talk, apart, afterwards, between L. and + Sibyl, of which a word or two may be perhaps advisably set down. + </p> + <p> + SIBYL. We shall spoil Isabel, certainly, if it don't mind: I was glad you + stopped her, and yet sorry, for she wanted so much to ask about the Valley + of Diamonds again, and she has worked so hard at it, and made it nearly + all out by herself. She recollected Elisha's throwing in the meal, which + nobody else did. + </p> + <p> + L. But what did she want to ask? + </p> + <p> + SIBYL. About the mulberry trees and the serpents; we are all stopped by + that. Won't you tell us what it means? + </p> + <p> + L. Now, Sibyl, I am sure you, who never explained yourself, should be the + last to expect others to do so. I hate explaining myself. + </p> + <p> + SIBYL. And yet how often you complain of other people for not saying what + they meant. How I have heard you growl over the three stone steps to + purgatory, for instance! + </p> + <p> + L. Yes; because Dante's meaning is worth getting at, but mine matters + nothing at least, if ever I think it is of any consequence so I speak it + as clearly as may be. But you may make anything you like of the serpent + forests I could have helped you to find out what they were, by giving a + little more detail, but it would have been tiresome. + </p> + <p> + SIBYL. It is much more tiresome not to find out Tell us, please, as Isabel + says, because we feel so stupid. + </p> + <p> + L. There is no stupidity, you could not possibly do more than guess at + anything so vague. But I think, you, Sibyl, at least, might have + recollected what first dyed the mulberry. + </p> + <p> + SIBYL. So I did, but that helped little, I thought of Dante's forest of + suicides, too, but you would not simply have borrowed that. + </p> + <p> + L. No! If I had had strength to use it, I should have stolen it, to beat + into another shape; not borrowed it. But that idea of souls in trees is as + old as the world; or at least, as the world of man. And I DID mean that + there were souls in those dark branches,—the souls of all those who + had perished in misery through the pursuit of riches, and that the river + was of their blood, gathering gradually, and flowing out of the valley. + Then I meant the serpents for the souls of those who had lived carelessly + and wantonly in their riches; and who have all their sins forgiven by the + world, because they are rich: and therefore they have seven crimson + crested heads, for the seven mortal sins; of which they are proud: and + these, and the memory and report of them, are the chief causes of + temptation to others, as showing the pleasantness and absolving power of + riches; so that thus they are singing serpents. And the worms are the + souls of the common money getters and traffickers, who do nothing but eat + and spin: and who gain habitually by the distress or foolishness of others + (as you see the butchers have been gaining out of the panic at the cattle + plague, among the poor),—so they are made to eat the dark leaves, + and spin, and perish. + </p> + <p> + SIBYL. And the souls of the great, cruel, rich people who oppress the + poor, and lend money to government to make unjust war, where are they? + </p> + <p> + L. They change into the ice, I believe, and are knit with the gold, and + make the grave dust of the valley I believe so, at least, for no one ever + sees those souls anywhere. + </p> + <p> + (SIBYL ceases questioning.) + </p> + <p> + ISABEL (who has crept up to her side without any one seeing). Oh, Sibyl, + please ask him about the fireflies! + </p> + <p> + L. What, you there, mousie! No; I won't tell either Sibyl or you about the + fireflies, nor a word more about anything else you ought to be little + fireflies yourselves, and find your way in twilight by your own wits. + </p> + <p> + ISABEL. But you said they burned, you know? + </p> + <p> + L. Yes; and you may be fireflies that way too, some of you, before long, + though I did not mean that. Away with you, children. You have thought + enough for to-day. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0023" id="link2H_4_0023"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + NOTE TO SECOND EDITION + </h2> + <p> + Sentence out of letter from May (who is staying with Isabel just now at + Cassel), dated 15th June, 1877:— + </p> + <p> + "I am reading the Ethics with a nice Irish girl who is staying here, and + she's just as puzzled as I've always been about the fireflies, and we both + want to know so much.—Please be a very nice old Lecturer, and tell + us, won't you?" + </p> + <p> + Well, May, you never were a vain girl; so could scarcely guess that I + meant them for the light, unpursued vanities, which yet blind us, confused + among the stars. One evening, as I came late into Siena, the fireflies + were flying high on a stormy sirocco wind,—the stars themselves no + brighter, and all their host seeming, at moments, to fade as the insects + faded. + </p> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 4701 ***</div> +</body> +</html> + + |