Fors Clavigera (Volume 1 of 8): Letters to the workmen and labourers of Great BritainRuskin, John
General
Fors Clavigera (Volume 1 of 8): Letters to the workmen and labourers of Great Britain
Ruskin, John
Aesthetics; Conduct of life; Great Britain -- Social conditions -- 19th century; Social problems; Working class -- Great Britain
To this my correspondent again replied that he supposed David's
"twangling upon the harp" would have been unsatisfactory to modern
taste; in which sentiment I concurred with him, (thinking of the
Cumberland procession, without dancing, after its sacred, cylindrical
Ark). We shall have to be content, however, for our part, with a
little "twangling" on such roughly-made harps, or even shells, as
the Jews and Greeks got their melody out of, though it must indeed
be little conceivable in a modern manufacturing town that a nation
could ever have existed which imaginarily dined on onions in Heaven,
and made harps of the near relations of turtles on Earth. But to keep
to our crockery, you know I told you that for some time we should not
be able to put any pictures of Gods on it; and you might think that
would be of small consequence: but it is of moment that we should at
least try--for indeed that old French potter, Palissy, was nearly the
last of potters in France, or England either, who could have done
so, if anybody had wanted Gods. But nobody in his time did;--they
only wanted Goddesses, of a demi-divine-monde pattern; Palissy, not
well able to produce such, took to moulding innocent frogs and vipers
instead, in his dishes; but at Sèvres and other places for shaping of
courtly clay, the charmingest things were done, as you probably saw at
the great peace-promoting Exhibition of 1851; and not only the first
rough potter's fields, tileries, as they called them, or Tuileries,
but the little den where Palissy long after worked under the Louvre,
were effaced and forgotten in the glory of the House of France;
until the House of France forgot also that to it, no less than
the House of Israel, the words were spoken, not by a painted God,
"As the clay is in the hands of the potter, so are ye in mine;" and
thus the stained and vitrified show of it lasted, as you have seen,
until the Tuileries again became the Potter's field, to bury, not
strangers in, but their own souls, no more ashamed of Traitorhood,
but invoking Traitorhood, as if it covered, instead of constituting,
uttermost shame;--until, of the kingdom and its glory there is not
a shard left, to take fire out of the hearth.
Left--to men's eyes, I should have written. To their thoughts, is left
yet much; for true kingdoms and true glories cannot pass away. What
France has had of such, remain to her. What any of us can find of
such, will remain to us. Will you look back, for an instant, again
to the end of my last Letter, p. 23, and consider the state of life
described there:--"No liberty, but instant obedience to known law and
appointed persons; no equality, but recognition of every betterness
and reprobation of every worseness; and none idle but the dead."
Public-domain text, read in full here on John Shaqi.
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