Fors Clavigera (Volume 5 of 8): Letters to the workmen and labourers of Great BritainRuskin, John
General
Fors Clavigera (Volume 5 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
‘Proserpina’ will, I hope, take better and more harmonious form; but it
grows under my hands, and needs most careful thought. For it claims
nothing less than complete modification of existing botanical
nomenclature, for popular use; and in connection with ‘Deucalion’ and
the recast ‘Elements of Drawing,’ is meant to found a system of
education in Natural History, the conception of which I have reached
only by thirty years of labour, and the realization of which can only
be many a year after I am at rest. And yet none of this work can be
done but as a kind of play, irregularly, and as the humour comes upon
me. For if I set myself at it gravely, there is too much to be dealt
with; my mind gets fatigued in half an hour, and no good can be done;
the only way in which any advance can be made is by keeping my mornings
entirely quiet, and free of care, by opening of letters or newspapers;
and then by letting myself follow any thread of thought or point of
inquiry that chances to occur first, and writing as the thoughts
come,—whatever their disorder; all their connection and co-operation
being dependent on the real harmony of my purpose, and the consistency
of the ascertainable facts, which are the only ones I teach; and I can
no more, now, polish or neatly arrange my work than I can guide it. So
this fragment must stand as it was written, and end,—because I have no
time to say more.
Cowley Rectory, 27th October, 1875.
My Christmas letter this year, since we are now definitely begun with
our schooling, may most fitly be on the subject, already opened in Fors
12th, of the Three Wise Men.
‘Three wise men of Gotham,’ I had nearly written; the remembrance of
the very worst pantomime I ever saw, having, from the mere
intolerableness of its stupidity, so fastened itself in my memory that
I can’t now get rid of the ring in my ears, unless I carefully say,
‘Magi,’ instead of ‘wise men.’
Such, practically, is the principal effect of the Sacred Art employed
by England, in the festivity of her God’s birthday, upon the minds of
her innocent children, like me, who would fain see something magical
and pretty on the occasion—if the good angels would bring it us, and
our nurses, and mammas, and governesses would allow us to believe in
magic, or in wisdom, any more.
You would not believe, if they wanted you, I suppose, you wise men of
the west? You are sure that no real magicians ever existed; no real
witches—no real prophets;—that an Egyptian necromancer was only a
clever little Mr. Faraday, given to juggling; and the witch of Endor,
only a Jewish Mrs. Somerville amusing herself with a practical joke on
Saul; and that when Elisha made the axe swim, he had prepared the
handle on the sly—with aluminium? And you think that in this blessed
nineteenth century—though there isn’t a merchant, from Dan to
Beersheba, too honest to cheat, there is not a priest nor a prophet,
from Dan to Beersheba, but he is too dull to juggle?
Public-domain text, read in full here on John Shaqi.
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