shall mostly have to speak about now. People have consciously striven to raise the dead in art since that time, and with some superficial success. Nevertheless, in spite of this conscious effort, I must tell you that England, to a person who can feel and understand beauty, was a less grievous place to live in then than it is now; and we who feel what art means know well, though we do not often dare to say so, that forty years hence it will be a more grievous place to us than it is now if we still follow up the road we are on. Less than forty years ago--about thirty--I first saw the city of Rouen, then still in its outward aspect a piece of the Middle Ages: no words can tell you how its mingled beauty, history, and romance took hold on me; I can only say that, looking back on my past life, I find it was the greatest pleasure I have ever had: and now it is a pleasure which no one can ever have again: it is lost to the world for ever. At that time I was an undergraduate of Oxford.
Though not so astounding, so romantic, or at first sight so mediaeval as the Norman city, Oxford in those days still kept a great deal of its earlier loveliness: and the memory of its grey streets as they then were has been an abiding influence and pleasure in my life, and would be greater still if I could only forget what they are now--a matter of far more importance than the so-called learning of the place could have been to me in any case, but which, as it was, no one tried to teach me, and I did not try to learn. Since then the guardians of this beauty and romance so fertile of education, though professedly engaged in "the higher education" (as the futile system of compromises which they follow is nick-named), have ignored it utterly, have made its preservation give way to the pressure of commercial exigencies, and are determined apparently to destroy it altogether. There is another pleasure for the world gone down the wind; here, again, the beauty and romance have been uselessly, causelessly, most foolishly thrown away.
These two cases are given simply because they have been fixed in my mind; they are but types of what is going on everywhere throughout civilization: the world is everywhere growing uglier and more commonplace, in spite of the conscious and very strenuous efforts of a small group of people towards the revival of art, which are so obviously out of joint with the tendency of the age that, while the uncultivated have not even heard of them, the mass of the cultivated look upon them as a joke, and even that they are now beginning to get tired of.
Now, if it be true, as I have asserted, that genuine art is an unmixed blessing to the world, this is a serious matter; for at first sight it seems to show that there will soon be no art at all in the world, which will thus lose an unmixed blessing; it can ill afford to do that, I think.
For art, if it has to die, has worn itself out, and its aim will be a thing forgotten; and its aim was to make work happy and rest fruitful. Is all work to be unhappy, all rest unfruitful, then?
Indeed, if art is to perish, that will be the case, unless something is to take its place--something at present unnamed, undreamed of.
I do not think that anything will take the place of art; not that I
doubt the ingenuity of man, which seems to be boundless in the direction of ****** himself unhappy, but because I believe the springs of art in the human mind to be deathless, and also because it seems to me easy to see the causes of the present obliteration of the arts.
For we civilized people have not given them up consciously, or of our free will; we have been FORCED to give them up. Perhaps I can illustrate that by the detail of the application of machinery to the production of things in which artistic form of some sort is possible.
Why does a reasonable man use a machine? Surely to save his labour.
There are some things which a machine can do as well as a man's hand, PLUS a tool, can do them. He need not, for instance, grind his corn in a hand-quern; a little trickle of water, a wheel, and a few ****** contrivances will do it all perfectly well, and leave him free to smoke his pipe and think, or to carve the handle of his knife. That, so far, is unmixed gain in the use of a machine--always, mind you, supposing equality of condition among men; no art is lost, leisure or time for more pleasurable work is gained. Perhaps a perfectly reasonable and free man would stop there in his dealings with machinery; but such reason and ******* are too much to expect, so let us follow our machine-inventor a step farther. He has to weave plain cloth, and finds doing so dullish on the one hand, and on the other that a power-loom will weave the cloth nearly as well as a hand-loom:
so, in order to gain more leisure or time for more pleasurable work, he uses a power-loom, and foregoes the small advantage of the little extra art in the cloth. But so doing, as far as the art is concerned, he has not got a pure gain; he has made a bargain between art and labour, and got a makeshift as a consequence. I do not say that he may not be right in so doing, but that he has lost as well as gained. Now, this is as far as a man who values art and is reasonable would go in the matter of machinery AS LONG AS HE WAS
FREE--that is, was not FORCED to work for another man's profit; so long as he was living in a society
