Time and Tide by Weare and Tyne. Ruskin John

you begin seriously to consider the question referred to in my second letter, of the essential, and in the outcome inviolable, connection between quantity of wages, and quantity of work, you will see that "wages" in the full sense don't mean "pay" merely, but the reward, whatever it may be, of pleasure as well as profit, and of various other advantages, which a man is meant by Providence to get during life, for work well done. Even limiting the idea to "pay," the question is not so much what quantity of coin you get, as—what you can get for it when you have it. Whether a shilling a day be good pay or not, depends wholly on what a "shilling's worth" is; that is to say, what quantity of the things you want may be had for a shilling. And that again depends, and a great deal more than that depends, on what you do want. If only drink, and foul clothes, such and such pay may be enough for you; if you want good meat and good clothes, you must have larger wage; if clean rooms and fresh air, larger still, and so on. You say, perhaps, "every one wants these better things." So far from that, a wholesome taste for cleanliness and fresh air is one of the final attainments of humanity. There are now not many European gentlemen, even in the highest classes, who have a pure and right love of fresh air. They would put the filth of tobacco even into the first breeze of a May morning.

      19. But there are better things even than these, which one may want. Grant that one has good food, clothes, lodging, and breathing, is that all the pay one ought to have for one's work? Wholesome means of existence and nothing more? Enough, perhaps, you think, if everybody could get these. It may be so; I will not, at this moment, dispute it; nevertheless, I will boldly say that you should sometimes want more than these; and for one of many things more, you should want occasionally to be amused!

      You know, the upper classes, most of them, want to be amused all day long. They think

      "One moment unamused a misery

      Not made for feeble men."

      Perhaps you have been in the habit of despising them for this; and thinking how much worthier and nobler it was to work all day, and care at night only for food and rest, than to do no useful thing all day, eat unearned food, and spend the evening, as the morning, in "change of follies and relays of joy." No, my good friend, that is one of the fatalest deceptions. It is not a noble thing, in sum and issue of it, not to care to be amused. It is indeed a far higher moral state, but is a much lower creature state, than that of the upper classes.

      20. Yonder poor horse, calm slave in daily chains at the railroad siding, who drags the detached rear of the train to the front again, and slips aside so deftly as the buffers meet; and, within eighteen inches of death every ten minutes, fulfils his changeless duty all day long, content, for eternal reward, with his night's rest, and his champed mouthful of hay;—anything more earnestly moral and beautiful one cannot image—I never see the creature without a kind of worship. And yonder musician, who used the greatest power which (in the art he knew) the Father of spirits ever yet breathed into the clay of this world;—who used it, I say, to follow and fit with perfect sound the words of the 'Zauberflöte' and of 'Don Giovanni'—foolishest and most monstrous of conceivable human words and subjects of thought—for the future "amusement" of his race!—No such spectacle of unconscious (and in that unconsciousness all the more fearful) moral degradation of the highest faculty to the lowest purpose can be found in history. But Mozart is nevertheless a nobler creature than the horse at the siding; nor would it be the least nearer the purpose of his Maker that he, and all his frivolous audiences, should evade the degradation of the profitless piping, only by living, like horses, in daily physical labor for daily bread.

      21. There are three things to which man is born1—labor, and sorrow, and joy. Each of these three things has its baseness and its nobleness. There is base labor, and noble labor. There is base sorrow, and noble sorrow. There is base joy, and noble joy. But you must not think to avoid the corruption of these things by doing without the things themselves. Nor can any life be right that has not all three. Labor without joy is base. Labor without sorrow is base. Sorrow without labor is base. Joy without labor is base.

      22. I dare say you think I am a long time in coming to the pantomime; I am not ready to come to it yet in due course, for we ought to go and see the Japanese jugglers first, in order to let me fully explain to you what I mean. But I can't write much more to-day; so I shall merely tell you what part of the play set me thinking of all this, and leave you to consider of it yourself, till I can send you another letter. The pantomime was, as I said, 'Ali Baba and the Forty Thieves.' The forty thieves were girls. The forty thieves had forty companions, who were girls. The forty thieves and their forty companions were in some way mixed up with about four hundred and forty fairies, who were girls. There was an Oxford and Cambridge boat-race, in which the Oxford and Cambridge men were girls. There was a transformation scene, with a forest, in which the flowers were girls, and a chandelier, in which the lamps were girls, and a great rainbow which was all of girls.

      23. Mingled incongruously with these seraphic, and, as far as my boyish experience extends, novel, elements of pantomime, there were yet some of its old and fast-expiring elements. There were, in speciality, two thoroughly good pantomime actors—Mr. W. H. Payne and Mr. Frederick Payne. All that these two did, was done admirably. There were two subordinate actors, who played, subordinately well, the fore and hind legs of a donkey. And there was a little actress of whom I have chiefly to speak, who played exquisitely the little part she had to play. The scene in which she appeared was the only one in the whole pantomime in which there was any dramatic effort, or, with a few rare exceptions, any dramatic possibility. It was the home scene, in which Ali Baba's wife, on washing day, is called upon by butcher, baker, and milkman, with unpaid bills; and in the extremity of her distress hears her husband's knock at the door, and opens it for him to drive in his donkey, laden with gold. The children who have been beaten instead of getting breakfast, presently share in the raptures of their father and mother; and the little lady I spoke of, eight or nine years old,—dances a pas-de-deux with the donkey.

      24. She did it beautifully and simply, as a child ought to dance. She was not an infant prodigy; there was no evidence, in the finish or strength of her motion, that she had been put to continual torture through half her eight or nine years. She did nothing more than any child well taught, but painlessly, might easily do. She caricatured no older person,—attempted no curious or fantastic skill. She was dressed decently,—she moved decently,—she looked and behaved innocently,—and she danced her joyful dance with perfect grace, spirit, sweetness, and self-forgetfulness. And through all the vast theater, full of English fathers and mothers and children, there was not one hand lifted to give her sign of praise but mine.

      Presently after this, came on the forty thieves, who, as I told you, were girls; and, there being no thieving to be presently done, and time hanging heavy on their hands, arms, and legs, the forty thief-girls proceeded to light forty cigars. Whereupon the British public gave them a round of applause. Whereupon I fell a thinking; and saw little more of the piece, except as an ugly and disturbing dream.

      LETTER VI.

      THE CORRUPTION OF MODERN PLEASURE.—(THE JAPANESE JUGGLERS.)

February 28, 1867.

      25. I have your pleasant letter with references to Frederick. I will look at them carefully.[II] Mr. Carlyle himself will be pleased to hear this letter when he comes home. I heard from him last week at Mentone. He is well, and glad of the light and calm of Italy. I must get back to the evil light and uncalm, of the places I was taking you through.

      (Parenthetically, did you see the article in the 'Times' of yesterday on bribery, and the conclusion of the commission—"No one sold any opinions, for no one had any opinions to sell"?)

      Both on Thursday and Friday last I had been tormented by many things, and wanted to disturb my course of thought any way I could. I have told you what entertainment I got on Friday, first, for it was then that I began meditating over these letters; let me tell you now what entertainment I found on Thursday.

      26. You may have heard that a company of Japanese jugglers has come over to exhibit in London. There has long been an increasing interest in Japanese art, which has been very harmful to many of our own painters, and I greatly desired to see what these

1

I ask the reader's thoughtful attention to this paragraph, on which much of what else I have to say depends.