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 'Zauberfloete' 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 born[A]--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. [A] I ask the reader's thoughtful attention to this paragraph, on which much of what else I have to say depends. 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.