Critical Miscellanies (Vol. 3 of 3), Essay 1: On Popular Culture — John Shaqi
Critical Miscellanies (Vol. 3 of 3), Essay 1: On Popular CultureMorley, John
History
Critical Miscellanies (Vol. 3 of 3), Essay 1: On Popular Culture
Morley, John
Literature -- History and criticism
If a prize-giving is always an occasion of lively satisfaction, my own
satisfaction is all the greater at this moment, because your
Institute, which is doing such good work in the world, and is in every
respect so prosperous and so flourishing, is the creation of the
people of your own district, without subsidy and without direction
either from London, or from Oxford, or from Cambridge, or from any
other centre whatever. Nobody in this town at any rate needs any
argument of mine to persuade him that we can only be sure of advancing
all kinds of knowledge, and developing our national life in all its
plenitude and variety, on condition of multiplying these local centres
both of secondary and higher education, and encouraging each of them
to fight its own battle, and do its work in its own way. For my own
part I look with the utmost dismay at the concentration, not only of
population, but of the treasures of instruction, in our vast city on
the banks of the Thames. At Birmingham, as I am informed, one has not
far to look for an example of this. One of the branches of your
multifarious trades in this town is the manufacture of jewellery. Some
of it is said commonly to be wanting in taste, elegance, skill; though
some of it also--if I am not misinformed--is good enough to be passed
off at Rome and at Paris, even to connoisseurs, as of Roman or French
production. Now the nation possesses a most superb collection of all
that is excellent and beautiful in jewellers' work. When I say that
the nation possesses it, I mean that London possesses it. The
University of Oxford, by the way, has also purchased a portion, but
that is not at present accessible. If one of your craftsmen in that
kind wants to profit by these admirable models, he must go to London.
What happens is that he goes to the capital and stays there. Its
superficial attractions are too strong for him. You lose a clever
workman and a citizen, and he adds one more atom to that huge,
overgrown, and unwieldy community. Now, why, in the name of common
sense, should not a portion of the Castellani collection pass six
months of the year in Birmingham, the very place of all others where
it is most likely to be of real service, and to make an effective mark
on the national taste?[1]
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