LETTER IV.
THE EXPENSES FOR ART AND FOR WAR
February 19, 1867.
15. In the 'Pall Mall Gazette' of yesterday, second column of second page, you will find, close to each other, two sentences which bear closely on matters in hand. The first of these is the statement, that in the debate on the grant for the Blacas collection, "Mr. Bernal Osborne got an assenting cheer, when he said that 'whenever science and art were mentioned it was a sign to look after the national pockets.'" I want you to notice this fact, i. e., (the debate in question being on a total grant of 164,000l., of which 48,000l. only were truly for art's sake, and the rest for shop's sake,) in illustration of a passage in my 'Sesame and Lilies' (pp. 69, 70 of the small edition, and pp. 46, 47 of Vol. I. of the Revised Series of the Entire Works),[I] to which I shall have again to refer you, with some further comments, in the sequel of these letters. The second passage is to the effect that "The Trades' Union Bill was read a second time, after a claim from Mr. Hadfield, Mr. Osborne, and Mr. Samuelson, to admit working men into the commission; to which Mr. Watkin answered 'that the working men's friend was too conspicuous in the body;' and Mr. Roebuck, 'that when a butcher was tried for murder it was not necessary to have butchers on the jury.'"
16. Note this second passage with respect to what I said in my last letter, as to the impossibility of the laws of work being investigated in the House of Commons. What admixture of elements, think you, would avail to obtain so much as decent hearing (how should we then speak of impartial judgment?) of the cause of working men, in an assembly which permits to one of its principal members this insolent discourtesy of language, in dealing with a preliminary question of the highest importance; and permits it as so far expressive of the whole color and tone of its own thoughts, that the sentence is quoted by one of the most temperate and accurate of our daily journals, as representing the total answer of the opposite side in the debate? No! be assured you can do nothing yet at Westminster. You must have your own parliament, and if you cannot detect enough honesty among you to constitute a justly minded one, for the present matters must take their course, and that will be, yet awhile, to the worse.
17. I meant to have continued this subject, but I see two other statements in the 'Pall Mall Gazette' of to-day, with which, and a single remark upon them, I think it will be well to close my present letter.
(1) "The total sum asked for in the army estimates, published this morning, is 14,752,200l., being an increase of 412,000l. over the previous year."
(2) "Yesterday the annual account of the navy receipts and expenditure for the year ending 31st March, 1866, was issued from the Admiralty. The expenditure was 10,268,115l. 7s."
Omitting the seven shillings, and even the odd hundred-thousands of pounds, the net annual expenditure for army and navy appears to be twenty-four millions.
The "grant in science and art," two-thirds of which was not in reality for either, but for amusement and shop interests in the Paris Exhibition—the grant which the House of Commons feels to be indicative of general danger to the national pockets—is, as above stated, 164,000l. Now, I believe the three additional ciphers which turn thousands into millions produce on the intelligent English mind usually the effect of—three ciphers. But calculate the proportion of these two sums, and then imagine to yourself the beautiful state of rationality of any private gentleman, who, having regretfully spent 164l. on pictures for his walls, paid willingly 24,000l. annually to the policeman who looked after his shutters! You practical English!—will you ever unbar the shutters of your brains, and hang a picture or two in those state-chambers?
LETTER V.
THE CORRUPTION OF MODERN PLEASURE.—(COVENT GARDEN PANTOMIME.)
February 25, 1867.
18. There is this great advantage in the writing real letters, that the direct correspondence is a sufficient reason for saying, in or out of order, everything that the chances of the day bring into one's head, in connection with the matter in hand; and as such things very usually go out of one's head again, after they get tired of their lodging, they would otherwise never get said at all. And thus to-day, quite out of order, but in very close connection with another part of our subject, I am going to tell you what I was thinking on Friday evening last, in Covent Garden Theater, as I was looking, and not laughing, at the pantomime of 'Ali Baba and the Forty Thieves.'
When you begin seriously to consider the question referred to in my second letter, of the essential, and in the outcome inviolable, connection between quantity of wages, and quantity of work, you will see that "wages" in the full sense don't mean "pay" merely, but the reward, whatever it may be, of pleasure as well as profit, and of various other advantages, which a man is meant by Providence to get during life, for work well done. Even limiting the idea to "pay," the question is not so much what quantity of coin you get, as—what you can get for it when you have it. Whether a shilling a day be good pay or not, depends wholly on what a "shilling's worth" is; that is to say, what quantity of the things you want may be had for a shilling. And that again depends, and a great deal more than that depends, on what you do want. If only drink, and foul clothes, such and such pay may be enough for you; if you want good meat and good clothes, you must have larger wage; if clean rooms and fresh air, larger still, and so on. You say, perhaps, "every one wants these better things." So far from that, a wholesome taste for cleanliness and fresh air is one of the final attainments of humanity. There are now not many European gentlemen, even in the highest classes, who have a pure and right love of fresh air. They would put the filth of tobacco even into the first breeze of a May morning.
19. But there are better things even than these, which one may want. Grant that one has good food, clothes, lodging, and breathing, is that all the pay one ought to have for one's work? Wholesome means of existence and nothing more? Enough, perhaps, you think, if everybody could get these. It may be so; I will not, at this moment, dispute it; nevertheless, I will boldly say that you should sometimes want more than these; and for one of many things more, you should want occasionally to be amused!
You know, the upper classes, most of them, want to be amused all day long. They think
"One moment unamused a misery
Not made for feeble men."
Perhaps you have been in the habit of despising them for this; and thinking how much worthier and nobler it was to work all day, and care at night only for food and rest, than to do no useful thing all day, eat unearned food, and spend the evening, as the morning, in "change of follies and relays of joy." No, my good friend, that is one of the fatalest deceptions. It is not a noble thing, in sum and issue of it, not to care to be amused. It is indeed a far higher moral state, but is a much lower creature state, than that of the upper classes.
20. Yonder poor horse, calm slave in daily chains at the railroad siding, who drags the detached rear of the train to the front again, and slips aside so deftly as the buffers meet; and, within eighteen inches of death every ten minutes, fulfils his changeless duty all day long, content, for eternal reward, with his night's rest, and his champed mouthful of hay;—anything more earnestly moral and beautiful one cannot image—I never see the creature without a kind of worship. And yonder musician, who used the greatest power which (in the art he knew) the Father of spirits ever yet breathed into the clay of this world;—who used it, I say, to follow and fit with perfect sound the words of the 'Zauberflöte' and of 'Don Giovanni'—foolishest and most monstrous of conceivable human words and subjects of thought—for the future "amusement" of his race!—No such spectacle of unconscious (and in that unconsciousness all the more fearful) moral degradation of the highest faculty to the lowest purpose can be found in history. But Mozart is nevertheless a nobler creature than the horse at the siding; nor would it be the least nearer the purpose of his Maker that he, and all his frivolous audiences, should evade the degradation of the profitless piping, only by living, like horses, in daily physical labor for daily bread.
21. There are three things to which man is born1—labor, and sorrow, and joy. Each of these three things has its baseness and its nobleness. There is base labor, and noble labor. There is base sorrow, and noble sorrow. There is base joy, and noble joy. But you must not think to avoid the corruption of these things by doing without the things themselves. Nor can any life be right that has not all three. Labor without joy is base. Labor without sorrow is base. Sorrow without labor is base. Joy without labor is base.
22. I dare say you think I am a long time in coming to the pantomime; I am not ready to come to it yet in due course, for we ought to go and see the Japanese jugglers first, in order to let me fully explain to you what I mean. But I can't write much more to-day; so I shall merely tell you what part of the play set me thinking of all this, and leave you to consider of it yourself, till I can send you another letter. The pantomime was, as I said, 'Ali Baba and the Forty Thieves.' The forty thieves were girls. The forty thieves had forty companions, who were girls. The forty thieves and their forty companions were in some way mixed up with about four hundred and forty fairies, who were girls. There was an Oxford and Cambridge boat-race, in which the Oxford and Cambridge men were girls. There was a transformation scene, with a forest, in which the flowers were girls, and a chandelier, in which the lamps were girls, and a great rainbow which was all of girls.
23. Mingled incongruously with these seraphic, and, as far as my boyish experience extends, novel, elements of pantomime, there were yet some of its old and fast-expiring elements. There were, in speciality, two thoroughly good pantomime actors—Mr. W. H. Payne and Mr. Frederick Payne. All that these two did, was done admirably. There were two subordinate actors, who played, subordinately well, the fore and hind legs of a donkey. And there was a little actress of whom I have chiefly to speak, who played exquisitely the little part she had to play. The scene in which she appeared was the only one in the whole pantomime in which there was any dramatic effort, or, with a few rare exceptions, any dramatic possibility. It was the home scene, in which Ali Baba's wife, on washing day, is called upon by butcher, baker, and milkman, with unpaid bills; and in the extremity of her distress hears her husband's knock at the door, and opens it for him to drive in his donkey, laden with gold. The children who have been beaten instead of getting breakfast, presently share in the raptures of their father and mother; and the little lady I spoke of, eight or nine years old,—dances a pas-de-deux with the donkey.
24. She did it beautifully and simply, as a child ought to dance. She was not an infant prodigy; there was no evidence, in the finish or strength of her motion, that she had been put to continual torture through half her eight or nine years. She did nothing more than any child well taught, but painlessly, might easily do. She caricatured no older person,—attempted no curious or fantastic skill. She was dressed decently,—she moved decently,—she looked and behaved innocently,—and she danced her joyful dance with perfect grace, spirit, sweetness, and self-forgetfulness. And through all the vast theater, full of English fathers and mothers and children, there was not one hand lifted to give her sign of praise but mine.
Presently after this, came on the forty thieves, who, as I told you, were girls; and, there being no thieving to be presently done, and time hanging heavy on their hands, arms, and legs, the forty thief-girls proceeded to light forty cigars. Whereupon the British public gave them a round of applause. Whereupon I fell a thinking; and saw little more of the piece, except as an ugly and disturbing dream.
LETTER VI.
THE CORRUPTION OF MODERN PLEASURE.—(THE JAPANESE JUGGLERS.)
February 28, 1867.
25. I have your pleasant letter with references to Frederick. I will look at them carefully.[II] Mr. Carlyle himself will be pleased to hear this letter when he comes home. I heard from him last week at Mentone. He is well, and glad of the light and calm of Italy. I must get back to the evil light and uncalm, of the places I was taking you through.
(Parenthetically, did you see the article in the 'Times' of yesterday on bribery, and the conclusion of the commission—"No one sold any opinions, for no one had any opinions to sell"?)
Both on Thursday and Friday last I had been tormented by many things, and wanted to disturb my course of thought any way I could. I have told you what entertainment I got on Friday, first, for it was then that I began meditating over these letters; let me tell you now what entertainment I found on Thursday.
26. You may have heard that a company of Japanese jugglers has come over to exhibit in London. There has long been an increasing interest in Japanese art, which has been very harmful to many of our own painters, and I greatly desired to see what these people were, and what they did. Well, I have seen Blondin, and various English and French circus work, but never yet anything that surprised me so much as one of these men's exercises on a suspended pole. Its special character was a close approximation to the action and power of the monkey; even to the prehensile power in the foot; so that I asked a sculptor-friend who sat in front of me, whether he thought such a grasp could be acquired by practice, or indicated difference in race. He said he thought it might be got by practice. There was also much inconceivably dexterous work in spinning of tops,—making them pass in balanced motion along the edge of a sword, and along a level string, and the like;—the father performing in the presence of his two children, who encouraged him continually with short, sharp cries, like those of animals. Then there was some fairly good sleight-of-hand juggling of little interest; ending with a dance by the juggler, first as an animal, and then as a goblin, Now, there was this great difference between the Japanese masks used in this dance and our common pantomime masks for beasts and demons,—that our English masks are only stupidly and loathsomely ugly, by exaggeration of feature, or of defect of feature. But the Japanese masks (like the frequent monsters of Japanese art) were inventively frightful, like fearful dreams; and whatever power it is that acts on human minds, enabling them to invent such, appears to me not only to deserve the term "demoniacal," as the only word expressive of its character; but to be logically capable of no other definition.
27. The impression, therefore, produced upon me by the whole scene, was that of being in the presence of human creatures of a partially inferior race, but not without great human gentleness, domestic affection, and ingenious intellect; who were, nevertheless, as a nation, afflicted by an evil spirit, and driven by it to recreate themselves in achieving, or beholding the achievement, through years of patience, of a certain correspondence with the nature of the lower animals.
28. These, then, were the two forms of diversion or recreation of my mind possible to me, in two days, when I needed such help, in this metropolis of England. I might, as a rich man, have had better music, if I had so chosen, though, even so, not rational or helpful; but a poor man could only have these, or worse than these, if he cared for any manner of spectacle. (I am not at present, observe, speaking of pure acting, which is a study, and recreative only as a noble book is; but of means of mere amusement.)
Now, lastly, in illustration of the effect of these and other such "amusements," and of the desire to obtain them, on the minds of our youth, read the 'Times' correspondent's letter from Paris, in the tenth page of the paper, to-day;[III] and that will be quite enough for you to read, for the present, I believe.
LETTER VII.
OF THE VARIOUS EXPRESSIONS OF NATIONAL FESTIVITY
March 4, 1867.
29. The subject which I want to bring before you is now branched, and worse than branched, reticulated, in so many directions, that I hardly know which shoot of it to trace, or which knot to lay hold of first.
I had intended to return to those Japanese jugglers, after a visit to a theater in Paris; but I had better, perhaps, at once tell you the piece of the performance which, in connection with the scene in the English pantomime, bears most on matters in hand.
It was also a dance by a little girl—though one older than Ali Baba's daughter, (I suppose a girl of twelve or fourteen). A dance, so called, which consisted only in a series of short, sharp contractions and jerks of the body and limbs, resulting in attitudes of distorted and quaint ugliness, such as might be produced in a puppet by sharp twitching of strings at its joints: these movements being made to the sound of two instruments, which between them accomplished only a quick vibratory beating and strumming, in nearly the time of a hearth-cricket's song, but much harsher, and of course louder, and without any sweetness; only in the monotony and unintended aimless construction of it, reminding one of various other insect and reptile cries or warnings: partly of the cicala's hiss; partly of the little melancholy German frog which says "Mu, mu, mu," all summer-day long, with its nose out of the pools by Dresden and Leipsic; and partly of the deadened quivering and intense continuousness of the alarm of the rattlesnake.
While this was going on, there was a Bible text repeating itself over and over again in my head, whether I would or no:—"And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand, and all the women went out after her with timbrels and with dances." To which text and some others, I shall ask your attention presently; but I must go to Paris first.
30. Not at once, however, to the theater, but to a bookseller's shop, No. 4, Rue Voltaire, where, in the year 1858, was published the fifth edition of Balzac's 'Contes Drôlatiques,' illustrated by 425 designs by Gustave Doré.
Both text and illustrations are as powerful as it is ever in the nature of evil things to be (there is no final strength but in rightness). Nothing more witty, nor more inventively horrible, has yet been produced in the evil literature, or by the evil art, of man: nor can I conceive it possible to go beyond either in their specialities of corruption. The text is full of blasphemies, subtle, tremendous, hideous in shamelessness, some put into the mouths of priests; the illustrations are, in a word, one continuous revelry in the most loathsome and monstrous aspects of death and sin, enlarged into fantastic ghastliness of caricature, as if seen through the distortion and trembling of the hot smoke of the mouth of hell. Take this following for a general type of what they seek in death: one of the most labored designs is of a man cut in two, downwards, by the sweep of a sword—one half of him falls toward the spectator; the other half is elaborately drawn in its section—giving the profile of the divided nose and lips; cleft jaw—breast—and entrails; and this is done with farther pollution and horror of intent in the circumstances, which I do not choose to describe—still less some other of the designs which seek for fantastic extreme of sin, as this for the utmost horror of death. But of all the 425, there is not one, which does not violate every instinct of decency and law of virtue or life, written in the human soul.
31. Now, my friend, among the many "Signs of the Times" the production of a book like this is a significant one: but it becomes more significant still when connected with the farther fact, that M. Gustave Doré, the designer of this series of plates, has just been received with loud acclaim by the British Evangelical Public, as the fittest and most able person whom they could at present find to illustrate, to their minds, and recommend with grace of sacred art, their hitherto unadorned Bible for them.
Of which Bible, and of the use we at present make of it in England, having a grave word or two to say in my next letter (preparatory to the examination of that verse which haunted me through the Japanese juggling, and of some others also), I leave you first this sign of the public esteem of it to consider at your leisure.