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COMMEriTAI|Y TO SESAME Ap LILIES

>fs,''

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; !

AFTER AN ENGRAVING BY JOHNSON

JOHN RUSKIN.

"That spiuv, stoojiiiii,' fijfuiv, the rou>.^h-heNvn kindly face, with its mobile,
sensitive inoutii, and clear deep eves, so sweet and honest in repose, so keen and
earnest and elo((uent in debate."— J//'. J. Smart.

A COMMENTARY

SESAME AND LILIES

JOHN RUSK IN, LL.D.

INCLUDING

BIOGRAPHY, NOTES, AND APPENDIX

FRKD. H. SYKKS, M. A.

TORONTO
THE COPP, CLARK COMPANY, Limukd

Knteml acconlint,' to Act, of Pailiaiiicnt of faiiadu, in the year one thousand ei-ht
hundred and ninety-one, hy Tiik Coi-i-, Clark Com 1"A> v, Limitkd, in the ofHee of
the MiniKter of Agriculture.

ll.l-

ice of

MV UEAF? AND TRUE FRIfND

Prof. Dr. Archibald MacMechan,
whose counsel and assistance have made

THIS COMMENTARY WHAT IT IS.

INTRODlilTlON.

JOHN KISKIN: HIS LIFK AND WOliK,

The life of h ^'ivat iii;ui is of pori'iiniiil iiitcivst. Fn liiiii \\v sw,
not only the struggUis uiul fjiilurus iind triinnplis of tlit; individiuil,
but ixIho, prosoiitud in their luont coiicruto ;ind iiitellit,'il>li! form, the
strngffles of his aj^'e, iqion whose surj,'es he is, as it wv.\\\ the erest
of a mighty wave. When this <,'reat man, pure in life, rich in
thought, perfect in style, himself tells the story of his life, as
Ruskin does in Pniivrita, our interest is vastly increased and vastly
more serviceable to us. His thoughts and actions have their wisest
and most sympathetic interj)reter, and, set fo)tli by otu* snre know-
ledge of the general purposes and habits of thoufrlit of the author,
each one of his works actjuiresfor us new and increased signitlcance.
As one of the tenderest and most thoughtfu' >f Enijlish wi iters, at
one who has added a new realm to Knglisl) literatiue— the criticism
of art, as one who has strengthened English f;ut!i in what is pure
an "1 beautiful and true, the author of Sesdtna coid LU'ws is a j)er-
sonality of peculiar interest, whom to know is an t>ntireiy worthy
and profitable study.

Heme Hill, when Ruskin was a boy, was reached from London
by a pleasant suburban road overhung with apple-trees and chest-
nuts and lilacs. To the north, London; to the east and south, the
circling Norwood hills; while Windsor, Harrow, and the valley of
the Thames with its stretches of varying woods, formed its western
horizon. On Heme Hill stands the house of which Uuskin's father,
John Ruskin, of Ruskin, Telford, and Domec((, wine merchants of
London, took a lease when the sherry horn M, Domec(j's Si)anish
plantati(m had given prosperity to the firm. A roomy place it is,
three storeys and more, with front garden set with evergreens, lilac,
and laburnum, and back garden wh(»se walls cniMi^ihid pear and
cherry and ap[tle-trees, and lusciniis gooscilua-riiis and currants an
Eden to the boy's eyes, except that all fruit was f(»rbi<lden.

142

INTHODUGTION.

I? I

li I

!:i:!

I *

It is a (juaiiit pictiiro of old tinio life that we sec within the walls
of that Heme Hill house. Mr. Ruskiii was no ordinary merchant.
The man who i)aid his father's debts, who served nine years t«) win
means to niarry the girl of his choice, who loved what was best in
literature, who in art had excellent taste and even skilful execution,
was not only "an entirciy honest merchant," as his son wrote over
his toml), but a man of culture and strength of character. His
only child had been born in London on February the 8th, 1819, and
had come to Herne Hill when four years of age, bringing with him
in(^nories of grimy London walls and the wonderful iron watering-
post before his old home ; memories also oi holiday romps on
Duppas Hill while visiting his mother's sister, wife of a Croydon
baker, and of rambles by the eddying Tay when he stayed with his
father's sister, wife of a tanner of Perth.

Peace filled the little Herne Hill household. N(j angry word ever
passed between husband and wife, not even one oflended look. No
servant was ever scolded or angrily blamed. Nothing was hurriedly
done, nothing was neglected. While Mr. Ruskin spent his morn-
ing in the counting-house, the boy studied at his mother's knee
As soon as he could read fluently, mother and son studied the Bible
together. Reading alternate verses, a few chapters each morning,
letting slip no hard word, no harsh passage, they went from
Genesis to Revelations, and began again at Genesis the following
day. After the Bible reading the boy had a few verses and something
from the Scottish paraphrases to learn by heart, or repeat from
memory. When he was seven, a little Latin was added, but until the
boy became an undergraduate of Oxford these morning readings and
memorizings never varied. Looking back on this religious training,
Ruskin recognizes its narrow Puritanical character, but he has
warm words of gratitude for the mother who thereby gave him good
taste in literature and the power of taking pains, but, best of all,
"established his soul in life." At twelve o'clock he was free, and
his afternoons were spent with his mother, planting or pruning in
the garden, or, if the day was wet, playing in the nursery with his
toy bricks or model bridge. Business seventy years ago was not
the absorbing care that it is to-day, so that Mr. Ruskin was home
for afternoon and evening. Father and mother dined together, the
boy not being permitted to aj)[)roach. At tea all were t<igether, in

iNTRODurrroN.

143

sumnior uiulor thuir host chorry-treo, in winter in the drawing-
room, when the son had his cup of milk and slice of bread-and-
butter within a little recess, wliere he remained during the evening
"like an idol in an niche," while his mother knitted and his father
read fdoud.

Those attentive young ears heard some good literature : all Shakes-
peare's comedies and histories, all of Scott's novels and i>oems, Don
Qiiixote, parts of Pc^pe, Spenser, iiyron, Cloldsmith, Addison,
Johnson. The boy's own reading, not to mention nursery books, was
in Pope's translation of the Iliad, Joyce's Srirntijic DiaUxjnes^
liobinntoii Cru.soc, Pihjrim's /'/•oj/zv.s.s, and Scott's novels.

Then the holidays I Every summer Mr. lluskin was accustomed
to journey to his customers' homes through half the counties of
England and the Lowlands. Mr. Telfonl's travelling chariot was
fitted up with innumerable pockets and an additional seat, and the
family went alxjard for a tour that literally united pr(jiit and plea-
sure — profit to the worthy wine-merchant, who found his customers
flattered into larger orders by the honour of the firm's personal
solicitation — pleasure in traversing a beautiful country and visiting
beautiful and interesting places. What scimes were displayed to
the child's eyes through the oriel of that travelling chari«tt! What
variety of landscaj)es of hedge and iitild, hill and dale, forest and
winding stream I Then, if any great castle was to be seen, they
reverently visited it, or if any gallery of pictures, they passed the
night in the nearest town. "My father had a (piite infallible, natu-
ral judgment in painting, and his scjise of power of the

northern masters was as true and passionate as that of the most
accomplished artist. He never, when I was old enongh to care
for what he himself delighted in, allowed me to look at a bad
picture."

Looking back on this life, Ruskin saw its merits and defects. He
learned, he tells us, Olwdience and Faith, foi- his sul)mission to the
will of his father or mother was perfect, while nothing ever occm-red
to shake his trust in their sincerity and truth ; he found the meaning
of Peace, — peace in thought, word and deed. But it was not a loving
household. The parents were distant divinities; no stoi'm was
allowed to strengthen the boy's ((ndiiranct!, no mingling in society
t<> cure his i>ashfulness and conceit ; his Judgment of light and wrong

I r

144

TNTKODUCTION.

1 '

was left undeveloped, so that he grew up "by protection innocent
rather than by practice virtuous."

So in the godly, ]»eaceful, simple home on Heme Hill, varied by
the sunniier holiday, or occasional visits to Croydon or Pertli, the
early years of lluskin's life slip|»ed away. As the l)oy grew up,
tutors were obtained for him, Dr. Andrews first, Mr. Runciman in
drawing, and later on the Rev. Thomas Dale, who lost all influence
with the boy through calling his grannnar - his mother's grammar —
"a Scotch thing I" and "my true master in mathematics, poor Mr.
Rowbotham." A litth^ Latin, a very little Greek, some French,
three books of Euclid, Algebra to (juadratics made up the s\d)-
stance of the boy's scholastic ac(|uirements when at the age of
seventeen he entered Christ Church, Oxford, as a gentleman-com-
moner.

But Ruskin carried to ( )xford what was infinitely more valuable
than mere scholastic training. "I possess the gift of taking pleasure
in landscape in a greater degree than most men .... In journeyings,
when they brought me near hills, and in all mountainous ground
and scenery, I had a [)leasure, as early as I can remend)er, and con-
tinuing until I was eighteen or twenty, infinitely greater than any
which has been since possible to me in anything, and comparable
only to the joy of a lover in being near a noble and kind mistress."
So, speaking of his first visit to Dover, he describes the pleasure he
had from the sea, not in going on it — that was forbidden — but "in
simply staring and wondering at it." Add to this love of nature an
early devotion to art. His artistic instinct showed itself first in the
persistent, painfully accurate way he coi)ied for his amusement maj)s,
and illustrations such as those of Cruikshank to Grimm's Tales.
From his drawing-master the boy first lieard of Turner, as one who
was da/zling the woild by some splendid ideas. Fate ordered it
that a chance present of Mr. Telford's to young Ruskin was a copy
of Rogers' poem, Ifobj, with illustrations drawn by Turner.
Forthwith the vignettes were the boy's only co})ies. What marvel-
lous results were to issue from this incipient love for the great
landscape painter, we shall see later. Add, now, to this love of
natures and devotion to art a «lesir(! f(»r literary composition. The
earliest <lated efibrts at writing, ''indicating incipient motion of
brain-molecules," are s()me " po^nis " written, illustrated, and

INTUOimCTWN.

145

printed to imit.ite Ijook-piint l)y the l)<»y ;it tlio ago <»f sevoii.
Then there was an lier'uul, <»n a journey thrfnigh the Cunil)orland
Lakes, at eleven or twelve. Wlien, in 18.'}."), the family j(»urneyed
in coach and four through France, Switzerland and (Jerniany, the
})(>y was moved to write and illustrate a poetical account of their
tour, which was designed to c<»ml)ine the style of l)o)i J tum \\'\{\\
that of Chihlc Ifarolil, and which, securely advancing through
France to Chamouni, broke down when the writer had exhausted
all his descriptive terms on the Jura.

Merely mentioning his enthusiasm for mineralogy, we can see the
formative process at work in the resolutions he made in his
tifteenth year to strive to express genuine sentiment in rhyme, to
study engraving, architecture, and mineralogy.

At the age of seventeen, as we have said, Ruskin matriculated
into Oxford. Throughout the years of his life at Oxford his mother
lodged in High Street to be near him. Every night found the son
at his mother's tea-table. Every Saturday the father canie down
from Heme Hill, and Sunday saw them all at service in St.
Peter's, the son a trifle ashamed of " vintner papa and his old-
fashioned wife."

Wild and riotous as was the life of the undergraduates, Ruskin
was, at most, a spectator of their revels. His own college life was
very simple : chapel and lectures till one ; after lunch, a lecture till
two ; walking till live ; dinner at the college hall ; a chat, tea at
his mother's, and a steady bit of reading ended the day. There
was only about six hours' work, but it was regularly and conscien-
tiously accomplished. Then his drawing went on, with Copley
Fielding and Harding great artists for his tutors. Vacations were
given up to tours — in 18.'i7 to Yorkshire and the Cumberlan<l Lakes,
in 18:38 to Scotlan'd, and in 18.'30 to Cornwall. The value of
Oxford training to him was not very great. In Latin and Creek he
made some little progress. His talent for mathematics at least
for pure geometry -received s.»nie stimulus, liut his best work,
English prose and verse, was beyond the requirements of the
college course. His fellow-collegians laid down tlic l;iw that no
genthiman-connnoner's essay ought ever to contain more than
twelve! hues, with finu' wnrds in culi, and that it was an im|»ni-
piiety to write an essay with meaning in it, like vulgar students,

146

INT HO DUCT ION.

for wliicli only n s^voenhorn could be oxouseil. In spite of this
Ruskin wrote regularly, fashioning for himself his matchless style.
No small honour fell to him in the realm of poetry, for in AKV.) his
lines Sahette and Elvphanfa were awarded the Newdigate prize in
English verse, and with laurels on his brow lluskin thought he was
to pass out in the life in the world, when —

That same year (tf IHJjO Osborne Gordon came to Heme Hill to
coach him for his final examination. In spite of his tutor's prin-
ciple, " when you have too much to do, don't do it," their work,
little by little, grew sterner, until .January of 1840 found the two in
Oxford grinding away from six in the morning till twelve at night,
with no exercise, no relaxation. Suddenly a cough with spitting of
blood amiounced an overtaxed frame. Hasty consultaticni of pa-
rents and doctors — degree taking put off a year — travel abroad
advised and resolved on — Rome and Naples visited with no good
results. It was only when the breeze from the Aljjs again blew
upon the invalid that life once more throbbed healthfully — though
not wholly so — in his veins. Heme Hill received the wanderers
back in June of 1841, and a few weeks under the care of Dr. Jeph-
son at Leamington completely restored his health. Then Osljorne
Gordon resumed his old position ; steady but moderate work was
begun ; and in May, 1842, with many misgivings alxnit his Latin,
Ruskin went up for examination, and took his B.A. with some
credit.

Twenty-three years old, with the keenest analytical powers,
parents unwillingly giving u}) the hope that their son would enter
the Church — 'he would have become a bishop,' said tin. father re-
gretfully, later on — what was he to be or do ? Luckily the trend of
public thought and action here guided him into his true sphere of
activity.

When Ruskin left his college walls, Turner was a man of sixty-
seven, in the third and greatest period of his artistic life. But in
the latter days of his life he chronicled only the rarer and more W(»n-
derful scenes of nature, scenes which from their rarity were observ-
ed by few. Bound for hours to the tossing mast, he had studied
the storm at sea, but the world was wiser than the painter, and the
buzzing critics pnmounced his work 'gaudy,' 'faithless to natin-e.'

■ r

INTRODUCTION.

147

" A laiidscapi', -forej,'roiiii(l j,'ol(leri dirt,—

The sunshine painted with a s<jiiiit."

"The hluck ;iiigor " awoke in the heart of Turner's youthful
admirer. In hSlJO three pictures exhibited l)y Turner liad been
subjected to a ribakl review in Blackwood' x MayarJue. He had
written an answer to the review, but had suppressed it at the wish
-. the j)ainter, who remarked that lie never troubled himself in
those nuitters. For the time Ruskin had remained silent on
Turner's merits, devoting spare moments of his college life to
mineralogy and architecture, a study which resulted in two contri-
butions to magazines — articles on geology in Loudon's Magazine
of Natural History, and essays on Ute Poetry of Architectnre, by
"Kataphusin," in the Architectural Magazine, work which the
author afterwards judged arrogant and shallow, yet curiously right
as far as it went, and in style skilful and pleasing. But the
essayist was soon called to bolder wt>rk.

Nobody in all England, says Ruskin, speaking of the year 1839,
cared, in the true sense of the word, for Turner, but a retired
coachmaker of Tottenham and himself. The Press was venting
"its ribald buffooneries on the most exalted truth and the highest
ideal of landscape that this or any other age has ever witnessed."
Public taste was degenerating. Ruskin found himself forced to
act. A letter to a review, rejected because of its length, was
amplified into a pamphlet, and from a pamphlet into what at last
made the five volumes oi Modern Painters, of which the first
appeared in 1843. In order to vindicate Turner's genius it was
necessivry to estal)lish principles of criticism by which artists could
be judged. The work, therefore, is a treatise on the principles of
art — cliierty of landscape painting — and the application of those
principles in judging the relative merits of old and (tf modern
masters. That art is greatest, says the author, which conveys to
the mind of the spectator the greatest num])er of the greatest ideas,
and an idea is great in proportion as it is received by a higher
faculty (»f the mind, and as it more fully occu])ies, exercises, and
exalts the faculty l)y which it is received. The ideas conveyed by
art may be classified as (i.) ideas of Power, arising from our per-
ception of the powers which j)erfornied the work ; (ii.) ideas of

148

INTBODUr,TTO^ .

Imitutioii, iirisiii'j; fr(»ni our [lorcoptioii of tlio similarity of \\\v thiiij^
produced to soniuthiiii^ olsc ; (iii.) idua.s of Truth, or the i»ercc'|»tiou
of the faithfuhiuss of the thing })roduccd to thu facts ; (iv.) ideas
of Beauty in the thing itself, or by resemblance or suggestion ; (v.)
ideas of Relation, the harmony of the parts of the production to
each other, or of the production to what it suggests or resembles.
In the application of the principles enunciated he reviews the
work of Wilson, Gainsborough, Constal)le, Calc(jt, Robson, Cox,
Copley Fielding, DeWint, Harding, and Turiier, })roving that the
work of the modern masters of landscape is superior to that of the
ancient. From this point the treatise takes a wider sweep in the
discussion of the truth of tone, colour, chiaroscuro, space, skies, and
of clouds, with which the first volume ends. Taking up the thread
of its predecesst)r, the second volume deals with the truth of
mountain, water, vegetation, closing with a development of ideas
of Beauty.

To say that the vindication of Turner was complete is to say
little: to-day his paintings are among the most precious of national
treasures. But this volume was more than a triumphant vindica-
tion. The wide scope of the in([uiry, the breadth of knowledge
that embraced every important picture from London to Naples, the
brilliancy, pictures(|ueness, and grandeur of style, co-operated in
creating a new dej^artment of English literature — the criticism of
art, while it greatly aided the renaissance in English painting known
as pre-Raphaelism, and gave Ruskin the place of the greatest art
critic of the world. The third and fourth volumes, treating of the
ideal in art ard of mountain beauty, appeared ten years later (1856),
and with the fifth volume, on leaf beauty and ideas of relation
(18C0), the work ends.

While preparing the third volume of Modern Painters, Ruskin
found the time and material for the Seven Lamps of Architecture.
Under this peculiar title (how felicitous his titles are I) he traces the
influence of national character in all great architecture : the lamp
of Sacrifice, in that the nation gives its most costly marble because
it is most costly ; the lamp of Truth, showing the sincerity and
honest purpose <»f the great l)uildings ; the lamp of Power, pointing
man, through his instinct of rule, to great eminences ujjon which
to build ; the lamp of Beauty, in the ornamenting of the structure j

INTBOrnWTION.

140

the Ijimps (»f Life, Memory and Obodionco, Hhowini; tho origiiiulity
»)f tliu iirchituct's design, his rovuronce for tliu past by the comiiiom-
oration in the oditice of the great acliievenients of our fatliers, and
his submission to the influence of his contemporaries, making his
art not individual but national.

A still deeper study of architecture, from an historical stand-
point, is found in his Stones of Venice, a work which occupied the
years from 1849 to 1853, the first volume aj)pearing in 1851.
In addition to being a history of Venetian art, written from long
personal examinaticm of Venice, it goes to show the era of (Jothic
art as the era of national faith and virtue, and the era <»f tlie
Renaissance as the era of national infidelity and vice. ' By these
volumes,' says Mr. Stillman, ' he introduces an element of common
sense into the criticism of architecture unknown before.' Lectures
on Art and Architecture delivered at Edinburgh in 1853 ; The
Elements of Draivhifj in 1857 ; two lectm-es on Art and its
application to decoration and manufacture delivered in 1858, and
published under the title Tlie Tivo Paths, complete in the main the
first period of Ruskin's literary activity and the first forty years of
his life.

From what has already been said of Ruskin's work, it will be
seen that it is on the one hand allied with art, but on the other with
those moral principles in individual and national life which he
considered essential to great art. We can easily understand how
the critic of art could, in the natural development of his mission,
become the apostle of higher individual and national life. Enter-
ing, therefore, on the second period of his work, we find it taking
more and more a didactic aim — we find it having ever greater bearing
on personal conduct and social life. Into the dissemination of liis
principles, Ruskin threw himself with untiring energy. From
the many addresses delivered to popular audiences may l)e men-
tioned A Joy Forever, — two lectures at Manchester in 1857, treating
of genius and how the nation should employ it, and how to gatlier
and distribute the works of genius that they may l)c a "joy forever."
Sesame and Lilies — the nu)st popular of his works — consisting of
three lectures,— two delivered in Manchester in 18(54 on books,
reading, and the education of girls, and one, in Dublin, on tlie mys-
tery of life ; The Crown of Wild Olive, containing lectures on Work,

150

INTRODUCTION.

TrafHo, War, ilclivcicd in J8(i5, at Caniborwoll, Bradford and
VV(MJwicli, resijoctivoly ; Ethics *>/ the Dud, ten lectures at a girls'
school, in 1805, on the elements of crystallisation. Appointed,
in lb61), Slade Professor of Fine Arts in Oxford, he published
various series of lectures on sculpture, science and art, engraving,
under the titles, Aratra Fentelici, The Eagle's Ned, The Art of
England, Val d'Arno, Ariadne Florod'ma, etc.

This, however, is only one phase of a many-sided activity.* The
collection of his contributions to the pul)lic press in the f(trni of
letters on art, science, politics, war, and other sul)jects, till the two
volumes known as Arrows of the Chace. Most original and most
interesting, however, is his Fors Clavigeraf, a monthly letter to

*I give here, if only for its lesson of industry, a list of Ruskin's chief works, with
the dates of first i»ublication in l)ook form.

Poems (in the magazine, ' Friendsliip's Oflfering,' 1835-1S1;{), see l)elo\v.

Modern Painters, I., 1843 ; II., 184(1; III., 185(j; IV., 18r>(); V., 18G(».

Seven Lamps of Architecture, 184i).

King of the Golden Kiver (a fairy tale written in 1841), published in 1851.

Poems, privately printed, 1851.

Stones of Venice (three vols.), 1851-53

Uiotto and hisWorks in Padua, 1855.

The Two Paths (five lectures on art in iU relation to manufacture), delivered in
1858-9), 18.59.

Elements of Perspective, 18.58.

Unto This Last (four essays on political economv in the Cornhill Magazine, 18C0),
1802.

Munera Pulveris (six essays on political economy, i)ul)liHhed in Fraser'n Magnzhie,
18«2-3), 1871.

Sesame and Lilies, 18(55.

Ethics of the Dust, 1800.

Crown of Wild Olive, 1800.

Time and Tide l)y Wear and Tyne (twenty -five letters to a Sunderland working man,
on the laws of work, written in 18()7), 1807.

(^ueen of the Air (a study of Greek myths), 1869.

Fors Clavigera, 1871-1878, 1883.

Aratra Pentelici (six lectures on sculjiture, delivered in 1870), 1871.

Michael Angelo and Tintoret, 1872.

The Eagle's Nest (lectures on the relation of art to natur.al science), 1S7'2.

Ariadne Florentina (six lectures on wood and metal engraving), 1S73-70.

Love's Meinie (lectures on Greek and English birds), 1873.

Val d' Arno, lectures on Tuscan art.

Proserpina (studies of wayside Howers ; two vols.), 1875-0.

Laws of Fesole (a familiar treatise on drawing and painting), 1877.

St. Mark's Rest (a history of Venice, especially of Venetian .art), 1877.

Deucalion, lectures delivered from 1874 to 1878, on mineralogy.

Mornings in Florence (guide-books to Florentine paintings), 1875-77.

A Joy Forever (two lectures delivered in 1857), 1880.

Arrows of the (Jhace (two vols, of letters to the press), 1880.

Bible of Amiens, dealing with modern history, 1881.

The Art of England, 1884.

Prffiterita, I., 1885; II., 1887.

\Forit, the best part of the words Force, Fortitude, Fortune ; Clatngera, the best part
of clava, a club ; clavis, a key ; clavus, a nail ; together with jero, I carry ; hence the
title denotes the strength of Deed, Patience and Law. {Fors, Let. II.)

INTRODUCTION.

151

workingmen, which 1)egim [uiblication <m J;imi;iry tho 1st, 1871,
and guvo its u(lit«)r a fruo hand for tlio iIissoiiiin.it it»n of his views
on politics, art, literature, science, education and tlie St. (ieorge's
Society, and his own life and work. Puhlicatioii went on till 1883,
when wishing to have * leisure for some brief autobiography instea«l,'
the author brought it to a close.

"I am not an unselfish person, not an evangelical one; I have
no particular pleasure in doing good ; neither do I dislike doing it
so much as to expect to be rewarded in the next world. But I
simply can not paint, nor read, nor look at minerals, nor do any-
thing else I like ; and the very light of the morning sky, when
there is any — which is seldom, nowad/iys, near London — has
become hateful to me, })ecause of the misery that I know of, and
see signs of where I know not, which no imagination can interpret

too bitterly Therefore I will endure it no longer (juietly." So

Mr. Ruskin wrote in that first number of Fors, on Jan. 1st, 1871.
Five months later he brought forward his scheme f(jr the stjcial re-
generation of England. Let me ((uote his words :

"I am not rich (as men now estimate riches), and gi'eat part of
what I have is already engaged in maintaining art-workmen, or for
other objects more or less of public utility. The tenth of whatever
is left me,* estimated as accurately as I can, I will make over to
you in perpetuity, with the best security that English law can give
on Christmas-day of this year, with engagement to add the tithe of
whatever I can earn afterward. Who else will help, with little or
much ? The object of such being to begin, and gradually — no
matter how slowly — to increase, the buying and securing of land
in England, which shall be cultivated by Englishmen with their
own hands and such help of force as they can find in wind and
wave. We will try to make some small piece of English ground -
beautiful, peaceful and fruitful. We will have no steam-engines

*0n the death of his father and mother, Ruskin was the sole possessor of their
fortune of £157,000, tof^ether with the leases of lleriie Hill and Denmark Hill (their
next and finer home), a pottery at Greenwich, and tlO.OOO worth of pictures. Con-
ceiving that other relatives deserved a share of the inheritance, he j,'ave €17,000 to
those he liked best; £20,000 were lost in "safe" mort<raife.s ; his country house at
Brantwood, boujjht at a yuess, cost £l,rjO(), with £'2,5(M) for reiiairs ; tlfi.OdO were lost
in aiding a relative in business ; £14,000 went to aid Oxford and the St. CJeorge's
Society ; living expenses five or six thousand pounds a year ; so that l)y 1877 the <,'reat
foirtqne, in the limitless generosity of its possessor, had almost melted away,

b '

152

INTRODUCTION.

\\\um it, ;iinl no rfiiliouds Wo will luivo iin "liberty," hut

instunt (>l»u(liunco to ImiiiJin law hikI appointed persons We

will have some music ami [)oetry We will liave some art."

It would exceed the limits of tlie i)reHent sketch to enter into a
discussion on this social Utopia. It will be noted, however, that
Ruskin sets himself resolutely against the i)revailing views of
political economy. Anarchy and competition are the laws of death,
he declares ; government and co-operation the laws of life. Eng-
land gives herself up to industrial activity ; the St. (ieorge's
Society would have no railroads to destroy the beauty of nature, no
manufactories that would poison the air and pollute the streams.
The political economy of to-day recognizes no law beyond that c(m-
cerning sujiply and demand ; the creed* of the St. George's Society is
a stern n)oral law : its chief prhiciple is — Love (iod and honour the
King. Hut whatever value we attach to Ruskin's political economy,

*The " creed " of the St. (Jeor^'e'a Society is as follows :—

I. — I trust ill the Ijiviii}; (Sod, Father Aliiii!,'hty, Maker of heaven and c;irth, and of
all thiiijfs ami (features, visible and invisible. I trust in the kindness of His law, and
the f,'oodiiess of His work. And I will strive to love Him, and keep His law, and
see His work, while I live.

H. — I trust in the nobleness of human nature — in the majesty of its faculties, the
fulness of its mercy, and the joy of its love. And I will strive to love my neighbour as
myself, and even when I cannot, I will act as if I did.

HI. — I will labour, with such strength and opportunity as God gives me, for my own
daily brciid ; and all that my hand finds to do, I will do with my might.

IV. — I wiU not deceive, or cause to be deceived, nor hurt, nor cause to be hurt, nor
rob, nui' cause to be robbed, any human being for my gain or pleasure.

v.— I will not kill nor hurt ai v living creature needlessly, nor destroy any beautiful
thing, but will strive to save and comfort all gentle life, and guard and perfect all
natural beauty, upon the earth.

VI.— I will strive to raise my own body and soul daily into higher powers of duty
and happiness ; not in rivalship or contention with others, but for the help, de-
light, and honour of others, and for the joy and peace of my own life.

VII.- I will obey all the laws of my country faithfully, and all the orders of its

monarch so far as such laws or conunands are consistent with what I suppose to be

the law of God ; and when they are not, or seem in any wise to need change, I will
oppose them loyally and deliberately— not with malicious, concealed, or disorderly
violence.

VIII. — And with the same faithfulness, and under the limits of the same obedience
which I render to the laws of my country, and the commands of its rulers, 1 will obey
the laws of the society called of St. George .... and its masters .... so long as I remain a
Companion, called of St. (Jeorge. Fors, Let. Iviii.

TNrnoDi'i'rrox.

153

srly

n a
iii.

howevor wo v'ww tlu! i»i;i('ti(;il)ility of liis ideas, wo must fidniiro tlm
c(>ura<^»S fcailcssiu'ss juid lofty iiiotivi's that have luiahlo'l (mo man
to sot his fat'(! a.L,Minst tho trend of thought and action <»f his con-
temjKJrarios, to devote time, liealth, and fortune, amid contumely
and derision, to the loftiest efforts on l)ehalf of his fell(»\v men.

In the <)j)oning paragraphs of the ^^yst(^t^l| of Life, Uuskin sor-
rowfully acknowledges that much of his work has failed. Twenty
years later, in Piuifcrifa, the same confession meets us. Yet it is
more than doubtful if this self-depreciation is to be taken at face
value. Even if we deem his views on political economy absurd—
wliich they are not- and admit with Mr. Stillman that his views on
art-criticism are radically and irretrievably wi-ong which they are
not — there is still a vast amount of admittedly great work, which this
present age knows of and for which it is duly grateful Ruskin has
done more than any other living writer to open men's eyes to the
beauty of the huml)lest scenes,— of sky or mountain, rock, river or
sea. Literature and tho Bil)lo have received from Ruskin's com-
ments new beauty and new force, while art has received a new
inspiraticm, and ;irtists a new teacher. " Turner's late pictures,
viewed without Raskin's light upon them," writes A. M. Wakotield,
" would be a closed book to all ; with it thoy are rainbows of light,
full of mystic and visionary wonder "

He has brcjught ho])e and strength to tho true la))ourer of Eng-
land, and put a halo around tho simple virtues of honesty, courage,
and humility. " No other man in England that T meet," said
Carlyle, " has in him the divine rage against inicjuity, falsity, and
baseness that Ruskin has, and that every man ought to have." And
what style ! Who shall match his variety of gifts, — that diction pure
and copious, flashing and surging like a mountain torrent, that
wealth of allusion drawn from tho true metal of all literatures and
by his thought transmuted into pure goldiluit infinite play of feeling,
now bitter with irony, now melting with pathos, now fierce in denun-
ciation of wrong, now sad at the folly or insensibility of men, now
reverent before the glory of the divinity that pervades all nature !

At Brantwood, near Lake Coniston, among hills and lakes that
he loved as a boy, with his ' pet cousin', Mrs. Severn, as his hostess,
the lecturer, professor, painter, economist still lives, surrounded by
priceless treasures of art. But perhaps never more for him the

' Ti

ir.4

INTIiitDUCTloN.

Tiii'iioi'H and TitiniiM, ihu raru coiiiH mid iniHHiilH and iiiaiuiscriptH.
Thu .shadow of calamity is said to have vtMlod liiH mind to all tiioii*
meaning. Lot us [>i'ay that it may not hi; h«», that for thu vutoran
soldier in tluj war of humanity thcro may hu (|uiot consunnnation
of days, as for his grave there will he sure renown,

" Of old siuij,' Chaucer of llic Flower and lieaf :

The mirthful mii^a-r of a ^'oldeti time ;

And Hweet hirdH' hoii;,' lhrou;,'liout his daisied rhyme
HaiiK fearlesH ; for our cities held no Ki'ief

Dumb ill their hiackeiied hearts beneath tlie jjrime
Of factory and furnace, and the sheaf

WaH home in ;,dadness at the harvest time.
So now the Seer would i|uicken our belief:

' Life the ^rreen leaf saith he, 'and Art the Mower,
Klow winds of heaven about the hearts of men,

('omelove, and hope, and hel)>fuliiess, as when
On faintin;,' vineyard falls the freshening' shower :

Kear not that life may blossom yet aj^airi,
A nobler beauty from a purer power ! ' "

[>iH.
Hi'w

run

NOTHS.

Thi' iiotoH iii.ukcil " VV," are thoicby rroditcd to the t'dition of Joliii WiU'y iiiiil Sons,
Nt!W York, lSS{t. SeviTiil of the illiiHlntivc |>aHSii^,'cH litivc Ik'«'I afTonii'd l)y Art and
Lift': A liuskiii Anfhiiliiifji, liy Win. Sloaiic Kt'iiiwdy, .1. P.. Aldtii, Ni-w York, issji.

The rt'ferenoe mimhorH used with illustrative passa^ri's from Uiiskin's otlicr works,
»'xc('iit I'rittt'titn, ajiplv to I,o\ell's Kditioti of |{ii><kiirH Works, Imt. a|i|»roximal«ly to
any otlicr edition. Tlie volunn's of J'ru'tcrifd are referred to as pulilished liy .1. Wiley
and Sons, Now York.

nilJUO(iKAxMlY.

I. — Sesame and Lilies. 'I'w<> lectmcH <l((livcro<l at Manclicster ill
I.S04, by .John Kn.skin, M.A. I. Of Kind's' Treasuries. "J. Of
(Queens' (JanU'iis ; p[). IIKJ. London; Smith, IChler cV Co., IHO").

Since then M^'lit editions of the l)(»ok have appeanul : tlie present one
is tlie ninth Many elianges have been made. Tlie lirst preface was
added in the second edition, 18r)5. In the third edition, 1871, the old
preface was removed, and a new one — the lirst in this v«»lnme — was
|>ut in its place. It contained also a third lecture, ' On the Mystery of
Life and its Arts.' (See n. to 102, 1.)

The present e<lition contains both prefaces and the three lectunis.

CRITICISM.

The best helps to an undcrstan<ling of I^uskin's life and books are his

I. — Fors (Ulavigera. A series of letters addressed to workingnieii
between .l.inuary 1st, 1871, and 1878, and at rare intervals until
188.S. His opinions on all subject.s are given here with thi; greatest
freedom and ])lainness of speech.

II.- -Prseterita. This was intended to apjxjar in three vidumcjs, each
covering a period of tw(uity years. Two volumes were issued in
188;") and 1887, and four chapters of the third were completed when
the author became insane.

and the following : —

III.~1. John Ruskin: an Essay, by Anne 'I iiackeray Uitchie,
in Harper's AJoiitlili/ for March, 1890. Mrs. Kitchie is th(!
daughter of Thackeray, herself a novelist, and writes as an
intimate friend of the great critic.

2. Brantwood, Coniston, by A. M. Wakelield, in Murrain
Aliiijazinc for November, 181K).

]5G

NOTES.

:i i

3. John Ruskin, l»y W. J. Stillman, in the Crnlury for

Jaiiiuiry, 18S8.

4. John Ruskin : His Life and Teaching, by J. Mar-
shall Matlier. hredoiick VVaiiie & Co., 1890.

5. Numerous magazine articles of which we mention : —

Art Journal,— \o\. !), \y. 2iib; vol. 11, p. 2(!2 ; vol. 33, p. 321 ; vol. .^8,
p. 4(i. Atlantic Monthly,— \o\. 42, p. 30; vol. (jl, p. 706. lUaik-
wood's, vol. i'4, p. 4S') ; vol. 7(», p. 32(1; vol. 75, p. 740; vol. 80, p.
.003 ; \ol. iS4, p. 122 ; vol. 87, p. 32. Fra,sir')< Magazine,- vol. 41,
|». 151 ; vol. .0.'), p. (jii) ; vol. (j2, p. Of)! and Vl!> ; vol. b\), p. 088. Leinure
lloiir,—\o]. lit, p. 11!), Ksy. Maeniillan's,—\o\. 22, p. 423. Natwn,
— vol. 7, p. 173; vol. 11, p. 22'J, 201; vol. 12, p. ril; vol. 29, p.
Ill ; vol. 40, p. 203. iV«/ ((/•(',— vol. 2!), \). 3").^. Sorth American, —
vol. 00, p. 110; vol. 72, p. 204 ; vol. 102, i». 300. Westminster Jie-
rici(',~\(A. IS, p. .'^i30; vol. SO, p. 400. (For further infonaatioii, sec
I'oole's Inilex to Periodical Literature.)

:!il

I'kl

iii'

FIRST PKEFACE.

3, 11. my earUer work. — Uuskin wrote this preface in 1871.
if the .student examines tlie list of works on i)age 150 of the Introtluc-
tion, he will lind tliat many ol theni are lectures, or essays in magazines,
hence for ' temporary purp(»ses.' lluskin, with his matured mind, here
criticises the work of his youth ; but the readier must be on his guard
against his self-depreciatum.

3, 12. about reUgion. i^ee Seven Lamps, chap. i. ; Stones of
Venlrv, vol. iii., p[). lO'J tt". ; in a late preface to Modern Painters, li. re-
peats iiis criticism of his early work. "Many parts of the first and
second volumes are written in a narrow enthusiasm, and the substance
of their metaphysical and religious speculation is only justifiable on the
ground of its absolute honesty." (See especially vol. ii., chaps, v.-vii. )
Head for further conunents on his early religious views, Frmterita, I.,
pp. 22, 112 ; II., pp. 14 11". and pp. 194, 195.

3, 16. doctrines of a narrow sect. See Introduction, p. 142.
In Furs, Let. Ixxvi., he describes the occasion of his change of opinion
from a narrow Puritanism that rejcctetl, as wnmg, everything that was
Ikonian Catludic to what might be called the 'religion of humanity.'

" I was still in the bonds of my old evan^'elicjil faith ; and, in iS.'iS, it. was with me
I'rotestanli.'^m or nolhin;^ ; (lie crisis of the whole turn of my thouj^hlslieinir one Sunday
inorniny:, at Turin, when, from before I'aul \ eronese's l^tueen of Slieha, and under quite
o\erwhelmed sense of hisiiod ;^i\en power, 1 went away to !i Waldensian ehapel, where
a little s(|ueakinj;- idiot was pre.ic^hiny Ut an audience of seventeen old women and three
louts, that they were the only children of (jo(l in Turin ; and that all the people in
'lurin outside the chaiiel, and all the people in the world out of siyfit of Monte Viso,
would l)e damned. 1 came out of the chapel, in sum of twenty years of ihoufjjht, a
conclusively »/t-eonverted man -converted by this little l'iedn\ontese Hentlenian, so
powerful in his or>^Mn-<;rindinj(, inside-out, as it were. Here is an end to my ' Mother-
Law ' of Protestantism anyhow !— and now what is there left .'" Vou will find what is
left, as, in much darkness and sorrow of heart I gathered it, variously tauylit in my
books, written between 18."i7 and 1874. It is all sound and !;ood, as far as it goes :
whereas all that went l)efori' was so mixed with I'roteslant en'otisni and insolencie, that,
as you have probably heard, 1 won't republish, in their lirst form, any of those former
books.... 1 can no more become a /i'(u/*((/i Catholit' than a^ain an Kvanj.;elical-l'ro-
testant... Catholic, 1, of the Catholics ; holdini;- only for sure (.UmVh or<ler to his
scattered Israel,—' He has siiov.M thee, oh man, what is yood ; and what doth the Lord

NOTES.

157

th\ (!()(! rL'(|iiirt' of tluu, but, co do jiibtiie, iiinl to love iin.n\ , ;iiiil to vs;ilk Inmilily with
thy iUxl r ••

3, 21- earlier books. Consult tl.e list <»f ll.'a works prittr to
I8r)<>, iu the fo(»t note to l>iige !.")() of the Jntroiiuction.

3, 21. affected language. Cf. /%/>, x., p. 1S2. la Forn, Let.

xxiii. , K. remarks : —

" I'eople used to call ine a yood writer then ; now they say I can't write at all ; j
because, for instance, if I think any hotly's house is on fire, 1 only say, ' Sir, your house'
is on fire'; whereas formerly I used to say, 'Sir, the abode in which you probably
passed the delightful days of youth is in a (tate of inflainination,' and everyl)ody usedi
to like the effect of the two i)'s' in ' probably passed,' and of the two d's in 'delightful'
days.'"

11. is over severe towards himself.
3, 23. Modern Painters — Richard Hooker. Modnm

Painters, vol. 11., appeared in 1846. His tutor, Osborne (iordon, whom
he admired and believed in, recommended iluskin to model his work oa
Hooker's Ecck'siastkal Polity. The chief points of resemblance are the
long sentences, the members of which are clearly arranged and skilfully-
joined, the earnest, persuasive tone and the poetic imagery. Hooker
(1553-1600) defended the system of church government as practised in the
Church of England ; and his book is the tirst great monument of English
prose. Cf. PnnterUa II., x. p., 337.

3, 27. policy embraces everything connected with the govera-
meat aad social organization of a country. A legitimate restoration to
the word of its origmal coateats. The use of such words gives a delight-
ful, old-fashioaeil air to Kuskia's style.

3, 28. morality as distinct from religion. In Lectures

on Art, 11. detiaes the sease ia which he takes these terms.

■' I use to-day, as I shall in future use, the word ' relij^ion' as sitfiiifyiiif; the feelings
of love, reverence, or di-ead with which the human mind is affected by its conceptions
of spiritual being ; and you know well how necessary it is, both to the riyhtness of our
own life, and to the luiderstanding the lives of others, that we should always keep
clearly distinguished our ideas of religion, as thus defined, and of morality, as the law
of righteousness in human conduct. For there are many religions, but there is only
one morality. Theie are moral and inimoral religions, which differ as nuich in |>recept
as in emotion ; but there is nnly one morality, which has been, is and must be forever,
an instinct in the hearts of all civilized men, as certain and >uiallerable as their out-
ward bodily forms, and which receives from religion neither law nor ]>eace ; but only
hope and ftilicity.

Lfctuira an Arl II., p. 40.

4, 13. the old preface is priated in this edition, pp. TJ tf.

4, 15. lecture in Ireland. See Mystery of Life, p. lO'i.

4, 18. these two lectures- Sesame aad Lilii'H.

4, 21. rouse my audiences. It will be remendicreil that
the book Sesaine and Lilies really embodies- three lectures. See
Bibliography given above.

4, 23. subjects full of pain. Ruskin doubtless means those
social and economic (|uestions, the condition of the pu(ir, the increase
of luxury, the debasing iuilueace of aiaaufactures, etc., on which his

it I'

I")

11^ i

158

NOTES.

most impassioned deliverances have been made. Cf. Crovm of Wild
O/ii'c, LI II to This Last, Mtiiicra, I'ulrn'i.s, etc.

5, 2. Fain, ' gladly,' cf. note to 3, 2G.

5, 9. Vile, contains the meaning of the Latin vilis (vile), cheap, as
well as base. A t,oo(l writer is allowed to coin new words and restore
old ones to their place in the language. Cf. n. to 27, 9, 'audiences.'

Ruskin's own practice is the best commentary on this passage. He
determined in 1871 to print his own books on the best paper, with wide
nuirgins, and strongly bound. (See For-s, Let. vi.) They are not cheap,
but are a delight to the reader. L^n fortunately most of us must use a
' vile, vulgar ' edition *at a vile price.'

5, 33. Kings' Treasuries : Men are the kings of the earth and
books are the magazines where their wealth — their l)est thoughts — are
stored. \l. everywhere asserts that books, paintings, .sculpture, char-
acter are more, truly national wealth than money,

6, 12. the letters begun. Referring to Fors Clavigera, begun
January 1st, lb7l. See Introd., p. 150.

6, 17. recent events. The Franco-Prussian war of 1870-71.

At Vionville the eoiuiuering (Jermans lost 17,000 men.

6, 19. famine at Orissa. Orissa, an ancient kingdom of
India, on the eastern coast, is inhabited by the Khouds, who are sup-
posed to be descended from the orii,dnal inhabitants of the country.
The fanune referred to eairied otf one fourth of the population. Cf.
The Eaijle.H Next, p. lU ; also Sesame, p. 124.

6,24. modern political economy. R. fought persistently

against the doctrines ot Adam Smith, John Stuart Mill and others whose
works end)ody the received opinions on political economy to-day. He
sought to establish character as national wealth rather than riches. He
would have co-operation rather than competition, organized servitude
rather than individualism. He is against the taking of interest. See
Unto This Last and Muvera Pulveris.

6, 26. Supply and Demand. A term uae<l to indicate the
relationship between the general need and desire (Demand) for a com-
modity on the one hand ; and, on the other, the possibility of providing
the commodity (Su[)ply). These two factors determine the value of
merchantable objects. Modern political economy has made the law of
supply and demand the great law of national fiscal policy.

6. 28. questions have arisen. A reference to the higher
education of women, as well as the throwing open to them of pursuits
formerly employing only men.

7, 12. Fates. See u. to 20, 3.

7, 13. punctual, cf. n. to 3, 20, and *' luminous point " above,
• Punctual ' IS from the L. pHiictum, a point, hence it has here the force
of ' exact. '

NOTJiJS.

150

the
om-
ling
of
of

»ve.
rce

7, 36. quit, means 'released,' 'entirely free,' the same word as
' quiet.' Why not us(! ' rid ' V

8, 1. Idleness. 'J'he terrible effect of idleness on national life is
most vigorously depicted in T/tc Scrcn LainpM, chap, vii., page 11)9.

8, 15. His first order. Free adaptations of John ix. 4, and xii. .3.S.

8, 16. His second. " Be ye therefore merciful as your Father
also is merciful." — Luke, vi. 80.

8, 33. SoUenis. Solemn is derived from the (). F. rnhnnpue (Mod.
F. sole.und), and it from the L. sollcnU, yearly, occurring annually like
a religious rite, solemn. SolUniU is itself fi-om soIIhh, entire, complete,
and aiwufi, a year, which becomes cniuis in composition, as in K. hi-
ennial, tri-cnvUiL Hence the original sense of mlt'inn is ' recuri'ing at
the end of a completed year.' Skeat.

9, 26. delicatest. 'Vh\^ i)reference of Tluskin for comparisons
by er and e.st constitutes a mannerism of style. Carlyle shares it
with him. The student is wise to avoid easy imitation of this ' ear-
mark of style.'

9, 29. paragraphs 74, 75, 19, 79. See p. 88, " I believe

them. . . .his best triends " ; p. h8, " Yet, observe. . . .fountain of folly " ;
p. 40, " How, in order to deal with words. . . .it must still hear " ; p. 90,
" Then, in art. . . . we need them "

10, 35. state of modern trade- [So the text should read].
R. refers to the effect of competition ou the cpiality of the g(»ods, and
the state of the workman. " Every year sees our workmen more eager
to do bad work and rob their customers on the sly." Arrow)^ of (he
Chace, Vol. II., p. 78.

11, 25. bread of idleness. The virtuous woman "eateth not
the bread of idleness." I'rov. 31, 27. Note the effect of lluskin's
education (Introd. p. 142) upon his style, adding to its wealth of illus-
tration and plain straightforwardness of statement.

12, 6. rightly kind- Note ll.'s fondness for such collocations ;
cf. pansim.

12, 11. faultfulness. This Mord is coined by Huskin. (!f.
" preciousness," 5, 80. His liking for forms such as this in /^r.s.s is a
mannerism of his style not to be imitated.

12, 36- beggar — at our gates. Uead lukc xvi., 19, and
Kev. xxi. 21.

13, 14. The consequences of- - - . mistakes. The student

will find in (>eorge Eliot's Romnhi the ethical doctrine of this i)assage
admirably illustrated in the development of the character of 'I'ito
Melema.

13, 34. your thanksgiving. 'J'here is keen sarcasm in model-
ling this supposed thanksgiving on the prayer of the I^harisee, " Lord,
I thank Thee that I am not as other men," etc.; cf. Luke xviii., 1 1.

14, 16. How hardly. ..." "Cf. Matt, xix., 23.

14, 19. " not meat . . . . ' Inaccurate : " but righteousness and ;"
cf, U(mi. xiv., 17.

160

NOTES.

14, 30. black Sister of Charity, refening to tin: lj|;u;k-i<)J»e<l

religious siisters, wiiosu vow.s loijiiin; tiieiu to live ti])ait from the world,
exco])t in so far as they eaii lelieve its miseries.

15, 6. veiled or voluble declaration. 'I'he hlaek veil is

tlie characteristic symbol of the sister ; hence the phrase, ' to take the
veil.' 'I'he text means, therefore, 'without display of your profession
by any outward marks, such as dress or much talking.' Note the
double sense — almost pun — in 'veiled,'

15, 9. The Times. I'hc most famous of I'^nglish newspapers.

15, 19, etc. M^nageres, house-keepers ; monde, the fashion-
able world ; demi-monde, peuple of doubtful morality and reputa-
tion ; premieres representations, "lirst-nights" of ne\v plays

or operas at a theatre, always fashionable gatherings ; mobiliers,
furniture.

16, 4, etc. chignons, Imir of the back of the head, raised and
twisted ; vaudevilles, theatrical pieces in which the dialogue is
relieved by j)opular songs ; anonymas, women of bad character
(I'rov. vii.); ^meutes. viots.

16, 16. the 6meutes of 1848. Louis l*hilip[»e was elected
King of France in 1880, but insurrection followed insurrection, until in
February, 1848, a Republic was i>roclaimed. In June of the same year,
a rising of the Ited Kepublicans of Paris was (pielled only by great blood-
shed.

16, 23. VOUS etes Anglaise, etc., "you are English; we
believe you. English women always speak the truth."

17, 14. EUesmere. Francis Egerton, lirst Earl of I'^Uesmore
(1800- IS")?), a scholarly nol)leman who translated i'^a^.s^ and rendered
inany st;rvices to art. "It is probable that the speech here mentioned
is the one made by Lord EUesmere May 28th, ISfVi, in behalf of the
Baroness von Beck. She was an authoress of some note, who, shortly
after her arrival in England, Wi.s arrested on some obscure cliarge as
she was returning from a reception. Being thrown into prison in her
ball-iliess, she died from exposure in a few ilays. A petition was pre-
sented conjplaining of the conduct of her persecutors, and it is presunuv-
ble that some circumstances in her case may have suggestetl to Lord
EUesmere the (Jretclun of /v<«.s/," W.

17, 16. Gretchen. This word is a (ier. diminutive [-vlitn) of
Margarete. It is used iiere, rather than 'lady.' to give concreteness to
the reference, and to suggest a[)parentiy some degree of ail'ection, as
well as tile nationality of the person referred to. Cf. the preceding note.

17, 16. one girl. PraUntu shows us Ivuskin as forming delight-
ful friendships witli young giils. ()i. Ethics uf the JJud, and tluilcttor
of the Irish girl in Chap. iii. of pt. 111.

17, 28. one of them. *'.'''''/. l^^ar one. I'eihaps his 'pet
cousin,' Mrj. .Severn, who in lSli4 Ijccamc an inmate of his mother's
house. See p. 154.

NOTES.

161

) of
to
as

ote.

lit-
ter

17, 34. weak picturesqueness. 'I'liis sclf-dtprtHiiitioii is

chaiai;toristio ; cf. note to .'i, 10 an. I .{, '20. In the M>/sfrrif <>/ Life he
umler-esti mates the iiuportaiiee of the revohitioii he has brought ai)uut
ill art. Cf. pp. 10") fi".

18, 2. Greek and Syrian tragedy, in Greek tragedy he

refers espeeially to Medea, wife of Jason, wln), when repudiated by her
husband, slew their children to slake her vengeance. See Euripides,
Medea. In Syrian trayedy, since .Syria includes Palestine, he has in
mind Sah)me, who to please her mother, Herodias, demanded the head
of John the Baptist. See Matt. xiv. Xote the irony in K.'s use of
•dutiful.'

18, 28. Guido Guinicelli or Ouuizelli, one of the most famous
poets of the Italian literary renaissance of the thirteenth century.
Endowed with a genius for poetry, he, though a soldier, cultivated the
l)oetic art, giving nobility of seutmient and loftiness of style to his work.
Dante, in Purjatorio, refers to him as his master. Of his works are
preserved four canzoni, as well as some other slight pieces. He died
about 1270. Wei»s in Bioyraphie Universelle.

18, 30. Marmontel ( 1 72:i- 1 799), author of Co>des Moraiix. ' ' He
was a French gentleman of the old school ; not noble, nor, in French
sense, even 'gentilhomme,' but a peasant's son who made his way into
Parisian society by gentleness, wit, and a diiinty and candid literary
power. He became one of the humblest, yet honestest placed scholars
at the court of Louis XV., and wrote pretty, yet wise sentimental
stories in linished French." Fors Claviyera, Let. xiv.

18, 32. Swift (IG07-17-45). The most prominent figure among
the wits of Queen Anne's time — clergyman, politician, pamphleteer and
satirist of humanity. The author of Tale of a Tub, (jiiKioer'H Travels,
etc. The greatest master of English prose. Perhaps R. refers to his
saying, " 1 hate mankind but I do not dislike Tom, Dick and Harry."

Taine paints the * temper ' of the man graphically ; —

" Twenty years of insults without revenge, and humiliation without respite ; the

inner tempest of fostered and crushed hopes, vivid and brilliant dreams, ;

the habit of suffering and hatred, the neet-ssily of (^oneealing these, the baneful con-
sciousness of sui)eriority, the isolation of jjenius and pride, the biiterness of accumu-
lated wrath and pent-up scorn."

Such was the working life of Swift.

18, 37. Denmark Hill. A district in the southern suburbs of
London, describing the house on Ueiiniark Hill, his residence after
Heme Hill, ii. writes : —

" But the Heme Hill days, and many joys with them, were now ended At

last the lease of the larger house was bought : and everyl)ody said how wise and
proper; and my mother dtti like arranging the rows of pots in the big greenhouse;
and the view from the breakfast room into the field was really very lovely. And we
bought three cows, and skinuned our own cream, and churned our own butter. And
there was a stable aiul a farm yarci; and haysta('k, and a pigstye, and a porter's lodge,
where undesirable visitors coul<l be slo|tped liefore startling us with a kiKx-k. Mut,
for all tliese things, we never were so happy again. Never any more 'at liDnie.'"

J'ru'ti'n'ta, II., chap, iv., pp. HI ff.

■

J I;

III

102

NOTES.

I')!l

PKEFACE— FIRST EDITION.

19. 1. First Edition. Nee l'.il)li(»gr;ii)liy, p. 155.

19, 4. deaths on Mont Cervin. Mont (Jeryin ( Vr. ) usually
known by the name of Matterliorn, is in the Pennine Alps, 15,000
feet in height, of whieh the last 5,000 tower above the glaciers at the
base.

'I'he de.iths referred to form a terrible chapter in the history of Alj>ine adventure.
Mr. Whyniper, in .July, 18(3;"), was niakinj; his eit,'hth atteni))! to ascend the hitherto
inaceessable Matterhorn. With him were the liev. Mr. Hudson, Lord Francis I)out,'las,
Mr. Hadow, and three j,Miides, C'roz and the two Taujiwalders. They had triumphantly
reached the top on .July 14th, and, roped together, were rounding a clitf on the return,
when : —

" Michel had laid aside his axe, and, in order to j,nve Mr. Iladow {greater security,
was absolutely takinjx hold of his le^jfs and jiuttin;;- his feet one by one into their
proper positions. As far as I know, no one of us was absolutely descendiiifj:. I
cannot sjx-ak with certainty, because the leading men were partially hidflen from my
siy^ht by an interveninj,' mass of rock, but •: is my lielief, from the movements of their
shoulders, that Croz, bavintr done as I said, was in the act of turniufr to yo down a
step or two liimself ; at this moment Mr. Hadow slipped, fell a;,'ainst him, and
knocked him over, I heard one startled exclamation from Croz, then saw him and
Mr. Hadow flying downward ; in anotlier moment Hudson was draj^i^ed from his
steps and liOrd Dou^das innnediately after him. All this was the work of a moment.
Inmiediately we heard Croz's exclamation, old I'eter and I i>!anted ourselves as
firmly as the rocks would permit ; but the roj>e broke between Tauj,'walder and Lord
Doufilas. For a few seconds we saw oiu' unfortunate comjiar.ions sliding downwards
on their backs, and spreading out their bands, endeavoring to save themselves. They
passed from our sight. . ..fell from precipice to jirecipice on to the Matterhorngletseher

fielow, a distance of nearly I.OOU feet So perished our companions." — Whymper,

Axcrnt of the Mnttcrhitrn.

19, 16. Who have made mercenary soldierp After

defeating Charles the Hold of Burgundy, the Swiss were sought after
by many European j)rinees, and the battles of the Papacy, ]<>ance, and
the Empire wero often decided by vSwiss mercenaries. When Louis XI 1.
and Lutlovico Sforza, Duke of Milan, wore at war, Swiss soldiers fought
on both sides, but they deserted aiul betrayed the Duke. Sometimes
ditlerent cantons favored different foreign combatiuUs ; sometimes the
whole country supported one foreign cause : as a rule the Swiss went
where there was most money. From 1477 to 1525, from tlie Battle of
Nancy to the Battle of Pavia, was the time when Swiss mercenary valour
was at its highest renown. The Pope still maintains a regiment of
Swiss guards.

19, 19. The piece of work.— Tuileries. I\eferring to the

defeiuH! of the royal palac(i in Paris against the assaults of the ivcvo-
lutionists on Aug. 10th, 179-, wiien 20 olheers and 700 soldiers of the
Swiss (iuard fell at their post. This event niorks the downfall of the
monarchy in France. (,'arlyle speaks of tliis with Iteroic sympathy : —

" What ineffaceable red streak, flickering so sad in the memory, is that, of this poor
column of red Swiss ' breaking itself in the confusion of opinions'; dispersing into
blackness and death I Honour to you, bravemcn ; hduourable j)ity, through longtimcs I
Not martyrs were ye; and yet almnst more. He was no kmg of yours, this Louis ;
and lie forsook you like a king of shreds and jtatches : ye were but sold to him for some
poor sixpence a day : yt.'t would .\e work for yoiu' wages, kec|) your jilighted word.
The work now was to die ; and ye did it. Honour to you, <) Kinsmen, and may the old
'>^.'u^sch Hii'dfykcit and Tapfcrkfit, and Valour which is Wmtli and Truth, be they
, • i-ss. be they Saxon, fail in no age I Not bastards, true-born were these men : sons

NOTES.

168

Ijioor
1 into
Incs !
IniR ;
Konie
ford.
old
ley
)ns

of the nit'Ti of Soinpuch, of Murton, who kiiilt, Imt not to thee, O niin;tiii(ly ! I^i't Ww
travellLT, us ho \>: ;si;s liir<)iiu:h Lul-itiu', liirii asidu to lnok a littlf at tlicir ni'inuim-ntii
lion ; not fjr ThorwaMsfn's wike aloiif. Ili'wii mit of tlit- liviiij,' rock, tlio l'"i;;»ire vvh\h
thure, liy thf still lake svators in lullahy of (lislant-tiiikiinj,' runrc-itrs-nirlii:'), \Uv
j^raiiite inouiitams dumbly kcepin;^ \vat(!h all round ; and, thou<^h inaniinati-, siit-akH."

Carlyle, French llvvidutiiin, II., 255.

19,20. lion of flawed molasse. A massive sculptured lion,
twenty-eight feet in length and eighteen in height", designed l)y Thor-
waldseu and standing in ijucerne. ' 'I'he dying lion, transtixed by a
broken lance, and sheltering the jiourbon lily with his paw, is hewn
out of the natural sandstone.' ' Molasse ' is soft, green Swiss sandstone,

19, 22. Schweizer Hof. Spacious and adniitably fitted up, the
chief hotel of Lucerne. 'The Schweizer. lof Quay, with its tine avenue
of chestnuts, occu])ies the site of a l)ay of the lake which was tilled up
in 1852, and affords a delightful view.' Bail eke t\

19, 29. economically watched. Note the ii^ien<lo. The

mine-owners were too greedy for gain to spend money necessary to
guard the lives of the miners. ' Fire-damp ' is carburetted hydrogen
gas, fre((uently generated in coal mines. Frightful accidents have re-
sulted from explosions of the gas.

20, 3. painted Pates. This i)assage means that the factory
girls are employed on such low wages and in such wretched factories
that many die of want and disease. 'J'he woven stutls i'epr<;sent, there-
fore, so many threads of human lives. The l^'ates in (J reek mythology
were Clotlio, who spun the thread of life ; Lachesis, who determined
the lot of life, and Atropos, who cut the thread of life. They repre-
sented, accordingly, the powers that decided the fate of human life

' The painted Fates ' are, therefore, the rouged and powderetl beauties
whose demands for ball-dresses determine the lives of so many young
girls.

20, 5. inlet of Cocytus. Cocytus, a branch of the Styx, the
river which in classical mythology surrounds the infernal regions.

" Cocytus, named of lamentation loud
Heard on the rueful stream."

Paradise Lost, If..

-1/*.

R. refers to the gathering-place of loose women in London, near
Covent Garden. In plain i'higlish, he means that underpaid seam-
stresses are driven to a life of shame through people buying cheap
clothes.

20, 9. Alpine Club. An association of gentlemen whose o})ject
was to climb the Alps.

20, 25. its nomenclature. Kingsley ridicules the same thing
in Waterhabies, -p. 144. " He would have kept him alive and petted him
(for he was a very kind old gentleman), and written a bt)ok about him
and given him two long names, of which the tirst would have said a
little about Tom, and the second all al)out himself ; for, of course, he
would have called him Hydrotecnon Ftthndlnspotsianum — "

20, 29. line in guide-books The lirst ascents of the

'it

iln

?,f

I' *'«

P ■

¥ i

i !

Ifi4

NOTKS.

difficult mountain ponka of Swit/erlanJ arc (.'lironicled in tho Kuide-books.
For oxainplo, wo road in liii'deker's SvutzcrlniKl, : " Tin; Mattcriiorn . . . .
was ascuiidod tin; lirst time on 14th -July, IHOo, by tliu IJev. Mr. Hud-
son, Lord Francis Douglas, Mr. VVhymper," etc.

20, 30. horn: 'honi'(Ger.) signilies 'peak.'

21, 1. fall of the barometer. As the traveller ascends the
raouutain the mercury in his barometer falls. 8ee //. <S'. /'hynicx.

21, 1. Nephelo-COCCygia, a name borrowed from the comedy,
the liirdx, by the great (jreek comic dramatist, Aristophanes. i^JuiCJHtfr
Cloud-Cuckoodom. The birds build a city in the air and forbid the
gods to use their atmospheric domain, and require all earthly suitors
praying to the deities of heaven to pay offerings to some suitable bird.

21, 2. ice-axe. A pick-axe, one blade of which ha.'? an adze end,
the other a pointed end, used for cutting steps in ice, etc.

21, 12. chain of Chamouni. 'I'he valley of Chamouni is in
south-west of Switzerland ; to the S. E. is the Mout Hlanc chain, to the
E., Montanvert (see n. to *23, 20), while other mountains encircle what
is one of the most beautiful vales in the world.

21, 29. last gale at the Cape. On the fifth of October, 1864,
there was a cyclone of terrilic violence at Calcutta, causing the loss of
hundreds of lives. Of more than two hundred ships in the Hooghly,
otdy about t<}n were left at their moorings. The rest were swept away,
stranded, or sunk. It is to this that K., no doubt, wishes to refer. See
Annual Register, 1864, II. p. 145.

22, 16. approximation to black. T'he sky appears black
to the eye at a lofty eminence.

22, 28. Bernese and Savoyard hills, etc. Consult map of

Switzerland and Savoy (in Western France).

22, 30. The Valley of Cluse is between Geneva and Cha-
mouni. It is "in reality a narrow plain between two chains of moun-
tains the river [Arve] has filled it to an unknown depth with

glacial sand In several turns of the valley the lateral cliffs go

plumb down into these fields as if into a green lake ; but usually slopes of
shale, now forest-hidden, ascend to heights of six or seven hundred feet
before the cliffs begin ; then the mountain above becomes partly a
fortress wall, partly banks of turf ascending around its bastions or
between, but always guarded from avalanche by higher woods or
rocks ; the snoM's melting in early spring, and falling in countless cas-
cades, mostly over cliffs, and tht-n in broken threads down the banks."
Prceterita, chap. xi.

22, 30. Schreckhorn to the Viso. The former, one of the
loftiest and most precipitous of the range of u^jper Bernejje mountains ;
near it are the Jungfrau, Monch and others.

Monte Viso is the loftiest summit (12,535 ft.) in the Cottian Alps,
between Italy and BVance.

NOTES.

166

22, 37- Casino, ()l;vci' <>f social iuiiimcmont, iH-inliii;^', (lancin<^,
gaming, otc.

22, 38. Passage of the Jura, ^^^i 'nap of Swit/erlaiul for

Olten, Basle, l^ucernu. Tlie first iiaiiied place stauds between I>asle and
Lucerne, and at the head of a valley leading through the entreiue spura
in Switzerland of the .Jura range.

23, 16. Theocritus. Greek i)oet of the third century, the
inventor of the idyll. His idylls give us glimpses into the life of
Sicilian lishers, herdsmen, milkmaids of that time, and show the
author's delight in nature. Virgil iniitates them in his Buceolies, while
his (Jeorgics also are .igrieultural poems, with line descriptive passages ;
from them is <lescentled the whole race of pastoral poems.

23, 20. Montanvert, a mountain to the E. of the vale of
Chamouni, easy t() ascend ; there is a line view of the glaciers of the
Mont Blanc chain to be obtained from the top.

23,25. Tra erto, etc. Quoted from Dante, Piinjitlorio, vii., 70,

" Tra crto e jiiaiio era uii seiitioro s<j:lu'iiibo,
Che tie coiiduHHe in fiaiico della laeca."

" 'Twixt hill and plain there was a winding path.
Which led us to the niarf,'iii of that dell."

Lomj/ellow.

23, 27. rubied fire : an instance of IJ.'s j)recision. The ruby is
light red, almost pale, corresponding in color with the Alpine rose.

24, 5. place indicated. See p. 58, 1. 22.

24,9. choir Beauvais. Beauvais, a town 41 miles N.N. W. of
Paris, has a magnificent cathedral (not completed), the choir of which
furnishes the loftiest s])ecimen of (iothic architecture in France.

24, 22. Florence, capital of Italy. In 1859, Victor Emman-
uel, King of Piedmont and Sardinia, made war against Austria for the
liberation of Italy. Leopold II. of Florence, refused to aid him, and
was forced to leave the city when the Tuscan troops joined in the War
of Independence. In 18G5, Florence was made by Victor Emmanuel
capital of his kingdom of Italy. In Ls7l the capital was transferred to
Rome. When R. wrote, the walls had just been almost entirely razed,
to form wide grassy walks or boulevards (the same word as 'bulwark').

24, 26 Urim breastplate. Read Exodus, xxviii., 15-.30, for
this.

24, 29. Calabria, a mountainous district in the south of Italy, at
the time R. writes infested with brigands. Roman caUSeway
work is an allusion to the great military highways made by Rome in
her days of ancient greatness throughout Italy.

24, 31. boulevards on Arno. See n. to 24, 22.

24, 32. Venice was, at the time of writing, still in the hands of
the Austrians. R. means that the Flor^mtines should rather rescue
their fellow-countrymen, and put down lawlessness, than indulge them-
selves in luxurious streets.

1 ' I

N(rfES.

24, 33. accomplish her power. A ran; .ind older sense
of ' uec(iin|ili,sli,' gruvviii^ out of its root force, nnniifcn', to fill up,
complete. Jleiiee, — ' perfect,' ' fully e(iuip' her power.

24, 34. martello towers. li. refers to the famous system of
fortilieations Ijetweeu I'esehiera, V'eroua, Legnago, and Mantua, known
as the Quadrilateral, by which the Austrians held Italy. ' Martello
towers ' are small circular forts.

24, 35. marsh of Mestre. Mestre is a town five miles N. W.
of Venice, on the margin of a lagoon.

25, 8. Beautiful ... the feet. Note the fine force of this
rendering of Isa. lii., 7.

25, 16. all the foulness. The ancient simplicity and natural
dignity of character of the Swiss linger only in remote Alpine valleys.

25, 26. Lucerne. On l.ake Lucerne, at the efilux of theReUSS.
'I'his river, clear, emerald-green, issues from the lake with the swift-
ness of a torrent. The Limmat Hows from Lake Zurich into the
Rhine, 'i'he pictured l)ridges are described in l?eattie's Sioitzerland : —

" The Ilof-hnicke, IHSO feet in lenj,'th, is cotisidered the most strikintf bridjje in Swit-
zerland, as to extent and aj)pearaiiee, and is covered with ilhistratioiid of aacre(i history.
Anotiier comprises all the nnportant events from the first dawn of liberty downwards,
faithfully represented in oil-colours. A third bridj,'e is embellished with pictures from
Holbein's />rt/t(r-o/-D('((^/*."

25, 26. Rhone flowed "like one lambent jewel ; its surface is
nowhere, its ethereal self is everywhere, the iridescent rush and
translucent strengtli of it blue to the shore, and radiant to the depth.
Fifteen feet thick, of not flowing, but flying water ; not water, neither,
— melted glacier, lather we should call it ; the force of the ice is with it,
and the wreathing of the clouds, the gladness of the sky, and the con-
tinuance of Time. Pra4crita, II, p. 159.

25, 28. Geneva. ' ' This bird's nest of a place, to be the centre
of religious and social thought, and of physical beauty, to all living
Europe." See Pra'terUa, II., chap. v.

25, 29. marble roof of Milan cathedral : 'a mount of marble,
a hundred spires,' Teiniysou calls it.

25, 29. Rose of Italy- Monte Rosa, on the southern border of
Switzerland, north-west of Milan.

25, 32- ripples of Otterburn. An allusion to the fierce
battle between the families of Percy and Douglas, Aug., 1388, cele-
brated in the ballad of Chev'y Chase. Otterburn is in Northumberland.
By ' dawn taken sadness from the crimson,' R. refers to the bloodshed
caused by the religious (juarrels of the Swiss cantons between 1839-48.

•1

NOTPJS.

107

LF/TUIIK I.— SKSAME.

27. 4. Sesame. An eivstem plant, with sweet, oily seeds from
which cake is made. It denotes tile useful in life, as "Lilies" the
beautiful. The full meaning of the title will not be felt without a
knowledge of the story <}f Ali Baba and the B'orty Thieves, in the
Arabian Nljhts.

27, 5. Lucian. A (Jreek satirist and humorous writer of the
second century, famous for his Dialoijur.t and True IlUtorij, written in
the style of Uaron Munchausen. Jn this p.assage Lucian ridicules philo-
sophers l)y implying that they are easily bribed, — a cake of sesame
will bring them together. Ruskin wishes to suggest that education is
desir»'d at prtsent, not for itself, but for the material benefits it confers
on its possessors.

27. 10. audiences. <'f. Jl to .S, 20. ('(»uM 'hearing' be used?

27. 14. attention on trust. Apparently the lecture, in its
first draft, began at " Jt happens," and afterwards, in order to avoid
ambiguity, as he says himself, the opening sentences from " I believe "
to " irrigation of literature " were adtled.

27, 19. "But since — What to read" is omitted, and

in later editions ; for the sentence is purely temporal in its nature.

27. 25. I will take the slight mask off. Note the effect

of what precedes in exciting the curiosity of the reader, and at the
revelation of the true subject, in adding emphasis to the enunciation of it.

28, 7. connection with SChopls. In 1857, H. accepted the
mastership of tlie School of Drawing in the VVorkingmen's College,
London, fulfilling his duties without salary.

28, 21. Double-belled doors, (iood Ix>ndon residences have
two bells, marked " Servants " and " Visitors," a mark of respectability
like Carlyle's ' gig. '

29, 7. last infirmity. -

" Fame is the spur which the clear spirit doth raise,
(That last inlirmity of noble mind)
To scorn delights and live laborious days."

Milton, Lycidas.

29, 18. mortal- R. has in mind its derivation, — mor.s (L.), death.

30, 13. my writings on poUtical economy. See Introd.

p. 150.

33, 34. to preserve it. So Milton, in Areopatfitka : — "A good
book is the precious life-blood of a master spirit, embalmed and trea-
sured up on purpose to a life l>eyond a life."

34, 19. piece of art. So in Qitcm of the Air, p. 82, §101 :—

*' Now I have here asserted two thhij^s -first, the foundation of art in moral charae-
ter ; next, tlie foundation of moral character in njan, 1 must now make i)0th these
assertions clearer, and prove them,

fel

,1 •

\
i

'II >

'l\' 'i

■ ij

i i

ir.8

NOTES.

" FiiMt, of the foiiiiiliitinii of art in iiionil chiiiiutfr. of coiiinc, iut-irifi ami iimiii-
liility of (lisposiMoii arc two (lillVrciil ttiiii;;s ; a u^ood man is no! nt'ci'ssai'il.\ ii ','oim|
iiainlcr, nor docs an eye for <'oloMr ncccssiiril\ imply an lioncnl mind. Hui ifrcal art.
ini|ilicH tfic union of i).)tli jiowci's : it is ific cNprcssion, Ity an art-u'ift, of a jmrc soul. If
the ;,'ift iw not Ihcrc, \\c can liavc no art at all ; and if llic soul -and a ri;,dit hi>u1, too—
\H not there, the art is liaii, however dexterous."

34, 32. entree ( l''i'.), Hglit of cintranco.

35, 13. Elysian gates, fntm lllysimii, tlu; (irctk heaven for good
men after ileath— ;i place of re[)o,s(! and ealni deliglit.

35, 15. portieres, cnrtain.s l)efore tlie do(»r\vay.

35, 15. faubourg St. Germain, the aristoenitie <iiiartcr of Taris.

36, 13. cruel reticence. lUad pi». 112-114.

"It Ih a stran>,'c habit of wise luunanity to si)eak in eniirmas oidy, so that the highest
truths and uscfnilesi lasvs must, he hunted for throui,di whole iiicture ;,'allerie8 of
dreams." Minimi, /'iilirrix.

36, 38. smelting-furnace. The lignre is consistent through-
out. 'Die iniphinients with wliich the )n(!aning is readied, tlie pickaxes,
are care, patient an<l steady investigation ; wit, (piickness in ai>prehen-
siou ; learning, knowledge whic:li guides in the investigation. The
snielting-furnace makes tlie goM marketable, a long, slow, brooding
process. An excellent examide of an entirely apt metaphor.

37, 3. patientest. <^'f. 'distantest' in 1. L'Dhelow, and n. to 9, 26.

37, 15. British Museum, in London ; a national C(dlection of
})ooks, manuscripts, (toins, medals, anticjuities, and of specimens in the
natural sciences. The library, consisting of over a million volumes,
is the second in importance in the world.

37, 28. canaille (Fr.), vulgar rabble.

37, 31. noblesse (Fr.), the nobility as a body.

37, 37- accent will at once mark. "You see, my friends,
what immense conclusions, touching our lives, our fortunes, and our
sacred honour, may be reached by means of very iusignilicant premises.
This is eminently true of manners and foiins of speech ; a movement or
a phrase often tells you all you want to know about a person." — Aut-
ocrat of the Brcdl'/a.^t Table. Chap. V., p. 42.

38, 7. false Latin quantity. 'I'he rhythm of Latin poetry
depends upon the length of the vowel ((jiumtity). Hence, in using
Latin words, it would be as great an error to sound a long vowel short
as in English to misplace the accent on a word. * .Sydney Smith says
somewhere that a public man rarely gets over a false quantity uttered
in early life.' Jloliues.

38, 24. Chameeleon cloaks. '. ?'. words such as have one
meaning to one and a diiicrcnt meaning to another ; just as the reptile,
the chameleon, has the power of changing the color of its skin.

38, 25. Groundlion, the literal meaning of the Gk. words com-
prising ' chamadeon.' Xrt//a//./6>j', ground-lion or earth-lion : iSkeat.

38, 30. unjust stewards. Unjust, because they do not take

NOTKS.

!«;!»

^etry
jsiug
khort

says
pered

one
itile,

Icom-
take

i»r(»j>«'r (juv of the iiiHn'K idriis. 'I'licy clic-vt tln-ir nuistfrs as the .stfwjiid
in the [Kiralilc clit'.itiMl liis tiuisttr. ('\'. I.iikf xvi., I-S.

39, 23. sown on any wayside. < f. .Mitt. \iii. .'$.

40, 8. Greek word for public meeting. iKh/i/nin. riiis

word, 'ekklcsiiv,' oii^^iiiiilly lucaiiiiij^ .imply ' .i I'oniiiil public a.s.scinlily of
citi/eiis,' was adopted liy tho rally ( 'liristian (iliuich a.s a tt-nii for a
meeting <tf church incndiurH. A.s the church <,Mincd pt»wcr there was a
tendency t(» extend the ' ecclesiastical ' jtowt-r over civil allairs. This
tendency was resisted, always vi}.;orously, often l»y long and hittei- wars.
So we may account for the terrihle strife of the (iuelphs and (ihil»ellin»;8,
which from the eleventh till the fourteenth century threw into disorder
Italy ami (iermany.

40, 12. priest presbyter. "New I'reshyter is hut <»ld Priest
writ large. " — Mi/fmi. SeeCJrcen, S/mrt //is/urif, ]>p. T)!.*}, IT. 'I'riest'
is a contraction for ' preshyter,' since it is derived from <>. K, /m sire,
whicli comes from the hat. pri.s/ti//n\ Nott; the \\i<le division in char-
acter marked l»y these t(;rms : the jiriest of the ("hurcli of England, the
'presbyter* of the Presbyterian Cliurch. See Knglish history for wars
waged to secure uniformity of church governnuiit. liitter wars, like-
wise, followed the licfornuitiou : (Jernuiuy was divided against itself,
and n.ation set against nation.

40, 22. Greek Alphabet. 'I'f» further this advice, the ali»ha-
bet is here given.

<',

1/ (hard)

f;.

a (short)

II,

(' (long)

d, l>,

,«»

til

()
(1
P

T
T
<V
X

n
,/'
o
V

(t(c final) s

7, ' t

ph
ch
ps
o long

40,28. Max Miiller. (b. 1S2.3.) A German scholar, long resident
in England, at onetime Professor of .Modern fjanguages at Oxford. The
lectures referred to are " On the Science of Language, " a brilliantly
written and well arranged exposition of linguistic laws.

41, 6. Lycidas. This j)oem, one, of the finest of Knglish elegies,
is Milton's lament for the sudden death of his college friend, I'^dward
King.

41, 8. The pilot. See Matt, xiv., 24, fF.

41, 21. What recks it them, what matters it to them.

43, 23, scrannel pipes, poor, wretched instruments of music.

41, 33. mitred- The mitre is the ofiicial headdress of the bishop.
The original /uirim meant no more than ' lillet.' The mitre or cap is

N(tTi:S.

toii^uo-!sliii])C(l, ;iii(l cleft to syiiibolizci the 'cloven tongues.' See Acts
ii. :{.

43, 14- Bishop, fiom (iieek t~inKu7T(i(\, ;iii overseer, which in from
tTTi, ujton, mi<l r7hi)~ui\ one tluit watches.

43, 15. Pastor, from L. pastor, a shepherd, which is from pascere,
to feed.

43, 29. numbered the bodies. "The reader will find the

muted gist of all to lie, that JJishops camiot take, much less give, account
of men's souls unless they lirst take and give account of their bodies :
and that, therefore, all existing poverty ami crime in their dioceses,
discoverable by human ol)servation, must be, when they arc Bishops
indeed, clearly known to them." — For.s, iict. Ixii.

44, 2. Salisbury steeple. 'i'hc highest in l^igland. The
cathedral is one of tin; tiiust examples of i:arly I']nglisli architecture
extant. Salisbury, or >.'(;w Sarum, is the ca[»ital of Wiltsliire.

44, 12. St. Paul's idea of a bishop. i:cad 1. Tim., iii. 1-7.

44,23. Spirit. From O. Fr. cspirlt; from L. .ipiritu-'^, breath,
spirit ; from the L. veri) sjii/yitr, to breathe.

44, 37- Time and Tide. The thirteenth letter in the series
called 'J'iiiir (inil T'uh (see Introd., p. !.')(►) deals with the [»ro[)er otKces
of the bislioj) and duke; or, "overseer" and leader. Asserting as
indisputable ' that the lirst duty of Stale is to see that every ehihl born
therein shall be well housed, clothed, fed, and educated till it attain
years of discretion,' It. furtlu'r wouhl have a social organization in
which ' over every hundred of the families comprising a Christian State
there should be a^jpointed an overseer, or bishop, to render an account

to the State, of the life of every individual.' 'A bishop's duty

being to watch over the .st>«/.s of his people, and give acccmnt of every
(me of them, it becomes practically necessary to i;ivc some account of
these bodies.'

45, 6. cretinous. From Fr. cretin, a kind of idiot peculiar to
deep valleys in the Alps, the Pyrenees, etc. The cretin is ' de^f and
dumb, insensible to ht^at, cold, blows,' — a loathsome spectacle of disease.
The cause of the malady is not known with certainty ; it seems to be
due to the metallic nature of certain soils, aflecting the drinking water.
Sonu', however, attribute it to ' a S[)ecial form of nuirsh-fever, malaria,
or even a special poison-germ in the atnu)sphere.'

45, 13. thinking rightly. l^lsewherc W. iterates this idea :
" There are briefly two, and two only, forms (»f possible Christian,
Pagan, or any other gospel, or ' good message ;' one, that men are saved
by themselves doing what is right ; and the other that they are saved
by believing that somebody else did right instead of them. The first of
these gospels is eternally true, and holy; tlie other eternally false,
damnable, and damning." III. F()r.-<, Ijct, Ivi.

45, 15. clouds, these. Seclude, 12.

45, 22. Dante. Dante Alighieri, soldier, statesman, and poet of

NOTES.

171

45.

30.

45,

33.

45,

38.

46,

Tifrpa

(G.),

47, 18.

difficulties

47,21

liha :—

all tunc l.crn Ml hlorciH',. in I2(;r, ; nutiiur uf tl.u Vi/a Xmuu,, and the

(Hell, 1 u.-;it,),y an.l loaven), ..ne of th.. vrry oreuUvst works m litera-
ture. JMiite (lied in \ tnice in 1.S21.

" have taken away the key." Aca Luke, xi. 52.
" He that watereth." See I'rov. xi. 2").
he who is to be bound. C!f. Matt. xvi. id.
That command. Cf. Mutt xxii. 13.

the rock-apostle. St. I'eter, since prtra (L ) from
means 'r..ck.' Cf. Matt, xvi., IS. l M, nom

pertinent questions, /. <., their thoughts do not solve

; tlK^y merely awakeji ns to the fact tliat difficulties exist.
"To mix the music." (Rioted from Emerson's i)oein,

•"Tishissfiirlyanddeliu'lit
To lilcss tlial creuturo dav and iiiidif
From all evils to defend 'her; '"^ '
In her lap to pour all splendor ;
To ransack earth for riches rare,
And fetch her stars to deck her hair.
He mixes mnsic with iier ihonvjhts,
And saddens her with heavenly <loul)ts."

TtV\^?u\ bishops in Richard III. Sec- Shakspeare's Rhhard
111. , Act 111., so. vii., and llvurij VIII., Act. V., sc iv.

St. Francis of Assisi ( 11SM22(;), founder of the (u-der of monks
called the 1' luiic-.scans. Oi St. Francis, Dante say.s, I'ara.l. xi., 1. 1 10 fl'
((';iry s tran.slation):— , . ■ iv n

"Thiidv now of oiie, v. ho were a fit collea-iie
To keep tlie l./uk of PcttT iti deep sea,
Melni'd to ri.i,dit i>oint ; and siieh our Patriarch was.'

St. Dominie (I 170- 1221), founder of the order of Dominicans. Of St
Dwmimc, we rejid. Farad, xii., II. sni: -

" he h(>soiiMht
^ No dispell- a( ion for connnuted wron^r,

N'or the th-s* vacani iortune, nor lle'tcnlhs,
Th.it to (;.,d's paupers nii-lit appertain."

Oppose.l to tiicse M'c have him whom Vir.i.i| (fh,; sm|.i.o.s..,] ,M.i,le of
Dai. e wii,h> journey ng tluougli the /./V..o, is represcnLl as wonde^!
ing at, that is, (.iuu^/ia.^, the high-priest. (See Matt, xxvi, r>7) :-

" Allot vid'io maia\i-liar \irnilio
Sopra colni ch'eia disirso in ciucc
Tanto vilrneiite neH'clcrno esiliu , "

Iii/rniii, wiii., II. i-.>|.7

? «

ri'

172

NOTES.

And ihcrcupoii I saw \'ir,u'ilius iiuumI
< >'cr hi III whii was cxIcikIimI on I lie cross
So \ ilil\ ill ft(.rii:il liaiiisliniLiit."

Liniijfi'llow.

Wi! liinl also " liiin w lioiu Dante stood beside " : —

" Instava coiiie 11 frate che coiift'ssa
[.o jierfido assassin, che jioi cli' c fitfn,
llifhiania liii, i>c'r chc la iiiorto cessa."

Inferno, xix., 49-r)l.

" There stood I like a friar, that doth shrive,
A wreti'h for murder doom'd, who, e'en when fix'd,
( 'alleth him hack, whence death awhile (el ivs."

Gary.

This wretcli is Nicholas 111., a jiolitical o[)j)onent of Dante, who
describes him suilering torments in the 'Third Ciele of Hell, where those
guilty of simony were punished.

48, 4. into articles. ' Articles ' here means formal statements
of creed, as in the Thirty-nine Articles of the Church of England.

48, 5. Ecclesiastical Courts : those which take cognizance of
matter's relating to the clergy and to religion, c.ij., the Court of Arches
in England, the (Jeneral Assembly in Scotland.

48, 17- ash heaps enriching the soil with mineral salts, helpful
to vegetable growth.

48, 20. " Break up " See Jer. iv., .3.

49, 6. "Vulgarity." If. tlevotcs an entire chapter to this sub-
ject ; Modern Painters, I't. I\., chap. vii. —

" We may eonclude that vulval ity consists in a deadiiess of the heart and hody,
resultinif from prolonu'ed, and especially from inherited, conditions of ' detfeneracy,' or
literally ' unraeiii;,','- ijentleinanliness lieiii",' another word for intense humanity. And
vuli;arity shows itself jirimarily in dulness of heart, not in raufe or enmity, hut in
iiiahility to feel or conceive noble ehai'acter or emotion. This is its essential, pure and
fatal form. l)uliiess of hodily sense ae 1 uener.'il stujiidity, with such forms of crime as
peculiarly issue from stupidity, are its material manifestations."

49, 18- Mimosa, the sensitive plant. It is found chielly in the
Tropics, though n()t unknown in our gardens. It closes its leaves on
being touched. Soiiic species are trees, others small plants. It takes
its mime from,a (irceU word meaning to imitate, mimic. ^,\ "^vtXt<^

50, 12. "the angels desire...." Cf. 1. IVteV- i. 12. See
50, 21. Noble nations murdered. I J. alludes to various

wars. . Austria ;uid I'russia wen; robl>iiig Denmark of her southern
provinces. Iliissia likewise Mas putting down the last revolt of the
conquered Poles by massacring whole villages. Italy's long struggle
with Austria culminated in KStiO. A rebellion had broken out, in 1848,
in Naples, I'ieilniont and Home, in favor of constitutional rights and
against the Austrians, M'ho held most of Italy. The rising was crushed,
and the Italian.s were the victims of frightful cruelty, until early in
1800, X'ictor Emmanuel, King of Sardinia, and his independent and even
opposed general, (iaribahli, freed Ittdy from the oppressor.

NOTJ'JS.

173

51, 3. weighing" evidence, <tc. CW for jii<luiiu;nt of the

pn.'SL'iit «t;ito of tliu national mind of ( 'anada, the I'liittd States and
I'^nghmd, tlie rep(»rts of the trial of Hirehall for the murder of
Beuwell.

51, 5. its own children murder. IJeferrlni,' to the fearful
battles of tlie American Civil War (1801-.")). Tlie blockade of Southern
ports greatly iuterfcri^l with the exportation of cotton to England.

51, 15. armed steamers, l^y refers To the all'air of the lorcha
Arrow. The Chint'se endeavored in every way to sto}) the English
from importing opium into (.'hina, althouirh trade treaties permitted it.
They seized the Arrow with its crew in 18.")0, which led to a short war
between England and China, in which the Chinese were beaten and
forced to conceile many important treaty rights.

52, 8. clodpate Othello. Ifefeiring to popular excitement
against some farm laborer who ha<l killed his wife thnmgh jealousy.
The expression derives this force from the details of Shakespeare's
tragedy in which Othello, on the vile instigations of Jago, suspects
the chastity of his wife Desdemona, an<l kills her. 'I'lie ipiotation is
from the remorseful speech that Othello nuvkes at the close (»f the play,
just as he stabs himself.

52, 10. polite speeches. See n. to 2.), 21. From 18()l to
1804, there was a desperate rebellion in Polanil against the llussians.
It was suppressed with great cruelty, (ireut numbers of men, women,
and children were sent to Siberia or executed. Tiie various lMir(»j)ean
powers "remonstrated" but their weak woids were vain. Tranipiillity
was restored, 1)Ut it is the tran(piillity of the desert.

54, 4. good Samaritan, r.uke, x. Xi il".

55, 11. men who have pinched. So the Dutch scholar,

Erasnuis, wrote in 1-1*,»!) : " J have given ui> my whole soul to (ireek
learning, and as soon as I get any money 1 shall buy Creek books — and
then 1 shall l)uy some clothes." See Chaucer's ci>nception of the
Scludar in the I'rologue to the Canterbury Tales, 11. 'JHo-.SOS.

55, 21. cheapness of literature. In A Jo// For I'Jnr, It.

halt seriously propounds his views on tin; evils of cheap books :-" in
my sliuid of liarataria, when I get it well in oi'dei', I assure you no
bf'ok shall be sold for less than a pound sterling ; it it can bt; published
■ i" aper than that, the surplus shall all go into my treas\iiy, and save
niN )'" ■)[(; taxation in otlnu* directions ; only [)(.o[)le really po(»r, who
cannot pny the j)Ouud, shall be supplied with the books they want for
nothing, in a certain limited (piantity.''

56, 34. Professor Owen. Sir Ilichard Owen (b. 1804),

practiced lirst as a physician, but showing special aptitude in anatomy,
he was made pr(»tessor, lirst in St. Bartholomew's (Ib.'U), then in the
r'oilege of Surgeons (I8.'i<>). In 18")() he was a[)i)ointed superintendent
of the Natural History Departnu'iits of the Ihitish Museum, bir wliich

'$1

11^^ I

174

NOTES.

the fossils wero intended. He is tlio author f»f a very great many \v(»rks
on science.

57, 31. Ludgate, <»ne of tlie chief thoroughfares of London, in
the heart of the city.

58, 12. Austrian guns. " In the })ombardment of Venice in
1848 [by the Austrians], liardly a single palace escaped without three or
four balls through its roof ; three came into the Scuola di San Jvocco,
te«ring their way through the pictures of Tintoret, of which the raggt;d
fragments were still hanging from the ceiling in 1851 ; and the shells
had reached to within a hundred yards of St. Mark's Church itself, at
the time of the capitulation." Stones of Venice. 111. App. 3, note.

58, 13. Titian, (1477-1576), the chief of the Venetian school of
painting, famous for the ' splendour, boldness and truth of his coloring,
which alone h;is sufficed ti» give him a place alongside the greatest
names in art, Raphael, da Vinci, and Michael Angelo. '

58, 24. SchafPhaUSen, a' town in the very north of Switzerland,
on the Khine. When Kuskin was twelve years old (18.S.*?) he was
taken to the continent bv li'S parents. The sight of this beautiful
waterfall of Shaffhausen, 1 > •""iut old town, and the distant moun-
tains made a profound impic* upon his mind : —

" I went down that eveniiij;' fro;i <\q irarden-terracc of SchafThausen with my
destiny fixed in all of it that was to be sacr<;<l and useful. To that terrace and the
shore of the lake of Geneva, my heart and faith return to this flay, in every impulse
that is yet nobly alive in them, and every thoujjfht that has in it help or peace."

I'nvterita, I. vi.

p]lsewhere he describes the falls : —

" Stand for half an hour l)eside the Falls of Sehaffhausen, on the north side where
the rai)ids are loiiff, and watch how the vault of water first liends unbroken, in luire,
polished velocity, over the archinjf rocks at the brow of the cataract, crowniii}^ them
with a dome of crystal twenty feet thick— so swift that its motion is unseen, except
when a foam f^lobe from above darts over it like a fallinj,^ star; and how the trees are
lijjfhted above it xmder all their leaves, at the instant that it breaks into foam ; and how
all the hollows of that foam burn with }j;reen fire like so much shatterinjjf chrysoprase ;
ami how, ever and anon, startlini; you with its white flash, a jet of spray leaps hissinj;
out of the fall like a rocket, burstinfjf in the wind and driven away in ilust, filling the
air with lijjht ; antl how, through the curdlinj; wreaths of the restless, crashinj; abyss
below, the blue of the water, i)allid by the foam in its body, shows j)nrer than the sky
thronjfh white rain-clouds, while the shudderinj!; iris stojjs in trenuiious stillness over
all, fiuliri<r and fiushin^f alternately throuich the chokintjr spray and shattered sunshine,
hiding' itself at last amoiiff the jfolden li-aves which toss to and fro in sympathy with
the wild water."

Mixfern I\u')iti'rt>, II., p. lO.'i.

58, 25. Tell's chapel. Tell, the national hero of S\\ itzisrland,
one of the leaders in tlie Swiss rebellion of 1807, was forced by
(Jessler, because he would not bow to the tj'rant's caj), to shoot at an
apple placed on the head of his own son. He was afterwards arrested,
and while crossing Lake Lucerne in a storm, was given control of the
boat. He guided it close to the shore, sprang to the rocks and made
his escape. A religious service was instituted to commemorate Toll's
brave act, and in 1388, this chapel was built near the spot where he
was said to have landed.

NOTES.

175

III

^^•\

58, 26. Claren's shore, ('larons is a l>cjuitiful village on the
shore of Lake (leiuiva, near V'ivay. The "destruction" is probably the
railway by the lake.

58, 33. your own poets used to love. See Coleridge's

Ifi/mn he/ore tSKDrise in the Vale of Chamouni ; Shelley's Mont Blanc ;
Byron's Childc Harold, III ; Wordsworth's Memorials of a 7'our on
the Coiitbu'iit, etc.

59, 10. Swiss vintagers of Zurich. "I was somewhat

anxious to see what species of thanksgiving or exultation would be ex-
pressed at their [the Zurich peasants'] vintage. It consisted in two cere-
monies only. During the day the servants of the farms where the
grapes had been gathered collected in knots about the vineyards, and
slowly tired horse-pistols, from morning to evening. At night they got
drunk." — Time and Tide, Let, ix.

59, 24. St. Paul's, in London, the largest Protestant cathedral
in the world.

60, 5. Spitalfields, a district in London.

60, 27. workhouse. A sort of prison under stern though not
unkind discipline peculiar to England. It is much dreaded by the self-
respecting poor.

61, 8. get the stones*, *be condemned to break stones.' For
the " certain passage," see Matt, vii., 9.

61, 20. salons (Fr.), drawing-rooms.

61, 23. Princess Metternich, wife of the Austrian ambas-
sador at the court of Napoleon III., Mme. Urouyn de Lhuys, wife of
the then Minister of Foreign Atfairs : both leaders of the fashionable
world.

61, 33. chaine diabolique, etc. Indecent dances. " Chain
of the Devil and Cancan of Hell." See Time and Tide, Lett. ix. and x.

61, 35. menu, the bill of fare. This cook's jargon of French
cannot be rendered accurately into English : chicken soup, Bagration
style ; IG different side-dishes ; Talleyrand patties ; cold salmon,
Kavigote sauce ; tillet of beef, Hellevue ; Milanese timbales (baked pies,
highly seasoned) ; game chaudfioid (certain preparation usually of
fowl) ; trutiied turkey ; foie gras i)ies ; pyramids of crawfish ; Venetian
salads ; white fruit jellies ; Maneini cakes ; Parisians, cheeses, ices,
pine-apples, dessert.

63, 8. Satanellas. In all the operas mentioned, Satan is im-
personated. iSV<^(;//f//«, au opera (ISoS), by Halfe, the Irish composer
(1808-1870). In Meyerbeer's opera of A'o/m'>-< /« Diable (1831), there is
a whole convent of resuscitated nuns with a church-service on the
stage. In (iounod's Faust (1859), there is a wedding in the church
with appropriate orj^an -music.

The 'Dio ' (Ital. for (Jod), is a psalm chanted in Catholic churches.

64, 7. Modern English religion. English religion, K. thinks,
is a mockery. "Notably within the last hundred years, all religion has

17G

NOTES.

perished from the praeticjilly active national iiiiiids nf Krance ami Kiig-
laml. No statenman in the senate of either eountry would <lare to use
a sentenee out of their accei)te(lly divine llevelatiou, as having now a
literal authority over tlieni for their guidanee, or even a suggestive
wisdom for their contemi»lation. England, especially, has east her IWble
full in the face of her former (iod ; and proclaimed, with open challenge
to Him, lier resolved worship of His declared enemy. Mammon. All
the arts, therefore, founded on religion, and sculpture chieHy, are here
in England efJete and corrupt, to a degree which arts never were
hitherto in the history of mankind. — Aratra Pcntdki, p. 88, Ji 52.

• 64, 10. property-man, the man who looks after dresses, etc.,
of players on the stage.

64. 10. carburetted hydrogen ghost, l c the spirit inspired
by * gas-lighted Christianity.' 11. refers to services held during twi-
light.

64, 12. true Church.

" The Holy Supper is kept, indeed,
In whatso we share w ith another's iieoi! ;
Not what we fjrive, Imt what we sliare, —
For the gift without tlie},nver is hare ;
Who tjises iiiniself with iiis ahns feetis three,—
Himself, his hunj,'erinj,' iieii,'hl)or, an(! nie."

Lowell, Vision of Sir Laiin/al.

65, 9. idolatrous Jews. Uead ^>.ek.. Chap. viii.

65, 25. Chalmers. Thomas Chalmers (17S0-1S47), a great Scotch
preacher, philanthr(»[>ist, and scholar.

66,1. last of our greet painters. Turner.

" Another feelinj; traceable in several of his former works is an acute sense of the
contrast hetween the careless iiiteiests and idle i>l(asures of daily life, and the state of
those whose time for labour or kn<)\vlt(l;;e or delitfbt is passed forever. There is evil
dence of this feeliiiff ni the introduction of the boys at play in the chiucliyard of
Kirkhy Lonsdale.

Modi'ni I'aintvfK, pt. V. j». SIT).

66, 22. fallen kings of Hades. Hades was the kingdom of
Pluto (Hades), the abode of departed si)irits. 'I'he meaning is : — The
shades of deail kings in Hades n:jet the kings who have just died.

GG, 31. Scythian custom. " When the master of a Scythian
family died he was placed in his st ite chariot, and carried to visit every
one of his Idood relations. Each of them gave him and his attendants
a splenditl feast a^ which the dead man sat at the head of the table, and
a piece of everything was put on his plate. In the morning he con-
tinued his circuit. 'I'his round of visits generally occupied nearly forty
days, and he was never buried till the whole number had elapsed."
Note to The Sci/lhian (iiu^st, a poem b y— Ru*»k+H.

67, 3. Caina, the lowest circle in Dante's Hell, reserved for
betrayers of kindred. The traitors are innnersed in ice up to the neck.. V*<^

67, 30 . "visible governments," etc., from Manera PalM'l% li.

p. 11;^.

67, 37. Achilles' epithet. Achilles, the hero of Homer's
Iliad. Througii his ell'orts the CJ reeks were successful in the siege of

N(tTEi<.

177

for ^

Troy. See note to 114, (>. The; epithet is used by Achilles in his
(luarrel with Agamemnon. See Iliad, Hk. i.^

67, 38.

68, 13.

*li ~r

II. r,'j-r,o

" etc. Kon>. viii. G.

il gran refiuto," the great refusal.

'* Vidi e conobbi Tomhra decolui
Che fece per viltate il gran rifiuto."

Inferno, III.
" I looked, and I beheld the shade of him
Who made through cowardice the great refusal."

Longfellow's Translation.^

This is commonly thought to refer to ("elestino V., who, too timid to /^ »--'^*-<a-*'
encounter the troubles of his time, abdicated his papal throne in 1294.

68, 19. cantel, or 'cantle,' a fragment, piece. This phrase is
suggested by Shakesjjeare's lines in Henry IV., Tt. I. Act III., sc. i.

" See, how this river comes me cranking in.
And cuts me, from the best of all ni.v land,
A huge half-moon, a monstrous cantle out.
I'll have the current in this place damm'd up.
And here the smug and silver Trent shall run."

68, 21. " Go, and he goeth." See Matt. viii. 9.
68,31. "do and teach." See Matt. vi. 19.

68, 35. "lay up treasures." Cf. Matt. vi. 19.

69, 9- a web more fair. A i)assage re<£uiring to be ' read,' ac-
cording to Kuskin's definition, before it can Vje understood. In contrast
to the perishable * robe,' ' helm and sword,' ' jewel and gold,' we have
the fairer ' web ' woven l)y Athena, the goddess of wisdom, or, putting
it roughly, wise conduct ; by ' armour ' he means defence against evil
by constant work ; and ' gold ' is here the result of intellectual labour.

69, 9. Athena's shuttle. Pallas Athena, the virgin goddess of
(jrcek mythology, is the symbol of practical wisdom. tShe is repre-
sented as teaching men the u«e of the implements of industry and art ;
and women, the various feminine accomplishments. VA. n. to 80, 6.

69, 10. Vulcanian force. Vulcan, god of tire, the most skilful
artificer in metals, whose workshoi»s were in volcanic islands. The
allusion is to the armour of Achilles, forged for him by the god. See n.
to 114, 6.

69, 12- Delphian cliflfe. Delphi was in Phocis in Greece, the
place of the awful oracle of Apollo. The shrine of the oracle was upon
a rugged mountain. The wis(k)m of the gods was supposed to be
uttered by the oracle ; hence the allusion.

69, 13. potable g'old, lit. drinkable gold, the aurnin pofdhile of the
old alchemists, prol)ably gold-dust in water, which they thought a sove-
reign remedy. The symbolic fcn-ce of those references is given below, 1. Hi.

69, 33. one that will stand. Unto This Limt, p. 82, foot note.

71, 10. corn-laws repealed. The duties on grain imported
into England were abolished in 1840, a measure that wrought inestima-
ble good.

71, 18. crystalline pavement, alKuling to Zech. w. w ; Rev.

xxi. 21.

178

N^OThJS.

lectukp: ir.— lilies.

72, 1. Lilies. See n. to 27, 4.

72, 24. " The likeness," etc., (quoted from Miltou's description
of the grisly spectre Death in Paradise Lost, lik. ii.

" What secm'd his licad
The likeness of a kiMj,'l.v crown had on."

73, 2. State, from the O. Fr. rstat, from the L. status, comlition,
from stare, to stand.

74, 1. if ever be separate, l*. and Tennyson a<,'ree in their
view of woman's place. Read The Princess, especially l*t. vii.

" The woman's cause is man's : they rise or sink
Toj^ether, dwaif'd or yod-Hke, bond or free :

For woman is not undevelopt man,

Hut diverse : could we make her as the man,

Sweet Love were slain — his dearest l)ond is tliis,

Not like to like, Imt like in <lifference.

Yet in the lonjjr years liker inunt they ^ro.v ;

The man be more of woman, she of man ;

He {^ain in sweetness and in moral lieij^ht.

Nor lose the wrestliii;^ thews that throw the world

She mortal breadth, nor fail in childward care,

Nor lose the childlike in the larf^er mind ;

Till at the last she set herself to man,

Like nerfect nuisic luito noble words."

The Princess.

74, 36. Henry the Fifth, in the play of the same name.
The student, to appreciate the references, should read the plays in
question. Nothing but his own reading can tiirt)W proper light upon the
text.

75, 1. Othello, Coriolanus, Hamlet, the heroes of the plays
bearing these titles. Caesar, is in Jnfins Caesar', Antony, Atitonij
and Cleopatra ; Romeo, liomco and Juliii ; the Merchant of Venice,
Antonio, in The Merchant of Vinic<> ; Oriaiuh) and llosalind are the
hero and heroine of yl.s You Like It ; (Jordelia, the "one true daughter"
in King Lear; Desdemona, the injured wife of Othello, in Othello;
Isabella, Measure for Measure; llermiono, Winter's Tale; Imogen,
Cymbeline ; Queen Katharine, Kimj Ilenrji VI I L ; Perdita, Winter's
Tale ; Sylvia, Two Oentlemen of Verona ; Viola, Ttcelfth Nitjht ;
Helena, Midsunimer Niyht's Dream ; Virgilia, Coriolanus.

75, 23. The catastrophe of King Lear consists in the king being
driven mad by the unlilial daughters, jjetweeu whom \\v had divided his
kingdom.

NtrPES.

179

75, 28. the one weakness : lii^ credulity which Ia<^o ]>lay8

upon ;iii<l whii.'h l»iiiij,'s liiiii to iiiurik-r his wife. The ' wiUl testimony'
of Emilia, lago's wife, occurs in Act V. sc. ii.

75, 34. the wise stratagem, 'i'hat she may remain true to
her husband, Juliet takes a .sleeping-draught which produces the ap-
pearance of death. Komeo thinks that she is really dead, and kills
himself at her tond),

76, 10. Julia. See Tioo Gentlemen of Verona.

76, 10. Hero and lieatrice, in Much Ado About Nothing.

*1Q, 14. "unlessoned girl." So Portia, the heroine of The
Merchant of Venice, speaks of herself with beautiful humility (Act III.
sc. ii.). She is rich, independent, and nuich sought after: but sur-
renders herself, with this phrase, to liassanio, who has fuliilled the
conditions of her father's will. She afterwards saves the life of Antonio,
her husltand's friend, by appearing in court disguised and upsetting the
plea of his enemy, Shy lock.

76, 16. "Angel— smile." In other editiuis this reads, "bringing
courage and safety l)y her ptesence, and ('.efeating the worst malignities
of crime l)y what women are fancied most to fail in, — precision and
accuracy of thought."

76, 19. Ophelia, i" Hamlet. At the instigation of her father,
she acts as a spy upon Hamlet, who discovers the trick. The catastro-
phe is the death of so many innocent persons along with the guilty
king and queen.

76, 24 Lady Macbeth, the wife of Macbeth in the play of that
name. Her husband conceives the crime, while she furnishes the
cunning and courage necessary to its accomplishment.

76, 24. Regan and Goneril, the undutiful daughters of Lear.

76, 38. Walter Scott (1771-1832), the greatest English
novelist. After s« curing a good position in life, he wrote the series of
"Waverley" novels. They were published anonymously, were ex-
tremely popular and brought their author in much money. This he
spent on his estate, Abbotsford, and became involved in debt. He
died trying to pay off obligations of more than half a million of dollars.

" But what Scott has in him to do, I find no words full eiiou<fh to tell. His ideal of
honour in men and women is inbred, indisputable fre.sh as the air of his mountains;
firm as their rocks. His conception of purity iti women is even higher than Dante's;
his reverence for the filial relation, us deep as Nirfj^il's ; his sympathy universal ;
there is no rank or condition of men of which he has not shown the loveliest aspects ;
his code of moral principles is entirely defined, yet tau.iht with a reserved subtlety like
Nature's own, so that none but the most earnest readers perceive the intention ; and
his opinions on all practical subjects are final ; the consummate decisions of accurate
and inevitable common sense, tempered by the most graceful kindness."

Fors, Letter xxxi.

77, 6. Dandie Dinmont i« in Gun Mannering ; Rob Roy, Rob
Roy ; Claverhouse, Old Mortalitij. We can but rejieat of Scott what
was said of Shakespeare, namely, that to a]tpreciate the force and truth
of 11. 's remarks the student must know Scott at lirst hand.

77, 18. Ellen Douglas. The heroine of yVte Lady of the Lake

180

NOTES.

i ,

Flora Maclvor and Rose Bnuhvardiiie, Wai'iHcii : Catherine Scyton,
The Ahhot ; Diana Vernon, Jfoh Ifnif ; Lilias lit'tl^o-umtlet, linhjninitlit ;
Alice liee, Wouil-sfork ; Jeannie Deans, 7'A'' lliurl of Miillof/ihui.

77f 34. Redgfauntlet. is in Ifrtfijuundct ; Edward ( Jlendinning,
Tint Monastrrij ; Colonel (iardiner, (Jolonel Talljot, WaiH-rlvij ; (Jolouel
Mannering, in (huj Afaiincrimj.

78, 7- Dante's great poem. The Divine f'omedy, or a vision
of Hell, Purgatory, Heaven, ranks with the lildd and Pdrwlisf Lost
among the three great <;p:cs of the world. Dante is conducted by the
soul of Virgil, his master, tlirougliout the regions of Hell, and by
Beatrice, his lady love, out of Purgatory through the regions of Heaven.

78, 21. Dante Rossetti, (1828-1882), poet and painter, one of
the Pre-lJaphaelit(! brotherhood. He belonged to a talented Italian
family resident in liondon, his father, professor of Italian Literature in
the Universitj- of London, his sister (Christina, the poetess, his brother
William Rossetti, the critic.

The collection of early Italian poetry referred to in the text was
published in 1861, under the title, " Karly Italian Poets, from CiuUo d'
Alcamo to Dante Alighieri (1100-1200-i;i00)."

79, 20. Andromache, («» dty'im' a ka), the ' white-armed, ' wife
of the Trojan Hector. In the Iliad, Homer describes her as bringing
her young son to bid farewell to his father before he goes forth to his
last combat.

" So now he smiled and j;aze<l at the hoy silently, and Andromache stoo<l hy his side

weepinjf, and clasped her hand in his, and spake and called npon his name Better

were it for me to go down to the t^rave if I lose thee ; for never more will any comfort
be mine, when once thou, even thou, has met thy fate, but only sorrow," etc.

Homer, Iliad, lik. v.

In Bk. xxiv. is found her lament over her husband, slain by Achilles.

79, 21. Cassandra, one of Homer's heroines, daughter of Priam,
King of Troy. She was endowed by Apollo, who loved her, with the
gift of prophecy, but having offended the god, she was put under the
curse that no one should believe her prophecies, . ''»e foretold the fall
of Troy, but the Trojans laughed at her.

79, 22. Nausicaa. A princess, according to Homer, in the island
of (now) Corfu. She and her maidens would resort to the sea-shore to
wash their garments. One day while there, she saw the shipwrecked
Ulysses, and led the Greek hero to her father's palace. The character
of Nausic'aa, as portrayed in the Odyssey is gentle and lovable.

79, 23. Penelope (pen el' o pe), daughter of Icarius, was a Spartan

Erincess and the noble and dignified wife of Ulysses. During her hus-
and's long absence in the Trojan war, she was importuned by suitors,
w^hom she had at last to satisfy by promising to marry one of them when
she finished the robe she was weaving. To gain time she unwove each
night what she had woven during the day, always eagerly watching for
her husband's return. Years had passed, when a beggar presented him-
self at the palace, and by a feat of strength put the suitors to shame.

N<fTES.

181

ITlyHscs liiul rftiinictl t<» savo his wife froni lu-r porscciitt^rs. (See also
TennysoirH ( /t/ssis.)

79, 25. Antig' ne. ("" f!>l' <» /"')■ When dvllpus, tlie blind
king of Thebes, was driven forth from his kingdom, his daughter
Antigone ah»ne shared liis wanderings, remaining witli him till his
deatli Her l)r<)thers meanwhile had <iuarrelled over the kingdom, and
agreeing to deeidc the (quarrel l)y an appeal to single eond)at, were both
killed. Creon, their uncle, caused Kteoeles to be buried with honour,
Init the l>o»ly Polynices was to be unl)uried, a prey to the dogs and
i vultures, 'i'he sister's heart rebellefl, and with her (»wn hands she

attempted to consign the body to the grave. Detected in the act, she
was by the order of ("reon, liuried alive.

79. 25. Iphigenia- ilf ij'' «»' '<)• While the (Ireek Heet was as-
sendding in iWeotia in preparation for the expe<lition against Troy,
Agamemnon, while hunting, killed a stag sacred to Diana. I'estilenee
by and calm overtook the fleet, — (inly to lie averted, said the goddess,
the death fo the offender's daughter. So the maiden Iphigenia —

" ' Still strove to sjicak ; my voice was thick with 8i>,'hs,

As in a dreaiii. IHnil.v I could decry
The stern, black-bearded kiiii^'M, with wolfish eyes,

VVaitiiitf to see me die.

The hi;,di masts ((uivered as they lay afloat,

The crowds, the temples, waver'd, and the shore ;
" The bri;;hl death fniivered at the victim's throat ;
Touched ; and I knew no more."

Teiinyaon, Dream of Fair Wom4:n,

79, 28. Alcestis. Admetus had wcm Alcestis as his wife by
fulfilling her father's tlemands that he should come for her in a chariot
drawn by lions and bears. Once falling sick, he obtained a reprieve from
death through the intercession of Apollo, only, however, on condition
of finding some one to die iuliis place. Was that difficult for a king?
But courtier and soldier drew back from their professions of devotion,
and only the faithful Alcestis, his wife, was willing to die for him.
As the king recovered health, the queen gradually faded away.
P'ortunately Hercules had just arrived at the palace of Admetus, and
when J^eath came to claim Alcestis, the he 'o seized him and forced him
to forego his intention. The ({ueen " as restored to her husband.

79, 31. Chaucer. Geotrrey Chaucer (1340-1400), the father of
P]nglish poetry, ' well of English undeHled :' author of The Canterbury
Talcn, Leijend of Gooil Women, and many other poems.

" I rea<l before my eyelids dropt their shade,

' The Le(jend of (rooit Wonwn,' \o\v^ a;;o
Sun^ hy the mornin'.' star of sonjjr, who made

His MUisic heard l>elow ;

Dan Chaucer, the first warbler. .

Tennyson, Dreatn oj hair Woh.'.n.

79, 33. Spenser. Edmund Sixuser (Lm-'MoDO), the greatest .
the purely poetic writers of Elizabeth's reign, a contemporary of

182

NOTKS.

ShakeBpenre. His chief work is tho lony, HllD^oiical [(ocm, 77/c Fni rif
Qncen. The Fniry Ku'njhts were the htiroiH of diU'ereiit <!Xi»loits luir-
rated in the poem. In the first book, the ch;iraeter of Una is por-
trayed as the embodiment of spotless purity and truth, in aid of whom
the Rod Cross Knight conciuers the (b'agon of error. Tlie third book
cuntains the legend of Britomartis ' a single damsel,' who typifies
chastity.

" Even the famous Britomart it was,
Whom stratif^e a<l venture did from ISiitayne sett
To seeke her lover (love far sought ala-s I)
Whose inm^e she had seen in Venus lookiiij,' ^das."

Faery Queen, Bk. Ill, c. i.

79, 38. the great people, the Egyptians.

79, 38. one of whose princesses. Pharaoh's daughter
See Kxodus, ii. 10.

80, 2. Spirit of Wisdom. Neith, the Egyptian Minerva,
was particularly worshipped at JSais in the Delta. " The founder of this
city, says Plato, "was the goddess whom the Egyptians call Neith ; the
Greeks, Minerva." She was rejjresented as a female wearing a crown,
and holding sometimes a bow and arrows, being the goddess of war as
well as of philosophy. Wilkinson, Ancient Eijyptians, III., pp. 38 tf.

The student will find in Ethics of the DuM, pp. 25U", an allegory of
Neith, a piece of Kuskin's best work.

80, 6. Athena of the ohve-helm. Minerva (Athena) and
Neptune once entered into a contest as to who should bestow the most
useful gift on man. Neptune gave man the war-horse ; Minerva, the
olive. Hence the olive is sacred to that goddess, and in representations
Bhe is often shown with a bianch of olive in her hand (rarely, I think, on
her helmet). Her helm is emblematic of the fact that she is not only
goddess of the arts of peace, — weaving, agriculture, etc., but also of war.

R. , in Queen of the A ir, speaks of her shield as being of the ' colour of
heavy thunder-cloud fringed with lightning.'

80, 25. ^schylus (525 b.c— 456 b.c), father of Greek tragedy,
stern and lofty in style, cauthor of many plays, such as Prometheus
Bound, Seven against Thebes (in which Antigone, q. v. , appears), etc.

80, 38. That chivalry. The institution of kniglithood in the
middle ages. The guiding principles seems to have been, learning to
obey before aspiring to command and self-dependence. The novice
must first serve a long apprenticeship and then win his renown by acts
of conspicuous gallantry.

81, 24. buckling on of the knight's armour.

" Then at the altar WMlton kneels,
And Clare the spurs bound to his heels ;
And think what next he niusi have felt,
At buckling of the fal(;hion belt ;

And judge how Clara changed her hue
While fastening to her lover's side
A friend, who though in danger tried,
lie once had found untrue !

the

ig to

vice

acts

NOTES. IH3

" Tlii'ti l)(>ii_'I;i« sffMck liini witli lii>i lil.-ule;
'Saint .Mi( li,M ! rill S.ii.;i Ailrcw ai'l,
I iliili III! <' Kiii^lil.
Aii-c, Sir |{:il|i|i, lie Wilton's licirl
For Kin;,', for Cliuri'li, for Lads fair,
Set.' tliivl tlioii liuht.' "

S''uit, .][iiniiii>ii, VI. xii.

81, 39. Coventry Ptitmore Ikih won Uuw, ;is tint poet of

(loiiu;.stic lovo, lit'ini; iiott'd for his tcinlcr iui<l just sriitiniciit. Horn in
Kssex, IS'J.'^, 1k! l)eo;inK! in ISI^I) out: of tin; ;is,sist!iut-lil)r;ui;ins of the
British Musi'uni. Hi." most important work is T/tf Ainji/ in ffic Jfciisc,
contiiininj^ four parts, T/k Jli fnit/i'il, T/n' ^■J.sfifiii.-<ii/, Ftiillij'nl I'ur hJnr,
The Vicfurlf's of Loi'i , 'I'lie (piotation is taktMi from tlu? tirst of tlu'se.
" You cannot rcatl him," says K. t-lsewlu'rc, " too often or too carefully :
as far as I know he is the only living pot^t who always strengthens and
pari lies."

83, 17. A vestal temple. 'I'h(> Komans looked upon the State
as a great family, and as each family hail its Household Gods, or
divinities that watched over the welfare of the house, so the nation had
its Penates and Vesta, who guarded the welfare of the general state.
The service of Vesta was entrusted t«» six virgins, under penalty of
being buried alive if foinid unworthy of their vows, lience the text
means, 'a home sanctitied by purity."

83, 22. Pharos, the most celelu-ated lightdiouse of anticpiity,
erected in *280 H.c, on the ishuid of I'haros, at Alexandria.

84, 6. La donna .
the wind.'

O woiniui I in our hours of easi-
Uncertain, coy, and lianl to Mlcasc,
And variable as Mic sliado
15y the li;;ht (|iii\ eriii^ a«])on niado ;
When i>ain and anLfuish wnnj,' the brow,
A iniuisteriiiy: anj,'el thou I

Scott, Marnn'o)!, VI., x xx.

84, 27. That poet. William Wordsworth (1770-1850) the
greatest of the poets in the literarj' revolution against the school of l^ope
and his imitators. For Wordsworth, because of his truth to nature and
human passion and purity, II. has a certain liking. "(Jifted," he
writes of liini in Fh'tion — Fiiir <in<l Foil/, " witli vivid sense of natural
beauty. , . .Tuneful. . . .at heart, and of the heavenly choir, I glatlly and
frankly acknowledge him ; atid our l']iiglisli litei-ature enriched with a
new and singular virtue in the aerial purity and healthful rightness of
his (piiet song."

84, 32. Three years she grew, fiom Wordsworth's poem,

Thrci' Yi'ftrM She Grew.

85, 33. "A countenance," f«<>m Wordsworth's poem, She Wan
a FhuiUom of Deliijht.

.'Woman is chang<'al)le,' 'as the feather in
l/L tt/: (W

iWo^&UX^

" she was a phantom of delight

When tirat slie ;,deamed ujion my a'l',
* * * *

184 NOTES.

I saw hor upon nearer view,

A si>irit, yvi a woiiian ton I

IFer lioiisehold motions liu'ht and free,

And steps of virffin liberty ;

A countenance in whieii did meet

Sweet records, proniises as sweet ;

A creature not too bright and good

For human nature's daily food ;

For transient sorrows, simple wiles,

Praise, blame, love, kisses, tears, and smiles.

And now I see with eye serene
The very pulse of the machine ;
A being breathing thoughtful breath,
A traveller betwixt life and death ;
The reason firm, the temperate will,
Endurance, foresight, strength and skill,
A perfect woman, nobly ])lanned,
To warn, to comfort, and connnaud ;
And yet a spirit still, and bright
With' something of an angel light."

86, 25. Valley of Humiliation. A phrase from the Piltjrhn's
Progress. Christian, the reader will remember, had to pass through
this valley, fighting with the dragon Apollyon. The sense H. attaches
to it is, that consciousness of the powerlessness of human reason to
penetrate the mysteries that surr<^und life.

86, 27. children gathering pebbles. An allusion to the

famous words of Sir Isaac Newton, uttereil when he liad become the
most famous mathematiciaji of the world, and shortly before his death : —

" I do not know what I niaj- appear to the world ; but to myself I seem to have been
only like a boy playing on the seashore, and diverting myself in, now and then finding
a smoother pebble or a prettier shell, while the great ocean of truth lay all luidis-
covered before me."

87, 19. '* for ail who are desolate." Quoted from the touch-
ing supplication in the Liturgy of the Church of England : — " That it
may please thee to defend, and provide for, the fatherless children and
widows and all that are desolate and oppressed ; We beseech thee to
hear us, good Lord.

87, 29. science trembled. A reference to Francis Bacon

(15Gl-lG*2G). ' But in theology — all theologians asserted — reason played
but a subordinate part. " If I proceed to treat of it," said Bacon, " I
shall step out of the bark of human reason, and enter into the ship of
the church. Neither will the stars of philosophy, which have hitherto
so nobly shone on us, any longer give us their light. " ' Green, Short
History, p. 590.

87, 33. consecrated myrrh. Myrrh is the gunnny exudation
of a Persian plant, bitter to the taste. It was used by the .Jews in pre-
paring their 'holy anointing oil.' Jl. means that when a woman
becomes an advocate of a religious sect she devotes to (lod's service only
her pride, her prejmlice and her nnreason — a bitter ottering.

89, 2. wet with the spray. 11. here s[>eaka against the

eagerness of the many to read the latest sensational novel.

89, 25. Thackeray, (1811-18G3), one of tlie greatest of English

NOTES.

185

tho

novoUists. pKirii in ( "aK-iitta, T. w.is ciliK-itctl in Mii^liiid. Lowinj^ a
sniiill tctrtunu, lie wrote Un i\u- iiuiiri/.iius. In IS4S Vdiilfif Fair was
tinishfd, fullowtd ;it intctv.il.s uutil l^idO, l»y }*( inlrmi'is. The New-
tv;w(.v, 1I( iirij E-sHouil. 'I'hf spirit of \\\a writing i.s, on the ono ]ian(l,
hatred of sham, schislines.s, and so to many sooins liarsh, cynical ; yet
oo the other it is sympathy witli wliat is true and noble. The student
should make tlie aci|uaintauce — if he has not already done so — with
Becky Sliarj) in Vaiilfij Fair.

89, 37. not for what is out of them. K. puts this more

clearly in later eilitioiis, " not for tlieir freedom from evil, hut for their
possession of good."

90,5. old and classical bocks Comi-are Kmerson's advice
in his essay on Hooks. ' The tiiree [irat/tieal rules, then, which I have
to olFer, are, — 1. Never read any liook that is not a year ohl. 2.
Kever read any hut famed books. .'{. Never read an}' l)ut what you
like ; or, in .Shakespeare's phrase,

" \o iiri)(it ;;oos wlitTi' is no jilcasure ta'en ;
III liiiuf, sir, study what ymi iiKist affect." '

90, 15. narcissus, ;i genus of ])lants end)raci»ig those known
under tiie names Uallodil, .louipiil, Narcissus. The l)est known of the
last named is the I'oet's Naicissus, which has a very fragrant white
flower that emerges from a green sheatli.

91, 34. Dean pf Christ Church. Christ Church is the most

aristocratic college of Oxford. It was [irimar ily a religious foundation and
hence the title of its head is tlie Dean. Trinity < 'ollege is the chief of
the colleges of Cand)ri(lge ; its head is called the Master. Creat men,
such as Sir Isaac Newton, have been at diirerent times at the head of
these colleges.

92, 12. Joan of Arc. .Jeanne d'Arc or Dare {141'2-14.'il), was
a poor peasant girl of tlie viUage of Domr^my, auKuig the forests of
the Vosges nu)untains of France. 'I'aught, like her companions, to sew
and spin, she was nuirked out from them only by her greater purity
and sin)]>le candor. At lifteen she felt herself inspired by heaven to
deliver France from the English, who, under Henry \'. , had almost
become masters of it. Chul like a man, with sword and banner of white,
she headetl the forces of the Dauphin in the relief of Orleans. i'^very-
thing gave way before lier, and !'' ranee was practically fret;. ('aptnred
l)y the Ikirgundians in the siige of Coinpifgne, she was sold to the
English, and burned as a heretic and a witch. See (Jreen's Shnrt
Iliduii/, pp. UOS-L'T.'J, and /f. S. l/is/,,,-;/, [ip. DS-Dll.

92, 27. Touraine, name of oii(> of the former provinces of
Frajice, surrounding its capital, Touis, in central France. 'I"he county
is now inchuled in the dei»artment of Indre-et-l.oirc.

92, 28. German Diets. I'he diet was the delibei-ation body of
the old ( ierman empire; from the Lat. (/'ns, a day, -the <Uiy set for
delilterating on public athiirs.

93, 14. garden — into furnace-ground. Every wliere in

* '

mmm

il i

18fi

mtTj^s.

his works, II. iuveiglis iij^ainst tlu; (K stiuctiou «tf natural lieauty by the
ruthless hand of man, — tactoriiis pouriiiLj tlusir refus(! into streams, rail-
ways dostroyin<4 the Itiaiity of hill ami didv, the presence of man
defiling the 'cathedrals of the earth.' 'I he following passage illustrates
his passionate indignation over the destruction of natural beauty : —

" Twenty years aao, there was no lovelier piece of lowland scenery in south
England, nor any more pathetic in the world, hy its e\))resHion of sweet human cliar-
acter and life than that inmiediately liordering on the sources of the VVandle, and
including the lowi;r moors of Aildinglon, and tlu' villages of Reddington and Cars-
halton, with all their pools and streams. No (-kaier or (liviner waters ever sang with
constant lips of the haiid which 'givetli r.iin froni heaxen ;' no pastures e\er lightened
in si>ringtime with more jiassionate blessing; no sweeter homes ever hallowed the
heart of-Uie passer-hy with their jnide of ]>eaeeful gladness— fain-hidden yet full-
(!om}K)sed. The i)lace remains, or, until a fewiiiontiisago, remained, nearly unchaniged
in its large features ; hut, with deliheratc mind I say, that I have never seen anything
so ghastly in its inner tragi(! meaning, not in I'isan Maremma— not hy Campagna
tomh, not hy thesand-iies of Torcellan shore, ;is the slow, stealing asjiect of reckless,
indolent, animal neglect, over the delicate sweetness of that Knglisli scene ; nor is any
hhusi)hemy or impiety--or any frantic raging or godless thought- more apijalling to
me, using the hest power of judgment I have to discern its sense and scope, than
the insolent defiling of those springs hy the human herds that drink of then). Just
where the welling of stainless water, tremhling and pure, like a body of light- '^'ters
the pool of Caishaltoii, cutting itself a radiant channel down to the grave!, jugh
wiU'f of feathery weeds, all wavy, which it traverses with its dec]) thre.ids of c. mess,
like the chalcedony in moss-i.gate, starred here and there witii white grenouillette ;
just in th(! very rush and nun'nnu- of the tirst spreading currents, the human
wretches of the place cast their street and house foulness ; jieajis of dust and slime,
and broken shreds of all metal, and rags of putrid cloliies ; they have neither energy
to cart it away, nor decency enough to dig it into the ground, thus shed into the
stream to diffuse what venom of it will lloal and unit, far away, in all pl.aces where
(Jod meant those waters to biing joy and health. And. in a little pool behind sonie
houses farther in the village where another spring rises, the shattered stones of the
well, and of the little fretted channel which was long ago Imilt and traced for it by
gentle hands, lie scattered each from each under a I'agged bank of mortar and scoria,
and br'"kla\ers' refuse, on one side, which the dean water nevertheless chastises to
purity; b\it it cannot con<iuer the <lcad earth beyond; and there, circled and coiled
imder festering scum, the st.ignant edge of the pool effaces itself into a slope of black
slime, the accunudalion of indolent years. Haifa dozen men, with one day's work,
<!ould cleanse those jiools, and trim the flowers about their banks, and make every
])reath of siunmer air abo\e them rich with cool balm ; and every glittering wave
medicinal, as if it ran. troubled of angels, from the porch of Hethesda. Hut that day's
work is never given, nor will be: nor will any joy be possible to heart of man, for
evermore about those wells of Knglish waters.'

CrDirii of Wild Olive, Treface.

93, 18. sharp arrows. Kead Ps. exx. 4. The juniper bush, or
more properly tlie broom, is (Mnployetl iii tlie Ivist as fuel. Kabuh)U8
accounts are given of tlu^ length of time it continues to burn. K. means
that the first appar<;nt lesidt <d" the tise of steam as motive force is an
increase of mechanical p<»wer, but the last aiul permanent is noxious
and un.sightly refuse.

93, 23. Mersey, 'lake your map of l']ngland, and lf)ok where the
turbid Mersey flows by Liverpool into the irisli Sea ; then westward
into Wall's, into ('aernarvonshire, where the mountain-range of SnoW-
don lifts its mjiny [leaks ; cross now the Meiiai Straits Jii»d we are
in Anglesea, ivnd with one step nu>re in Holy Island, <»iie (»f the
last refuges of the Druids. To tlie north-west of the little island lies the
promontory Ibdy He.ad with its lighthouse. Now look at ymir map of
classical Greece ; Had the county oi Phocis ami iuit Delphi (n., 01), 12),

NOTE^.

187

the
lard

Iw-

] are

the

Ithe

1-2),

from which the two siimiuits of snow-capped Parnassus are visible.
There is the licart of (1 recce, the niount.iin celebrated l»y the [loets, and
sacred to Apollo and the Muses. Nine in nninber, the muses inspired
humanity to dance, to play on tlie harp, to write liistory and science
and soni,'. 'rutn now to Attica, and see t<» the west of it. like Anirlesca
and Wales, the Island of .Iviina, i!i which stood, as nii'^iity ruin and
noble .statues still .ittest, the temple of ,Kij;ina, dedicated to Minerva,
that benelicent iroildess who inspired every wise thought and noble
deed in war or science or art.

94, 22. waters which a Pagan. Wonlsworth, in language

as strong as lluskin's, laments the materialistic spirit that blots out all
care for the beauties of iiatuie.

"Tlic world is too iniicli with iis ; lale iiinl -^ooii,
<!clliii;;' Jiiid sjK'iKiin;^-, we ];i\ wusIl' our ])o\\i.'rs :
liitilc we sfc ill nature tliiit is ours ;
\\v liavi- ^^--ixcn our iiearts iiway, a sordicl iiooii I
'J'liis ssoa that hares her hosoiii to tin- iiionti ;
The wiiiils thai will he howliii;;' at all hours.
And arc int-jiathcrcd iinw like sleejiinL;' tlowi'rs ;
l''or this, for cNerythiiiL;", we are out of tune ;
It iiioxes us not. (Jreat (!od I I'd rather hu
A pau'iui sucklid ill a erectl outworn ;
So iniichf I, standing' on this i>Ierisant lea,
llaxc yliniiises that would make me less forlorn ;
Have sit,'lit of I'roteus risiiii;- from the sea ;
Ov iicar okl Triton hlow his wreathed horn."

William Wnnlxinnih.

94, 29. Unknown God. C'f. Acts xvii. 2i2-.Sl.

95, 38. dragon's breath. In the oMest Ihiglish i)oems, the epic
of Beowulf, the ilragon breathes out destroying flame.

96, 2. royal hand that heals. Scrofula, called King's Evil,
was thought susceptiljle of cure by a tcmch of the haiul of royalty. Dr.
Johnson, when a boy, was taken up to liOiulon to be * touche<l ' by
Queen Anne.

96, 8. arrogated. Note the force of the word, 'to make unjust
pretensions to,' ' lay claim to out of vanity.'

96, 17. Lady. A. S. /i/ai'i/lt/r. 'I'he later etymologists derive
the word somewhat dillercntly fi<im K. Skeat says of it : — ' (Jf un-
certain origin ; the .syllable hliiJ"\H kji<»wn to re]»reseiit the word hiaf, a
l()af . . . .lint the sullix f//;/'' remains uncertain; t e most reasonable
guess is that which identifies it with A. S. iltii/ir, a kiieader. . . .This
gives the sense ' bread kiieader, ' or maker of bread, >\ hich is a very
likely one.'* Of Lord. A.' S. /lui/nrd, lu; s.iys : -It is certain that the
word is a compound, ami that the former syll,il>le is A. S. /i/n/, a loaf.
It is extremely likely that -on/ stands for iriaril, a warden, keeper,
master ; whence hbif-iocunl loafdvceper, /. c. the master of the house."

96, 31. DoniinUS. Theitymolojiy isjiroixij-ly thcSanseiit'/'/w-
(lilds, he who subtitles, coiniectcd with tiie l,;it. ilnniit, I t;i.me, to which
Verb it is akin ; while ilonins, Inutse, is eoiiiiccted with Saiisci it (/r////»».s,
house, itself akin to the I'Jiglish ' timlier.'

188

N<ni'js.

97, 4. dynasty. <!!<. iWiv/rrr; /a, lordship ; from ^rvanr/jr, a lord ;
hence, ' tiie c(nituiiu d Irtrdsliip of a race of rulers.'

97, 8. vassals, 'i'lio relation of lord and vassal in the feu<lal
system was one of protection and j^ranting of land on the one hand,
and, on the other, of tidelity and siip[)ort in war.

97, 15. Rex (l-), Hej,'ina (1-) ; Uoi (l;\), K.'ine (Kr.) ; kinj,', <jueen.
/»V,/; is conmtcted w itli rcifcrc, to rule, and is from an eailier loot which
gave the various Aryan languages sucli words as nrl'ilihli^ rii/li/, rii/i\,

97,21. queens to your lovers. Klsewluie K. develops this

idea : —

" Hi'Iicve me, the whole course and chnractcr of \oiu l(iv( is' lixcs is in yoiu* liands ;
what you would ha\<' tlii'iii ho, tlicy shull lie, if you not only desire to have tliom so,
l)nt deserve to lia\e ilieni so ; for they are hut mirrors iu which you will see ydurselves
iniajjed. If \ou are frivolous, the\' wiii lie so also; if you lia\e uo uiiderstaiuliu;;' of
the scope of their duty, I hey also will foi;,'i't it ; tlicywil! listen, -ihey i-'in listen, to
110 other iiiteri>retatioii of it. than tiiat uttered from your lips. I'.id Iheiii he lirave ; —
they will he l)ra\e for yoii; hid them lie cowards; and how nohle soe\er they he, —
they will (|uail for you. Hid them be wise, aii<l Itiey will he wise for \<)u; iiioek at
their counsel, tlu'y will he fools for you : such and so ahsoliite is \<>ur rule over them.
You fancy, perliai>s, as you have heeu told so often, that a wife's rule should only he
over her hushand's honse, not over his mind. Ah, no I the true rule is just the
reverse of that ; a true w ife, in her hushand's house, is his servant ; it is in his heart
that she is (jueeii. Whatever of t lie hest he laii conceive, it is her jiart to he ; what-
ever ot hi;.;hest he can lioiie, it is hers to promise: all (hat is dark in him slu' must
purjjfe into purity , all that is failing; in him she must stren,!,'lheii into truth ; from her,
throuf^h all the world's clamour, he imiht win iiis praise ; in her, throu.nh all the
world's warfare, he must find his ])eace.

Crown of Wild OliiY, Wur, p. 92.

97, 29. Prince of Peace. Cf. Isaiah, ix. o.

97, 35. Dei gratia, ^at. for 'by tlic grace of (Jod,' used with
the names of our sovereigns, in royal jiroclainutioiis and inscriptions on
coins, to indicate that the ruler is such, l)y viitue of divine favour.

97, 38. you have not hindered. See I'roirn oj Wi/d Ollrc,
War, p. \y,\ :—

"If the usual course of war, instead of unroonn^' iH-asants' homes, and rava^nnj;
peasants' fields, nu'rely hroke tlie china u]>on your own drawing-room tahh's, no war in
civilized countries could last a week. ! tell you more, that at wliatever moment you
choose to i>ut a jierio'l to war, you could do it wiih less ironMc than you take any
day to j;o out to dinner. You know, or at hast you ini,:,dit know if yuw would think,
that every hattle .vou hear of has macle inanv w idows and orphans. We liave, none of
us, heart enou>;h to mourn with thesi. Uui at least we minlit jiul on the outward
symhols of mourniii'-r vvith them. hel i)Ut everv Chrisiian hidv who has conscience
t'o\var<l (lod, vow that she will mourn, at least outwardly, for his kill-.d crtatures.
Your prayin.if is useless, and voiir cluircli-y:oin'u mere mockerv of (!od, if you have not
plain obedience in you enou;;h for this. Let every lady in the ujiper classes of civil-
ized Kurope simply vow tliat while any cruel war proceeds, she will wear hlnck ; a
mute's hhu'k, -with no ji'vvel, no oinameiit, no e.vcuse for, or evasion into, preltiuess,
—I tell you a^'ain no war would last a week.

98, 34. myriad-handed murder. The nuissacres occasioned

by w.ir, I'ivil or rciigioiis, etc., .sucli ;im tliosc of the I'rcnch llevolution.

98,34. chrysolit(^, "gold-sl.uK"," .1. Irausparcut gem of a light-
green color, altoiit as iiaril iis (piait/.. It is rather valualde. II.

NOTES.

189

•ith
on

tir ill
you
iiiiy
ink,
f of
ard
lice
1 ro9.
not
ivil-
A ; a

IL'SS,

i;.

draws the thou<flit in this passage from the laineut of Othello after the
murder of his wife : —

" Hatl she been true.
If heaven would make ine such another world
Of one entire and perfeet chrysolite,
I'd not have sold her for it."

Ollicllo, V. il.

98, 35. play at precedence. The right of priority of place in
formal gathering of [leopie of birth is a matter of social strife. So much
imjKU'tance is attached to tlie right of precedence that with the mem-
bers of the upper classes it is regulated by minute rules of otticial
eti<pictte.

99, 21. " Her feet have touched." Quoted from Tennyson's
Maud, when the lover sings : —

" I know the way she went

Home with her maiden posy,
For her feet have touched the meadows

And left the daisies rosy."

99. 25. Even the light harebell." Vvom the description of

Ellen Douglas in tlie La.i/i/ uj tka Lab', 1. xviii :

" A foot more li^ht, a stei> more true,
Ne'er from the heath-llower dash'd the dew,
E'en the slij;:ht harebell raised its head,
Klastic from her airy tread."

'J'he harebell is a fragile plant with delicate, bhie bell-sliaped flowers
of rare beauty. Jt is found among the rocks, especially in the neighbor-
hood of water.

99, 36. the garden of some one who loves them, liead

Shelley's Si'u-sUin- Plant.

100, 6. " Come, thou South," Head Solomon's Song, iv. 16.

100, 15. feeble florets, lit., fragile little flowers; fig., young
girls sad an<l weary with toil.

100, 21. Dances of Death, lit., a pictorial allegory common in | :^^^i^'
meiliicval times, representing the universality of death. One picture in "Va*-
the church at Liibeck represents ligures from the pope to a child, danc-
ing in a chain side by side with ligures of iJeath, to music playe»l by \ ^.^
another I>eatl». The most famous illustration of the allegory is a ,

series of lifty-three sketches for wood-cuts by ifans Holbein. In oiiTj
text, the sense is, that Satan is gloating over the misery and death J
that infest the crowded factories and houses of the poor. --"

100, 24. English poet's lady. The heroine, Maud, of Tenny-
son's most passionate love poem, Maud.

100, 25. Dante's great Matilda, A lady whom Dante sees
in I'nrgatory by tlic e<lge of Lethe, tin; stream that causes oblivion of
all evil.

" And there appeared fo me (t-veii as apjicars
Suddenly somelhin'^ lliatilolh turn aside
Thr(iii!;h ver\ wonder e\t'r\ other Ihuii'^hl)

. i

I 1

El I •

190 NOTE^.

A l;uly iill aloMc, who weiil aloiij;

•'iii'^iiii;- and ciilliiix flowtri't jifk'i' flowcrot,
Willi wliicli liLT palliway was all i»aint,'.'(l over.

* * * *

rpnii tliis side with virtue it, ([ifthej tlesdonds,
Which takes away all iiieiiiory of sin ;

Uante. I'unjntoiio, xxviii.

In tlie last canto of Puryatory, the lady is i>icutioiie<l by naiiiu —
Matilda, the typo of glorilied active life. Maud (a eoutractiou of
Matilda), represents on the other hand retired life. Head again p, {)8,
11. 3G fF. Nt)te that Kuskin, in saying, " not giving you the name,"
etc., wishes you to he actively, practically benevolent, and not passively
sensitive.

101,1. " The Larkspur listens. "

There has fallen a s))lendid tear

Kroni the i)assion-flo\ver at the pile.
She is eoniini,--, tuy love, ni^' dear;

She is coming'', niv life, my fate ;
The red rose cries, ' She is near, she is near ;'

And the white rose \vee|)H, 'She is lale ;'
The larkspur listens, ' I hear, I hear;'

And the lily w his))ers, ' I wait.'

Tennyson, Maud, xxii.

Madeleine. Fiench for Magdalene. JJead St. John

old garden. IMen. Cf. Uen. iii. •24.

"fruits of the valley." Song of Sohunuu, vi. 11.

pomegranate — sanguine seed. An Eastern

fruit the size of a large orange, skin yellow, tilled with reddish seeds
surrounded by sweet juicy pulp.

"Or at times a modern volume, — Wordsworth's solenui-thouj^hted idyl,
llowitt's hallad-\erse, or Teiuiyson's enchanted reverie, —
Or from Hrowninj,' some ' I'omeuranate,' which, if cut deep down the middle.
Shows a lioart w ithin hloo l-linctured, of a \ eined humanity."

Mrs. Ihowniny, Ladii iieraldine's Courtship.

101, 27. "Take us the foxes." See Song of Solomon, ii. 15.

101, 30. foxes have holes. Cf. Matt. viii. 20.

101, 12.
XX. 1-10.

101, 16.

101, 19.

101, 22.

NOTES.

191

LECTURE III.

-THE iMYSTF.RY
ARTS.

OF LIFE AND ITS

"The Mystery oi T.ifc was one of a series of lectures begun in 1863,
ami continued several years. 'I'lioy were iliiliveretl l»y different speak-
ers, in the Theatre of tlie Museum of Industry in Duhlin, an<l published
in the annual report (»f the C'oniniittee, which was entitled T/u; After-
noon LirLirt's on Einjllsh L'lti ralurc

" The Preface to the tirst report says that the lectures were intended
for young men whose daily pursuits sliui them out from the ordinary
means of mental imjnoveincnt,' and that ' some of the restrictions of the
projected course were as follows : — They Mere to be given on important
subjects connected with I'higlisli Literature, and by the best lecturers
whose aid could be secured. It was considered esseiitial that the new
lectures should be delivered in some suital)le Ituilding of unsectarian or
neutral character.' " W.

102. 10. disabled me — from preparing- Because R.

h<d<ls that all great art is the outcome of an essentially religious nature.
(See p. 108, below). In the Lcrfiins on Art, In; writes: " The art, or
general productive; and formative energy, of any country, is an e.xact
exponent of its ethical life. You can have noble art only from m)ble
persons." In The Tn'o Paf/is this teaching is reiterated : — " I have
had but one steady aim in all that I have tried to teach, — namely — to
declare that whatever was great in hunum art was tlie expression of
man's delight in (lod's work." The lirst chapter of the Slonr„s of
Venice is devoted to an enunciation of the connection of religion and
art.

103. 11. beauty of the clouds. See Modem Paiafer.'i,Yo\.
I. pp. 277 ff. {<\f Truth of Skies), where K. paints the physical beauty of
the clouds and the nu>ral lesson from it.

103, 17. "what is your life." See James, iv. 14.
103,33. "manwalketh." See Ps. xxxix. C.

104, 8. " the mist of Eden." See (ien. ii. 6.

104, 11. •' wells without water." See 2 Pet. ii. 17.

104, 23. disappointment. . of cherished purposes.

From his failing to inliuence men's minds to sympathy with his own.
See pp. 105 flF.

" I iiscd to fancy th.at overy1)0(ly wouM like cloiuN iiiid rocks as well as I did, if
once told to look at theiii ; whereas, after fifty years of tiial, I find lliat is not. so, even
in modern days ; lia\iny Ion;,' a>;o kiioun tliat, in ainient ones, the elouds and luonii-
taiiis which ha\e been life to me, were mere inconxenienee and horror to most of man-
kind."

Prceterita, II. 1.

104, 29. twilight so beloved by Titian. Seen, to r^s, 13.

"The great splendotir <»f the \'eiutian scliool arises for tlieir having seen
and held from the beginning this great fact — that shadow is as much
colour as light, often more so. In Titian's fullest red the lights are [tale

'I'll

192

NOTES.

rose-colour, passing into white-
Lecturea on Art.

-the shadoM's warm, 'leep crimson.'

Turner,

See

105, 7. greatest painter — of England.
Introd. pp. 14Gff.

104, 8. Reynolds. Sir Joshua lleynolds (172:M70-J), the greatest
English portrait-painter, famous also as the first president of the lUtyal
Academy. Ho was the friend of .Johnson, (Jarriek and lUirke.

105, 22. National Gallery. A great gallery of paintings in
London, founded by the nation in 18'2'4. It is in a large stone edifice
near Trafalgar Sfjuare. Though not ecpiailing tfie great European
galleries, it contains many of the w()rks of the old and new masters.
One section, called the Turner gallery, contaiiis the works of the
greatest of landscape painters.

R.'s work in arranging the Turner drawings is described in the Pre-
face to Modern Painters, Vol. V.

" In seven tin boxes in the lower room of the National (Jallery I found ui)\vards of
nineteen thousand pieces of paper, drawn on by Turner v. le way or aiiotbt-r. Many

on both sides ; some with four, five, or six subjects oii each si<le some in chalk,

which the touch of a finf^er would sweep away ; others in ink, rotted into boles ; othei-s

long eaten away by damj) and mildew ; others worm-eaten, mouse-eaten,

many torn half-way through .... Dust of thirty years' accunuilation, black, dense,
sooty, lay in the rents of the crushed and crimiplc<l edges of those flattened bundles,
looking like a jagged black frame, and producing unexpected effects in brilliant
portions of skies, whence an accidental or experimcnta'. finger mark of the first bundle-

unfolder had swept it away Four hundred of the most charat-tcristic framed and

^1aze«l, and cabinets constructed for them which would admit of their free use by the
public. With two assistants, 1 wa.s at work all the autunui and winter of 1857, every
day, all day long, and often far into the night."

105, 25. Kensington. This museum was founded by the
Prince Consort in 1852. It is a huge and uncompleted brick budding
in the most beautiful jjart of London, and contains a rich collection of
art treasures.

106, 4. snow in summer. See Prov. xxvi. 1.

106, 8. architecture. See Seven Lamps and Stones of Venice,
Introd. pp. 148, 149.

106,21. Sir Thomas Deane (1792-1871) was an Irish archi-
tect of genius. Eenjainin Woodward studied under him, and together
they designed the Oxford Museum, which was building in 1858.
The merit of the sculpture is that it represents Howers and animals
imitated from nature. The sculptors were Mr. Munro, Mr. VVoolner,
and especially Mr. O'Shea, with others of his nanie and family.

" Your Museum at Oxford is literally the first building raised in Eng-
land since the close of the fifteenth century, which has fearlessly put to
trial this old faith in nature, and in the genius of the unassisted work-
man, who gathered out of nature the materials he nee<led." — Arroics of
the Chace, Vol. I., p. i;i9.

106, 24. fayade, (Kr. /W((/(/r, Ital. /«(<•<•/((/(/, front of a building,
from Lat. /(tries, the face), the face or front of a large edifice.

NOTES.

103

See

107, 6. streets of iron, palaces of crystal. R.'s aver-
sion to railways is provorljial. " ( Joiiii^ by railroad," he says some-
where, " 1 do not consider travelliiii,' at all, it is merely being sent
to a place, and very little ditlerent from becoming a parcel." The
Crystal Palace, was l»uilt in Hyde Park for the great Exhibition of
If?;")!, and rebuilt in Sydcnha-n, in lsr)4. Within the lofty walls of

glass arc collections illustrating the arts and sciences.

( t 'p

The

quantity of tlwuight it exi)resses is that it might be possible

to build a greenlutuse larger than ever greenhouse was built before.
This thought, and some very ordinary algebra, are as much as glass ij.in
rei)resent of human intellect." Shuns of Venhr. "I never get up at
Heme Hill after a Mindy night without h>oking anxiously towards Nor-
wood in the hope that ' the loftiest moral triumph ' of the world may
have been Idown away." Furs, Let. iii.

107» 21. Pope. Alexander Pope (1088-1744), the greatest satirical
poet in English; lived cliietly at Twickenham ; wvoia Ehho yon GriticUm,
Ji(il)i' of Ihv ljin!\ i)iniciii(l, etc. The quotation is from the Essay on
Man, and, like many of ll.'s qu()tati<ms, is not exact.

" Meanwhile opinion ;,nUls with var\inff rays
Those jiaiiitefl clouds tiiat beautify our days ;
Eacij want of hai>jiiness l)y liope supplied,
And eacli vacMiity of sense by pride ;
Tliese build as fast a-s kuowledu? can destroy ;
In folly's (•u)> still lan;;hs the bubble, joy ;
One jtrospect lost, another still we j^ain ;
And not a vanity is jjfiven in vain."

Eumy on Ma7i, Ep. II. pt. vi.

108,
51-57.

12. mortal part — swallowed up. Seel. Cor. xv.

109, 15. ministers to pride and lust, Ic, the artists used
their talents to gratify the pride of princes or to pander to their lust.

109, 23. see with our eyes- Cf. Mark, iv. 12.

108, 21. unless their motive is right. R. defines the
nature of the motive in 11. 14-17, as well as elsewhere. " Have a Hxed
purpose of some kind for your country and yourselves ; no matter how
restricted, so that it l)e tixed and unscUish." — Lectures on Art,

109. 38- Antipodes (1^. niidpodefs, Uk. nvriKodtg, a compound of
ni'Ti, against, and ~o/'f, a foot), men whose feet are opposite ours ; hence,
at the [)lace diicctly op]josito us, on the other side of the world.

111, 19. kings... as grasshoppers, etc. Adaptations of
Isa. xl. 22, and >iahum i. li.

112. 14. Milton's, .system of the universe. That there
is a region of hell, above whieii thri>ugli Cliaos is our planetary system ;
beyontl our planetary system the sphere of the Hxed stars, beyond it
the crystalline heaven, and beyond it the cnq)yreau heaven, .seat of God
an<l His angels.

112, 16. fall of the angels. I lif fall of the angels is described
by Milton in the lU'th and .sixth books (»f l\iradise Lust. Kaphael is

104

mn'tjs.

represented as coming to Atlain an<l ivlating at lii.s reciuest the story of
the fall. Satan, the lirst archangel, in «!nvy of the Son ()f (lod, re})ulle<l,
drew his legions to the north, and incited them to war. Against the
rebellious host, (lod sent Michael and (Jahriel, who wagiul battle with
them for two (lays. The tliird day, the Son of (Jod, with chariot and
thunder, rushes upon the forces <»f Satan, drives them through the
Wtall of heaven down into the bottomless i)it.

112, 18. Hesiod's account. Hesiod (S.IO n.c. -?) is sup-
posed to have flourished in the time of Homer. One jjocm, ascri)»e<l
to him, his only genuine ])o«>m, is Works ami Dttji^, ]H'rhaps the (ddest
did.ictic poem in the Avorld, consisting of ethical, ])olitical, and
minute economical precepts. It is homely and unimaginative in style,
but }»ervaded with a solemn and lofty feeling, arising from the belitif
that the gods have ordained justice among men, have made labour the
only road to prosperity, and have so ordereil the year that every work
has its appointed season, the sign of which may be discerned. Another
poem T/i('oijuni(t, attributed to Hesiod, is pi'obably not his work. To a
part of it li. refers. The Titans were sons of Urania (Heaven) and
G.'ea (Earth) They overthrow their father, and one of them, Knmos,
becomes king. Zeus, son of Kronos, aided by his brothers — the
younger gods — waged war for ten years against his father and the
older 'I'itans, until (inally tlie latter were driven down into a dungeon
beneath Tartarus.

112, 23. Dante's conception. See n. to 7S, 7.

112, 30. Florentine maiden. Beatrice <la Portinari, the
heroine of the Paradise, and the VUa Nnora. Loving her when she
was eight and he twelvj, Dante regards her as the type of woman's
perfection, and as such she appears in the poems mentioned.

113, 3. pompous nomenclature. Allusion to the descrip-
tions by Milton of the Infernal Council, — 'powers and dominions,'
'deities of heaven,' 'ethereal virtues,' 'synod of gods,' 'empyreal
thrones,' etc.

113, 4. troubadour's gniit3V. The troubadours were wand-
ering poets and ii)i:;sticis of southern France during the twelfth aad
thirteenth centuries. They wrote chiefly lyrical poems on romantic
affection.

The sense of the i)assage is, therefore, that the great poets such as
Dante, merely deal in a light and frivolous spirit with the most awful
subjects of thought.

113, 7. idle puppets, foolish creations of the minds of the
scholars of the Middle Ages (schoid-men).

113, 18. unrecognized personality. Tho knowledge we
have of the life of Homer is ' little better than a name ;' of Shakes-
peare, too, our knowledge is vague, fiagmentary, and unsatisfactory.

114, 6. great Homeric story. The Iliad contains only a part
of it, about lifty days in the tenth year of the siege of Troy. This war,
began by Paris, a beautiful shepherd, sou of Priam, king of Troy, carrying

N(>Ti':s.

ii>r.

off I fulfil, witV' of MriK.'Iaus, king of S|),artii. Meiiolaus culled upon his
fellow cliifts to iivfiii,'*' the wioii'^ ; tlicy i,Mtli«T('il ;vii .'vriny hikI :v fleet,
and sailing to Asia Minctr, laid siege toTroy, 'riiough Agameninon was
the leader of the (ireek, the greatest warrior was Acliilles, 8<»n of king
Peleus and of Thetis, a sea-goddess, who had made her son all but invul-
nerahle l)y bathing hun in the river Styx. Almost nine years the siege
had gone on, when pestilence broke out in the ( Jreek eamp. Achilles laid
the ))lanie on Agameninon, because he had refused to give up the captive
(Jhryseis, to her fatlier. Agamemnon agreed to surrender the girl if
Achilles would hand over to him another captive, liriseis. Achilles
consents, but withdraws his forces from the tield and sulks in his tent.
The next I)attle is won by the Trojans, and the (Ireeks in alarm entreat
the angry chief to return to their aid. Jle so far relents as to permit his
Myrmidons to take the tield again, le<l by his friend Patroclus, who, to
strike terror into tlie hearts of the enemy, wears Acliilles' armour. At
first Patroclus carries everything before liim, but at last he falls before
the spear of Hector. At the news of this ' a black cloud of grief
enwrapped Achilles, and he moaned terribly.' 'Straightway may I
die,' said he, 'since! might not succour my comrade at his slaying.
He has fallen afar from his country and lacked my help in his sore
need.' Achilles turns his wrath against the Trojans. (living up his
enmity to Agamemnon, he takes the tield. None can staml against
him. Hector, the greatest of the Trojans, he slays and will not give up
his body till pity for King I'riam, his adversary's aged father, overcomes
him. With the funeral of Hector, the Iliad closes. According to other
accounts Achilles met death shortly after at the hands of Paris, the
archer, " the basest of his adversaries," who shot him iu the heel, his
only vulnerable part.

114, 24. our own poet :

" At the close of a Shakespeare tra^^cdy nothiiij,' lemaiiis hut dead march and clothes
of burial. At the close of a Greek tiii;,'edy there are far-off sounds of a divine triiiinph,
and a glory as of resurrection. "

Modern Painfern, Vol. V.

" Shakespeare always leans on the force of Fate, as it ur^'es the final evil ; and
dwells with infinite bitterness on the power of the wicked, and the infinitude of result
dependent seemingly on little thinjis. A fool brings the last piec^e of news from
Verona, and the dearest lives of its nol)lest houses are lost ; they might well have been
saved if the (lacristan had not stumbled as he walked. Otheilo mislays his handker-
chief, and there remains nothing for him l)Ut death. Hamlet gets hold of the wrong
foil, and the rest is silence. K(hnunds runner is a moment too late at the prison, and
the feather will not move at Con'elia's lips. Salisbury a moment too late at the tower,
and Arthur lies on the stones dead. (Joneril and lago have on the whole, in this
world, Shakespeare sees, much of their own way, though they come to a biul end. It
is a pin that Death pierces the king's fortress wall with ; and Carelessness and Folly
sit 8(!eptred and dreadful, side by side with the pin-armed skeleton."

Muilcrn rainters. Vol. IV.

1 14, 37. death-bed of Katharine, the divorced wife of Henry
Vlll. The scene referred to is Hcnrij VIII., Act IV., sc. ii.

{The Vision. Enter, solctnnhf trif>]>in;f one after annrher .v/.r perfiona'fen, rlml in
white rotu'H, wearinjf on their heait.f (furtands of liai/s and golden vizardx on their
faces; brunches oj Imifx or piilnis in. their hunilx . . . .holdini/ the (jnrlandx oner her
head; which done. .. .she makes in her sleep signs of rejoicing, ami holdeth tip her
hands to heaven ; and so in their dancing theg vanish, carrying their ijurlands with
them).

ion

NOTES.

'I I

Kiit/i.: Sjirits of pcswc, wlu-rc art- \c? An- ye all vnnv '<
And li'ftvr lilt lien- in sMtliludiicss licliinil \u?

Grijiith : Miwhun, wu iiic Irio.

Kath.: It is not >ou I cull for :

Saw ye none enter, Hiriw I slept '!

(IriJIith : None, madam.

Knth.: No? Saw ye not, even now, a Jtlc'ssed troop
Invite me to a baniiuct ; whose t)ri;,'ht faces
Cast thousand beams iijion me, like the sun V
They promis'd me elernal hapi)iness ;
And hro\ii,'ht me jjarlands, (Jritlith, which 1 feel
I am not worthv yel to wear : I shall, assuredly.

114, 38. the great soldier king. Hcmy V. The scene
referred to is llcnrij V., Act iV., su. viii.

King: Where is the number of our Etitclish dead '!

(llernUl prcufnta (inntlwr pcijH'r.)

Edward, the duke of York, the earl of Suffolk,

Sir Richard Ketly, iJavy CJam, estpiire :

None else of name ; and of all other men,

But five and twenty. () (!o<i 1 Thy arm was here.

And not to us hut to thy arm alone

Ascribe we all.— When, without stratat;em.

Hut in plain shock, and even play of buttle.

Was ever known so >,'reat and little loss.

On one part and on the other? Take it. Lord,

For it is only Thine V

Exeter : 'Tis wonderful !

King : Come, iio we in procession to the villa;,'e

Aufi be it death proclaimed throuj,'h the host.
To boast of this, or take that i)raise from Gofl,
Which is His only.

Fhicllen : Is it not lawful, an please your majesty, to tell how many is killed V

King : Yes, captain, l)ut with this acknowledy:ment,
That God fouL'ht for us.

1 15, 7. valley of the shadow of death.
115, 9. " The gods are just."

Cf. Ps. xxiii. 4.

The ffofls are just, and of our i)leasant vices
Make instnunents to scourye us.

King Lear, Act. V,, sc. iii.

115, 11. resolved arbitration. An older sense of 'ar})itra-
tion,' here denoting tlie spont;uieous decivt's of the Fates, who are
appointed to decide (arbiters) human life and action.

115, 14. our indiscretion — divinity.

Our indiscretion sometimes serves us well,

When our deep plots do fall ifailj ; and that should teach us,

There's a divinity that shapes oiu' ends.

Rough- hew them as we may.

Hamlet, Act V., sc. ii.

115, 33. men — who weigh the earth, cf. Job xxvi'

Is. xl. 12 ; Prov, xvi. 2 ; Va. Ixii. i) ; note U.'s inuendo, -forcing a
parison of the scientists with God.

NOTE^.

107

e scene

'paper.)

s killed ?

ii. 4.

«•. 111.

bitra-
u) are

ic. n.

116, 1. though no poet. <'f. Intio.l. p. i.V).

117,31. The child is father to the man. Vwm Wonla-

wortli's puein :

My lieai'l leauH u|> whon I behold,

A riiiiiliow in the sky.
So WHS it when my life he^jan ;
So is it, now 1 am a man ;
So ije il when I nhall >,'ro\v old

Or let me die ;
The child is father of the man ;
And I conld wish my days to he
I'ound ea(;h to each hy natural piety.

118, 12. These, hewers of wood. Here 11. joins hantU
witli Ilia * niaHter, Cailyle,' wliose belief in work was a religion : —

" All true Work is sacred. Adniirahle was M'at saying of the old inoiikH, ' idhorare
est orarc ! ' I.ahour wide as the earth has its iipiimit in Heaven. Sweat of the brow ;
and up from that to sweat of the brain, sweat of the heart ; which includes all Kepler
caluiilations Newton meditations, all Sciences, all spoken Epics, all acted Heroisms,
Martyrdoms, — uj) to that * a>,'ony of bloody sweat ' which all men have called divine !
O brother, if this be not worship, tlien I say, the more pity for worship ; for this is the
noblest thing yet discovered under God's sky. Who art thou that complainest of thy
life of toil'.' Complain not! Look up, my wearied brother; see thy fellow Workman
there, in God's eternity ; surviving tliere, they alone surviving ; sacred Band of the
Immortals, celestial Hody-guard of the Empire of Mankind 1 Even in weak Human
nienory they siu'vive so long, as saints, as liuroes, as gotis ; they alone survivint; ;
peopling, they alone, the unmeasured solitudes of Time I To thee, Heaven, thou^fh
severe, is nitt unkind; Heaven is kind,— as a noble Mother ; as that Spartan Mother,
saying, while she gave her son his shield, ' With it my son, or upon it 1 ' Thou, too,
shalt U-turn home in honour ; to thy far distant home in honour, doubt it not, — if in
the battle thou keep thy shield."

Carlyle, Pant and Present, III. 12.

118, 32. Even Reynolds. Between the foundation of the
Royal Academy, in 1 70S, and his death, in 1792, Reynolds as President
delivered iifteen annual discourses on art. R. criticises them adversely
in Modern Painters.

WO, 6. Gustave Dor6 (1832-1883), a Erench artist, famous as
an illustrator of the Bible, and of works of Dante, Milton, Coleridge,
Poe, Tennyson. The reasons for R.'s condemnation of Dor6 may
be seen in the following: —

" Your friend is wrong in thinking there is any good in those illustrations of Elaine
[hijlUs o/ the Kinn]. I had intended to speak of them afterwards, for it is to my mind
quite a significant— almost as awful— a sign of what is gting on in the minds of us, that
our great English jioet should have suflfered his work to be thus contaminated, as that
the lower Evangelicals, never notable for sense in the arts, should have g it their Bibles
dishonored. Tliose Elaine illustrations are just as impure as anything else thaf Dore has
done ; but they are also vapid, and without any one merit whatever in point c<r -^rt.
The illustrations of the Conten Drolatiijiiesurc full of power and invention ; but those to
Elaine are merely and simply stupid ; theatrical betises, wiii> ^he taint of the charnel-
house on them besides."

Time and Tide, Let. xvi., p. 71.

120, 10. Furies. The goddesses Alecto, Megjura, and Tisiphone,
fearful beings who, according to the Greeks, punished the crimes of
mortals.

120, 10. Harpies. According to Greek mythology, the harpies
had the heads ami breasts of women, and the bodies of vultures — hideous

i a<

198

NOTEH.

monsters with wings, of fierce and loathsome :i8|)ect8, with tiieir faces
pale with iuinger, living in an atmosphere of iiltli and stench, contami-
nating everything they ai)[troached.

120, 18. Madonnas of Raphael. Paintings of the Virgin and
her Holy ChiUl. One — the Madonna di 8an Sisto — hangs in the Hoyal
gallery in Dresden ; another — the Madonna of the Chair — in the Pitti
Palace, Florence. Raphael (1483-1520), an Italian painter of the
highest genius. He decorated many puhlic l)uildings and palaces in
Kome.

120, 19. Sybils of Michael Angelo. These were majestic
female ligures painted (m the 8istine Chapel at Rome,

Michael Ang'elo (147i)-l.")(53). He was an Italian ])ainter, sculptor,
architect, and poet. Hi'j hest works are the decorations of the Sistine
Chapel, the converting of the baths of Diocletian into the church of 8te.
Maria degli Angeli, and his statue of Moses.

120,20. Angelico- (Jiovanni da Fiesole, or Angclico, (1.387-1455)
was a Tuscan paniter. He decorated the l*oi)e's private ch.ipel in the
Vatican with illustrations of tlie life of St, Lawrence. In the (Jallery
of Florence hangs his j^ictui-e on the birth of John the Baptist.
" Angelico was the guide of his age," said I.an/i, " because of the super-
natural beauty of his heads of angels and saints." — Jiioijraphie Unii'tr-
sdle.

120, 21. Cherubs of Correggio. The reference is to the
beautiful faces of winged boys in such panitings as the "Mght," which
represents the infant Christ with cherubs hovering above.

Correggio (1494-15,34), an Italian painter, 'the first among the
moderns wlio displayed that grace and general ])eauty and softness of
ett'ect, the combined excellences of design and colour with taste and
expressifm, for which he is still unrivalled.'

120,35. passions of myriads. It. elsewhere expands this
conception. Kead the note to 34, 19, and continue : —

" But also remember that the art-gift is only the result of Ihi; moral character of
{fenerations. \ had woman m.a.v have a sweet voice ; hut that sweetness comes of the
past morality of her race. That she can sinj,' with it sit all, she owes to the (le*^"rmin-
ation ot the laws of music by the morality of the past. ICvery act, every impulse, of
virtiie aiul vice, affects in any creatuie, face, voice, ner\()us power, aii<l vi;;i)ur and
harmony of invention at once, "ersevt-rance in riv:litness of liumiui conduct, renchus,
after a certain mnnlier of f^tiieraions, human art i)ossilile ; every sin clouds it, he it
ever so little a one ; and persistent vicious liviiiif ami followinj; of pleasure render,
after a certain munher of jjeneialions, all ait impossil)le."

The QiK't-n ojthc Air, p. 83.

121, 9. Ireland possessed. From the si.xth to tlie eighth
century, Ireland was the centre of culture and Christianity for Western
Europe. Her schools weru fam<»us, and among her pritssts and mission-
aries were Coh)nd)a, (i alius, Dichuill, Ferghal, who carried the (J ospel to
England, Switzerland, France, ami (Jermany. The Irish MSS. of this
time an^ the most beautiful specimens (»f carefid writing extant.

121, 16. progress of European schools. The main points
in the references are as follows : —

NOTES.

199

I will ffo back then first to the very beeinnin),rs of Gothic art, and before you. the
students of Kensington, as an impanneiled jury, I will bring two exanipu's of the
barbarism out of which Gothic art emerges, approximately contemporarj' in date and
parall'tl in executive skill ; but, ti.e one, a barbarism that did not get on, and could
not get on ; the other, a i)arbarisni, that could get on, and did get on ; an<l you, the
impanneiled jury, shall Ju<lge what is the essential ditTereiice between the two bar-
barisms, and decide for yourselves what is (he seed of life in the one, an<l the sign of

death in the other The Aristotelian principles of the lieautiful are, \ ou remember.

Order, Symmetry, and the Definite. Here you have the three, in perfection, applied
to the ideal of an angTdl, in a psalter of the eighth century, existing in the library of
St. John's College, Cambridge

From this dead Iwirbarism we pass to living barbarism— to work done by hands fjuitc
as rude, if not ruder, and by mind quite as uninformed, and yet work which in every

line of it is prophetic of power, and has in it the sure dawn of day I go

..to the church,.. St. Ambrogio, of Milan, ..furnishing the most archaic examples of

Lombardic sculpture in North Italy. I <lo not veiiture to guess their date

We find the pulpit of their church covered with interlacing patterns, closely resembl-
ing those of the maim8cri])t at Cambridge, but among them is figure sculpture of a
very different kind. . . .the Serpent beguiling Eve.

The Kve, rude and ludicrous as it is, has the elements of life in their first form

The workman's whole aim is to get at the facts.... the very heart of the facts. A
common workman would have looked at nature for his serpent, but he would have
thought oidy of its scales. This fellow does not want scales. . . .he wants the serj)ent's

heart— malice and insinuation And some look of listening, of complacency,

and of embarrassment he has verily got: note the eyes slightly a.skance, the lips
compressed, and the right hand nerv(jusly grasjiing tin- left arm : nothing can f e
declared im^)08sib1e to the people who could begin thus— the world is open to them,
and all that is in it ; while, on the contrary, notbing is )>os.>4ible to the man who did the
symmetricr' ~t:, el— the world is keyless to him ; he has built a cell for himself in whi<'h
he must abide, barred up for ever — there is no more hope for him than for a sponge
or a madrepore [coral insect].

The Two Pathn, pp. 21-2;'..

The lecture since published was entitled T/ic Diftrioratin-
Power of i ontrtitionnl Art orer Xdtion.'i, ami form.s tlie tliird of the live
lectures iit The, Tivo Paths.

121, 35. missal-painter. The missal is a book coiitaininj^ the
prayers used iu celebrating the mass, Ik'fore the invention of printing,
the missals were copied by hand with marvellous beauty and accuracy,
and adorned with elaborate initial letters.

123, 16. inflame the cloud of life. Life is a vapour that

love often illumines with the an[;iii.sh of itassion.
123, 24. law of heaven. See (Jon. iii. lU.

123, 28. "Whatsoever thy hand." See Ecel. ix. 10.

124, 1. dead have yet spoken. <'f. n. to lu, 18.

124, 12. Forest Cantons. The country now called Swit/.er-
lanil formed until the beginning of the fourteenth century a part of the
German empire. The lea«ling towns and the people of the Forest
Cantons of Uri, 8ehwyz, an<l I'liteiwaldcn, rebelle«l iu I'MH, and drove
the Austrians from their lands. In \'.i'>2 the three Forest (.'antons, with
Lucerne, Ziirich, Zug, Berne joining in a perpetual confederacy, which
ill l.lia, on the adhesion of Hasle, Seliaffhausen, and Appenzell, became
the real Swiss confederacy as we now know it.

When the Heformation, through the preachings of Zwingli, spread

200

NOTES.

over tlie northern cantons, the Forest Cantons remained attached to
the ohl faitli.

124, 13. Vaudois valleys. Among tlie vallejs of tlie Cottiau
Alps in Northern Italy lives a Christian community holding I'rott'stant
doctrines. These Walilenscs (Vaiulois) hold that their Church is directly
connected with the Ajmstles, an<l has always been iutlependent of Rome.
Their doctrines are, however, those of IVter Waldo of Lyons, who
endeavored (1170) to restore the ]»rimitive and aj^ostolic purity to the
Church, and being condennied (1171') retreate«l to the valleys of the
Alps. His followers Mere subj(*cted to great jjersecutions, those endured
from the hands of the Duke of Savoy are commemorated in Milton's
sonnet : —

" Aven;;t', O Lord, Thy slaughtered saints, whose bones
Lie scattered on the Aliiineinduiitains cold,
K\ en them who kepi Thy faith so jmre of old."

124, 17. fevered idiotism. lleferring to the cretins or idiots
of the Al[>ine valleys. See note to 4."), (5.

124, 24. Garden of the Hesperides. The Hesperides,

children of Hesperus in ancient fable, were sisters wlio, aided by a
sleepless drag<»ij, guarded the golden apples be.stowed upon Juno at her
wedding by ( Jiea (Karth). Where the garden Mas. the fables do not
agree. But certainly it was in the West, amid the radiance of the
Betting sun. One tradition has it that near Mount Atlas in the once
fruitful land of north-western Africa, the apples were [(reserved, —

" Amidst the ^'ardews fair
Of Hesjierus and hisdaiiH:hiers three.
That sinj,' aliout the j,'olden tree."

See note to

Milton, CmnuK.
famine at Orissa,

124, 24. perish of hunger.
70, i!».

124, 27. honoured of — heathen women. See note to

Athena, (iO, ; 80, G, and to Penelope, ~\), 'J.*?. Cla.ssieal literature
ctmtaius many allusions to the art of weaving, in descriptions of M'ojuen
such as Creusa and Ii)higenia.

124, 29, wisest king. Solomon. See Prov. xxxi., 10-.31.

125, \. tapestry. Woven stufls for the decoration of Malls and
furniture. One of the most famous of manufactories of tajjcstry is the
(iohelins in France, where M'ork that rivals painting is still produced.

125, 7- cast clouts. Cf. Jerem. xxviii., 11, 12-

125, 15. •! was naked." Cf. Matt. xxv. 4.3.

125, 34. atoms of scarcely nascent life. The coral

insects, which are very 1(»m' in the scale <»f animal life.

125, 35. ridges of formless ruin, of Habylon, Mr. Savce

lias said : " The numerous remains of old habitations slu)W how thickly
this level tract must once have l)een peoi)led, though now for the most
part a M'ilderness." Further references could be made in support of
the text to the Aztec civilization of Mexico, the Carthaginian empire of
northern Africa, etc.

NOTES.

201

126, 2. I was a stranger. See Matt, xxv., 35.

126, 7. as a fig-tree. Cf. Kev. vi, 13.

126, 19. glory of gray hairs. Cf. I'ro. xx., 29.

126, 27. imaginations of our evil hearts. Cf. Jerem.

xxiii. , 17.

126, 30. " as a vapour.'" See .fas. iv. 14.

126, 38. whither they go. Modelled on Eccl. ix., 10.

127, 8. days are numbered. Cf. I's. xc, 12.

127, 17. " He maketh the winds." I's. civ., 4; Heb. i., 7.

127, 33. Dies Irae- ('/' '"••< * re), Day of Wrath. The uamc of
a famous Latin hymn on the .Tudgnient Day, probably written by an
Italian, Tiiomas ot" Celano, who live<l in the first half of the thirteenth
century. The first stanza reads : —

l»ioH Irae, «Iies ilia,
Solvt't sji'clmn in favilla.
Teste David cum .SihvUa.

5 coral

Sayce
Ithickly
le most
|)ort of
npiru of

That (lay of wrath, that dn-aflfiil day.
When heaven ami earth shall jiass away.
What power shall he the siiuiers stay V
How shall he meet that dreadful flay ?

Scott, Lay o/ the Lant Min.'<tiel, vi.

127» 34. in the flame of the west. Note the aptness of the
phrase, in siig<,'esting the sunset as chronicling the events that have
occurred during the day.

128, 10. sin of Ananias. Acts x. 1-10.

128, 14. •• They that are His," See (Jal. v. 24.

128, 33. "station of life to which Providence."

Adopted from the Church of lOngland Catechism.

129, 1. Levi's station, etc. Luke v. 27; Matt. iv. 18; Acts
ix. 3.

130, 6. dress for different ranks. The notion is a favourite

one with 11. In Modern Painters, Vol. V., Pt. ix., chap, xi., he
says : " I'^very effort should be made to induce the adoption of a naticmal
costume." In his proposals for the organization of the St. (ieorge's
Company (Forx, Let. Iviii.), he .states that, "the dress of the officers of
the company will on all occasions ))e plainer than that of tlie peasants ;
but hereditary nobles will retain all the insignia of their rank, tiie one
only C(mdition of change recjuired on their entering the St. (Jcorge's
Company being the use of uncut jewels."

130, 38. Savoy Inn. H., after speaking of his accpiircment of
skill in manual labour — breaking stones with an irou-maskcd stone-

^HPHHW"

^nmnai

mmmm

202

NOTES.

breaker near Ix)n(lon, sweeping crossings with an Irish street-sweeper,
working with a carpenter and a bricklayer — concludes : —

But the quite hapjvlest bit of manual work I ever did was for my mother in the old
inn at Sixt [an elevated point near Chaniouni], where she alleged the stone staircase to
become have unpleasantly dirty, since last year. Nobody m the inn appearing to
think it possible to wash it, I brouj^ht the necessary' buckets of water from the yard
myself, poured them into beautiful ima^e of Versailles waterworks down the fifteen or
twenty steps of the great staircase, and with the stron^'est broom I could find, cleaned
evary step into its corners. It was quite lovely work to dash the water and drive the
mud, from each stej), with accumulating splash down to the next one.

Prceterita, II. Chap, x., pp. 3(52 flf.

In the following chapter he speaks of " the little inn at Samoen ,
where I washed the stairs down for my mother," Samoens being a
few miles below Sixt, near Chamouni.

131, 19. competitive examination.

"The madness of the modern cram and examination system arises principally out of
the struggle to get lucrative places ; but partly also out of the radical blockheadism of
sup])Osing that all men are naturally equal, and can only make their way by elbowing ;
—the facts l)eing that every chihl is born with an accurately defined and absolutely
limited capacity : that he is naturally (if able at all) able for some things and
unable for others ; that no effort and no teaching can a/ld one particle to the granted
ounces of his available brains ; that by conjpetition he may paralyze or pervert his
facilties, but cannot stretch them a line; and that the entire grace, happiness, and
virtue of his life depend on his contentment in doing wh!<the can, dutifully, and in
staying where he is, peaceably. So far as he regards the less or more capacity of
othei-s, his superiorities are to be used for tlieif heljj ; not for his own pre-eminence ; and
his inferiorities are to be no ground of inortitication, but of pleasure in the admiration

of nobler powt rs Therefore, o\ er the door of every school, ami the gate of every

college, 1 would fain see engraved in their marble the absolute forbidding—

fitfltei' Kara ipiDtiav ^ KfvoSo^iav ;

" Let nothin;; be done through strife or vain glorj'."

Fors, Let. xcv.

131, 29. helpful action, ('f. Sesame, p. 04, "for there is a
true church," etc.

131,34. Pharisee's thanksgiving". See Luke, xviii. 10.

The pride of Faith is now, as it has been always, the most deadly because the most
complaisant and subtle ; because it invests every evil passion "of our nature with
the asjteot of an angel of light, and enal)les the self-love which might otherwise ha\ e
been put to wliojesonie shame, and the cruel carelessness of the ruin of our fellow-men,
which might otherwise have wanned into hum in love or at least been i-liecke<l by
human intelligence, to congeal themselves into the mortal intellectual disease of im-
agining that nivriads of the inhal)itants of the world for four thousand years have item
left to wander and perish, many nf them everlastingly, in or ler that, in fuUnesiS of
time, divine truth might be preached suthcieiitly to ourselves; with this further
inelTable mischief for dire(!t result, that niultifuJles of kindly disposeil, gei>tle iuid
submissive ))ersons, who might else by their true patience, have alloyed the hanlness
of the conunon crowd, and by their activity for goo<l, balanced its niisdoiiigs. are with-
drawn from all true service of man, that they may pass the best part of their lives in
what they are told is the service of Ood, namely, desiring what they cannot obtain,
lamenting what they cannot avoid, and reflecting on what they cannot understand.

Lecturi'n on Art, p. 4?.

132, 33. to make Latin verses. 1'he highest forms of the

English schools were drilled, until recently, almost entirely in the
classics. Tiie flower of this clas.sicjil culture was tlic Greek and Latin
verso written by the student in imitation of ancient poetry.

NOTES.

203

,133, 7. incorruptible felicity.

To watch the corn jfrow and the blossoms set ; to

or snaflf • tn mnH f^^ii^i^uT ""C ■"""''"■'"' "'''' • '^V ^'■*^' **""' breath over plowshare
men ha mv • fh/, »;„ ^"^' *u ^"'*^' ^" Pray.-these are the thinffs which n.ake
men happ.j , they have always had the power of doin" these thpv novor » /// hov^

rnd^eiwthi:; J»^% -grid's prosperiV or advers'it? depSds'u^n' ouVk fowS J

S"se/' *» ^^^^ ^^^ *^'"«^' = **"* "l'"" "•""• «•• «'■««. or electricity, or steam, in no

Modern Painters, Vt. IV., p. 303.
133, 14 Charity. I. Corinthians, xfli., 13.

Jl ^#".T''' *^^ I"*"^' ""sta'^es we have lately fallen into, touchinjr that same charitv
one of the worst is our careless habit of always thinkiri? of her as Sifu ami to fll
concen.ed on y with miserable and wretched pei^ons ; whJVeas her Sie ov' is bein^
nn?.Hn/'i'''l'^ concerned mainly with noble and veneral.le p "sonf ^ l' er poS
function IS the ffivnij,' of pity ; her hif,'hest is the K'ivin- of praise For there are man v

ZZtr^P'' ''""'• ^" "°* '"^^ *« ^« ^''''"^ ^"* -" m^irhow'evL;'fa"Sn;'liki

The Ea<jh'8 Nest, p. 179.

APPEXDIX.

ESSAY WORK.

As Wdvcrhy is (1) mainly a record of tho events in the lives of
suppctsed characters — Edward Waverley, Fergus Mac-Ivor, Flora
Mac-Ivor, Rose Bradwardine, etc. — it is chieHy narrative in char-
acter. As it contains (2) a very lai-ge nuuil)er of portrayals oi
human beings, landscapes, scenes of social life, it is also descriptive
in character.

The study of Wav<rley for purposes of compositi(m should in the
main he directed towards mastering Scott's methods in Description
and Narration. This study should, for the sake of simplicity, be
directed chiefly to the various parts of the story, which will be
found to have an organic unity as marked as the organic unity of
the whole. The practice of composition should follow hard on that
study, and on the best methods that that study reveals. It is well
to l)egin the composition work based upon IVavedey by re<[uiring
renderings in the scholar's own words of scenes or events that he
has just analyzed. When the method of Description or Narration
has been fully grasped by the scholar, he may proceed to the
proper goal of the study, that of writing descripti(»ns and nar-
rati<^ns on original themes.

DESCRIPTION.

Description Defined.— Description is the portrayal in words
of individual scenes, objects, or persons.

* " A younjf student, beloiiffiiiu: to the workiti",; classes, who had heeii rea-lin^f hookn
a little too dilHcuU and too grand for him, askinj,' n>e wliat he shall read next, I have
told him, Wai^erlcji, with extreme care.

Read your Wacetieij, I repeat, with extreme euro ; and of every important jH-rson in
the story, consider tii*st what the virtues are ; tlien what the faults imnitahle to them
l)y nature and breedinjjr ; then what the faults they mijiht have avoided ; then what
the results to them of their faults and virtues under the ai)|)ointment of fate.

Do this after reading' each chapter; and write down the lessons which it seems to
you Scott intended in it ; and what he means you to admire, what to despise."— Huskin,
Fum, Let. Ixi.

)

200

APPENDIX.
Study of Dehcription.

Scene From Social Life.— Examining the description of
Tully-Veolan in cliap viii. of Waverley^ we find that Scott portrays
tlie village in the following nianner : —

He states ihe theme: Captain Waverley in Tully-Veolan.
He gives a (jeneral Straggling village. Houses miserable, con-
outline of the place : trasting with English cottages.

He enumerates the de- Houses stjvnding without regularity,

tails of the scene : Streets unpaved.

Children playing on the streets , often res-
cued from danger by their grandams.

Dogs yelping after the traveller.

Here and there an old man gazing curiously
at the stranger.

Girls, slightly clad, returning with pitchers
or pails on their heads from the well or
brook.

He giVQS a conclusion: The general appearance of the village and

villagers to the eye f)f the keen observer.

In the first place we must notice, therefore, that this descrijjtion
involves a methodical presantdi io7i of the scene following the scheme
of Theme, Ge)ieral Outline, Details, Summary.

The Statement of the Theme. It is a great advantage to a
writer to put clearly before himself the theme of his disc<)ur8e.
It guides him rightly in the selection of details, for irrelevant
circumstances will not occur to him, or if they do occur they will
not be admitted. What he composes will therefore most likely be
unified and compact. The reader finds the statement of the theme
a great advantage, as well, for he is able from the stated theme
instantly to understand the general drift of the writer's thought,
and to grasp his sub8e<{uent statements in their proper relaticmship.

Rule 1. — State at the outset (unless you have good reasons to the
contrary) the theme of your description.

The General Outline. It is also advantageous to a writer to
have before himself the general outline of the scene he is about to
describe. With it the details he brings forward tend naturally to

AfPEyoix.

207

ship,
the

fall into place. Without it they would tend t( become confused.
When the reader has this general outline before him, as is generally
the case, he is enabled most easily to grasp the general character
of the scene, and to arrange all the details in their proper con-
nection.

Rule 2. — Where possible, let a general outline of the scene you
descrihe precede the detailed description.

The Details. In the description of TuUy-Veolan outlined above,
we find no details of the interior of the houses — furniture, decor-
ations — or of the customs, superstitions, history of the villagers ;
no details, in short, except those that are revealed to the keen eye
of the observant traveller as he passes through the streets. A
descripti«)n is therefore not a mere mass of details. It is a present-
ation of debvils selected and arranged according to a plan. But
what plan ?

The details are selected with reference (i.) to the point of view
from which the author cliooses to describe the scene. In the pas-
sage referred to Captain Waverley is represented as viewing the
village from horseback as he passes up the street. All details not
naturally unfolding themselves to him at his point of view are
excluded. We have therefore a third rule :

Rule 3 — Choose your point of vietv, and select the details that
harmonize with it.

(ii.) Again, think of the mass of details that could have been
brought into the picture — the form and material of the houses, their
age, delapidation, etc.; the dress, in colour, sliape, quality, etc., of
the villagers, etc., etc. Out of that possible mass of details, Scott
selects the most striking, and rests content with them. A mass of
details would have been confusing.

Rule 4. — It is better to present a few of the most churactcristic
features of the scoie than a mere m(tss of details.

(iii.) There is rational arrangement of details. They are grouped
in a natural order, such as they might present themselves to the
traveller as he advances through the village : First, the general
appearance of the houses, then the streets, then the inhabitants —
the children, grandams, dogs, old men, girls.

Rule 5. — Let there be a natural sequence iii the arraru/ement of
the details of the scene.

208

APPENDIX.

The fftct tlmt the details of the village scene above are revealed
gradually to Capttiin Waverley, as he passes up the street, shows
that the point of view may shift. This shifting point of view —
called the trdveller's pitint of view — is best employed where we wish
to give a sort of panoramic view of the scene, to present details
that W()uld not l)e reve.-ded at any fixed point. Study slmuld be
made of description fr«>m the Hxed point of view. (See the descrip-
tion of Flcjra at the fountain.)

The Su

that it

forth by

MMAllY

presents
e de

the

to the

tail

advantage

ider the gt

s, and so far to neip

summary, or conclusion, is
neral effect designed to be called

Ip him

gather the significance
of the picture w'ithout the tn)uble of original thought.

Rule 6. — 'There should (in general) be a co^wlunion ivhii.'h will
■ '.e the details of tlte descriptian.

Character Sketches —We have analyze*! a descripti(jn of
a scene fr«>m social life. Let us look at a character sketch — that of
Mr. Bradwardine, as described in cliai)ter x. and elsewhere.

Theme

General
Outline.

The api)earance of the Barctn of Bradwardine in [»erson.
'External ajjpearance
Education :

Disposition, etc

Tall, thin, athletic in figure, care-
less in dress.

Bred with a view to the bar, l)ut,
involved in the rebellion of
1715, he became a soldier.

Military pedant.

Prejudiced by birth and training.

Ar))itrary, though not cruel.

Scott, having given us in the rough a picture of the Baron,
leaves it to the narrative to present to us more forcil)ly than mere
description could do, the various traits of this remarka})le person-
age. In writing, theref<»re, ourselves a description of this person-
age, we shall have t«» foHow him through all the incidents of his
life, and select and group our judgments in accordance with the
laws stated above.

Details :

Warmth of his friendship to Sir Everard
Waverley (shown by his greetings to Waver-

ley).

Al'PENDIX.

209

vMl

General Comment

Fondness for stories and ([uotAtiuns, especially
from Livy.

Hospitality.

Conviviality. (Episode of the Banquet, chap-
ter xi.)

Sense of honour. (Kpisode of the Duel.)

Dry humour.

Taste in literature. (Chaj). xiii.)

Coura<^e and family pride. (Cha[). xv. and
elsewhere. )

Jacobite loyalty. (Chaps, xiii., xxviii., xli.,
xlviii.)

Loyalty of his pe()ple to him. (Chap. Ixxiii.
and elsewhere.)

His atlection f<ir his daughter and Waverley,
etc. etc.

The authors evident pleasure at his escape
from punishment for hii^h treason, and at the
restoration of his estates, etc.

Studies and Exekcisks in Desckiition.

|ron,
Uere
son-
ion-
his
Ithe

lard

I'er-

Scenes from. Nature : —

1. VVaverley-Cha.se.

2. A HiLddand Landscape.

Scenes from Social Life, etc.: —

3. Tully-Veolan.

4. A Scottish Manor-IIouse.

5. The Hold of a Highland Robber.

6. A Scotch Smithy (Cairnvreckan).

7. Tully-Veolan in Ruins.

8. Banquet at Bar(»n Bradwardine's.

9. A Highland Feast.

Characters of Fiction : —

10. Sir Everard Waverley.

11. Richard Waverley.

12. Mr. Pembroke.

13. Baillie Macwheeble.

14. Major Melville.

15. Mr. Giltillan.
10. Colonel Talbot.

17. Donald Bane Lane.

18. David (iellatley.

19. The Laird of Balmawhapple.

210

APPENDIX.

20. The Haron of Brmlwarcliiio.

21. Roso Bradwanlinc.

22. Fergus Mac- Ivor.

23. Fl(.ra Mac-Ivor.

24. Wavurluy.

Charactertt of Ilistorii : —

25. Cliarlfs Kdward Stuart. [In history and in romance.]
2(3. Colonel (iardiner.

NARRATION

resent}!

Narration Defined.— Narration is the i
words of the successive details that compose an incident, or series
of incidents. Wtarrh'ij is, therefore, a narrative containing, as one
<irganic whole, the incidents in the life (tf Waverley and his associ-
ates. It will he noted, however, that while narrative on the scale
of a novel lias a central unity, it is in reality a series of minor narra-
tives — Waverley's first l<»ve aflair, Waverley's life as a soldier, the
j(»urney to Donald Bane Lane's Retreat, etc. These minor narra-
tives liave in themselves much of tlie organic comi)leteness of the
whole story, and for the sake of simidicity we "shall examine one of
them rather than the main story. Let us take Waverley's escape
ivaiii OilHllan's troops, through the instrumentality of Donald
Bane Lane (chap, xxxvi).

Study of Nauhative.

Introdadory Details :

The dejjarture for Stirling. »

Time, afternoon.
C«)nversation on the way. *

Ddaih of tJte IncUhnt : Appearance of the pedlar.

His joining (liltillan.
Arrival at summit of a rising ground

covered with clumps of brushwood.
Straggling arrangement of the troops.
The whistling of the pedlar.
Sudden attack of the Highlanders.
Contest : actions of fiiltillan, the pedlar,

Waverley, the Highlanders, the troops.

Conclusion (Denouement) : Result, escape of Waverley.

''Note that Scott takes advantage of tlie vividness of dramatic writin),' by making his
characters speak in character. N. B. The direct narration plays an important part in
every successful narrative.

APPENDIX.

211

round

[ps.

tdlar,
loops.

Ing his
^art in

With those details before us, lot us look at the artistic construc-
tion of this episode.

I. The Sequence of Details.— Every detail is intrnducid
in the order of its occurrence. Hence the prime law for the arrange-
ment of particulars in narration: —

Rule 1' —ht'tnils iUK.s? ha preaenfi'il in order of occurrence — time-
order.

II. Correlation of Details —The journey to Stirling is the
occasion for the attack ; the necessity of rescuing Waverley is the
reason for the attack ; the appearance of the pedlar, his whistling ;
the ai)pearance of the Highhuiders, all lead to the attack, etc.
Hence we see that in the choice of details our author selects only
those which have a hearing on the main purpose of the narrative,
and that these details are themselves correlated.

Rule 2. — The details chosen must be interdependent, each one
contrihntimj somethimj to the main effect of the narrative.

III. Economy of Details. — Note here, as in Description, that
the narrative is founded on very few particulars. A mass of details
would be confusing.

Rule S- - Economize in <le tails. Do your best with a few striking
particulars.

IV. The SuflBciency of Cause and Effect- - Whatever
occurred in the narrati(»n ai)[)ears to us as a probable occurrence.
Giltillan's disposition was hxpiacious and conceited ; hence his open-
ness t<» the artifice of the pedlar. He was no soldier ; hence tlie
loose arrangement of his troops. The ground was covered with
brushwood ; hence a surprise was possible. The whistling was a
natural means of connuunication between the pedlar and his associ-
ates. The success of the Highlanders was prol)able, because of
their bravery and the suddenness of their onset, as well as the
division of the troops, etc. Hence we see that the various events
naturally grow out of each other, or arise naturally from the char-
acters of the actors.

Rule 4. — Each incident m^ist appear to spriny from those that
precede it, or arise naturally from the characters of the actors.

V. The Climax of Interest. — Narrative is nothing as art
unless it involves a pleasing surprise. Note that the statement of

212

APPENDIX.

the themo (cf. with Description) is suppressed, so that the reader
may not ))e pre^iared for tlie outcome of the incident, and the
intended surprise fail. Note also that the details rise in signiHcance
— the plot thickens — the conversation of Waveriey and (iiltillan,
the mysterious pedlar, the imai^inary <loi^, the sudden assault of the
Higldanders, their escape with Wavei'ley. The plot interest is the
chief interest in narrative, hence all details are arranged in such
order t»f increasing importance that our interest and curiosity are
stimulated more and more, until the (Inuniement (i.e., the explana-
tion of preceding events) is reached, and our hopes and fears are
given satisfaction.

Rule 5. -I Mulls must htftin'a}i(f>d.stji flidf ihc Inh'rcst cuhaiuatea
vlwn Ll'i' irnch the <U-n<)i(ement.

Passaoks Foil Study and Pkactice ix Narration.

Fiction : —

27. A Highland Raid (Creagh).

28. A Stag Hunt.

2J). A .loiu'ney through the Highlands (Waveriey to

Lane's Cave).

80. Capture of Waveriey at Cairnvreckan.

31. The Rescue of Waveriey liy liane Lane.

32. The Quarrel t»f Waveriey and Fergus Mac-Ivor.

33. Trial and Kxecution of Fergus Mac-Ivor.

34. A Journey to London (Waveriey and Mrs. Nosebag).

History : —

35. The Rebellion of '45.

(a) Landing of Prince Charles Edward to the capture

of Edinburgh.
(1)) Rattle of Preston.

(d) The Retreat.

(e) Battle (.f Culloden.

(f ) Flight of Prince Cliarles. Results of the Rebellion,

OUKilNAL TlIKMKS.

Thotnes for original descripti<Mis and narratives may easily be
found ill exaiuining the main features of Canadian scenery and
of Canadian life. The forest, the farm, the lakes, the shops,
factories, and mills, furnish abundant subjects by the former ;
while our Canadian history is replete with incidents that lend
themselves naturally to stirring narrative.

APPENDIX.

213

SESAME AND LILIES.

and
pops,
liior ;
llund

EXPOSITION.

Exposition Defined. In .SV.wm.' ([)j.. 32 tt'.), Kuskin wishes to
tull us clearly what a true hook i.s. Let us .study carefully the way
in which he proceeds. Analy/iui^ the passai^e in (juestion, we tin I:
The General Statnnint :

All hooks are divisihle into two
classes— hooks (if the hours, untl
hooks of all time.

The classes of hooks.

Disoifisiou of General Stdfenu-nf :

1. ( ►f the Hrst division ; the
kinds of l)o<)ks enihni'.ed in
hnoks of the hour.

• jciod <»r

liuoks of the hour an

''ul, ( )f the had he says imth
;iig. The gnud he proceeds to
define l>y t;xanii)les,* as —

(«») hright accounts of traveU.
{!>) clever <li.scussi(»ns.
('■) lively and patlu-tii; nnvels.
(il) histories of contemporary
events.

Such hottks hi'ini,' merely in-
tended to satisfy us for the
time, like conversation, are
not true ho(»ks.

A true hook is to preserve the
writer's th(»ujj;ht, to state what
i.s truly useful or heautiful ;
it contains a part uf a man's
hest life, etc.

In the foregoing' analysis it will he seen that to attain his ohject

in delinini^ thu uau're of the true hook, Iluskin lays down a hroad

principal o*' division. To see the <_;rain we must clear away the

chatt'; henc ! the separation of hooks of the hour fi(»m hooks of all

time. But this division makes it necessary to know what the

books of the hour are ; hence we have a definition of their charac-

2. < Miverse iteration, or defini-
tion hy negation.

3. Attirmative definition.
{77ie Condusiini.)

"This ex|»()siti()ii by means of t'xaini>li's \h only oiic of luaiiy forms. In Sinftnif (p.
Hit), for iiistaiice, wi- have anotlior form. KiiMk'i;, wishiiiir to illustratt- I In- thoiiifht
that faKe work will liroed false emolioiH, compares 'he plea>iiiris of Kiiula'nl with
the L'uilty pleasureH of idolatrous Jews. This latter form of ex|iOHition is Kxposition
by Illustration.

214

APPENDIX.

ters by referunco to examples — travels, novels, histories, etc.
These he tolls us are not true books (the obverse proposition).
The statement of what a true book is not, brings us to the state-
ments of what a true book in. The various characteristics of true
books, thus stated, make up the definition the author seeks to have
us grasp. Writing of this kind is no succession of events; it is not
narrative. It tolls us nothing of any particular book ; it is not
descriptive. It seeks to set clearly })efore u.s the true nature of a
thing — or it may be the true nature of a principle — wliich kind of
composition is called Exposition.

Laws of Exposition. — Briefly stated the laws of Exposition are
as follows : —

1. The treattnent nmd he Ingical, a true chain of reasoning

autil the conclusion is reached.

2. The treatment miist he clear, and if possible simple.

Examples and illustrations are great aids to simpHcitij.

3. The ordinary laws, as to Introduction, Proposition,

Visnission, Conclusion, hold good.

SruniKs ANi> Tukmks in Exposition.

jfVu; Truth in Things (J hjinition):—

1. True Books, (pp. :L> it)

2. True Heading »»f Books, (pp. US-oO.)

3. True Educati<»n. (p. 2H tl".)

4. Vulgarity, (p. 40. i

5. Charity (pj). 51)-()4.;

(). True l<eligi«>n. (pp. (i.'M.)

7. The Sphere of Woman. [Cmnpare hfr sphere with the

sphere of man, and use the lestimogy (tf Sliake-
si)eare, Dante and Scott (pp. 72-H4.)]

8. The Education of Woman (pp. H4-<»a).

(a) |»hynical.
(/») scientilic.
(<•) literary.
(d) artistic.
(»') her teachers.
( f) her surroundings.
0. The Itelation of Women to the State (pp. 94-101).

APPENDIX.

215

The Tnitk of Principles : —

10. IdlenesH and cruelty are the only two faults of any

conso(iuence.

11. Life is too short to waste its few hours in reading

V ilueleas books.

12. Books that are worth reading are worth having.

13. Books are our best friends.

14. Only noble natures can understand true books, (pp.

54-06.)

15. Books are the Sesame, which opens doors ; — doors,

not of robbers, but of Kings' Treasiu'ies. ( — p. 71.)

1(>. Most men live without motive as to the future — the
first mystery of life.

17. The greatest and wisest of men (Dante, Milton, and

Shakespeare) give us no true teaching as to the
future : the 8econ<l mystery.

18. The arts teach us that great work comes (mly from

men who feel that they are wrong, but who realize
and strive after what is right ; and that industry
rightly followed lirings peace.

19. Agriculture, weaving, building, all the arts are without

profit— without possession.

20. Life is not vain and useless, 'a vap<>ur that passeth

away. '

21. To fee(l the hungry, clothe the naked, lodge the home-

less—there is the only infallible religion.
Gemntl Themes : —

22. The stJite ()f the Highlands in 1745. (Macaulay's

History of EiufliitKl could be coJisulted with advant-
age).

23. Scott as a novel ist.

24. Rnskin as a writer.

the
laku-