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Beacon Lights of History, Volume 14: The New Era
Again, speaking of what Ruskin sought to accomplish in the regeneration of modern society, and the reformation of our social ideals, and of that "heroic piece of Quixotism" he founded, "the Guild of St. George," Mr. Harrison remarks:–
"The first life of John Ruskin was the life of a consummate teacher of art and master of style; the second life was the life of priest and evangelist.... Here is the greatest living master [the passage was written while Mr. Ruskin was yet alive] of the English tongue, one of the most splendid lights of our noble literature, one to whom a dozen paths of ambition and power lay open, who had everything that could be offered by genius, fame, wealth, social popularity, and intense sensitiveness to all lovely things–and this man, after thirty years of untiring labor, devotes himself to train, teach, delight, and inspire a band of young men, girls, workmen, children,–all who choose to come around him. He lavishes the whole of his fortune on them; he brings to their door his treasures of art, science, literature, and poetry; he founds and endows museums; he offers these costly and precious collections to the people; he wears out his life in teaching them the elements of art, the elements of manufacture, the elements of science; he shows workmen how to work, girls how to draw, to sing, to play; he gives up to them his wealth, his genius, his peace, his whole life. He is not content with writing books in his study, with enjoying art at home or abroad; he must carry his message into the streets. He gives himself up–not to write beautiful thoughts: he seeks to build up a beautiful world.... When I see this author of 'Modern Painters' and the 'Stones of Venice,' the man who has exhausted almost all that Europe contains of the beautiful, who has thought and spoken of almost every phase of human life, and has entered so deeply into the highest mysteries of the greatest poets–when I see him surrounding himself in his old age with lads and lasses, schoolgirls and workmen, teaching them the elements of science and art, reading to them poems and tales, arranging for them games and holidays, ornaments and dresses, lavishing on these young people his genius and his wealth, his fame and his future–I confess my memory goes back instinctively to a fresco I saw in Italy years ago–was it Luini's?–wherein the Master sat in a crowd of children and forbade them to be removed, saying that 'of such is the kingdom of heaven.'"
With this generous tribute to and appreciation of Ruskin, despite the economic vagaries into which the great critic and teacher of his time fell, we may more confidently approach the busy era of his later and self-sacrificing labors, and with less apology take space to deal–as compactly and intelligently as we can–with some of the more notable of the many books and brochures of the period. Difficult as would be the task, fortunately there is little need to epitomize these works, as many of them are better known, and perhaps more attentively read, than his earlier, bulkier, and more ambitious writings. A few of them lie outside the economic gospel of their apostolic author, and these we will first and briefly deal with. A number of them are instructive and inspiring lay sermons on the mystical union between nature and art, beauty and utility, and their reflex in the reverential homage for the beautiful and the worthy in the mind and character of the English-speaking race. The whole form a great body of fine and thoughtful work, which is as enchaining as its meaning is often profound. The best-known of these lay sermons is: "The Queen of the Air" (1869), a splendid blending of his fancy with the Greek nature-myths of cloud and storm, represented by Athena, goddess of the heavens, of the earth, and of the heart. The parable drawn is that "the air is given us for our life, the rain for our thirst and baptism, the fire for our warmth, the sun for our light, and the earth for our meat and rest." Related to the work is "Ethics of the Dust" (1865), lectures to little housewives on mineralogy and crystallography, nature's work in crystallization being the text for a diatribe against sordid living. "Sesame and Lilies," which belongs also to this period of the writer's work, consists of three addresses, delivered at Manchester and at Dublin, designed specially for young girls, and treating in the main of good and improving literature. The first of them, "Of Kings' Treasuries," deals with the treasures hidden in books, the writings of the world's great men; its sequel, "Of Queens' Gardens," deals with the function and sphere of woman, and, by way of application, with the how and the what to read; the third lecture, on "The Mystery of Life and its Arts," is a discursive but inspiring consideration of what life is and how most successfully to battle with it in the way of our work and of our appointed duty. All three lectures, observes a commentator, "tell men and women of the ideals they should set before them; how to read and to build character under the inspiration of the nobility of the past, fitting one's self for such great society; how to develop noble womanhood; how to bear one's self toward the wonder of life, toward one's work in the world, and toward one's duty to others."
Other lectures and brochures of or about this period are "Hortus Inclusus" (The Enclosed Garden), being "Messages from the Wood to the Garden sent in happy days to two sister ladies," residing at Coniston, and collected in 1887; "Arrows of the Chace," letters on various subjects to newspapers, gathered and edited in 1880; "The Two Paths," lectures on art and its application to Decoration and Manufacture (1859); "Ariadne Florentina" (1873), a monograph on Italian wood and metal engraving; "Aratra Pentelici" (1872), on the elements and principles of sculpture; and "The Eagle's Nest" (1872), on the relation of natural science to art. Still pursuing his delightful methods of interpreting nature and teaching the world instructive lessons, even from the common things of mother earth, we have a series of three eloquent discourses, entitled (1) "Proserpina," studies of Alpine and other wayside flowers, dwelling on the mystery of growth in plants and the tender beauty of their form; (2) "Deucalion," a sort of glorified geological text-book, treating of stones and their life-history, and showing the wearing effect upon them of waves and the action of water; and (3) "Love's Meinie" (1873), a rapture about birds and their feathered plumage, delivered at Eton and at Oxford. This trilogy, dealing with botany, geology, and ornithology, was presented to his audiences with illustrative drawings, representing the flora met with in his travels or found in the neighborhood of his new home in the Lancashire lakes, with sketches of regions, including the characteristics of the soil, in which he had been reared, and talks of the note and habit of all birds that were wont to warble over him their morning song. "The Pleasures of England," the "Harbours of England," and the "Art of England" further treat of his loved native land, the first of these being talks on the pleasures of learning, of faith, and of deed, illustrated by examples drawn from early English history, and the last treating of representative modern English artists, chiefly of the Pre-Raphaelite school. "The Laws of Fésole" (1878) deals with the principles of Florentine draughtsmanship; "St. Mark's Rest," with the art and architecture of Venice; and "Val d'Arno," with early Tuscan art, interspersed with the author's accustomed ethical reflections. "Mornings in Florence," intended for the use of visitors to the art galleries of the beautiful city on the Arno, deals in the true artist-spirit with its famous examples of Christian art, giving prominence here also to the ethical side of the city's history. "In Montibus Sanctis," and "Coeli Enarrant," the one comprising studies of mountain form, and the other of cloud form and their visible causes, though separately published, are only reprints of the author's larger and nobler embodiment of his views on art, in "Modern Painters." "The King of the Golden River," of which we have previously spoken, is a fairy tale of much beauty, which he wrote for the "Fair Maid of Perth" whom he married, and who separated herself from him on the plea of "incompatibility." Playful as is the style of the story, it is not without a moral, on what constitutes true wealth and happiness. "The Crown of Wild Olive" (1866) consists of lectures on work, traffic, and war; the latter lecture, delivered at the Royal Artillery Institution at Woolwich, was also separately published under the title of "The Future of England." The two former, being addressed to working-men, laborers, and traders, discuss economic problems, and set forth tentatively their author's antagonized political ethics, with which, in drawing this essay to a close, we now venture to deal.
After the magnificent work done by Ruskin in art up to his fortieth year, that he should turn, for practically the remainder of his life, to the seemingly vain and profitless task of a social reformer and regenerator of modern society, has to most men been a riddle too elusive and enigmatic to solve. And yet, in his earlier career, had he not himself prepared us for just such a departure as he took in the sixties, for in art was he not equally revolutionary and iconoclastic, as well as personally self-willed, passionate, and impulsive? Moreover, had not Mother Nature endowed him with the gifts of a seer and made him chivalrous as well as intensely sympathetic, while his early training inclined him to be serious, and even ascetic? Nor were the rebuffs he met with throughout his career calculated at this stage to make him court the applause of his fellow-men or be mindful of the world's censure or approval. Nor can one well quarrel with what he had now to say on many a subject, visionary and enthusiast as he always was, and given over to mediaeval views and preachments, and to abounding moral and ethical exhortation. Like Carlyle's, his voice was that of one crying in the wilderness, and yet in the industrial and social condition of Britain at the era there was need of just such appeals for regeneration and reform as Ruskin strenuously uttered, accompanied by indignant rebukes of grossness, vulgarity, and meanness, as manifested in masses of the people. If in his strivings after amelioration he was too denunciatory as well as too radical, we must remember the temper and manner of the man, and recognize how difficult it was in him, or in any iconoclast who scorned modern science as Ruskin scorned it, to reconcile the age of steam and industrial machinery, which he spurned and would have none of, with the views he held of Christianity, morals, and faith. His views on political economy, which he treated neither as an art nor a science, might be perverse and wrong-headed, and his method of adapting prophetic and apostolic principles to the practice of every-day life utterly impracticable; but the virtues he counselled the nation to manifest, and the graces he enjoined of truthfulness, justice, temperance, bravery, and obedience, were qualities needed to be cultivated in his time, with a fuller recognition of and firmer trust in God and His right of sway in the world He had created.
What Ruskin's economic views were, and what his relations to the industrial and social problems of his time, most readers of our author know, are mainly to be found in "Fors Clavigera," a series of letters to working-men, covering the years 1871-84, and in his early essays on political economy, "Unto this Last" (1860), and "Munera Pulveris" (1863). "Unto this Last" appeared in its original form in the pages of the "Cornhill Magazine," then edited by Thackeray, and our author speaks confidently of it as embodying his maturest and worthiest thoughts on social science. The work, which will be found the key to Ruskin's economic gospel, embraces four essays, treating successively of the responsibilities and duties of those called to fill all offices of national trust and service; of the true sources of a nation's riches; of the right distribution of such riches; and of what is meant by the economic terms,–value, wealth, price, and produce. Under these several heads, Ruskin expresses his conviction that co-operation and government are in all things the law of life, while the deadly things are competition and anarchy. Whatever errors the book3 contains–and the author's unconscious arrogance and dogmatism made him blind to them–his views were set forth with his accustomed vigor and eloquence, and in the honest belief that he was more than fundamentally right. It was for such helpful work as this, and what he accomplished in the kindred volume, "Munera Pulveris," which first appeared in "Fraser's Magazine," that Ruskin for the time dropped his revelations in art to let a new world of thought into the "dismal science" of political economy, confound its old-time instructors, and gird at the evils of the age,–the greed, selfishness, and petty bargaining spirit of industrial and commercial life. Nor in conducting such a crusade as this was Ruskin abandoning his old and less controverted gospel of art. He was but carrying into new and barren fields the high ideals he had hitherto counselled his age to emulate and heed, and in his sympathy with labor seeking to bring into its world the comeliness of beauty and the cheer of prosperity, comfort, and happiness. In "Time and Tide" (1867), and more at length in "Fors Clavigera," Ruskin reiterates his message to labor, to get rid of ever-environing misery by realizing what are the true sources of happiness,–pleasure in sincere and honest work, inspired by intelligence, culture, religion, and right living. What he desires for the working-man he desires also for his family, and consequently he urges parents to train their sons and daughters to see and love the beautiful, to cultivate their higher instincts, and call forth and feed their souls. In all this there is much helpful, tonic thought, which the church or the nation, roused to zeal and earnest activity, might fittingly teach, and so advance the material weal of the people, extend the area of public enlightenment and morality, and herald the dawn of a new and higher civilization.
Other aspects of Mr. Ruskin's economic gospel are, unfortunately, not so sane and beneficent. His altruism knows no bounds, as his philanthropy and zeal have but few restraints. After the fashion of his mentor, Carlyle, he is carried away by his humanitarianism and his unreserved acceptance of the doctrine of the equality and brotherhood of man. Hence come his economic heresies in regard to rent and interest, and capital and usury, his denunciations of the division of labor, his Tolstoian impoverishment of himself for the benefit of his fellow-man, and his dictum that the wealth of the nation should be its own, and not accrue to the individual. Hence, also, the wholly ideal state of society he attempted to realize in his communal Guild of St. George, with its rigid government and restraints upon the personal liberty of its members. Ideally beautiful, admittedly, was the plan and scheme of the little state, with its disciplinings, exactions, and devout selective creed. But the age is a practical, unimaginative one, and whatever compacts men make, even for their highest welfare, there are, it is to be feared, few so loyal, tractable, and docile as to place themselves for long under such tutoring and one-patterned, fashioning forms of co-operative living. Into whatever millennial state Ruskin sought to usher his little band of English followers and disciples, one must speak appreciatively of his motives in projecting the scheme, and of the money and labor he personally lavished upon the Utopian project. Reverently also must one speak of the catholic creed to which its members were asked to subscribe: namely, to trust in God, recognize the nobleness of human nature, labor faithfully with one's might, be loyal to one's common country, its laws, and its monarch's or ruler's orders, so far as they are consistent with the higher law of God; while exacting obedience, and a pledge that one will not deceive, either for gain or other motive; will not rob; will not hurt any living creature nor destroy any beautiful thing; and will honor one's own body by proper care for it, for the joy and peace of life. All this is very exemplary and beautiful, and not over-hard to live up to, though the working-men of Sheffield in time wearied of the organization, and the Guild and its noble ideals is now, we believe, but a memory, if we except the art museum and library of the Order taken over and still maintained by the town.
More practical, may we not say, than this imitation of the Florentine arti of the Middle Ages was the Working Men's College, founded in London in the fifties by that other earnest Christian Socialist, F.D. Maurice, in which Ruskin lectured gratuitously, took charge of the drawing classes, and hied off to the country with its members to sketch from nature and otherwise instruct and entertain them. Yet good in many respects came of the Guild of St. George, in the impulse it gave to the revival of the then dormant industries, such as the hand-spinning of linen, hand-weaving of carpets and woollen fabrics, lace-making, wood-carving, and metal-working, besides the stimulus it gave, with the infusion of higher ideals of workmanship, to the decorative arts, and the improvement in the sightliness of factories, and in the homes and surroundings of labor. Here Ruskin's philanthropy and reform zeal showed themselves most worthily in the financial aid he gave in the pulling down, in crowded districts of the British metropolis, of poor tenements, and the building up in their place of clean, attractive, and wholesome habitations. In such benevolences and well-doings, and in this life of renunciation and self-sacrifice, Ruskin spent himself, and made serious inroads into his bodily health and strength, as well as scattered the fortune–about a million dollars–left him by his now deceased father. But this was the manner and character of Ruskin, and this the mode of expressing his love for his fellow-man, which in myriad ways showed itself throughout a long and strenuous career of devotion to high ideals, and of practical, tender help in all good works. In all his philanthropies he was true to his own preachings and counsellings, spending and being spent in the spirit of his Divine Master, his whole soul aglow with reverence and adoration and tender with a profound moral emotion. Besides his rare endowments as a lover of the beautiful, he had that other precious gift, of golden speech, which threw a mantle of loveliness over every book he wrote and perpetual lustre over the domain of letters.
Ruskin's declining years, while hallowed by suffering, were cheered by many tender attentions and unexpected kindnesses, and by the recognition, by many notable public bodies and eminent contemporaries, of his long life of great service and devotion to his kind. In our modern age, from which, in his loved Coniston home, he passed from life Jan. 20, 1900, no one more reverently than he has looked deeper into the mystery of life, thought more concernedly of its problems, shed more passionately and eloquently about him love for the beautiful, or practically and helpfully done more–layman only though he was–for religion and humanity. At his death the nation paid honor to his memory by offering his remains a resting-place in the great fane of England's illustrious dead, Westminster Abbey; but Ruskin had himself otherwise ordered the disposal of his body. "Bury me," he said, "at Coniston." And there, on the fifth day after his falling softly asleep, amid a concourse of loving friends, the earthly tenement of the great art critic and lover of righteousness was laid to rest, his grave strewn with myriad wreaths, garlands, and crosses of beautiful, bright flowers.
Here, after his long, strenuous, militant career, do we leave this inspiring teacher and "consecrated priest of the Ideal," his gentle soul finding rest and peace after the myriad troubles and tumults of life. Still now is the once active, fertile, stimulating mind of the man who so effectively roused his generation from its complacent smugness and indifference in its appreciation of the beautiful, and with ardent boldness challenged established beliefs in art and defied the conventionality and authority of his time. His has been a powerful force in innumerable departments of human thought, and epoch-making the influence he has exerted in giving to the world new ideals of the beautiful and in shaping modern opinion and taste in art. How great is the work he has done, and what a library of stimulating, inspiring books he has left us, comparatively few realize, as they little realize what the age owes to him for his noble activities in well-doing and his many and impressive lessons and influence. In a commonplace, commercial time, how stimulating as well as ardent have been his appeals for sensitiveness of perception in regard to art, and of the tone and spirit in which it ought to be viewed and valued! And with what tender, reverent feeling has he not opened our hearts to compassion and to consideration for the welfare of our fellow-man, and how potent have been his counsellings pointing to the true and abiding sources of pleasure in life! Long must his formative opinions and influence extend, and in the minds of all who think and reflect abiding must be the charm as well as the power of his imaginative, glowing thought. That he met with opposition and hostility in his day was but the price to be paid for the disturbing, correcting, disciplining, yet inspiring part he played in the work he so impulsively set himself to do. One smiles now at the epithets of scorn and contumely once hurled at him, at the man who, little understood as he has been, has done so much to uplift and purify the thought of his time and do battle with the forces opposed to reform and arrayed against those of light and truth. And how great were the weapons with which he was armed, and how varied as well as marvellous the talents he brought into play in the onslaught upon shallowness, convention, and ignorance! Truly, he has done much for his time, and great has been the gain Modern Art has won from his inspiring lessons and thought. The coming of such a man, and at the time that was his, one cannot help reflecting, was one of the providences of an overruling Power, and adequately to estimate his influence and work, and the tone and temper in which he wrought, we have but to consider what the age would have been, in countless departments of thought and activity, had the century now passed possessed no John Ruskin.
AUTHORITIES
Collingwood, W. G. Life of Ruskin.
Harrison, Frederic. Tennyson, Ruskin, Mill, and other Estimates.
Mather, Marshall. John Ruskin, his Life and Teaching.
Bayne, Peter. Lessons from my Masters–Carlyle, Tennyson, and Ruskin.
Japp, Alex. H. Carlyle, Tennyson, and Ruskin.
Spielmann, M.H. John Ruskin.
Waldstein, Charles. Work of John Ruskin.
Ward, May Alden. Prophets of the Nineteenth Century: Carlyle, Ruskin, and Tolstoi.
Bates, Herbert. Annotated edition, with Introduction, of Ruskin's "Sesame and Lilies" and "The King of the Golden River."
Ruskin's "Praeterita": An Autobiography.
HERBERT SPENCER
Herbert Spencer occupies a unique place in the history of human thought, because he has been the first to attempt the construction of a philosophical system in harmony with the theory of Evolution and with the results of modern science. To his contemporaries he is known almost exclusively as the author of the colossal work which he has chosen to call the "Synthetic Philosophy." Concerning his personality very little information has been published, and it is doubtful whether he will deem it worth while to leave behind him the materials for a detailed biography. About his private life we know even less than we know about that of Kant. The very few facts obtainable may be summed up in a score of sentences.
I
Herbert Spencer was born on April 27, 1820, at Derby, in England, and was an only surviving child. His father was a schoolmaster in the town named, and secretary of a philosophical society. From him the son seems to have imbibed the love of natural science and the faculty of observation conspicuous in his work. The father was particularly interested in entomology, and Spencer himself used to collect, describe, and draw insects when a boy. At the age of thirteen he was sent to study with an uncle, Rev. Thomas Spencer, a liberal clergyman and a scholar, with whom he remained three years, carrying on the study of natural history, which he had begun in childhood. He now devoted himself to mathematics, evincing a singular capacity for working out original problems. At this time, too, he became familiar with physical and chemical investigations, and already exhibited a strong tendency to experimental inquiry and original research. His aversion to linguistic studies put a university career out of the question. At the age of seventeen he entered the office of Sir Charles Fox and began work as a civil engineer, but about eight years afterward he gave up this profession, and devoted the whole of his time to scientific experiments and studies, and to contributions on philosophical questions to various periodicals. As early as 1842, in a series of letters to the Nonconformist newspaper on "The Proper Sphere of Government," he propounded a belief in human progress based on the modifiability of human nature through adaptation to its social surroundings, and he asserted the tendency of these social arrangements to assume of themselves a condition of stable equilibrium. From 1848 to 1853 he was sub-editor of the Economist newspaper, and in his first important work, "Social Statics," published in 1850, he developed the ethical and sociological ideas which had been set forth in his published letters. The truth that all organic development is a change from a state of homogeneity to a state of heterogeneity is regarded by Spencer as the organizing principle of his subsequent beliefs. It was gradually expounded and applied by him in a series of articles contributed to the "North British," the "British Quarterly," the "Westminster," and other reviews. In these essays, and especially in the volume of "Principles of Psychology," published in 1855, the doctrine of Evolution began to take definite form, and to be applied to various departments of inquiry. It was not until four years later–a fact to be carefully borne in mind by those who would estimate correctly the relation of Spencer to Darwin–that the publication of the latter's "Origin of Species" afforded a wide basis of scientific truth for what had hitherto been matter of speculation, and demonstrated the important part played by natural selection in the development of organisms. As early as March, 1860, Spencer issued a prospectus, in which he set forth the general aim and scope of a series of works which were to be issued in periodical parts, and would, collectively, constitute a system of philosophy. In 1862 appeared the "First Principles," and in 1867 the "Principles of Biology." In 1872 the "Principles of Psychology" was published; the first part of the "Principles of Ethics" in 1879; and his "Principles of Sociology" in three volumes, begun in 1876, was completed in 1896. In the preface to the third volume of the last-named work the author explains that the fourth volume originally contemplated, which was to deal with the linguistic, intellectual, moral, and aesthetic phenomena, would have to remain unwritten by reason of the author's age and infirmities. The astounding extent of Herbert Spencer's labors becomes, indeed, the more marvellous when one considers that impaired health has for many years incapacitated him for persistent application. Owing partly to his ill health, and partly to the absorbing nature of his occupation, his life has been a retired one, and in the ordinary sense of the term, uneventful. He has never married, and, although the high opinion of his writings formed by contemporaries has led to many academic honors being pressed upon him at home and abroad, these have all been declined. It only remains to mention that in 1882 he visited the United States, where the importance of his speculations had been early recognized, and that his home is now in Brighton, England.
